A lady, who knew nothing experimentally of opium, once told us, that
she 'could tell when Mr. Coleridge had taken too much opium by his
shining countenance.' She was right; we know that mark of opium
excesses well, and the cause of it; or at least we believe the cause to
lie in the quickening of the insensible perspiration which accumulates
and glistens on the face. Be that as it may, a criterion it was that
could not deceive us as to the condition of Coleridge. And uniformly in
that condition he made his most effective intellectual displays. It is
true that he might not be happy under this fiery animation, and we
fully believe that he was not. Nobody is happy under laudanum except
for a very short term of years. But in what way did that operate upon
his exertions as a writer? We are of opinion that it killed Coleridge
as a poet. 'The harp of Quantock' was silenced for ever by the torment
of opium. But proportionably it roused and stung by misery his
metaphysical instincts into more spasmodic life. Poetry can flourish
only in the atmosphere of happiness. But subtle and perplexed
investigations of difficult problems are amongst the commonest
resources for beguiling the sense of misery. And for this we have the
direct authority of Coleridge himself speculating on his own case.
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