ADDITIONAL NOTES

Biographical Supplement.—The original Text of the Supplement of the Biographia Literaria, 2 vols., 1847, by Henry Nelson Coleridge and Sara Coleridge, is as follows:

Pp. 311–35,vol. i, pp. 1–29 to “5th of February 1791”of this work.
335–38, ” 30–34 to “destined to turn”of this work.
338–44, ” 35–41 to “pantisocratical basis”of this work.
344–45, ” 44–46 to “22nd of September 1794”of this work.
345–48, ” 47–51 to “S. T. Coleridge”of this work.
348–50, ” 53–56 to “expected” ”
350–55, ” 56–62 to “S. T. C.” ”
355–60, ” 63–68 to “S. T. Coleridge” ”
360–62, ” 71–74 to “S.T. Coleridge” ”
362–3, ” 76–76 to “never arrived” ”
363–77, ” 77–92 to “latest convictions” ”
377–86, ” 96–105 to “S. C.” ”
386–90, ” 114–119 to “plaintive warbling” ”
391, ” 121 to “were written” ”
391–411, vol. ii, 76–99 to “name behind” ”
411–21, ” 104–115 to “candid” ”
422–25, ” 280–284 to “Demosius and Mystes”of this work.
426–32, ” 305–312 to “Fall of Rora” of this work.

Cottle’s Text.—Cottle has been severely blamed for tampering with the text of the letters of Coleridge. The most glaring changes occur in Letter 32, in which Cottle inserts the names of Lamb, Wordsworth and Dr. Parr, and in Letter 123, in which he alters his own name for that of Biggs, his partner. His changes consist mostly of omissions. Letters 99, 114, 117, 122, which are given in full in T. Litchfield’s Tom Wedgwood the First Photographer, are the principal sufferers from Cottle’s treatment. It cannot be said that these omissions amount to a serious charge against Cottle. They were made to avoid bringing in the names of people still alive or whose near relations might object to their names figuring in a publication, and also to avoid obtruding Coleridge’s complaints about his ill-health and his own treatment into notice. His tampering with the letters of Southey, in which he makes Southey say what he never wrote, is not, of course, defensible (see Dykes Campbell’s Life of Coleridge, p. 204 note). Cottle’s longest omission is in Letter 99, to Wedgwood, where Coleridge quotes what Lamb had written to him about Cottle’s own poem Alfred (see Ainger’s Letters of Lamb, i, 138). The omission of such a passage was only to be expected; Cottle was not going to act as his own hangman. Henry Nelson Coleridge, Thomas Noon Talfourd, and even Canon Ainger, and indeed nearly all editors of letters published during the first half of the nineteenth century, took the liberty to discriminate what should be communicated to the public in volumes such as Cottle’s.

Vol. I, p. 50.—The Summer of 1795 should be “the Autumn of 1794;” see Thomas Poole and his Friends, I, 95.

Vol. I, p. 62.—Letter 24 is placed by Cottle in the spring of 1796, but being dated from Stowey, it is possible that this letter may belong to 1797. The revision of the Religious Musings mentioned in the letter would suit 1797 as well as 1796, for the text of that poem differed very widely from that of the First Edition.

Vol. I, p. 97.—The numbered poems in Letter 42, are:

Effusion27. The Rose, “As late each flower that sweetest blows.”
28. The Kiss, “One kiss, dear Maid! I said, and sigh’d.”
Sonnets,45. To Bowles.
59. “Thou gentle look that didst my soul beguile.”
60. “Pale Roamer thro’ the night, thou poor Forlorn!”
61. “Sweet Mercy! how my very heart has bled.”
Sonnets,64. “Thou bleedest my poor Heart! and thy distress.”
65. To Schiller.
66. Brockley Coombe.

Vol. I, p. 292, Letter 117. Books from Wordsworth’s Library.—“Perhaps one of the most interesting books in the whole selection is Sir T. Browne’s Enquiries into Vulgar and Common Errors, the folio edition of 1658, which contains a long letter to Sara Hutchinson, relative principally to many curious passages in the work, also several MS. marginal notes and corrections, all in the handwriting of S. T. Coleridge, and autographs of Charles Lamb and Mary Wordsworth. The copy of Sir Thomas Browne’s Religio Medici, 1669, contains copious marginal and other MS. annotations by Coleridge, and has this inscription inside the cover, ‘Sara Hutchinson from S. T. C.’”—Athenæum, No. 3579, May 30, 1896.

