ce of art, in which a music the most exquisite
is used to body forth a set of suggestions that seem dictated by
the very Spirit of Romance, was produced, under the influence of
'an anodyne,' as early as 1797. Coleridge, who calls it _Kubla
Khan: A Vision within a Dream_, avers that, having fallen asleep
in his chair over a sentence from Purchas's Pilgrimage--'Here
the Khan Kubla commanded a palace to be built and a stately
garden thereto; and thus ten miles of ground were enclosed with
a wall,'--he remained unconscious for about three hours, 'during
which time he had the most vivid confidence that he could not
have composed less than three hundred lines'; 'if that,' he adds,
'can be called composition, in which all the images rose up before
him as things, with a parallel production of the correspondent
expressions, without any sensation or consciousness of effort.' On
awakening, he proceeded to write out his 'composition,' and
had set down as much of it as is printed here, when 'he was
unfortunately called out by a person on business from Porlock,'
whose departure, an hour after, left him wellnigh oblivious
of the rest. This confession, which is dated 1816, has been
generally accepted as true; but Coleridge had a trick of dreaming
dreams about himself which makes doubt permissible.

LXIV

From the _Hellenics_ (written in Latin, 1814-20, and translated
into English at the instance of Lady Blessington), 1846. See
Colvin, _Landor_ ('English Men of Letters'), pp. 189, 190.

LXV-LXVII

Of the first, 'Napoleon and the British Sailor' (_The Pilgrim
of Glencoe_, 1842), Campbell writes that the 'anecdote has
been published in several public journals, both French and
English.' 'My belief,' he continues, 'in its authenticity was
confirmed by an Englishman, long resident in Boulogne, lately
telling me that he remembered the circumstance to have been
generally talked of in the place.' Authentic or not, I have
preferred the story to _Hohenlinden_, as less hackneyed, for one
thing, and, for another, less pretentious and rhetorical. The
second (_Gertrude of Wyoming_, 1809) is truly one of 'the glories
of our birth and state.' The third (_idem_) I have ventured to
shorten by three stanzas: a proceeding which, however culpable it
seem, at least gets rid of the chief who gave a country's wounds
relief by stopping a battle, eliminates the mermaid and her song
(the song that 'condoles'), and ends the lyric on as sonorous
and ro