"ALL THOUGHTS ALL PASSIONS ALL DELIGHTS"
The two sweet silences—first in the purpling dawn of love-troth, when the heart of each ripens in the other's looks within the unburst calyx, and fear becomes so sweet that it seems but a fear of losing hope in certainty; the second, when the sun is setting in the calm eve of confident love, and [the lovers] in mute recollection enjoy each other. "I fear to speak, I fear to hear you speak, so deeply do I now enjoy your presence, so totally possess you in myself, myself in you. The very sound would break the union and separate you-me into you and me. We both, and this sweet room, its books, its furniture, and the shadows on the wall slumbering with the low, quiet fire are all our thought, one harmonious imagery of forms distinct on the still substance of one deep feeling, love and joy—a lake, or, if a stream, yet flowing so softly, so unwrinkled, that its flow is life, not change—that state in which all the individuous nature, the distinction without division of a vivid thought, is united with the sense and substance of intensest reality."
And what if joy pass quick away? Long is the track of Hope before—long, too, the track of recollection after, as in the Polar spring the sun [is seen in the heavens] sixteen days before it really rises, and in the Polar autumn ten days after it has set; so Nature, with Hope and Recollection, pieces out our short summer.
WORDS AND THINGS
N.B.—In my intended essay in defence of punning (Apology for Paronomasy, alias Punning), to defend those turns of words—
Che l'onda chiara,
El'ombra non men cara—
in certain styles of writing, by proving that language itself is formed upon associations of this kind—that possibly the sensus genericus of whole classes of words may be thus deciphered (as has indeed been attempted by Mr. White, of Clare Hall), that words are not mere symbols of things and thoughts, but themselves things, and that any harmony in the things symbolised will perforce be presented to us more easily, as well as with additional beauty, by a correspondent harmony of the symbols with each other. Thus, heri vidi fragilem frangi, hodie mortalem mori; Gestern seh ich was gebrechliches brechen, heute was sterbliches sterben, compared with the English. This the beauty of homogeneous languages. So Veni, vidi, vici.
[This note follows an essay on Giambattista Strozzi's Madrigals, together with a transcription of twenty-seven specimens. The substance of the essay is embodied in the text of Chapter xvi. of the "Biographia Literaria," and a long footnote. The quotation is from the first madrigal, quoted in the note, which is not included in those transcribed in Notebook 17.—Coleridge's Works, iii. (Harper & Brothers, 1853), pp. 388-393.]