Vol. II, p. 262, Contemplative melancholy.—The phrase is a variation of “speculative gloom,” which Coleridge used in his original prospectus of the Friend, objected to by Francis Jeffrey (see Letters, ii, 536, note), and afterwards changed into “Dejection of Mind” in the printed Prospectus (see Letter 143, vol. ii, p. 51). The phrase “speculative gloom” was derived from Warton’s Ode for the New Year 1786 (which Coleridge took as his model for his own Ode to the Departing Year):

“Hence then, each vain complaint, away,

Each captious doubt, and cautious fear!

Nor blast the new-born year,

That anxious waits the Spring’s slow-shooting ray:

Nor deem that Albion’s honours cease to bloom.

With candid glance, th’ impartial Muse,

Invoked on this auspicious morn,

The present scans, the distant scene pursues,

And breaks Opinion’s speculative gloom:

Interpreter of ages yet unborn,

Full right she spells the characters of Fate,

That Albion still shall keep her wonted state!

Still in eternal glory shine,

Of Victory the sea-beat shrine;

The source of every splendid art,

Of old, of future worlds the universal mart.”

Vol. II, p. 294. The Objective and the Subjective in Art.—Goethe and Schiller always insisted upon the Objective as the highest form of art; many passages occur in their letters regarding the distinction. Schiller says, 28th November 1796: “As regards Wallenstein, it is at present progressing very slowly, as I am chiefly occupied with the raw material, which is not yet quite collected; but I still feel equal to it, and I have obtained many a clear and definite idea in regard to its form. What I wish and ought to do, and what I have to do, has now become pretty clear to me; it now merely depends upon accomplishing what I wish and what I ought to do by using what I have in hand before me. As regards the spirit in which I am working, you will probably be satisfied with what I have done. I shall have no difficulty in keeping my subject outside of myself, and in only giving the object.”—Bohn Library Translation, Correspondence between Goethe and Schiller, i, 263–4.

Vol. II, p. 297.—Poems of Coleridge differing in their Texts in the Editions of 1829 and 1834:

INDEX

CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.

FOOTNOTES

[1] [Letters CLI–CXLIII follow 130.]

[2] [Drowned 5th February 1805.]

[3] [The new Secretary.]

[4] [It is quite true that he did induce an American captain to smuggle him on board.]

[5] [Stoddart had retained his MSS. in Malta (for some unaccountable reason), which had disconcerted Coleridge.]

[6] [Staying at the farmhouse near the mansion of Coleorton.]

[7] T. Poole and his Friends, ii, [174–184].

[8] Religious Musings was at first called The Nativity, and sent to Charles Lamb in December 1794 as an unfinished poem. Coleridge wrote to Cottle in one of his short notes, while his first volume of Poems was being put through the press: “The Nativity is not quite three hundred lines. It has cost me much labour in polishing; more than any poem I ever wrote, and I believe it deserves it:” Cottle’s Reminiscences, p. 66. The first 158 lines, down to “This is the Messiah’s destined victory!” were probably written in the spring of 1796. Their spirit is diametrically opposed to the remainder of the poem, in which the Messiah’s victory is to be a political one.

[9] [“Even they will be necessitated to admit, completely exonerated the Jews.”—Early Recollections.]

[10] [“Voluntary actions.”—Early Recollections.

[11] [“Over all our.”—Early Recollections.]

[12] [Perhaps “wearying.”]

[13] [Letter CLXIV is our 137. Letters CLXV–CLXVII follow.]

[14] [Southey’s Life of Bell, p. 575.]

[15] [Letters CLXVIII–CLXX follow 139.]

[16] [Edinburgh Review, No. 12, p. 394, July 1808.]

[17] Copies of Letters from Mr. Savage to Coleridge, and from the latter to the former, respecting the printing and publishing of The Friend.

[18] [Letters CLXXI–CLXXII follow 141.]

[19] The printer with whom he had been negotiating respecting the bringing out of The Friend.

[20] [Letters CLXXIII–CLXXIV follow 142.]

[21] [Letters CLXXV–CLXXVI follow 143.]

[22] [This argument is repeated in the next letter, printed in The Friend.]

[23] [Coleridge did not publish this answer.]

[24] [Perhaps Robert Lloyd.]

[25] [Letters CLXXVII–CLXXX follow 146.]

[26] [See Letters, p. 590, and Professor Knight’s Life of Wordsworth, ch. xxv, for full account of the misunderstanding.

