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Of all Stationers. Stick phast Paste sticks. ATHENEUM PRESS. JOHN EDWARD FRANCIS. Printer of the Atheneum, Notes and Queries, &c. is prepared to 8UBMIT ESTIMATES for all kinds of BOOK, NEWS and PERIODICAL PRINTING.-18, Bream's Buildings, Chancery Lane, E.C. LONDON, SATURDAY, OCTOBER 28, 1905. CONTENTS.-No. 96. NOTES:-Coleridge Marginalia, 341–Tête-à-Tête Portraits, 342-Queen Elizabeth's Visits to Winchester, 344-" Praty' -Uchoreus-Suicides buried in the Open Fields-" Un answered yet," &c.-English Poets and the Armada, 348 Waterloo Veteran-Morgan and Polton, Bishops of Worcester-Terry's Voyage to East India,' 1655-Ball-games played on Festivals- Spongeitis," 347. QUERIES:-Miners' Greeting-Hyde Marriages - Archbishop Kempe - Worple Way- Dallas - Du BartasSt. Nicholas Shambles, 348-Rainsford Hall-Prisons in Paris during the Revolution-Hair-Powdering ClosetsWatson and Hodgson Families-Lord Bathurst and the Highwayman-Martin Malapert-Heraldry, 349-"Fountain-beads and pathless groves "-Early Lift- Custom of Thraves "Totum sume, fluit"-Pishoken-William Morris's Welsh Ancestry-Lyrical Ballads': Motto, 350. Wanted " (containing Parts I. and II., and Part III. respectively), only the first of which appears to have come under the notice of the writer in Blackwood. In this volume I found the "note written on note-paper" which he reproduces, but, strange to say, no trace of the marginal notes to which he alludes. These, apparently, or such of them as survived the shears of the bookbinder, have finally succumbed to time. The marginalia in the second volume, however, though also mutilated, are not mutilated beyond all recognition; and the matter which they contain seems to me of sufficient interest to explain, if not to justify, the following attempt to restore them. REPLIES:-Moon Names, 350-" Sacræ Pagina Professor The Kalligone' was written mainly as a -Ephis and his Lion-Copenhagen House, 351-Whitcombe Family-Corisande - Greyfriars Burial-Ground-reply to Kant's 'Kritik der Urteilskraft,' and Swedish Royal Family-Byways in the Classics, 352- the writer's method of criticism is to set up Prisoner suckled by his Daughter-Authors of Quotations detached statements from Kant's work and attack them in their isolation. The first of these citations to provoke a comment from Coleridge is the following: "Erhaben nennen wir das, was schlechthin gross ist" ("We call that sublime, which is absolutely great"). Coleridge's note runs thus : Testout, 353-American Civil War VersesBelappit," 354-Farrant's Anthem "Pearls cannot equal the whiteness of his teeth"-Foxes as Food for Men "Christ's Hospital "-John Danister, Wykehamist, 355 -Eton School Lists - The Pigmies and the Cranes Detectives in Fiction, 356-Robinson Crusoe. 1619-Henry Hudson's Descendants-Charles Churchill: T. Underwood Ceremony at Ripon, 357-Duchess of Cannizaro"Coop," to Trap-Nutting-Sanderson Dance, 358. NOTES ON BOOKS:-'New English Dictionary'-'The Origin and History of the Thoroughbred Horse'-' Acts of the Privy Council'-'Intermédiaire.' Notices to Correspondents. Notes. COLERIDGE MARGINALIA. IN Blackwood's Magazine for January, 1882, is an article dealing with marginal notes by Coleridge on certain books now in the British Museum-among them a copy of Herder's Kalligone.' Unhappily," says the writer of the article in question, "Coleridge's notes on Herder's 'Kalligone,' which would appear to have been most entertaining, have had their life-thread cut short by the shears of Atropos, the bookbinder." Allusion is then made to a fragment which the shears have spared, and the writer proceeds: A note written on a sheet of note-paper, and bound into the volume, has happily escaped the vandal bibliopegist." This note he then reproduces in full. To the above article my attention was drawn shortly after I had myself had occasion to consult the annotated copy of the Kalligone,' and I was surprised to find that the description of the book given in Blackwood did not tally with my knowledge of it. On further inquiry, however, I found that there are, as a matter of fact, two volumes of the Kalligone' annotated by Coleridge "We call an object sublime in relation to which the exercise of comparison is suspended: while on the contrary that object is most beautiful, which in its highest perfection_sustains while it satisfies the comparing Power. The subjective result is...... when a wheel turns so smoothly and swiftly as to present a stationary image to the eye, or as a fountain (such as either of the two in the Colonnade of St. Peter's at Rome, 