During the reverie of the opium eater (not the deep sleep of a full dose, but the first and second stage ere coma be induced), he is indeed a poet, so far as brilliant imagination is concerned, but his scribbling is mere “midsummer madness,” the phantoms of which are as wild as those of intoxication, dreaming, or insanity. But the philosophy, the metaphysics of poetry, are not the product of mere excitement: “Poeta nascitur, non fit.” A poet’s genius is born with him. The influence of opium on the philosopher or the orator is the same, but in them it does not usually elevate the force of imagination beyond that of judgment. The power of the faculties has been in fact exhausted by thought or study; the stimulus of opium, then, restores that depressed energy to its proper level, leaving the judgment perfect, and not overbalanced. The celebrated Thomas Brown, during the composition of his Essay on the Mind, kept his intellect on the stretch by opium for several successive nights. Sir James Mackintosh (one of his favourite pupils) informed us, that on entering the doctor’s library one morning somewhat abruptly, he overheard the following command addressed to his daughter: “Effie, bring me the _moderate_ stimulus of a hundred drops of laudanum.” So that the excitement be obtained, it matters not how, whether by the use of opium, or other “drowsy syrups of the East, poppy or mandragora,” as in the case of some of our modern statesmen; or the free libation of brandy in certain orators, who were wont to stagger down to the House from White’s or Brookes’s, with those clubhouse laurels, wet towels, round their brows, and overwhelm Saint Stephen’s by the thunders of their eloquence. Unless, indeed, this be carried to excess, and then we have two very interesting states of vision, as you may gather from the following witticism on two of these departed legislators, which was founded on a truth: “I cannot see the Speaker, Bill, can you? Not see him, Harry, d——e, I see two!” For the effects of alcohol and opium are alike: the first degree is excitement; the second, reverie; the third, sleep, or stupor. “Ben Jonson,” writes Aubrey, “would many times exceede in drink; Canarie was his beloved liquor: then he would tumble home to bed, and when he had thoroughly perspired, then to studie.” The _second_ visions of that moral delinquent, the practised opium-eater, like the cordial julep of Comus, “Will bathe the drooping spirits in delight, Beyond the bliss of dreams.” The phantoms of the _third_ stage are often of unutterable anguish: visions of bright forms dabbled in blood, and scenes of crime and horror which are at once loathed and revelled in. The awful curse of Lord Byron’s infidel—a vampyre—who, haunting the graveyard with gouls and afrits, sucks the blood of his race: “’Till they with horror shrink away From spectre more accurs’d than they.”