[27] [Letter CLXXXI precedes our 147.]

[28] [The whole of this chapter is by Sara Coleridge, whose narrative is now resumed from the beginning of Chapter V.]

[29] In articles on Mr. Coleridge, the Poet, and his Newspaper writings, etc., in the Gentleman’s Magazine of May, June, July, August of 1838.—S. C.

[30] “Short pieces,” Mr. Stuart calls them in the Gentleman’s Magazine. But among them was France, an Ode, which was first published in the M. P. in the beginning of 1798, and republished in the same Paper some years afterwards, and must have helped to give it a decent poetical reputation, I think.—S. C.

[31] Nov. 27, 1799.—S. C.

[32] [No. IV of Gentleman’s Magazine.]

[33] [No. VII of Gentleman’s Magazine.]

[34] [For the full text of this letter, see Letters, CLXXXII.]

[35] [In the Essays on his Own Times, 1850.]

[36] [Letter, 4 June 1811.]

[37] “He never could write a thing that was immediately required of him,” says Mr. S., in the Gentleman’s Magazine, of May, 1838. “The thought of compulsion disarmed him. I could name other able literary men in this unfortunate plight.” One of the many grounds of argument against the sole profession of literature.—S. C.

[38] [Sir Archibald Alison, after having eulogized Sir Walter Scott, Byron, Campbell, Southey, and Moore, and indicated their relationship to the French Revolution, says: “But the genius of these men, great and immortal as it was, did not arrive at the bottom of things. They shared in the animation of passing events, and were roused by the storm which shook the world; but they did not reach the secret caves whence the whirlwind issued, nor perceive what spirit had let loose the tempest upon the earth. In the bosom of retirement, in the recesses of solitary thought, the awful source was discovered, and the Aeolus stood forth revealed in the original Antagonist Power of wickedness. The thought of Coleridge, even during the whirl of passing events, discovered their hidden springs, and poured forth in an obscure style, and to an unheeding age, the great moral truths which were then being proclaimed in characters of fire to mankind.”—History of Europe, chap. lxiv.]

[39] [No. XVII of Gentleman’s Magazine.]

[40] [Letter CCIX is our 151.]

[41] [Letter 32.]

[42] [Letter 43.]

[43] The passage belongs to him as far as “heart’s deep fervency.” It concluded, when first written, with a reference to the unhappy thraldom of his powers, of which I have been speaking; for at that time, says the writer, in a private communication, “he was not so well regulated in his habits and labours afterwards.” The verses are from a Rhymed Plea for Tolerance: in two dialogues, by John Kenyon. I wish that I had space to quote the sweet lines that follow, relating to the author’s own character and feelings, and his childhood passed “in our Carib isle.” They do justice to Mr. Kenyon’s humility and cheerfulness, in what they say of himself, but not to his powers.

[44] [See also Eolian Harp, and Lines written on having left a place of Retirement.]

[45] [After 1812 the pension was reduced by half.]

[46] [The above chapter is by Sara Coleridge.]

[47] [Love, not till second edition of Lyrical Ballads, 1800.]

[48] [Should be 1798. See Letters, p. 245.]

[49] [Letter CXCV is our 152. Letters CLXXXIII-CXCIV precede it in chronological order: Letter CXCVI follows.]

[50] See his Sonnet to Sheridan.—S.C.

[51] [See [Letter 136.]]

[52] [The original Osorio is republished in Dykes Campbell’s edition of the Poems, p. 479.]

[53] [Should be 1822–1832.]

[54] [Issued in 1834.]

[55] [Many of the dates of the Poems are now ascertained to be different from those in the text of Sara Coleridge.]

[56] [Should be 1797.]

[57] [1800.]

[58] [1797.]

[59] [1806.]

[60] [1802.]

[61] [1799.]

[62] [1797.]

[63] [Should be 1797–1798.]

[64] [1800.]

[65] [1822–1832.]

[66] [1799.]

[67] [1803.]

[68] [1829.]

[69] [1828.]

[70] [Issued in 1848.]

[71] [1795.]

[72] [1815.]

[73] The remarks in that article upon my Father’s remarks on poetic diction I have vainly tried to understand:—“a paste of rich and honeyed words, like the candied coat of the auricula, a glittering tissue of quaint conceits and sparkling metaphors, crusting over the rough stalk of homely thoughts; &c. such is the style of Pope and Gray; such very often is that of Shakespeare and Milton; and, notwithstanding Mr. Coleridge’s decision to the contrary, of Spenser’s Faëry Queen.” Homely thoughts clothed in a glittering tissue of poetic diction are but pseudo-poetry; and the powder on the auricula would be nothing, if the coat itself were not of velvet. Mr. C.’s decision respecting the Faëry Queen is equally misrepresented, for he maintains that Spenser’s language is distinct from that of prose, such language being required by his thoughts and in harmony with them. To say that he decided “the contrary,” as if he had denied poetic diction to Spenser, is not like the auricula’s coat, candid.—S. C.

[74] A Dissenting minister of Bristol [Cottle].]

[75] It is apprehended that this must be a mistake. I sent Mr. Coleridge five guineas for my Shakspeare ticket, and entertain no doubt but that some others did the same. But his remark may refer to some succeeding lectures, of which I have no distinct recollection [Cottle].

[76] A request of permission from Mr. Coleridge, to call on a few of his known friends, to see if we could not raise an annuity for him of one hundred a year, that he might pursue his literary objects without pecuniary distractions [Cottle].

[77] [Estlin.]

[78] A worthy medical Friend of Bristol, who first in that city, interested himself in the establishment of infant schools [Cottle].

[79] [I include the whole of this correspondence with Cottle because fragments only have been printed in biographies of Coleridge.]

[80] In Letters 132 and 133.

[81] This long sentence, between brackets, was struck out by Mr. Southey, in perusing the MS., through delicacy, as it referred to himself; but on the present occasion it is restored [Cottle]. [Cottle submitted the MS. of his Early Recollections to Southey before publication.]

[82] [“And such a dreadful falling abroad.”—Early Recollections.]

[83] [Letter CXCVII is our 158.]

[84] Some supplemental lecture [Cottle.]

[85] These four lines in the edition of Mr. C.’s Poems, published after his death, are oddly enough thrown into the Monody on Chatterton, and form the four opening lines. Many readers may concur with myself in thinking, that the former commencement was preferable; namely,—

“When faint and sad, o’er sorrow’s desert wild,

Slow journeys onward poor misfortune’s child;” etc. [Cottle].

[The lines were first included in the Monody in 1829.]

[86] [The Picture, or the Lover’s Resolution, 1800.]

[87] [Letter CXCVIII is our 162. CXCIX follows.]

[88] [Letter CC is our 163. CCI-CCIV follow.]

[89] [Mr. John Mackinnon Robertson, in New Essays towards a Critical Method, 1897, employs this epithet to describe Coleridge.]

[90] This statement requires an explanation, which none now can give. Was the far larger proportion of this £300 appropriated to the discharge of Opium debts? This does not seem unlikely, as Mr. C. lived with friends, and he could contract few other debts [Cottle]. [This note is most misleading. Coleridge’s receipt for the £300 is dated November 12, 1807 (De Quincey Memorials. I, 132). At this time, and for long after it, Coleridge never lived with friends except the Morgans, whom he paid. Cottle’s assumption is baseless.]

[91] “Of the truth of what I say.”—Early Recollections.

[92] [Letters CCV-CCVII follow 165.]

[93] [Coleridge gives a general acknowledgment of indebtedness; and doubtless when he wrote the Biographia he could not always discriminate in his note-books what was Schelling’s and what was his own.]

[94] This is too strong an expression. It was not idleness, it was not sensual indulgence, that led Coleridge to contract this habit. No, it was latent disease, of which sufficient proof is given in this memoir.—[Note by Gillman.]

[95] [Letter CCVIII is our 166.]

[96] [Cottle or Estlin.]

[97] [Letters CCIX-CCXVIII follow 169.]

[98] [Letters CCXIX-CCXXI follow 170.]

[99] [Letter CCXXII follows 172.]

[100] [Wordsworth.]

[101] [CCXXIII is our 173, CCXXIV follows.]

[102] [Letter CCXXV follows 175.]

[103] [Biographia Literaria.]

[104] [Letter CCXXVI follows 176.]

[105] [Letter CCXXVII follows 177.]

[106] [Bohn Library edition of the Friend, p. 344.]

[107] [Lockhart’s Life of Scott, ch. xix, also Memoir of Hartley Coleridge, xxxv, prefixed to Hartley Coleridge’s Poems, 1851.]

[108] [The date of this or Letter 179, given by Allsop, must be wrong, perhaps for 8th read 18th April.]