'Fons omni fonte formosior!).' It is impossible that the same object should be sublime and beautiful at the same moment to the and be made the symbol of an Idea that is truly...... same mind, though a beautiful object may excite Serpent in a wreath of folds bathing in the sun is beautiful to Aspasia, whose attention is confined to the visual impression, but excites an emotion of sublimity in Plato, who contemplates under that symbol the Idea of Eternity." How is the first hiatus to be restored? The wheel and the fountain are apparently advanced as instances of the beautiful," which sustains while it satisfies the comparing Power." Else why the "Fons omni fonte formosior"? The sense, then, would seem to be that the subjective result is of the second kind when such a wheel or such a fountain is contemplated. But let us turn to the rest of the passage. The second hiatus is more easily filled up. If we place "sublime after truly," and "A" before "serpent," we shall have at least the gist of the missing line. Coleridge supplements the first illustration of the beautiful with a second, which is also an illustration of the sublime. When the mind rests entirely in the sensuous contemplation of the serpent's folds, they appear as 66 E beautiful. To affect the mind as sublime, see below "a beautiful, a magnificent object"), but not sublime. Finally he gives an example of an object beautiful or sublime under different conditions. This instance will, in view of what he has already said, present no difficulties. The sun-smitten mountain is beautiful, in virtue of what it actually and directly presents to the senses; the cloudcapped mountain is sublime, in virtue of the idea of infinity which it suggests to the mind. At the end of this last note we may supply encompass it, is sublime." they must excite the idea of eternity through the material analogy. Plato does not contemplate eternity in the serpent, but by means of it, and his contemplation is intellectual. Hence we can understand Coleridge's statement that the sublime suspends the operation of comparison. For this operation requires a sensible basis. In beautiful objects such a basis is supplied by the relative adequacy of the form to its ideal content. Thus in the wheel or the fountain, as instanced by Coleridge, it appears to be motion in rest which is more or less perfectly expressed.* And as the beautiful object, or the object as beautiful, is constantly before the consciousness, our sense of its relative perfection coexists with our sense of its beauty. The object as sublime, on the other hand, is lost sight of in the intellectual contemplation which it excites; and the mind, resting in pure ideas, has no stimulus to comparison. It is true that we may compare objects in respect of their adequacy as symbols; but this attitude to the object cannot possibly coexist with the sense of its sublimity. From Herder's next citation from the 'Kritik' I translate the following: From this fact (viz., that we call that which is absolutely great sublime) it follows that the sublime is not in the things of nature, but in our ideas alone......The above explanation may also be expressed thus: That is sublime in comparison with which everything else appears small." Coleridge remarks upon the last sentence: "Here Kant has layed himself open to just censure"-alluding evidently to the inadmissibleness of the word "comparison," in reference to that which is absolutely great. But Herder's own censure is of a different kind. He refuses to banish the sublime from the sphere of nature, and his assertions provoke the following comment from Coleridge (the last of his notes) : 66 Dorothy Wordsworth relates how Coleridge, gazing at the falls of Clyde, was delighted by the remark of a visitor which charac terized them as majestic; and how his delight was quickly dissipated when the same personage added: "Yes, beautiful and sublime." One would like to know wherein he found the peculiar appropriateness of the first epithet; and why he did not rather choose the epithet "sublime," of the many which his companion lavished on the falls. For if we rightly conceive the waterfall as partly hidden in the cloud raised by its own spray, the distinction between it and the fountains at St. Peter's becomes analogous to that between the cloud-wrapt and unclouded mountain peak, except that in the first case the varying size enters as a factor in the varying emotional effect. Only the day before this incident at the falls, Coleridge, who "had been settling in his own mind the precise meaning of the words