This shocking contradiction we need not press. All readers will see _that_. But some will ask--Was Mr. Coleridge right in either view? Being so atrociously wrong in the first notion, (viz., that the opium of twenty-five years was a thing easily to be forsworn,) where a child could know that he was wrong, was he even altogether right, secondly, in believing that his own life, root and branch, had been withered by opium? For it will not follow, because, with a relation to happiness and tranquillity, a man may have found opium his curse, that therefore, as a creature of energies and great purposes, he must have been the wreck which he seems to suppose. Opium gives and takes away. It defeats the _steady_ habit of exertion, but it creates spasms of irregular exertion; it ruins the natural power of life, but it develops preternatural paroxysms of intermitting power. Let us ask of any man who holds that not Coleridge himself but the world, as interested in Coleridge's usefulness, has suffered by his addiction to opium; whether he is aware of the way in which opium affected Coleridge; and secondly, whether he is aware of the actual contributions to literature--how large they were--which Coleridge made _in spite_ of opium. All who were intimate with Coleridge must remember the fits of genial animation which were created continually in his manner and in his buoyancy of thought by a recent or by an _extra_ dose of the omnipotent drug. A lady, who knew nothing experimentally of opium, once told us, that she 'could tell when Mr. Coleridge had taken too much opium by his shining countenance.' She was right; we know that mark of opium excesses well, and the cause of it; or at least we believe the cause to lie in the quickening of the insensible perspiration which accumulates and glistens on the face. Be that as it may, a criterion it was that could not deceive us as to the condition of Coleridge. And uniformly in that condition he made his most effective intellectual displays. It is true that he might not be happy under this fiery animation, and we fully believe that he was not. Nobody is happy under laudanum except for a very short term of years. But in what way did that operate upon his exertions as a writer? We are of opinion that it killed Coleridge as a poet. 'The harp of Quantock' was silenced for ever by the torment of opium. But proportionably it roused and stung by misery his metaphysical instincts into more spasmodic life. Poetry can flourish only in the atmosphere of happiness. But subtle and perplexed investigations of difficult problems are amongst the commonest resources for beguiling the sense of misery. And for this we have the direct authority of Coleridge himself speculating on his own case. In the beautiful though unequal ode entitled _Dejection_, stanza six, occurs the following passage: