VOLUME  II:  CORRECTIONS

Updated September 2012

p xii CONTENTS: PART I.

Delete first "e" from title of 116 Written at Shurton Bars.

Correct spelling to Bridgwater,

p xviii CONTENTS: PART I.

Emend title-component in 251 To Delia   791 to:

251   [cancelled]                                  791

p xx CONTENTS: PART I.

Emend title-component in 297 Sonnet Adapted from Petrarch  904  to:

297  [cancelled]                                                904

p xxii CONTENTS: PART I.

Insert an editorial footnote to "351 What is Life? A Metrical Experiment    978" as follows:

The correct date of this poem is 16 Aug 1805 and its correct position is following 369 Lines Connected with the Grasmere Circle.

p xxii CONTENTS: PART I.

Emend title-component in 356 Fragment: "What never is, but only is to be"  987 to:

356   [cancelled]                                               987

p xxix CONTENTS: PART I.

Emend title-component in 539 To a Young Lady Complaining of a Corn   1151 to:

539 The Tender Corn                                       1151

p xxx CONTENTS: PART I.  

Insert following 568 Greek Couplet on Lauderdale 1178:

568.X1 Faustus: From the German of Goethe

p xxxiii CONTENTS: PART I.

Emend title-component in 653 To Baby Bates 1300 to:

653 A Somnulent Extempore, Eyes half-closed and the Head Nodding Time: To an American Lady                                           1300

p xxxiv  CONTENTS: PART I.

Insert following 664 "King Solomon knew all things"                1320:

664A The Joy of Age 

p xxxiv CONTENTS: PART I.  

Insert an editorial footnote to "667 Phantom or Fact? A Dialogue in Verse    1321" as follows:

The correct date of this poem is 1826-8? and its correct position is following 652 The Garden of Boccaccio.

p xxvi CONTENTS: PART I.

Insert into ADDENDA, following 433A:

658A Lover's Reverie

658B. The Young Tanner: A Shenstoniad

659C. Lines on the Improvement of Verse by Music

p 110 Absence: A Poem (60)

Insert in annotation to line 57n, second para, at beginning of last sentence:

John Logan, editor of the posthumous 1770 volume, had been accused by Bruce's relatives of issuing some of Bruce's manuscript poems entrusted to his care under his own name in 1781 -- an accusation strenuously denied by Logan, but which led to bitter controversy  -- and C

p 125 Domestic Peace (66)

Under C. GENERAL NOTE, para 1, insert into second line:

The British Poetical Miscellany (Huddersfield ?1799; originally published weekly in 30 numbered parts, selling at a penny each) I:7;

p 143 Imitated from the Welsh (73)

(a) Insert between MS 2 and PR 1:

3. BM Add MS 85796 (item 5). On the verso of a single unnumbered leaf torn from an album, 18.8 x 23.7 cm; wm top half of large crown over shield; chain lines 2.65 cm. Fair copy in C's hand, in ink. The recto and top half of the verso contains a fair copy of To the Rev W.J.H. (109). The leaf carries pencil endorsements in an unknown hand: "An original M.S. by Coleridge" (recto) and "Coleridge's own" (verso).

            C copied out the text carefully, in a manner resembling the Quarto Copy Book that served as copy for Poems (1796), probably before the time Cottle began to preserve the materials now in the Rugby Manuscript. It came to the BM as part of the Ottery Collection. The leaf has been folded in half and has a small scorch-hole on the crease.

(b) Insert the following variants in the collation:

description/title. 3 Song | (imitated from the Welch)      1. 3 If  ● 3 passion ● 3 impart     3. 3 hand ● 3 heart --     4. 3 you!     5. 3 no! reject ● 3 claim     6. 3 lover!    7. 3 flame,     8. 3 discover.

p 145-6 To a Beautiful Spring (74)

Under A. DATE, replace with the following:

Shortly before 21 Aug 1794, although elements date from eighteenth months before that time and maybe longer. See commentary on lines 28.1.1-6 below and vol.I headnote.

