Of Coleridge’s prose works, the Biographia, Literaria, or Sketches of My Literary Life and Opinions (1817), his collected Lectures on Shakespeare (1849), and Aids to Reflection (1825) are the most interesting from a literary view point.  The first is an explanation and criticism of Wordsworth’s theory of poetry, and contains more sound sense and illuminating ideas on the general subject of poetry than any other book in our language.  The Lectures, as refreshing as a west wind in midsummer, are remarkable for their attempt to sweep away the arbitrary rules which for two centuries had stood in the way of literary criticism of Shakespeare, in order to study the works themselves.  No finer analysis and appreciation of the master’s genius has ever been written.  In his philosophical work Coleridge introduced the idealistic philosophy of Germany into England.  He set himself in line with Berkeley, and squarely against Bentham, Malthus, Mill, and all the materialistic tendencies which were and still are the bane of English philosophy.  The Aids to Reflection is Coleridge’s most profound work, but is more interesting to the student of religion and philosophy than to the readers of literature.

ROBERT SOUTHEY (1774-1843)

Closely associated with Wordsworth and Coleridge is Robert Southey; and the three, on account of their residence in the northern lake district, were referred to contemptuously as the “Lakers” by the Scottish magazine reviewers.  Southey holds his place in this group more by personal association than by his literary gifts.  He was born at Bristol, in 1774; studied at Westminster School, and at Oxford, where he found himself in perpetual conflict with the authorities on account of his independent views.  He finally left the university and joined Coleridge in his scheme of a Pantisocracy.  For more than fifty years he labored steadily at literature, refusing to consider any other occupation.  He considered himself seriously as one of the greatest writers of the day, and a reading of his ballads—­which connected him at once with the romantic school—­leads us to think that, had he written less, he might possibly have justified his own opinion of himself.  Unfortunately he could not wait for inspiration, being obliged to support not only his own family but also, in large measure, that of his friend Coleridge.

Southey gradually surrounded himself with one of the most extensive libraries in England, and set himself to the task of of writing something every working day.  The results of his industry were one hundred and nine volumes, besides some hundred and fifty articles for the magazines, most of which are now utterly forgotten.  His most ambitious poems are Thalaba, a tale of Arabian enchantment; The Curse of Kehama, a medley of Hindoo mythology; Madoc, a legend of a Welsh prince who discovered the western world;