The Life of Samuel Taylor Coleridge: 1838Gillman, James
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The Life of Samuel Taylor Coleridge: 1838
Gillman, James
Coleridge, Samuel Taylor, 1772-1834; Critics -- Great Britain -- Biography; Poets, English -- 19th century -- Biography
"sufficed to make me acquainted with its grammar, and the radical
words of most frequent occurrence; and with the occasional assistance
of the same philosophical linguist, I read through Ottfried's Metrical
Paraphrase of the Gospel, and the most important remains of the
Theotiscan."
Coleridge's Biographia contains the history and developement of his mind
till 1816, when it was published; he called it his Literary Life, but of
necessity it is intermixed with his biography, as he must have found it
impossible to separate them. He had even half promised himself to write
his own biography, but the want of success in his literary labours, and
the state of his health, caused him to think seriously that his life was
diminishing too fast, to permit him to finish those great works, of
which he had long planned the execution. The conception of these works
was on such a scale, that even his giant intellect, with his great and
continuous powers of application, could not have executed them. But to
continue.--On his return to London, his first literary occupation was
the translation of the Wallenstein, which he effected in six weeks, in a
lodging in Buckingham-street, in the Strand; it was printed and
published in 1800.
The MS. was purchased by Longman's house under the condition that the
English Version and Schiller's Play in German were to be published at
the same time. The play, as is well known to all German readers, is in
three parts; the first part, the Camp, being considered by Coleridge as
not sufficiently interesting to the British public to translate, it was
not attempted; the second part, the Piccolomini, was translated with the
occasional addition of some lines, in order to make out the thought when
it appeared to require it, particularly in the Horological scene of the
Watch Tower. In the last part the Death of Wallenstein is equally free,
but the liberties taken with this play are those of omission.
Public-domain text, read in full here on John Shaqi.
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