: Samuel Taylor Coleridge
: Shakespeare, With Introductory Matter on Poetry, The Drama, and The Stage (Unabridged) Coleridge's Essays and Lectures on Shakespeare and Other Old Poets and Dramatists
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: 9788026839880
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This carefully crafted ebook: 'Shakespeare, With Introductory Matter on Poetry, The Drama, and The Stage (Unabridged)' is formatted for your eReader with a functional and detailed table of contents. Samuel Taylor Coleridge (1772-1834) was an English poet, literary critic and philosopher who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets. Content: Definition of Poetry Greek Drama Progress Of The Drama The Drama Generally, And Public Taste Notes on Shakespeare Shakespeare, A Poet Generally Shakespeare's Judgment equal to his Genius Recapitulation, And Summary Of the Characteristics of Shakespeare's Dramas Outline Of An Introductory Lecture Upon Shakespeare Order Of Shakespeare's Plays Notes On The 'Tempest' Love's Labour's Lost Midsummer Night's Dream Comedy Of Errors As You Like It Twelfth Night All's Well That Ends Well Merry Wives Of Windsor Measure For Measure Cymbeline Titus Andronicus Troilus And Cressida Coriolanus Julius Cæsar Antony And Cleopatra Timon Of Athens Romeo And Juliet Shakespeare's English Historical Plays King John Richard II. Henry IV. Richard III. Lear Hamlet Macbeth Winter's Tale Othello Notes on Ben Jonson Whalley's Preface Whalley's 'Life Of Jonson' Every Man Out Of His Humour Poetaster Fall Of Sejanus Volpone Apicæne The Alchemist Catiline's Conspiracy Bartholomew Fair The Devil Is An Ass The Staple Of News The New Inn Notes on Beaumont And Fletcher. Harris's Commendatory Poem On Fletcher Life Of Fletcher In Stockdale's Edition, 1811.

Twelfth Night.

In the third, as indicating a greater energy — not merely of poetry, but of all the world of thought, yet still with some of the growing pains, and the awkwardness of growth — I place —


Troilus and Cressida.

Cymbeline.

Merchant of Venice.

Much Ado about Nothing.

Taming of the Shrew.

In the fourth, I place the plays containing the greatest characters —

Macbeth.

Lear.

Hamlet.

Othello.


And lastly, the historic dramas, in order to be able to show my reasons for rejecting some whole plays, and very many scenes in others.

CLASSIFICATION ATTEMPTED, 1819.

I think Shakespeare’s earliest dramatic attempt — perhaps even prior in conception to theVenus and Adonis, and planned before he left Stratford — wasLove’s Labour’s Lost. Shortly afterwards I supposePericles and certain scenes inJeronymo to have been produced; and in the same epoch, I place theWinter’s Tale andCymbeline, differing from thePericles by the entirerifacimento of it, when Shakespeare’s celebrity as poet, and his interest, no less than his influence, as manager, enabled him to bring forward the laid-by labours of his youth. The example ofTitus Andronicus, which, as well asJeronymo, was most popular in Shakespeare’s first epoch, had led the young dramatist to the lawless mixture of dates and manners. In this same epoch I should place theComedy of Errors, remarkable as being the only specimen of poetical farce in our language, that is, intentionally such; so that all the distinct kinds of drama, which might be educeda priori, have their representatives in Shakespeare’s works. I say intentionally such; for many of Beaumont and Fletcher’s plays, and the greater part of Ben Jonson’s comedies, are farce plots. I addAll’s Well that Ends Well, originally intended as the counterpart ofLove’s Labour’s Lost,Taming of the Shrew,Midsummer Night’s Dream,Much Ado about Nothing, andRomeo and Juliet.


SECOND EPOCH.

Richard II.

King John.

Henry VI., —rifacimento only.

Richard III.

THIRD EPOCH.

Henry IV.

Henry V.

Merry Wives of Windsor.

Henry VIII., — a sort of historical masque, or show play.

FOURTH EPOCH

gives all the graces and facilities of a genius in full possession and habitual exercise of power, and peculiarly of the feminine, thelady’s character.

Tempest.

As You Like It

Merchant of Venice.

Twelfth Night.

And, finally, at its very point of culmination —

Lear.