(b) p 145 To a Beautiful Spring (74)

Under TEXTS, PR 2, insert into second line:

The British Poetical Miscellany (Huddersfield ?1799; originally published weekly in 30 numbered parts, selling at a penny each) XXIV:7-8;

(b) p 147 To a Beautiful Spring (74)

 Add a further note to the close of the second band of textual material, as follows:

28.1.1-6. A variant of these lines appeared at the close of a sonnet addressed to the River Cam by T. F. Middleton in The Country Spectator No.16 (Gainsborough, Lincs. 22 Jan 1793), p129:

Yet ah! too short is Youth's fantastic dream,

                        Ere Manhood wakes th' unweeting heart to woe!

                        Silent and smooth CAM's loitering waters flow;

                        So glided Life, a smooth and silent stream:

                        Sad change! for now by choking cares withstood

                        It scarcely bursts its way, a troubled boisterous flood.

Earlier lines invoke STC and the surrounding essay is one of series of three that explore the problems confronting both young men at the time. It would therefore be appropriate for Middleton to borrow them, and even adapt them while he did so.

p 154 Epitaph on a Infant (77)

(a) Under C. GENERAL NOTE, para 1, insert at close:

; Fragments of the Lyre: A Collection of Modern Fugitive Poems ed E. Dowling (Enfield, Middx: E. Dowling 1829) 112--- possibly derived from Poetical Album ed Watts (1828).

(b) Under C. GENERAL NOTE, between paras 1 and 2, insert:

The British Poetical Miscellany (Huddersfield ?1799; originally published weekly in 30 numbered parts, selling at a penny each) XI:6 reproduced the (a) version of the poem---almost certainly, like other poems by STC in the same volume from PR 4 here. However, separate issues of the Miscellany differ in their ascription:  The BL copy (ESTC T128709) ascribes the poem to "Anonymous", the HUL copy in 31 parts (ESTC N15600) to ""Coleridge".

(c) Under C. GENERAL NOTE, para 2, revise the opening of the second sentence to read:

This also casts

p 186 Monody on Chatterton (82)

(a) Under title fn., insert omitted fifth line of first para as follows:

An Essay on Epic Poetry; in Five Epistles (1782) iv 247; Horace Walpole's comments in

(b) in seventh line [new numbering] correct "LIII" to "LII" (viz. should be volume 52)

(c) begin final sentence of first para with:

C's note adapts the preface to Edward Rushton's Neglected Genius: or, Tributary Stanzas to the Memory of the Unfortunate Chatterton (1787), and see

p 190 To a Young Ass (84)

Under TEXTS, PR 3, insert at close of second line:

The British Poetical Miscellany (Huddersfield ?1799; originally published weekly in 30 numbered parts, selling at a penny each) VIII:7;

p193, following To a Young Ass (84), insert:

               84.X1. WRITTEN ON THE NECESSARY HOUSE

                                    AT JESUS COLLEGE

                                                A. DATE

If STC was the author, Sept-Dec 1794? If merely the conduit, May-Jun 1799?

                                                B. TEXT

University College London Library, Special Collections: G. B. Greenough Papers 29/1. A loose leaf removed from a notebook, numbered [pages] 19 and 20, filled with brief verses by various authors on both sides, transcribed by George Bellas Greenough. Transcript in ink in Greenough's hand on p 20, signed "Coleridge." The leaf measures 12.0 x 18.4 cm; no wm; chain-lines 2.8 cm. It is loosely inserted into one of three large copybooks containing verse transcribed by Greenough, this one with paper wm "J RUMP | 1817" and chain lines 2.6 cm. While other verses on the same loose leaf are struck through, signifying that they were re-copied into a larger book, these verses are not struck through.

            Though Greenough attributed the lines to STC in exactly the same fashion as he did STC originals, I suppose these came from (were not composed by) STC for the reason that it is a rare bird that fouls its own nest. They are of a kind that visitors to a college leave behind and, while STC did not find undergraduate company in his own college congenial, he appears to have ignored rather than deplored it. The lines might have been recalled in Greenough's company during a discussion of German student graffiti, for example, or at the time STC composed Epigram on the Goslar Ale (201) that is, in May 1799.

            The lines are positioned here because, if STC was the author, he was most detached from college society in the period Sept-Dec 1794.

