5. Not nonsense at all: but, metrically, really his usual elegiac.
6. This, if early, is almost priceless. It is not only lovely in itself, but an obvious attempt to recover the zig-zag outline and varied cadence of seventeenth century born—the things that Shelley to some extent, Beddoes and Darley more, and Tennyson and Browning most were to master. I subscribe (most humbly) to his suggestions, especially his second.
7. Very like some late seventeenth-century (Dryden time) motives and a leetle 'Moorish'.
8. Like 6, and charming.
9. A sort of recurrence to Pindaric—again pioneer, as the soul of S. T. C. had to be always.
10 and 11. Ditto.
13. Again, I should say, anapaestic—but this anapaest and amphibrach quarrel is ἄσπονδος.
FOOTNOTES:
[1014:1] 'He attributed in part, his writing so little, to the extreme care and labour which he applied in elaborating his metres. He said that when he was intent on a new experiment in metre, the time and labour he bestowed were inconceivable; that he was quite an epicure in sound.'—Wordsworth on Coleridge (as reported by Mr. Justice Coleridge), Memoirs of W. Wordsworth, 1851, ii. 306.