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110 that there may be found in his works an identity of thought or phrase with Schelling's, and allows him to be the founder of the philosophy of nature; but he claims at the same time the honour of making that philosophy intelligible to his fellow-countrymen, and even of thinking it out beforehand. Having said so much, there follow pages together—sometimes as many as six or eight on end—which are virtually copied verbatim from Schelling, though with occasional interpolations of the so-called author here and there. Ferrier has examined the whole matter most minutely, and made a long list of the more flagrant cases of copying: thirty-one pages, he points out, are faithfully transcribed, partially or wholly, from Schelling's works alone, without allowing for what the author admits to be translated in part from a 'contemporary writer of the Continent.' And Schelling was not the only sufferer, nor was it only in the region of metaphysics that the thefts were made. The substratum of a whole chapter of the Biographia Literaria is, Ferrier discovered, taken from another author named Maasz, and Coleridge's lecture 'On Poesy or Art' is closely copied and largely translated from Schelling's 'Discourse upon the Relations in which the Plastic Arts stand to Nature.' This was a blow indeed to those who had boasted of the profundity of Coleridge's views on art; but his poetry surely remained intact. But no, 'Verses exemplifying the Homeric Metre' are found to be—unacknowledged—a translation from Schiller; and yet worse, because less likely to be discovered, the lines written 'To a Cataract' have the same metre, language, and thought as certain verses by Count von Stolberg, which were shown to Ferrier by a friend.