                        Of head above & tail below

                        The burden here you vent

                        But sure 'twould puzzle Sphinx to know

                        Which is the excrement

title] Greenough transcribes in the form, "Written in the necessary house at Jesus College".

p 202 To an Old Man in the Snow (88)

Under TEXTS, PR 2, insert at close of second line:

; The British Poetical Miscellany (Huddersfield ?1799; originally published weekly in 30 numbered parts, selling at a penny each) III:2-3

p 275 Contribution to "The Soldier's Wife", by Robert Southey (106)

The following text should be interpolated between MS 1 and PR 1, and also incorporated into the collation. It omits stress-marks and differs from PR 1 only in punctuation. Most important, it proves that revision followed on composition directly during the month of May.

2. Cornell WORDSWORTH Bd. Cottle = Joseph Cottle's Album f 1^r (the first item to be inscribed). Fair copy in RS's hand, signed and dated 25 May 1795.

title. English Dactylics. to a Soldiers Wife.

            Weary way-wanderer languid & sick at heart

            Travelling painfully over the rugged road

            Wild-visag'd wanderer---ah for thy heavy chance!

            [Line-space]

            Sorely thy little one drags by thee bare-footed ---

            Cold is the Baby that hangs at thy bending back

            Meagre & livid & screaming its wretchedness.

            [Line-space]

            Woe-begone Mother half anger, half agony

            As over thy shoulder thou lookest to hush the babe

            Bleakly the blinding snow beats in thy haggard face.

            [Line-break]

            Thy husband will never return from the war again.

            Cold is thy hopeless heart, even as Charity!

            Cold are thy famishd babes---God help thee Widow'd One

(Paul Cheshire)

p 288 To the Rev W.J.H. (109)

(a) Under B. TEXT, insert:

1. BM Add MS 85796 (item 5). On the recto and verso of a single unnumbered leaf torn from an album, 18.8 x 23.7 cm; wm top half of large crown over shield; chain lines 2.65 cm. Fair copy in C's hand, in ink. Following the present poem, the verso contains a fair copy of Imitated from the Welsh (73). The leaf carries pencil endorsements in an unknown hand: "An original M.S. by Coleridge" (recto) and "Coleridge's own" (verso).

            C copied out the text carefully, in a manner resembling the Quarto Copy Book that served as copy for Poems (1796), paying particular attention to the different patterns of indentation in each stanza. Indeed, he left a blank space measuring 9.5 cm between the last line of stanza 2 and the foot of the recto so as to copy stanza 3 (here unnumbered) complete on the verso. The leaf has been folded in half and has a small scorch-hole on the crease in which an indefinite article has been lost.

(b) Insert before Poems (1796):

1  [=RT].

(c) Insert the following variants in the collation:

title. 1 To the Reverend W.J.H. while teaching a young lady some song-tunes on his Flute.   before 1. 1    1. 1 Ye    3. 1 Hollow ● 1 Flute    4.1 Breath    5. 1 Memory     6. 1 throng,      7. 1 Hope,     before 9. 2     10. 1 Tones, ● 1 cóncentrate      11. 1 Flute ● 1 Notes again    12. 1 mild,       13. 1 poet's      15. 1 Dell     16. 1 TOIL ● 1 HEALTH ● LOVE     20. 1 Listning Wand'ring ● 1 Maid,     21. 1 Lay     22. 1 thee,     23. 1 Notes     24. 1 Lyre")    25. 1 Form,     26. 1Tear. 

20. C made the improvement in MS 1 before continuing to write out the line. 

26. The scorch mark in MS 1 removed what was obviously an "a" before "raptur'd".

p 324 The Eolian Harp (115 )

Revise line 47.2.4 as follows:

Harmonious form Creation's vast concént?

(Michael Raiger and Paul Cheshire)

p 327 The Eolian Harp (115 )

Insert another EC following EC44-7:

47.2.4. concént] The stress mark makes clear that C indeed intended to spell the word thus (not "concert", as above in line 47.1.4), meaning harmony, concord of parts; and probably intended an allusion to "That undisturbed Song of pure concent" in Milton's  At a solemn Musick 6.