grand, majestic, sublime, &c.." had "discussed the subject at some length with William." But of this conversation no J. SHAWCROSS. record has been left. TETE-A-TETE PORTRAITS IN THE TOWN AND COUNTRY MAGAZINE. (See ante, p. 241.) I CONTINUE the list of identifications of these portraits : "Herder mistakes for the Sublime sometimes the Grand, sometimes the Majestic, sometimes the Intense, in which last sense we must render......or magnificent, but as a whole (a visual whole, I mean) it cannot be sublime. A mountain in a cloudless 40. P. 9, Lord sky, its summit smit with the sunset, is a beautiful, 41. P. 65, The a magnificent object: the same with its summit hidden by clouds and seemingly blended with the sky, while mists and floating vapours......" [the rest 42. P. 121, is lost]. Vol. IV. (1772). Lord Equestrian Hero and Mrs. K..dal.— The Battersea Baron and Mrs. V.....t.—- Here the first hiatus apparently extends 43. P. 177, to a line and a half. Coleridge evidently adduces another concrete illustration, this 44. P. 233, Capt. H..... and Mrs. B.....y.-William time of an object which may be called intense or magnificent (and perhaps also beautiful; *Or rather unity in multeity. See his definition of Beauty in the Bristol Essays. 45. P. 289, The Minden Hero and Mrs. W....t. - 47. P. 345, The Heroic Minister and Madame P....lle. | 77. P. 569, Lord C....gh..m and Mrs. F........r.-Lord -Sir Robert Murray Keith and...... Conyngham and...... 48. P. 401, The Inflexible Patriot and Miss Betsy 78. P. 625, The Powerful Pleader and Miss C....... Wil..x.-Charles, second Marquis of -John Dunning and Miss Lucy Charlton. Rockingham, and Miss Betsy Wilcox. 49. P. 457, Lord G.... and Mrs. O.b..n.-Earl Gower 79. P. 681, The Pious Preacher and Miss D....mple.— and Miss Dalrymple. and Mrs. Osbern. 50. P. 513, L..d P.... and Miss L..b..t.-Lord Percy and...... Vol. VII. (1775). 51. P. 569, The Amorous Advocate and the Temple 80. P. 9, The Hon. Capt. H....y and Mrs. N..b..t.- Toast. 52. P. 625, The Cumberland Baronet and Miss 81. P. 65. Peeping Tom of Coventry and Miss L.. w..s.-Sir James Lowther and...... 53. P. 681, The Poaching Preacher and Miss Pl....n. -Rev. Mr. C....... and...... Vol. V. (1773). W.....ms.-George William, sixth Earl of Coventry, and Miss Williams. 82. P. 121, The E. of A....m and Miss M.th.ws.Earl of Ancram and Miss Matthews. 54. P. 9, Lord Jehu and Mrs. G.....s.-James, sixth 83. P. 177, Theatricus and Miss L......y.-Mr. Fitz patrick and...... Earl of Salisbury and...... 55. P. 65, E. of C. and Madame La M......n.-Earl 84. P. 233. Lord S...th and Miss Harriett P..... of Carlisle and.. 56. P. 121, Lord B....... and Mrs. B.. y. -Frederick, Lord Seaforth and Miss Harriett fifth Earl of Berkeley, and Mrs. Bayley. 85. P. 289, Lord C..........d and Signora Ball.nt.ni.Philip, fifth Earl of Chesterfield, and Signora Ballantini. 57. P. 117, The Earl of E....... and Madame Du T.e. -Earl of Egremont and Madame Du Thé. 58. P. 233, The Hibernian Hero and Miss P....m.Lord Clanricarde and...... 59. P. 289, The Commissary and Miss Gr..sl..y.and...... 60. P. 345, Baron Jaghire and Miss Fanny Ch...n. Robert Clive and...... 61. P. 401, The Young Cub and Madame H......l.— Heinel. 86. P. 345, Earl of S......... and Mdlle. Le B...n.David, seventh Viscount Stormont, and Mlle. Le Brun. 87. P. 401, The American Hero and Miss V..gh.n.— Charles James Fox and Madame 89. P. 513, D..e of B..........r and Miss L...gl...y- 62. P. 457, The Circumnavigator and Miss B...n.- and Miss K.......... 63. P. 513, The Libertine Macaroni and Mrs. R...n.- 90. P. 569, R. H. O........, Esqre, and...... Lord Lyttelton and...... 64. P. 569, D..e of St. A..... and Mdlle. La P..e.Aubrey, fifth Duke of St. Albans, and...... 65. P. 625, The Nautical Lover and Miss Betsy C....n.-John Byron and...... 66. P. 681, The Macaroni Preacher and Mrs. R...n. -Dr. William Dodd and...... Vol. VI. (1774). -R. Henley Miss 91. P. 625, The Shaftesbury Nabob and K..ghl..y.-Thomas Rumbold and...... 92. P. 675, The Caledonian Orator and the Irre sistible Mrs. S.....ns.-...... and.............. Vol. VIII. (1776). 93. P. 9, The Eloped Clara and the Combustible Lover.-Anne Brown (Mrs. Cargill ?)and Miles Peter Andrews. 67. P. 9, Lord_Le_D........ and Miss B.....y.-Lord 94. P. 65, P....... M......., Esq., and Miss Clara Le Despencer and...... H....d.-Philip Meadows and Clara The R.gate Amoroso and Lady Pyebald.. The Disappointed Nabob and Miss- Sir Mathew Mite and Mrs. A....st....d.. 100. P. 401, Count de B........ and the Vauxhall 101. P. 457, 102. P. 513, 103. P. 569, Capt. Bobadil and Mrs. B....ll....my.- |