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Introduction

Published online by Cambridge University Press:  27 April 2017

Adam Roberts
Affiliation:
University of London, Royal Holloway
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Summary

Coleridge as Lecturer

The purpose of this edition is to present those of Coleridge's Shakespeare lectures as have come down to us. Not that there have been any shortage of prior editions of Coleridge's Shakespearian criticism, since what he had to say is not only central to any understanding of Coleridge as a critic, it proved immensely influential in the development of Shakespearean studies, and continues to exercise influence to this day. Nonetheless, a scholar, student or reader desirous to read what Coleridge actually said may well find themselves frustrated. Minimising that frustration is the present edition's aim.

Between 1808 and 1819 Coleridge delivered something like a hundred lectures on literature, education and philosophy – we aren't sure of the exact number, but it's approximately that. The majority of these were literary-critical, and the majority of those concerned Shakespeare, the subject of the present volume. But the largest majority of all, where these lectures are concerned, must be filed under the category ‘lost’. Much of Coleridge's lecturing was extemporised. He tended to work from only scrappy notes, if any, together with volumes in which he had scribbled marginalia, and then spoke on and around his matter. Nor did he ever write up this material in finished form after the lecture was given. Charles Robert Leslie later recalled:

I had frequent opportunities of seeing and hearing Coleridge … [His] lectures were, unfortunately, extemporaneous. He now and then took up scraps of paper on which he had noted the leading points of his subject, and he had books about him for quotation. On turning to one of these (a work of his own), he said, ‘As this is a secret which I confided to the public a year or two ago, and which, to do the public justice, has been very faithfully kept, I may be permitted to read you a passage from it.’ His voice was deep and musical, and his words followed each other in an unbroken flow, yet free from monotony. There was indeed a peculiar charm in his utterance. His pronunciation was remarkably correct: in some respects pedantically so. He gave the full sound of the l in talk, and should and would

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Publisher: Edinburgh University Press
Print publication year: 2016

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