(Paul Cheshire)

p 328 Written at Shurton Bars (116)

In line 3 of title, read BRIDGWATER, (one "e")

p 329 Written at Shurton Bars (116), fifth line under title (viz for texts 2 3)

Read Bridgwater, (one "e")

p 333 Written at Shurton Bars (116), first line under title (viz. for text 3)

Read Bridgwater, (one "e")

p 353 Reflections on a Place of Retirement (129)

Under TEXTS, PR 1, add to close of first para:

; The Wreath: or, Miscellaneous Poetical Gleanings ed C. Earnshaw (Huddersfield [c 1801]) 56-7. (The same anthology reprints the LB text of WW's Goody Blake and Harry Gill and two poems by RS -- the unattributed WW poem providing the subject of a title-page vignette by Thomas Bewick.)

p 357 Irregular Sonnet: To John Thelwall (130)

In headnote, TEXT 3, read:

New York University, Washington Square, Bobst Library (Fales Collection).

(Paul Magnuson)

p 375 Sonnet: To a Friend (136)

Under C. GENERAL NOTE, following para 1, insert:

            PR 1 or PR 2 reprinted in Fragments of the Lyre: A Collection of Modern Fugitive Poems ed E. Dowling (Enfield, Middx: E. Dowling 1829) 2.

p 536 The Ancient Mariner (161)

Insert following epigraph and before line ^-1:

The PR 2 subtitle (and see above divisional title) might allude to Erasmus Darwin's discussion of reverie in Section XIX of Zoönomia; or, The Laws of Organic Life (2 vols, 1794-6) I 220-6. Or was it applied with specific reference to Darwin's discussion of reverie as mental illness (II 361) by WW, who drew upon the later passage for Goody Blake and Harry Gill at the time C finished his poem (WL --E rev--199, 214-5; WPW IV 439-40)?

p 566 The Old Man of the Alps (168)

Insert at end of the headnote, under B. TEXT, following "(MS A Wrangham 1)."

C used lines 48-50 as part of album verses he inscribed over his own name in Apr 1830. See below 664A The Joy of Age.

p 574 Lewti (172)

Under TEXTS, MS 2, at the end of the first para (following "PW (EHC) II 1050-1") insert:

; photographic reproduction in A. F. Scott The Poet's Craft: A Course in the Critical Appreciation of Poetry (Cambridge 1957) 20; photographic reproduction in Minnow facing vii.

p 575 Lewti (172)

Revise second sentence of PR 3 description to read:

... in TP's copy (Clemens Sale, Parke-Bernet, 8 Jan 1945 lot 180; Chrysler Sale, Parke-Bernet, 26 Feb 1952 lot 80; Vander Poel Sale, Christie's (London), 3 March 2004 lot 84. The Christie's catalogue contains an illustration of II 23 (PR 3 lines 1-19, much revised).

p 579 Lewti (172 )

(a) Insert at the head of the last band of editorial material:

1-17. C made the following emendations in TP's copy of PR 3:

      He indicated a line-space at lines 3-4.

      He changed "was" to "is" in line 5; and "Heav'd" to "Heaves" in line 7; and the following two lines to read: "But yonder rock shines brighter far; | The rock is moss'd with moonlight Dew,"

      He changed "By" at the beginning of line 10 to "Thro'"; but thereafter, instead of continuing to emend the printed text, he picked up with and developed his revision of line 9 with an alternative version of lines 10-14 in the RH margin, thus:

                        Here starts and there it steals to view

                        Thro'  pendent Boughs of tressy yew.

                        As bright a Gleam and far more soft

                        Is there

                        There plays from Lewti's forehead oft

                        From beneath her jetty hair

                        The vine-like tendrils of her Hair

                        Thro' Locks so black a Brow so fair!

                                            -------------

      C changed "a" to "that" in line 15; and wrote, at the foot of the page following line 19: "Here a new paragraph."

(b) Insert in the last band of editorial material:

15-27. The author of the Vander Poel Sale catalogue reports that C changed the tense of the verbs from past to present in TP's copy of PR 3--as in the revision of paragraph 1.

