LIII-LXII
The first three numbers are from _Marmion_ (1808):
I. Introduction; V. 12; and VI. 18-20, 25-27, and 33-34. The
next is from _The Lady of the Lake_ (1810), I. 1-9: _The Outlaw_
is from _Rokeby_ (1813), III. 16; the _Pibroch_ was published
in 1816; _The Omnipotent_ and _The Red Harlaw_ are from
_The Antiquary_ (1816), and the _Farewell_ from _The Pirate_
(1821). As for _Bonny Dundee_, that incomparable ditty, it was
written as late as 1825. 'The air of Bonny Dundee running in
my head to-day,' he writes under date of 22d December (_Diary_,
1890, i. 61), 'I wrote a few verses to it before dinner, taking
the key-note from the story of Clavers leaving the Scottish
Convention of Estates in 1688-9. _I wonder if they are good._'
See _The Doom of Devorgoil_ (1830), Note A, Act II. sc. 2.
LXIII
This unsurpassed piece 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.
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