that "it would serve no purpose to exclude them on the present
occasion." But Southey was not appeased. He tells Allan Cunningham (June
3, 1833) that "the new edition of Byron's works is ... one of the very
worst symptoms of these bad times" (_Life and Correspondence_, 1850, vi.
217).]

{4}[2] [In the "Critique on _Bertram_," which Coleridge contributed to
the _Courier_, in 1816, and republished in the _Biographia Literaria_,
in 1817 (chap, xxiii.), he gives a detailed analysis of "the old Spanish
play, entitled _Atheista Fulminato [vide ante_, the 'Introduction to
_Don Juan_'] ... which under various names (_Don Juan_, the _Libertine_,
etc.) has had its day of favour in every country throughout Europe ...
Rank, fortune, wit, talent, acquired knowledge, and liberal
accomplishments, with beauty of person, vigorous health, and
constitutional hardihood,--all these advantages, elevated by the habits
and sympathies of noble birth and national character, are supposed to
have combined in Don Juan, so as to give him the means of carrying into
all its practical consequences the doctrine of a godless nature, as the
sole ground and efficient cause not only of all things, events, and
appearances, but likewise of all our thoughts, sensations, impulses, and
actions. Obedience to nature is the only virtue." It is possible that
Byron traced his own lineaments in this too life-like portraiture, and
at the same time conceived the possibility of a new Don Juan, "made up"
after his own likeness. His extreme resentment at Coleridge's just,
though unwise and uncalled-for, attack on Maturin stands in need of some
explanation. See letter to Murray, September 17, 1817 (_Letters_, 1900,
iv. 172).]

[3] ["Have you heard that _Don Juan_ came over with a dedication to me,
in which Lord Castlereagh and I (being hand in glove intimates) were