[109] [An echo of Schiller’s

“a deeper import

Lurks in the legend told my infant years

Than lies upon that truth we live to learn,” etc.

The Piccolomini, Act II, Scene 3.]

[110] [Letter CCXXVIII follows 180.]

[111] Here follows a detail of charges brought against one very near, and deservedly dear, to the writer, originating with, or adopted by the present Bishop of Llandaff. These charges were afterwards, I believe, withdrawn; at all events compensation was tendered to the party implicated [Allsop]. [This refers to Hartley.]

[112] Shepherd’s Calendar. October.

[113] [See Coleridge’s Miscellaneous Works, edited by T. Ashe: Bohn Library.]

[114] Turn to Milton’s Lycidas, sixth stanza—

Alas! what boots it with incessant care

To tend the homely slighted shepherd’s trade,

And strictly meditate the thankless Muse?

Were it not better done as others use,

To sport with Amaryllis in the shade,

Or with the tangles of Neæra’s hair?

Fame is the spur that the clear spirit doth raise

(That last infirmity of noble mind)

To scorn delights and live laborious days;

But the fair guerdon when we hope to find,

And think to burst out into sudden blaze,

Comes the blind Fury with the abhorred shears,

And slits the thin-spun life. But not the praise,

Phœbus replied, and touched my trembling ears;

Fame is no plant that grows on mortal soil,

Nor on the glistering foil

Set off to the world, nor in broad Rumour lies,

But lives and spreads aloft by those pure eyes,

And perfect witness of all-judging Jove;

As he pronounces lastly in each deed,

Of so much fame in heav’n expect thy meed.

The sweetest music does not fall sweeter on my ear than this stanza on both mind and ear, as often as I repeat it aloud.]

[115] Neither my Literary Life (2 vols.), nor Sibylline Leaves (1 vol.) nor Friend (3 vols.), nor Lay Sermons, nor Zapolya, nor Christabel, has ever been noticed by the Quarterly Review, of which Southey is yet the main support.

[116] [Shepherd’s Calendar: October.]

[117] [Letter CCXXIX follows 173.]

[118] [Mrs. Aders was the daughter of Raphael Smith, the engraver. Coleridge’s poem The Two Founts was written to her.]

[119] Let it always be borne in mind, that this and other expressions in these pages were the opinions which he ever expressed to me, and are not to be taken as evidences of doubt generally, but of disbelief in the corruptions of the vulgar Christianity in vogue. [Allsop.]

[120] In after years he excepted Elliot, the smith, though he held his judgment in very slight estimation. [Allsop.]

[121] [This letter is followed in Blackwood by the two letters to a Junior Soph, at Cambridge, republished by T. Ashe in Miscellanies, Authentic and Literary, Bohn Library, pp. 244–260. As these are rather Essays than Letters they are not reproduced in this work.]

[122] Thus in original letter, (Allsop).

[123] Mercury, the god of lucre and selfish ends, patron god of thieves, tradesmen, stock-jobbers, diplomatists, pimps, harlots and go-betweens; the soothing, pacifying god.

[124] [Letter CCXXX follows 198.]

[125] [Letter to a Young Lady on the Choice of a Husband reprinted in Miscellanies, Aesthetic and Literary, p. 229.]

[126] Great as was the shock my friend sustained from the unkind conduct of the gentlemen here alluded to, it is to me a great solace to be assured that he forgave them fully and entirely. [Allsop.]

[127] [Perhaps Wordsworth.]

[128]

To me hath Heaven with bounteous hand assigned

Energic Reason and a shaping mind,

The daring ken of Truth, the Patriot’s part,

And Pity’s sigh, that breathes the gentle heart.

Sloth jaundiced all! and from my graspless hand

Drop Friendship’s precious pearls, like hour-glass sand.

I weep, yet stoop not! the faint anguish flows,

A dreamy pang in Morning’s feverish dose.

Is this piled earth our Being’s passless mound?

Tell me, cold grave! is Death with poppies crowned?

Tired sentinel! ’mid fitful starts I nod,

And fain would sleep, though pillowed on a clod.

[129] [The initials are probably Allsop’s.]

[130] [Letter CCXXXI is our 206.]

[131] [Letters CCXXXII-CCXXXIII follow 207.]

[132] [Letter CCXXXIV follows 210.]

[133] [Letters CCXXXV-CCXXXVIII follow 213.]

[134] [1822–23.]

