The Literary Remains of Samuel Taylor Coleridge, Volume 2 — John Shaqi
The Literary Remains of Samuel Taylor Coleridge, Volume 2Coleridge, Samuel Taylor
History
The Literary Remains of Samuel Taylor Coleridge, Volume 2
Coleridge, Samuel Taylor
Literature -- History and criticism; Shakespeare, William, 1564-1616 -- Criticism and interpretation
I greatly dislike beauties and selections in general; but as proof
positive of his unrivalled excellence, I should like to try Shakspeare
by this criterion. Make out your amplest catalogue of all the human
faculties, as reason or the moral law, the will, the feeling of the
coincidence of the two (a feeling 'sui generis et demonstratio
clemontrationum') called the conscience, the understanding or prudence,
wit, fancy, imagination, judgment,--and then of the objects on which
these are to be employed, as the beauties, the terrors, and the seeming
caprices of nature, the realities and the capabilities, that is, the
actual and the ideal, of the human mind, conceived as an individual or
as a social being, as in innocence or in guilt, in a play-paradise, or
in a war-field of temptation;--and then compare with Shakspeare under
each of these heads all or any of the writers in prose and verse that
have ever lived! Who, that is competent to judge, doubts the
result?--And ask your own hearts,--ask your own common-sense--to
conceive the possibility of this man being--I say not, the drunken
savage of that wretched sciolist, whom Frenchmen, to their shame, have
honoured before their elder and better worthies,--but the anomalous, the
wild, the irregular, genius of our daily criticism! What! are we to have
miracles in sport?--Or, I speak reverently, does God choose idiots by
whom to convey divine truths to man?
[Footnote 1: Take a slight specimen of it.
Je suis bien loin assurément de justifier en tout la tragédie
d'Hamlet; _c'est une pièce grossière et barbare, qui ne serait pas
supportée par la plus vile populace de la France et de l'Italie._
Hamlet y devient fou au second acte, et sa maîtresse folle au
troisième; le prince tue le père de sa maîtresse, feignant de tuer un
rat, et I'heröine se jette dans la rivière. On fait sa fosse sur le
théâtre; des fossoyeurs disent des _quolibets_ dignes d'eux, en tenant
dans leurs mains des têtes de morts; le prince Hamlet répond à leurs
'grossièretés abominables par des folies non moins dégoûtantes._
Pendant ce temps-là, un des acteurs fait la conquête de la Pologne.
_Hamlet, sa mère, et son beau-père boivent ensemble sur le théâtre; on
chante à table, on s'y querelle, on se bat, on se tue: on croirait que
cet ouvrage est le fruit de I'imagination d'un sauvage ivre._
(Dissertation before Semiramis.) This is not, perhaps, very like Hamlet;
but nothing can be more like Voltaire. Ed.]
RECAPITULATION, AND SUMMARY OF THE CHARACTERISTICS OF SHAKSPEARE's
DRAMAS. [1]
Public-domain text, read in full here on John Shaqi.
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