"Beritola" is Italian in form, as much as Wieland's "Oberon", but the spirit is that of the Englishman, Charles Lloyd; it contains the same vivid descriptions of mental suffering, the same reflective display of the lover's passion, the same sentiments of deep domestic tenderness, uttered as from the heart and with a special air of reality, as "The Duke D'Ormond" and the author's productions in general. The versification is rather better than that of his earlier poems, but the want of ease and harmony in the flow of the verse is a prevailing defect in Mr. Lloyd's poetry, and often makes it appear prosaic, even where the thought is not so. This pathetic sonnet is one of a very interesting set, on the death of Priscilla Farmer, the author's maternal grandmother, included in the joint volume: "Oh, She was almost speechless! nor could hold Awakening converse with me! (I shall bless No more the modulated tenderness Of that dear voice!) Alas, 'twas shrunk and cold Her honour'd face! yet, when I sought to speak, Through her half-open'd eyelids She did send Faint looks, that said, 'I would be yet thy friend!' And (O my chok'd breast!) e'en on that shrunk cheek I saw one slow tear roll! my hand She took, Placing it on her heart--I heard her sigh 'Tis too, too much!' 'Twas Love's last agony! I tore me from Her! 'Twas her latest look, Her latest accents--Oh my heart, retain That look, those accents, till we meet again!" S. C. Meantime Coleridge had written to Charles Lloyd's father three letters about his son, highly interesting as glimpses of his own character. These letters were first published in "Charles Lamb and the Lloyds", by E. V. Lucas. They are as follows: LETTER 44. To CHARLES LLOYD, SEN. Dear Sir,