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
It may here be worthy of notice, that Lear is the only serious
performance of Shakspeare, the interest and situations of which are
derived from the assumption of a gross improbability; whereas Beaumont
and Fletcher's tragedies are, almost all of them, founded on some out of
the way accident or exception to the general experience of mankind. But
observe the matchless judgment of our Shakspeare. First, improbable as
the conduct of Lear is in the first scene, yet it was an old story
rooted in the popular faith,--a thing taken for granted already, and
consequently without any of the effects of improbability. Secondly, it
is merely the canvass for the characters and passions,--a mere occasion
for,--and not, in the manner of Beaumont and Fletcher, perpetually
recurring as the cause, and 'sine qua non' of,--the incidents and
emotions. Let the first scene of this play have been lost, and let it
only be understood that a fond father had been duped by hypocritical
professions of love and duty on the part of two daughters to disinherit
the third, previously, and deservedly, more dear to him;--and all the
rest of the tragedy would retain its interest undiminished, and be
perfectly intelligible. The accidental is nowhere the groundwork of the
passions, but that which is catholic, which in all ages has been, and
ever will be, close and native to the heart of man,--parental anguish
from filial ingratitude, the genuineness of worth, though coffined in
bluntness, and the execrable vileness of a smooth iniquity. Perhaps I
ought to have added the Merchant of Venice; but here too the same
remarks apply. It was an old tale; and substitute any other danger than
that of the pound of flesh (the circumstance in which the improbability
lies), yet all the situations and the emotions appertaining to them
remain equally excellent and appropriate. Whereas take away from the Mad
Lover of Beaumont and Fletcher the fantastic hypothesis of his
engagement to cut out his own heart, and have it presented to his
mistress, and all the main scenes must go with it.
Public-domain text, read in full here on John Shaqi.
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