or the effusions scratched by peripatetic bards on inn-windows. An interesting discussion between Mr. Thomas Hutchinson and Col. Prideaux concerning Hazlitt's responsibility for this and other critiques on Coleridge in the _Edinburgh Review_ will be found in _Notes and Queries_ (Ninth Series), X, pp. 388, 429; XI, 170, 269. The other reviews of _Christabel_ were all unfavorable. Most extravagant was the utterance of the _Monthly Magazine_, XLVI, p. 407, in 1818, when it declared that the "poem of Christabel is only fit for the inmates of Bedlam. We are not acquainted in the history of literature with so great an insult offered to the public understanding as the publication of that r[h]apsody of delirium." Hazlitt's primitive remarks on the metre of _Christabel_ are of little interest. Coleridge was, of course, wrong in stating that his metre was founded on a new principle. The irregularly four-stressed line occurs in Spenser's _Shepherd's Calender_ and can be traced back through the halting tetrameters of Skelton. Coleridge himself alludes to this fact in his note to his poem _The Raven_, and elsewhere. Coleridge's earlier poetical publications were received with commonplace critiques usually mildly favorable. For reviews of his _Poems_ (1796) see _Monthly Rev._, XX, n.s., p. 194; _Analytical Rev._, XXIII, p. 610; _British Critic_, VII, p. 549; and _Critical Rev._, XVII, n.s., p. 209; the second edition of _Poems_ (1797) is noticed in _Critical Rev._, XXIII, n.s., p. 266; for _Lyrical Ballads_, see under Wordsworth; for the successful play _Remorse_ (1813), see _Monthly Rev._, LXXI, n.s., p. 82, and _Quarterly Rev._, XI, p. 177. ROBERT SOUTHEY _Madoc_, a ponderous quarto of over five hundred pages and issued at two guineas, was published by Southey in 1805 as the second of that long-forgotten series of interminable epics including _Thalaba_, _The Curse of Kehama_, and _Roderick, Last of the Goths_. These huge unformed productions were not poems, but metrical tales, written in a kind of verse that could have flowed indefinitely from the author's pen. In short, Southey was not a poet, and the whole bulk of his efforts in verse, with but one or two exceptions, seems destined to oblivion. As poet-laureate for thirty years and the associate of Wordsworth and Coleridge in the "Lake School," Southey will, however, remain a figure of some importance in the history of English poetry.