Now, such exactly is the eye of any man that, without actually interrupting one, threatens by his impatient manner as often as one begins to speak. It has a blighting effect upon one's spirits. And the only resource is to say frankly (as I said to the dog), 'Would you oblige me, sir, by taking the whole of the talk into your own hands? Do not for ever threaten to do so, but at once boldly lay an interdict upon any other person's speaking.'
To those who suffer from nervous irritability, the man that suspends over our heads his threat of interruption by constant impatience, is even a more awful person to face than the actual interrupter. Either of them is insufferable; and in cases where the tone of prevailing manners is not vigorous enough to put such people down, or where the individual monster, being not couchant or passant, but (heraldically speaking) rampant, utterly disregards all restraints that are not enforced by a constable, the question comes back with greater force than ever, which I stated at the beginning of this article, 'What's to be done?'
I really cannot imagine. Despair seizes me 'with her icy fangs,' unless the reader can suggest something; or unless he can improve on a plan of my own sketching.
As a talker for effect, as a bravura artist in conversation, no one has surpassed Coleridge. There is a Spanish proverb, that he who has not seen Seville, has seen nothing. And I grieve to inform the present unfortunate generation, born under an evil star, coming, in fact, into the world a day after the fair, that, not having heard Coleridge, they have heard—pretty much what the strangers to Seville have seen, which (you hear from the Spaniards) amounts to nothing. Nothing is hardly a thing to be proud of, and yet it has its humble advantages. To have heard Coleridge was a thing to remember with pride as a trophy, but with pain as a trophy won by some personal sacrifice. To have heard Coleridge has now indeed become so great a distinction, that if it were transferable, and a man could sell it by auction, the biddings for it would run up as fast as for a genuine autograph of Shakespeare. The story is current under a thousand forms of the man who piqued himself on an interview which he had once enjoyed with royalty; and, being asked what he could repeat to the company of his gracious Majesty's remarks, being an honest fellow he confessed candidly that the King, happening to be pressed for time, had confined himself to saying, 'Dog, stand out of my horse's way'; and many persons that might appear as claimants to the honour of having conversed with Coleridge could perhaps report little more of personal communication than a courteous request from the great man not to interrupt him. Inevitably, however, from this character of the Coleridgean conversation arose certain consequences, which are too much overlooked by those who bring it forward as a model or as a splendid variety in the proper art of conversation. And speaking myself as personally a witness to the unfavourable impression left by these consequences, I shall not scruple in this place to report them with frankness.
At the same time, having been heretofore publicly misrepresented and possibly because misunderstood as to the temper in which I spoke of Coleridge, and as though I had violated some duty of friendship in uttering a truth not flattering after his death, I wish so far to explain the terms on which we stood as to prevent any similar misconstruction. It would be impossible in any case for me to attempt a Plinian panegyric, or a French éloge. Not that I think such forms of composition false, any more than an advocate's speech, or a political partisan's: it is understood from the beginning that they are one-sided; but still true according to the possibilities of truth when caught from an angular and not a central station. There is even a pleasure as from a gorgeous display, and a use as from a fulness of unity, in reading a grand or even pompous laudatory oration upon a man like Leibnitz, or Newton, which neglects all his errors or blemishes. This abstracting view I could myself adopt as to a man whom I had learned to know from books, but not as to one whom I knew also from personal intercourse. His faults and his greatness are then too much intertwisted. There is still something unreal in the knowledge of men through books; with which is compatible a greater flexibility of estimate. But the absolute realities of life acting upon any mind of deep sincerity do not leave the same liberty of suppression or concealment. In that case, the reader may perhaps say, and wherever the relations of the writer to a deceased man prescribe many restraints of tenderness or delicacy, would it not be better to forbear speaking at all? Certainly; and I go on therefore to say that my own relations to Coleridge were not of that nature. I had the greatest admiration for his intellectual powers, which in one direction I thought and think absolutely unrivalled on earth; I had also that sort of love for him which arises naturally as a rebound from intense admiration, even where there is little of social congeniality. But, in any stricter sense of the word, friends we were not. For years we met at intervals in society; never once estranged by any the slightest shadow of a quarrel or a coolness. But there were reasons, arising out of original differences in our dispositions and habits, which would probably have forever prevented us, certainly did prevent us, from being confidential friends. Yet, if we had been such, even the more for that reason the sincerity of my nature would oblige me to speak freely if I spoke at all of anything which I might regard as amongst his errors. For the perfection of genial homage, one may say, in the expression of Petronius Arbiter, Præcipitandus est liber spiritus, the freedom of the human spirit must be thrown headlong through the whole realities of the subject, without picking or choosing, without garbling or disguising. It yet remains as a work of the highest interest, to estimate (but for that to display) Coleridge in his character of great philosophic thinker, in which character he united perfections that never were united but in three persons on this earth, in himself, in Plato (as many suppose), and in Schelling, viz., the utmost expansion and in some paths the utmost depths of the searching intellect with the utmost sensibility to the powers and purposes of Art: whilst, as a creator in Art, he had pretensions which neither Plato nor Schelling could make. His powers as a Psychologist (not as a Metaphysician) seem to me absolutely unrivalled on earth. And had his health been better, so as to have sustained the natural cheerfulness towards which his nature tended, had his pecuniary embarrassments been even moderately lightened in their pressure, and had his studies been more systematically directed to one end—my conviction is that he would have left a greater philosophic monument of his magnificent mind than Aristotle, or Lord Bacon, or Leibnitz.
With these feelings as to the pretensions of Coleridge, I am not likely to underrate anything which he did. But a thing may be very difficult to do, very splendid when done, and yet false in its principles, useless in its results, memorable perhaps by its impression at the time, and yet painful on the whole to a thoughtful retrospect. In dancing it is but too common that an intricate pas seul, in funambulism that a dangerous feat of equilibration, in the Grecian art of desultory equitation (where a single rider governs a plurality of horses by passing from one to another) that the flying contest with difficulty and peril, may challenge an anxiety of interest, may bid defiance to the possibility of inattention, and yet, after all, leave the jaded spectator under a sense of distressing tension given to his faculties. The sympathy is with the difficulties attached to the effort and the display, rather than with any intellectual sense of power and skill genially unfolded under natural excitements. It would be idle to cite Madame de Staël's remark on one of these meteoric exhibitions, viz., that Mr. Coleridge possessed the art of monologue in perfection, but not that of the dialogue; yet it comes near to hitting the truth from her point of view. The habit of monologue which Coleridge favoured lies open to three fatal objections: 1. It is antisocial in a case expressly meant by its final cause for the triumph of sociality; 2. It refuses all homage to women on an arena expressly dedicated to their predominance; 3. It is essentially