Samuel Coleridge - The Complete Essays, Lectures & Letters of S. T. Coleridge (Illustrated)

A COMPREHENSIVE FORMULA

The painter-parson, Rev. Mr. Judkin, is about to show off a Romish priest converted to the Protestant belief, on Sunday next at his church, and asked of me (this day, at Mr. Gray's, Friday, 27th July, 1827) whether I knew of any form of recantation but that of Archbishop Tenison. I knew nothing of Tenison's or any other, but expressed my opinion that no other recantation ought to be required than a declaration that he admitted no outward authority superior to, or co-ordinate with, the canonical Scriptures, and no interpreter that superseded or stood in the place of the Holy Spirit, enlightening the mind of each true believer, according to his individual needs. I can conceive a person holding all the articles that distinguish the Romish from the Protestant conception, with this one exception; and, yet, if he did make this exception, and professed to believe them, because he thought they were contained in, or to be fairly inferred from, right reason and the Scriptures, I should consider him as true a Protestant as Luther, Knox, or Calvin, and a far better than Laud and his compeers, however meanly I might think of him as a philosopher and theologian. The laying so great a stress on transubstantiation I have long regarded as the great calamity or error of the Reformation—if not constrained by circumstances, the great error —or, if constrained, the great calamity .

THE NIGHT IS AT HAND August 1, 1828

The sweet prattle of the chimes—counsellors pleading in the court of Love—then the clock, the solemn sentence of the mighty Judge—long pause between each pregnant, inappellable word, too deeply weighed to be reversed in the High-Justice-Court of Time and Fate. A more richly solemn sound than this eleven o'clock at Antwerp I never heard—dead enough to be opaque as central gold, yet clear enough to be the mountain air.

Table of Contents

Definition of Poetry.

Greek Drama.

Progress Of The Drama.

The Drama Generally, And Public Taste.

Notes on Shakespeare Shakespeare, A Poet Generally.

Shakespeare’s Judgment equal to his Genius.

Recapitulation, And Summary Of the Characteristics of Shakespeare’s Dramas.

Outline Of An Introductory Lecture Upon Shakespeare.

Order Of Shakespeare’s Plays.

Notes On The “Tempest.”

“Love’s Labour’s Lost.”

“Midsummer Night’s Dream.”

“Comedy Of Errors.”

“As You Like It.”

“Twelfth Night.”

“All’s Well That Ends Well.”

“Merry Wives Of Windsor.”

“Measure For Measure.”

“Cymbeline.”

“Titus Andronicus.”

“Troilus And Cressida.”

“Coriolanus.”

“Julius Cæsar.”

“Antony And Cleopatra.”

“Timon Of Athens.”

“Romeo And Juliet.”

Shakespeare’s English Historical Plays.

“King John.”

“Richard II.”

“Henry IV. — Part I.”

“Henry IV. — Part II.”

“Henry V.”

“Henry VI. — Part I.”

“Richard III.”

“Lear.”

“Hamlet.”

“Macbeth.”

“Winter’s Tale.”

“Othello.”

Notes on Ben Jonson.

Whalley’s Preface.

“Whalley’s ‘Life Of Jonson.’ ”

“Every Man Out Of His Humour.”

“Poetaster.”

“Fall Of Sejanus.”

“Volpone.”

“Apicæne.”

“The Alchemist.”

“Catiline’s Conspiracy.”

“Bartholomew Fair.”

“The Devil Is An Ass.”

“The Staple Of News.”

“The New Inn.”

Notes on Beaumont And Fletcher.

Harris’s Commendatory Poem On Fletcher.

Life Of Fletcher In Stockdale’s Edition, 1811.

“Maid’s Tragedy.”

“A King And No King.”

“The Scornful Lady.”

“The Custom Of The Country.”

“The Elder Brother.”

“The Spanish Curate.”

“Wit Without Money.”

“The Humorous Lieutenant.”

“The Mad Lover.”

“The Loyal Subject.”

“Rule A Wife And Have A Wife.”

“The Laws Of Candy.”

“The Little French Lawyer.”

“Valentinian.”

“Rollo.”

“The Wildgoose Chase.”

“A Wife For A Month.”

“The Pilgrim.”

“The Queen Of Corinth.”

“The Noble Gentleman.”

“The Coronation.”

“Wit At Several Weapons.”

“The Fair Maid Of The Inn.”

“The Two Noble Kinsmen.”

“The Woman Hater.”

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