(c) Insert in the last band of editorial material:

42-52. The author of the Vander Poel Sale catalogue reports that C changed the tense of the verbs from past to present in TP's copy of PR 3--as in the revision of paragraphs 1 and 2.

p 623 Christabel  (176)

(a) In close of first paragraph of B.TEXTS PR 1, replace comma following "advertising" with a period and emend remainder as follows:

Murray was not entirely happy with the book and the business arrangement Byron's enthusiasm led him into, although the book eventually made a modest profit (BL&J V 108, 208; Ledger B, f 118, preserved at the Murray Archives, records a figure of £120-12-6.)

(Paul Cheshire)

(b) In middle of fourth paragraph of B.TEXTS PR 1, emend as follows:

in The Examiner (2 Jun 1816) 384-9; the equally negative review in Ed Rev XXVII (Sept 1816) 58-67, which C believed was also by Hazlitt but might have been written by Thomas Moore, or by either reviewer in conjunction with the editor, Francis Jeffrey.

p 625 Christabel (176)

Under C. GENERAL NOTE, following para 4, insert:

            "The Quarrel between Sir Leoline and Sir Roland de Vaux" reprinted in The Beauties of Modern Poetry: or Elegant Extracts from the Most Celebrated British Poets ed A. Fruoldson (Leipzig: George Wigand 1836) 42.

pp 662-8 The Story of the Mad Ox (177)

The following text should be interpolated between PR 1 and 2, and also incorporated into the collation. It includes many but not all the PR 2 revisions and a full version of the prefatory note that C wrote into his annotated copy, as well as an additional prose note. It has the same number of lines as all other known versions, and is divided into (unnumbered) stanzas in the same way; a couple of readings are unique. Note that the transcript below differs in several particulars from the one printed by Dennis R. Dean (ed) Coleridge and Geology (Ann Arbor 2004) 44-8.

1. University College London Library, Special Collections: G. B. Greenough Papers 29/1. Unnumbered (conjoined) leaves torn from a notebook, each page measuring 11.7 x 18.8 cm; wm PIETER DE VRIES | & | COMP beneath ?shield. The transcript in C's hand, signed "S. T. Coleridge", fills ff 1^v-5^r: f 5^v and subsequent pages contain a transcript in Greenough's hand of Henry Smedley's song, "The Cousins", dated 1799. The leaves are loosely inserted inside the front covers of Greenough's larger copybook titled "MS. Poems" (wm J RUMP | 1817; chain lines 2.6 cm).

            One would suppose the lines were copied for Greenough at some point during spring-early summer 1799.

prefatory note. The following Fable was written during the Terror of the Invasion, when Sheridan made that celebrated Anti-gallican Oration, & Tierney voted with M^r Pitt for the suspension of the Habeas Corpus Act. -- At the time all the Ministerial Papers were full of Tierney's & Sheridan's Recan recantation -- & to expose the falsehood of this phrase & the idea implied in it is the end of the Fable. --

title. Recantation a Political Fable Allegory --

                              An Ox long fed with musty hay

                                    And work'd with yoke and chain

                              Was turn'd out on an April Day

                              When Fields are in their best array,

                              And growing Grasses sparkle gay

                                    At once with sun and rain.

                              [Line-space]

                              The Grass was sweet, the Sun was bright!

                                    With truth I may aver it,

                              The Ox Beast was glad, as well he might,

                              Thought a green meadow no bad sight,

                              And frisk'd -- to shew his huge delight --

                                    Much like a Beast of Spirit.

                              [Line-space]

                              "Stop, neighbours, stop! why these alarms?

                                    "The Ox is only glad. -- -- --

                         --  But still they pour from Cots & Farms!

                              Halloo! -- the Parish is up in arms!

                              (A *hoaxing Hunt has always charms)

17 fn a Smithfield phrase, for when a mob of Blackguards follow a poor animal under pretence that he is mad. -- --

                                    Halloo! the Ox is mad!

                              [Line-space]

                              The frighten'd Ox scamper'd about,

                                    Plunge! thro' the Hedge he drove.

                              The Mob pursue with hideous Rout,

                              A Bulldog fastens on his Snout;

                              He gores the dog! his Tongue hangs out!

