be wisdom which statesmen would do well to lay to heart, the late Dr. Cumming must have been the most profound instructor in statesmanship that the world has ever seen. A prime minister of real life, however, could scarcely be seriously recommended to shape his policy upon a due consideration of the possible allegoric meaning of a passage in Isaiah, to say nothing of the obvious objection that this kind of appeal to _Sortes Biblicæ_ is dangerously liable to be turned against those who recommend it. On the whole, one must say of this lay sermon that it justifies the apprehension expressed by the author in its concluding pages. It does rather "resemble the overflow of an earnest mind than an orderly and premeditated," in the sense, at any rate, of a well-considered "composition." In the month of January 1818 Coleridge once more commenced the delivery of a course of lectures in London. The scope of this series-fourteen in number was, as will be seen from the subjoined syllabus, an immensely comprehensive one. The subject of the first was "the manners, morals, literature, philosophy, religion, and state of society in general in European Christendom, from the eighth to the fifteenth century;" and of the second "the tales and metrical romances common for the most part to England, Germany, and the north of France; and English songs and ballads continued to the reign of Charles I." In the third the lecturer proposed to deal with the poetry of Chaucer and Spenser, of Petrarch, and of Ariosto, Pulci, and Boiardo. The fourth, fifth, and sixth were to be devoted to the dramatic works of Shakespeare, and to comprise the substance of Coleridge's former courses on the same subject, "enlarged and varied by subsequent study and reflection." In the seventh he was to treat of the other principal dramatists of the Elizabethan period, Ben Jonson, Massinger, and Beaumont and Fletcher; in the eighth of the life and all the works of Cervantes; in the ninth of Rabelais, Swift, and Sterne, with a dissertation "on the nature and constituents of genuine humour, and on the distinctions of humorous from the witty, the fanciful, the droll, the odd, etc." Donne, Dante, and Milton formed the subject of the tenth; the _Arabian Nights Entertainment_, and the _romantic_ use of the supernatural in poetry, that of the eleventh. The twelfth was to be on "tales of witches and apparitions, etc.," as distinguished from magic and magicians of Asiatic origin; and the thirteenth,--"on colour, sound, and form in nature, as connected with Poesy--the word 'Poesy' being used as the generic or class term including poetry, music, painting, statuary, and ideal architecture as its species, the reciprocal relations of poetry and philosophy to each other, and of both to religion and the moral sense.'" In the fourteenth and final lecture Coleridge proposed to discuss "the corruptions of the English language since the reign of Queen Anne, in our style of writing