A green and silent spot amid the hills,
A small and silent dell! O'er stiller place
No singing skylark ever poised himself—
But the dell,
Bathed by the mist is fresh and delicate
As vernal cornfield, or the unripe flax
When, through its half-transparent stalks, at eve,
The level sunshine glimmers with green light:—
The gust that roared and died away
To the distant tree—
heard and only heard
In this low dell, bowed not the delicate grass.
This curious insistence of the mind on one particular spot, till it seems to attain actual expression and a sort of soul in it—a mood so characteristic of the "Lake School"—occurs in an earnest political poem, "written in April 1798, during the alarm of an invasion"; and that silent dell is the background against which the tumultuous fears of the poet are in strong relief, while the quiet sense of the place, maintained all through them, gives a true poetic unity to the piece. Good political poetry—[93] political poetry that shall be permanently moving—can, perhaps, only be written on motives which, for those they concern, have ceased to be open questions, and are really beyond argument; while Coleridge's political poems are for the most part on open questions. For although it was a great part of his intellectual ambition to subject political questions to the action of the fundamental ideas of his philosophy, he was nevertheless an ardent partisan, first on one side, then on the other, of the actual politics proper to the end of the last and the beginning of the present century, where there is still room for much difference of opinion. Yet The Destiny of Nations, though formless as a whole, and unfinished, presents many traces of his most elevated manner of speculation, cast into that sort of imaginative philosophical expression, in which, in effect, the language itself is inseparable from, or essentially a part of, the thought. France, an Ode, begins with a famous apostrophe to Liberty—
Ye Clouds! that far above me float and pause,
Whose pathless march no mortal may control!
Ye Ocean-waves! that wheresoe'er ye roll,
Yield homage only to eternal laws!
Ye Woods! that listen to the night-bird's singing,
Midway the smooth and perilous slope reclined,
Save when your own imperious branches swinging,
Have made a solemn music of the wind!
Where like a man beloved of God,
Through glooms which never woodman trod,
How oft, pursuing fancies holy,
[94]
My moonlight way o'er flowering weeds I wound,
Inspired, beyond the guess of folly,
By each rude shape and wild unconquerable sound!
O ye loud Waves! and O ye Forests high!
And O ye Clouds that far above me soar'd!
Thou rising Sun! thou blue rejoicing Sky!
Yea, everything that is and will be free!
Bear witness for me, wheresoe'er ye be,
With what deep worship I have still adored
The spirit of divinest liberty.
And the whole ode, though, after Coleridge's way, not quite equal to that exordium, is an example of strong national sentiment, partly in indignant reaction against his own earlier sympathy with the French Republic, inspiring a composition which, in spite of some turgid lines, really justifies itself as poetry, and has that true unity of effect which the ode requires. Liberty, after all his hopes of young France, is only to be found in nature:—
Thou speedest on thy subtle pinions,
The guide of homeless winds, and playmate of the waves!