                                    He's mad, he's mad, by Jove!

                              [Line-space]

                              Stop, neighbours, stop! aloud did call

                                    A Sage of sober hue --

                              But all at one on him they fall,

                              And Women squeak and Children squawll,

                              What? would you have him toss us all?

                                    And damme who are You?

                              [Line-space]

                              Ah hapless Sage! his Ears they stun

                              And curse him o'er & o'er.

                              "You bloody-minded Dog!" cries one --

                              "To slit your windpipe were good fun!

                              "'Od blast you for an *impious Son

35fn This fine word, like many others very common at that Time, is borrowed from the Pulpit. So the illiterate Blackguards that belonged to the London Corresponding Society constantly used coerced instead of forced/ and every little Pothouse Church & Statist trundled the words "Gallic Scepticism" as fluently over their Tongues, as if they had understood them.

                                    "Of a Presbyterian Wh --!

                              [Line-space]

                              "You'd have him toss the Parish Priest,

                                    "And run against the Altar!

                              "You Fiend!" -- The Sage his Warnings ceas'd,

                              And North & South, & West & East,

                              Halloo! they follow the poor Beast,

                                    Tom, Mat, Dick, Bob, and Walter.

                              [Line-space]

                              Old Lewis ('twas his evil day)

                                    Stood trembling in his Shoes.

                              The Ox was his -- what could he say?

                              His legs were stiffen'd with dismay --

                              The Ox ran o'er him mid the Fray

                                    And gave him his Death's Bruise.

                              [Line-space]

                              The frighted Ox ran on -- but here

                                    (The Gospel scarce more true is)

                              My muse stops short in mid career --

                              Nay, gentle Critic! do not sneer!

                              I can not chuse but drop a tear,

                                    A tear for good old Lewis!

                              [Line-space]

                              The frighted Beast ran thro' the Town,

                                    All follow'd, Boy & Dad --

                              Bulldog, Parson, Shopman, Clown.

                              The Publicans rush'd from the Crown --

                              Halloo! hamstring him, cut him down!

                              --   They drove the poor Ox mad.

                              [Line-space]

                              Should you a rat to madness teaze

                                    Why ev'n a Rat might tor ?pl plague you.

                              There's no Philosopher but sees

                              That Rage & Fear are one Disease;

                              Tho' this may burn & that may freeze,

                                    They're both alike the Ague!

                              [Line-space]

                              And so our Ox in frantic Mood

                                    Fac'd round, like any Bull!

                              The Mob turn'd Tail, & he pursued,

                              Till <they> with flight & fear were stew'd;

                              And not a Chick of all the Brood

                                    But had his belly full.

                              [Line-space]

                              "Old Nick's astride the beast, tis clear.

                                    "Old Nicholas to a Tittle! --

                              But all agree, he'd disappear,

                              Would but the Parson venture near

                              And thro' his teeth right o'er the Steer

                                    Squishirt out some *fasting Spittle.

77 fn alluding to the fast sermons &c /-- & a to the popular superstition in Devonshire, according to which if the Devil appears to you, you may either cut him in half with a Straw; or if it happens before you have eat anything, i.e. after midnight, you may spit over his Horns, & he will immediately vanish. -- This superstition was general in the Town where the Poem was written.

                              [Line-space]

                              Achilles was a warrior fleet,

                                    The Trojans he could worry:

                              Our Parson too was swift of feet,

                              But shew'd it chiefly in Retreat!

                              The Victor Ox drove down the Street,

                                    The Mob fled hurry-skurry!

                              [Line-space]

                              Thro' Gardens, Lanes, & Fields new-plough'd,

                                    Thro' his Hedge & thro' her Hedge

                              He plung'd & toss'd & bellow'd loud,

                              Till in his Madness he grew proud

                              To see this helter-skelter Crowd

                                    That had more zeal than Courage. --

                              [Line-space]

                              But Alas! to mend the Breaches wide

                                    He made for these poor Ninnies,

                              They all must work, whate'er betide,

                              Both days & months, & pay beside

                              (Sad news for Avarice & for Pride)

                                    A sight of golden Guineas!

