included in the second," so that "what the former was to friendship the latter was to a still more inward bond." The truth is, that all Coleridge's references to himself in his later years are shrouded in a double obscurity. One veil is thrown over them by his deliberate preference for abstract and mystical forms of expression, and another perhaps by that kind of shameful secretiveness which grows upon all men who become the slaves of concealed indulgences, and which often displays itself on occasions when it has no real object to gain of any kind whatever. Thus much only we know, that on reaching London in the summer of 1810 Coleridge became the guest of the Montagus, and that, after some months' residence with them, he left as the immediate result of some difference with his host which was never afterwards composed. Whether it arose from the somewhat trivial cause to which De Quincey has, admittedly upon the evidence of "the learned in literary scandal," referred it, it is now impossible to say. But at some time or other, towards the close probably of 1810, or in the early months of 1811, Coleridge quitted Mr. Montagu's house for that of Mr. John Morgan, a companion of his early Bristol days, and a common friend of his and Southey's; and here, at No. 7 Portland Place, Hammersmith, he was residing when, for the second time, he resolved to present himself to the London public in the capacity of lecturer. His services were on this occasion engaged by the London Philosophical Society, at Crane Court, Fleet Street, and their prospectus announced that on Monday, 18th November, Mr. Coleridge would commence "a course of lectures on Shakspeare and Milton, in illustration of the principles of poetry and their application, on grounds of criticism, to the most popular works of later English poets, those of the living included. After an introductory lecture on false criticism (especially in poetry) and on its causes, two-thirds of the remaining course," continues the prospectus, "will be assigned, 1st, to a philosophical analysis and explanation of all the principal characters of our great dramatists, as Othello, Falstaff, Richard the Third, Lago, Hamlet, etc., and to a critical comparison of Shakspeare in respect of diction, imagery, management of the passions, judgment in the construction of his dramas--in short, of all that belongs to him as a poet, and as a dramatic poet, with his contemporaries or immediate successors, Jonson, Beaumont and Fletcher, Ford, Massinger, and in the endeavour to determine which of Shakespeare's merits and defects are common to him, with other writers of the same age, and what remain peculiar to his genius."