Jonathan Ingram, Jerry Fairbanks and the Online Distributed Proofreading Team POEMS OF COLERIDGE SELECTED AND ARRANGED WITH AN INTRODUCTION AND NOTES BY ARTHUR SYMONS CONTENTS INTRODUCTION THE RIME OF THE ANCIENT MARINER CHRISTABEL KUBLA KHAN LEWTI THE BALLAD OF THE DARK LADIE LOVE THE THREE GRAVES DEJECTION: AN ODE ODE TO TRANQUILLITY FRANCE: AN ODE FEARS IN SOLITUDE THIS LIME-TREE BOWER MY PRISON TO A GENTLEMAN (W. WORDSWORTH) HYMN BEFORE SUN-RISE FROST AT MIDNIGHT THE NIGHTINGALE THE EOLIAN HARP THE PICTURE THE GARDEN OF BOCCACCIO THE TWO FOUNTS A DAY-DREAM SONNET LINES TO W. LINLEY, ESQ. DOMESTIC PEACE SONG FROM _ZAPOLYA_ HUNTING SONG FROM _ZAPOLYA_ WESTPHALIAN SONG YOUTH AND AGE WORK WITHOUT HOPE TIME, REAL AND IMAGINARY LOVE'S APPARITION LOVE, HOPE, AND PATIENCE DUTY SURVIVING SELF-LOVE LOVE'S FIRST HOPE PHANTOM TO NATURE FANCY IN NUBIBUS CONSTANCY TO AN IDEAL OBJECT PHANTOM OR FACT? LINES SUGGESTED BY THE LAST WORDS OF BERENGARIUS FORBEARANCE _SANCTI DOMINICI PALLIUM_ ON DONNE'S POETRY ON A BAD SINGER _NE PLUS ULTRA_ HUMAN LIFE THE BUTTERFLY THE PANG MORE SHARP THAN ALL THE VISIONARY HOPE THE PAINS OF SLEEP LOVE'S BURIAL-PLACE LOVE, A SWORD THE KISS NOT AT HOME NAMES (FROM LESSING) To LESBIA (FROM CATULLUS) THE DEATH OF THE STARLING (FROM CATULLUS) ON A CATARACT (FROM STOLBERG) HYMN TO THE EARTH (FROM STOLBERG) THE VISIT OF THE GODS (FROM SCHILLER) TRANSLATION (FROM OTTFRIED) THE VIRGIN'S CRADLE-HYMN EPITAPHS ON AN INFANT AN ODE TO THE RAIN ANSWER TO A CHILD'S QUESTION SOMETHING CHILDISH, BUT VERY NATURAL LINES ON A CHILD THE KNIGHT'S TOMB FIRE, FAMINE, AND SLAUGHTER THE TWO ROUND SPACES ON THE TOMBSTONE THE DEVIL'S THOUGHTS COLOGNE SONNETS ATTEMPTED IN THE MANNER OF CONTEMPORARY WRITERS LIMBO METRICAL FEET THE HOMERIC HEXAMETER (FROM SCHILLER) THE OVIDIAN ELEGIAC METRE (FROM SCHILLER) CATULLIAN HENDECASYLLABLES (FROM MATTHISON) To ---- EPITAPH ON A BAD MAN THE SUICIDE'S ARGUMENT THE GOOD, GREAT MAN INSCRIPTION FOR A FOUNTAIN ON A HEATH INSCRIPTION FOR A TIME-PIECE A TOMBLESS EPITAPH EPITAPH NOTES INTRODUCTION In one of Rossetti's invaluable notes on poetry, he tells us that to him "the leading point about Coleridge's work is its human love." We may remember Coleridge's own words: "To be beloved is all I need, And whom I love, I love indeed." Yet love, though it is the word which he uses of himself, is not really what he himself meant when using it, but rather an affectionate sympathy, in which there seems to have been little element of passion. Writing to his wife, during that first absence in Germany, whose solitude tried him so much, he laments that there is "no one to love." "Love is the vital air of my genius," he tells her, and adds: "I am deeply convinced that if I were to remain a few years among objects for whom I had no affection, I should wholly lose the powers of intellect."