                              [Line-space]

                              But now once more to view did pop

                                    The Sage that kept his Senses --

                              And now he cry'd -- "Stop, Neighbours, stop!

                              "The Ox is Mad! I would not swap

                              "No, not a schoolboy's farthing Top,

                                    "For all your Parish Fences!

                              [Line-space]

                              "The Ox is Mad! Ho! Tom, Dick, Mat!

                                    "What means this coward Fuss!

                              "Ho! stretch this rope across that Plat:

                              "Twill trip him up / or if not that,

                              "Why, damme! we must lay him flat --

                                    "See, here's my Blunderbuss.

                              [Line-space]

                              A lying Dog! just now he said,

                                    The Ox was only glad.

                              Let's break his Presbyterian Head!

                              -- Hush! quoth the Sage / You've been misled.

                              No Quarrels now! Let's all make head!

                                    You drove the poor Ox mad!

                              [Line-space]

                              Thus as I sat in careless chat, --

                                    With the morning's wet newspaper

                              ?AIn eager Haste without his Hat

                              As blind & blund'ring as a Bat

                              In rush'd our fat <that fierce> Aristocrat

                                    The Our pursy Woolen Draper.

                              [Line-space]

                              And so my Muse perforce drew bit,

                                    And in he rush'd & panted.

                              "Well, have you heard? -- No! not a whit.

                              "What, han't you heard? -- Come out with it. --

                              "That Tierney votes for M^r Pitt,

                                    "And Sheridan's recanted. --

      17fn. "Hoaxing", a new-coined word, was more university slang than demotic.

      35fn. The word "is" in the first sentence may be deleted; and, at the beginning of the second sentence, "So" may have originally been written "so". The solidus following "forced" may have been intended to cancel a period when "and", perhaps, was inserted.

      77fn. There is no reason to suppose the poem was written in a town in Devonshire. Was C hinting at his brother James's devotion to King and Country politics -- and therefore fast sermons -- in Ottery?

      119, 120. The substitutions are written in a lighter shade of ink than the body of the text.

p 705 Homesick: Written in Germany, Adapted from Bürde (196)

The following text should be inserted between MSS 1 and 2, the latter to be renumbered 3, and should also be incorporated into the collation:

2. Bodleian MS Eng.misc.d.608 f 187^v. Quoted by Charles H. Parry in a long journal-letter headed "Göttingen May 4, 1799", under the date 13 May specifically, contained in his MS copybook entitled Journal: Letters, 1796-1799.

                        'Tis sweet to him who, all the week,

                        Through City Crowds must push his way,

                        To stroll alone through woods & fields,

                        And hallow, thus, the Sabbath day.

                                                2.

                        And sweet it is, in Summer Bower

                        Sincere, affectionate & gay,

                        Our own dear children feasting round,

                        To celebrate our Wedding Day.

                                                3.

                        But what is all to his delight,

                        Who having long been doomed to roam,

                        Throws off the bundle from his back,

                        Before the door of his own home.

                                                4.

                        Home-sickness is no baby pang,

                        That feel I hourly more & more,

                        Theres healing only on thy wings,

                        Thou Breeze, that play'st on Albions Shore.

p 707 Extempore Couplet on German Roads and Woods (198)

The following text should be inserted between MSS 1 and 2, the latter to be renumbered 3, and should also be incorporated into the collation:

2. Bodleian MS Eng. misc.d.608 f 177^r. Quoted by Charles H. Parry in a long journal-letter headed "Göttingen May 4, 1799", specifically under the date 11 May, contained in his MS copybook entitled Journal: Letters, 1796-1799.

We walk'd-- the younger Parry bore our goods --

O'er d----d bad Roads, thro' d----d delightful woods.

      1. walk'd--] Parry deleted the exclamation and then replaced it with a dash.

p 710 Lines Written in the Album at Elbingerode, in the Harz Forest (200)

p 713 Lines Written in the Album at Elbingerode, in the Harz Forest (200)

(a) Insert at the head of the last band of editorial material:

3. PR 2 A surging scene] C substituted "A land of Billows" in TP's copy.

(b) In the last band of editorial material, add to the close of the note on line 5:

and TP's copy.

