Their lack of incident, however, is not entirely as favourable a circumstance as that uneventfulness of national annals to which I have compared it; for, though "no news may be good news" in the case of a nation's history, it is by no means as certainly so in the case of a man's biography, and, least of all, when the subject is a man whose inward life of thought and feeling so completely overshadowed his outward life of action throughout his whole career. There is indeed evidence, slight in amount, but conclusive in character-plain and painful evidence enough to show that at least the first four or five years of the period we have mentioned were not altogether years of resignation and calm; that they were embittered by recurring agonies of self-reproach, by "Sense of past youth, and manhood come in vain, And genius given, and knowledge won in vain;" and by the desolating thought that all which had been "culled in wood-walks wild," and "all which patient toil had reared," were to be --"but flowers Strewn on the corse, and borne upon the bier, In the same coffin, for the self-same grave!" Here and there in the correspondence with Thomas Allsop we obtain a glimpse into that vast half-darkened arena in which this captive spirit self-condemned to the lions was struggling its last. To one strange and hitherto unexplained letter I have already referred. It was written from Ramsgate in the autumn of 1822, evidently under circumstances of deep depression. But there is a letter nearly two years earlier in date addressed to the same correspondent which contains by far the fullest account of Coleridge's then condition of mind, the state of his literary engagements and his literary projects, his completed and uncompleted work. As usual with him it is stress of money matters that prompts him to write, and he prefaces his request for assistance with the following portentous catalogue of realised or contemplated schemes. "Contemplated," indeed, is too modest a word, according to his own account, to be applied to any one item in the formidable list. Of all of them, he has, he tells Allsop, "already the written materials and contents, requiring only to be put together from the loose papers and commonplace in memorandum books, and needing no other change, whether of omission, addition, or correction, than the mere act of arranging, and the opportunity of seeing the whole collectively, bring with them of course." Heads I. and II. of the list comprise those criticisms on Shakespeare and the other principal Elizabethan dramatists; on Dante, Spenser, Milton, Cervantes, Calderon; on Chaucer, Ariosto, Donne, Rabelais, etc., which formed the staple of the course of lectures delivered in 1818, and which were published after his death in the first two of the four volumes of _Literary Remains_ brought out under the editorship of Mr. H. N. Coleridge. Reserving No. III. for a moment we find No. IV.