Coleridge, revision and romanticism : after the revolution, 1793-1818

191 Pages·2009·1.55 MB·English

by  Coleridge

Coleridge, Revision and Romanticism
Continuum Literary Studies Series
Related titles in the series:
Coleridge and German Philosophy by Paul Hamilton
Romanticism, Literature and Philosophy by Simon Swift
Coleridge, Revision and
Romanticism
After the Revolution, 1793–1818
Ve-Yin Tee
Continuum International Publishing Group
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© Ve-Yin Tee 2009
Ve-Yin Tee has asserted his right under the Copyright, Designs and Patents Act, 1988,
to be identifi ed as Author of this work.
All rights reserved. No part of this publication may be reproduced or transmitted
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British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
ISBN: 978-1-8470-6597-1 (hardback)
Library of Congress Cataloging-in-Publication Data
A catalog record for this book is available from the Library of Congress
Typeset by Newgen Imaging Systems Pvt Ltd, Chennai, India
Printed and bound in Great Britain by the MPG Books Group
To my parents, Tua Ba and Adelene. It was because
of their unwavering support that even at the roughest
spots, there was never any question that I would
see this through one day.
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Contents
Acknowledgements viii
List of Figures ix
List of Abbreviations x
Introduction 1
1. The Catholicity of ‘Frost at Midnight’ 16
2. The Submerged History of ‘The Ancient Mariner’ 42
3. Ungodly Visions 80
4. A Tale of Remorse 103
Conclusion 138
Notes 143
Bibliography 164
Index 173
Acknowledgements
First and foremost, I would like to acknowledge the sheer intellectual rigour
of John Barrell under whose supervision this project fi rst came to life at the
University of York. I had started out with only a vague idea of what I wanted to
do, and I cannot overemphasize how much I have gained from the community
that I found at York. I am particularly grateful to Gregory Dart, Rosie Dias,
Jack Donovan, Harriet Guest, David Higgins, Jon Mee, S. P. Ong, Andrew
Radford, Ted Royle, James Watt and Simon White for their commentary and
encouragement.
I wish to thank the patient listeners of the very earliest portion of my work at
the University College Cork conference Around 1798: Romanticism and Ireland
(1998). It was there that I met J. C. C. Mays, who gave me an insight into editing
work, and Timothy Webb, who has helped sharpen my thinking on Romantic
Irishness. I must also mention the advice that I received from Kenneth
R. Johnston, the late Paul Magnuson and David Vallins, who I had the fortune
of meeting at the Coleridge Summer Conference of 1998.
It is in Nagoya, Japan, that I have matured as an academic and this is in no
small part due to the company I have had the honour of falling in with: Susan
K. Burton, Kimberly Engber, Toru Hanaki, Megumi Hashimoto, Andriy
Ivanchenko, Michael O’Sullivan, William F. Purcell, Elisabeth Richards, Tatsuya
Suzuki, Takakazu Yamagishi and Motoyasu Yamazaki.
Chapter 1.1 is a modifi ed version of an article I originally published in the
NUCB Journal of Language, Culture and Communication. The last stages of this
project benefi ted enormously from the Nanzan University Pache Research
Subsidy I-A-2 for the 2008 academic year. I must mention the kind assistance
of Masahisa Ishida who helped ensure my successful application. Finally,
I would like to thank Colleen Coalter of Continuum for her indefatigable
professionalism.
List of Figures
Figure 1.1 New Morality, 1 August 1798 (engraving) by James Gilray.
Reproduced by kind permission of the Syndics of
Cambridge University Library (T900.c.58). 17
Figure 1.2 ‘Frost at Midnight’, 1798–1829 (poem) by Samuel Taylor
Coleridge. The published versions of the most heavily
revised passage in the poem collated. 29
Figure 3.1 The Holy Family, 1800 (engraving) by William Sharp after
the painting by Sir Joshua Reynolds. © British Library
Board. All Rights Reserved (5.i.2–9). 81
Figure 3.2 Prince Hal and Poins Surprise Falstaff with Doll Tearsheet, 1805
(engraving) by William Bromley after the painting by
Henri Fuseli. © British Library Board. All Rights Reserved
(80.f.8–17). 84
Figure 3.3 Spectres Visiting John Bull, 23 February 1808 (engraving)
by John Williams. © Trustees of the British Museum. 101
Figure 4.1 Mrs. Siddons as Euphrasia, 1797 (engraving) by De Wilde.
© British Library Board. All Rights Reserved (2304.c). 119
Figure 4.2 ‘The most frequently acted mainpieces in London between
1776 and 1800’, 1968 (statistics) by Charles Beecher Hogan
for The London Stage 1660–1800, 5 vols. (Carbondale:
Southern Illinois Press, 1968), V, pp. clxxi–clxxii. 120
Figure 4.3 Theatre Royal, Drury Lane . . . Remorse, 23 January 1813
(Playbill). © British Library Board. All Rights Reserved
(Playbills.46–76, 127–133). 124
Figure 4.4 Theatre Royal, Drury Lane . . . Bertram, 9 May 1816
(Playbill). © British Library Board. All Rights Reserved
(Playbills.46–76, 127–133). 125
Figure 4.5 Theatre Royal, Drury Lane . . . Remorse, 28 January 1813
(Playbill). © British Library Board. All Rights Reserved
(Playbills.46–76, 127–133). 126