(c) In the last band of editorial material, insert between the notes on lines 28 and 28b:

28a-b. C transposed phrases in TP's copy of PR 2, so as to read (according to the author of the Vander Poel Sale catalogue):

                        Thy sands and high white cliffs! This heart was prou[d]

            Fill'd with the thought of Thee, my native Land!

pp 719-20 etc Epigram on a Reader of his Own Verses, Inspired by Wernicke (208)

The surname "Wernike" should be spelled thus -- without a "c" -- here and with respect to the following thirteen poems: nos. 230, 305-06, 308-312, 314, 316-9.

(Heidi Thomson)

p 737 The Devil's Thoughts (214)

Insert following the last para of introductory prose and before title:

            The text published by F. G. Harding, Cornhill, accompanying ten etchings of scenes from the poem by Thomas Landseer all dated 1 Jan 1831, comprises 10 stanzas in the sequence 1 2 3 6 4 13 5 7 9 17. This version resembles MSS 3 and 4 (only) in omitting stanza 8 (in numbering geared to the text of PW 1834), but is unique in positioning stanza 6 between stanzas 3 and 4 without further mediation. Stanza 13 mentions Brothers the Prophet, as in both MS 8 and RS's 1838 expanded version, and stanza 17 names General Gascoigne.

p viii CONTENTS: PART II.

Emend title-component in 251 To Delia   791 to:

251   [cancelled]                                  791

p x  CONTENTS: PART II.

Emend title-component in 297 Sonnet Adapted from Petrarch   904 to:

297  [cancelled]                                                904

p xii CONTENTS: PART II.

Insert an editorial footnote to "351 What is Life? A Metrical Experiment    978" as follows:

The correct date of this poem is 16 Aug 1805 and its correct position is following 369 Lines Connected with the Grasmere Circle.

p xii CONTENTS: PART II.

Emend title-component in 356 Fragment: "What never is, but only is to be"  987 to:

356   [cancelled]                                               987

p xix CONTENTS: PART II.

Emend title-component in  539 To a Young Lady Complaining of a Corn   1151 to:

539 The Tender Corn                                       1151

p xx CONTENTS: PART II.

Insert following 568 Greek Couplet on Lauderdale 1178:

568.X1 Faustus: From the German of Goethe

p xxiii CONTENTS: PART II.

Emend title-component in 653 To Baby Bates   1300 to:

653 A Somnulent Extempore, Eyes half-closed and the Head Nodding Time: To an American Lady                                           1300

p xxiv  CONTENTS: PART II.

Insert following 664 "King Solomon knew all things"                1320:

664A The Joy of Age

p xxiv CONTENTS: PART II.

 Insert an editorial footnote to "667 Phantom or Fact? A Dialogue in Verse    1321" as follows:

The correct date of this poem is 1826-8? and its correct position is following 652 The Garden of Boccaccio.

p xxv CONTENTS: PART II.

Insert into ADDENDA, following 433A:

658A Lover's Reverie

658B. The Young Tanner: A Shenstoniad

658C. Lines on the Improvement of Verse by Music

pp 780-1 Epigram on the Speed with Which Jack Writes Verses, after von Halem (240)

The following text should be interpolated between MSS 1 and 2, and also incorporated into the collation:

University College London Library, Special Collections: G. B. Greenough Papers 29/1. A loose leaf removed from a notebook, unnumbered, filled with brief verses by various authors on both sides, transcribed by George Bellas Greenough. Transcript in ink in Greenough's hand, signed "Coleridge."; the transcript struck through, signifying that it was copied again into a larger book. The leaf measures 11.6 x 18.6 cm; no wm; chain-lines 2.6 cm. It is loosely inserted into one of three large copybooks containing verse transcribed by Greenough, this one with paper wm "J RUMP | 1817" and chain lines 2.6 cm. Greenough copied the verses onto f 20^r of a larger book of "Miscellaneous Poetry" -- same shelfmark: the same that also contained his transcript of Fancy in Nubibus (540) --, again signing them "Coleridge".

                        Thirsis writes verses with more speed

                        Than all the printers' boys can set 'em

                        Full twice as fast as we can read

                        And only not so fast as we -- forget 'em