[135] The particulars of this instance of Star Chamber tyranny I read in Aikman’s Life of Archbishop Laud, prefixed to his works. It is said that when he was taken out of the wretched cell in Newgate in which he was confined before his sentence, “the skin and hair had almost wholly come off his body.” This was for writing against Prelacy, not against Christianity. Any man may do the like now and not a hair of his head can be touched; yet moral offences, public or private, have far less chance of escaping with impunity than they had then. [S. C.]

[136] Clarendon, passim, especially his summary of Laud’s character. [S. C.]

[137] [Hyman Hurwitz, see Aldine Edition of the Poems, ii, [248].]

[138] [Letter CCXXXIX follows letter 214.]

[139] [The Essay for the R.S.L. referred to in letter 215 is the Disquisition on the Prometheus of Aeschylus delivered before the Royal Society of Literature on 18th May, 1825. It is one of the most mystical of all Coleridge’s productions.]

[140] [Sir Henry Taylor.]

[141] [Letters CCXL-CCLIX follow 218.]

[142] [The error “Ellen” in line 91 may have arisen from Coleridge having called the heroine Ellen, after that of Lewis’s Ellen of Eglantine, but afterwards having changed that name for Alice in the other stanzas forgetting to alter the word in line 91.]

[143] [Coleridge in his youth was about five feet ten inches in height.]

[144] Journal of a Residence in Scotland and Tour through England, France, Germany, Switzerland, and Italy. With a Memoir of the Author and Extracts from his Religious Papers. Compiled by Isaac McLellan, jr., Boston, 1834.]

[145] [The Gillmans of Highgate, p. 28.]

[146] [Letter CCLX of E. H. Coleridge’s Letters of S. T. C. is our No. 219.]

[147] [25th July 1834.]

[148] [For the correct dates of the Lectures see p. 167 of this volume.]

[149] [Chapter IV.]

[150] Here seems an allusion to an anti-utilitarian maxim of Bacon’s, which is very expressive of my Father’s turn of mind:—Et tamen quemadmodum luci magnam habemus gratiam, quod per eam vias inire, artes, exercere, legere, nos invicem dignoscere possimus, et nihilominus ipsa visio lucis res praestantior est et pulchrior, quam multiplex ejus usus; ita certe ipsa contemplatio rerum, prout sunt, sine superstitione aut impostura, errore aut confusione, in se ipsa magis digna est, quam universus inventorum fructus. Novum Organum, Part of Aph. CXXIX.

[151] From a volume containing The Search after Proserpine, Recollections of Greece and other Poems by Aubrey de Vere, author of The Fall of Rora.

Transcriber’s Notes

Footnotes and Bracketed Text

The editor of this and its companion volume has used square brackets to denote added material, including footnotes. The brackets occasionally are not closed. There are also several footnotes which are either missing in the text, or missing their numbers on the notes themselves. These have been corrected, based on the context and usage elsewhere.

[p. 168]. The footnote anchor for note 102 is missing. It normally would fall at the end of the letter to which it refers, and has been added there.

Punctuation

Punctuation is occasionally used inconsistently. Where these are minor (especially in the table of contents, footnotes, and the index), they have been silently corrected.

Letter 151 ends on [p. 93] with a closing quote and attribution:

...of his motive"--Quoted from the _Gentleman's Magazine_ of June, 1838.

There is no corresponding opening quote, and one is not added here.

Ellipses are used (pp. [258], [262–263], [290]), to elide a name. They have been rendered as long dashes here. There is also the phrase “when I—— took me by surprise” which may well be a mistake for ‘J——’, which was used just above. The ‘I’ has been retained as printed.

The following special situations are noted:

[p. 79]I did not set much value.[”]Added missing closing quote.
[p. 83]‘When shall we have Buonaparte?[”/’]Corrected closing quote.
[p. 115]was as favourable to the book as could be expected.[”]Closing quote has no mate.
[p. 133]Closing bracket of n1 is missing.Added.
[p. 134] [n87]Make my best respects when you write.[87]Added missing footnote number.
[p. 308]An extended dash has been shortened here to ‘——’.
[p. 322]tVol. I, p. 97.[—]TheAdded to match style just above.

Spelling, hyphenation and typographical errors

There are also very occasional typographical errors that have been corrected. Any variants in spelling or hyphenation have been retained. Where the sole instance of a hyphenation occurs at end-of-line, modern usage has been applied.

[p. 130]withou[t]Added.
[p. 329]Golden Book of ColeridgeEntire title should be in italics. Retained.