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Downloaded for Personal Non-Commercial Research Or Study, Without Prior Permission Or Charge https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] WHOLENESS IN FRAGMENTS: COLERIDGE’S SHAKESPEAREAN CRITICISM BY KYUNG-OOK LEE SUBMITTED FOR THE DEGREE OF PH.D. TO THE UNIVERSITY OF GLASGOW DEPARTMENT OF ENGLISH LITERATURE FEBRUARY 2000 ProQuest Number: 10395069 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10395069 Published by ProQuest LLO (2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 g : " ' f I T - f \ 2 Abstract Coleridge’s Shakespearean criticism is mostly composed of fragments— sometimes in the form of lectures, sometimes as notes, and sometimes scribbled on the blank leaves of pamphlets. In his lectures from 1808 to 1819 on literature, Coleridge seldom adhered to the prospectus. In many cases they ended up as fragments. Critics are divided between those who insist that Coleridge’s criticism is distinguished by the consistency of its principles and methodology and those who insist on its fragmentariness. The purpose of the thesis is to reveal the wholeness of a Shakespearean criticism that consists of fragments. Some critics such as Thomas MacFarland claim that fragmentation is the distinguishing condition of the Romantic era. According to him, a diasperactive form; that is, an actual incompleteness striving toward a hypothetical unity is common in the art of an era in which the fragment functions as the symbol for the whole. Lee Lust Brown argues that Coleridge hypothesised a textual whole which was both more than and prior to its parts and yet his own writing manifests a degree of literal fragmentation. He takes the fragment as a synecdoche of wholeness and claims that textual wholeness is not so much lost as deferred or displaced in the question of its possibility. Agreeing with these critics, I argue for the wholeness of Coleridge’s Shakespearean criticism. In so doing, first of all, I deal with the representative schools of Shakespearean criticism before or contemporary with Coleridge, those of his predecessors and of the German Idealists,' because these constitute the two main sources informing Coleridge’s Shakespearean criticism. Considering that Coleridge’s Shakespearean criticism is closely linked to his poetic principles, I try to define his poetic principles—the concept of nature, organicism, and imagination. I deal with Coleridge’s criticism of Shakespeare under three heads; Shakespeare as an artist, Shakespeare’s poetic works, and their appreciation. In chapter one, in order to trace the background of Coleridge’s Shakespearean criticism, I discuss the two distinctive schools of Shakespearean criticism contemporary with Coleridge; i.e., the British school and the German school. After describing the general characteristics of the two schools, I focus on several leading exponents of each of the two kinds of criticism; for the British school, Samuel Jolmson, David Garrick, and the character critics such as Richardson and, for the German school, I focus on the Schlegel brothers. In chapter two, I deal with the poetical principles that form the ground of Coleridge’s Shakespearean criticism; that is, the concept of nature, organicism and imagination. These unifying principles are themselves expounded by Coleridge in a series of fragments. The concept of nature forms the basis of his explanation not only of Shakespeare himself but of Shakespeare’s work. His notion of nature is closely related with his notion of art, organic unity, copy and imitation. I discuss these concepts by comparing them with similar concepts in his predecessors and in the Schlegel s. Another concept in Coleridge’s criticism is imagination. His concept of imagination is shown to differ not only from the empirical concept but also from the concept found in the German idealists. In chapter three, I show how a unified ideal of Shakespeare can be drawn from the fragments. Just as Coleridge believed that it was possible to formulate a portrait of Shakespeare as an artist from his writings, my focus is on the role of Shakespeare in giving substance to Coleridge’s concept of poetic genius, a concept that Coleridge arrives at by reconciling the notion of genius as it was formulated within the British empiricist tradition and by the German idealists. In chapter four, I begin by tracing Coleridge’s insistence that Shakespeare’s drama is an instance, indeed the highest instance, of all art. Hence Coleridge insists on the relationship between the different instances of the aesthetic. I, then, turn to Coleridge’s representation of the plays as themselves constituting the supreme instance of organic form. In his discussion of Shakespeare’s plots Coleridge characteristically focuses on the begiiming scenes only. Hence, his discussion of the plays is fragmentary. But for Coleridge the beginning scenes are the seeds in which the principle determining the development of the whole play is fully contained. A similar organic principle underlies Coleridge’s treatment of the different element of drama; form, character, language, pun, and wit. Coleridge insists that none of these can be studied separately and that they have their being only in their interrelationship. I focus on the relationship between theoretical and practical criticism, indicating Coleridge’s distinctiveness by comparing his notion of form, characterisation, and language with those of other 18^'’ centuiy critics. In chapter five, I deal with Coleridge’s appreciation of Shakespeare’s work. This chapter focuses both on ways of seeing and reading Shakespeare. The starting point of my argument is the question of whether or not Coleridge is appropriately regarded as a closet critic. Most commentators have insisted on Coleridge’s preference for reading rather than seeing plays but his writing shows that he was interested in seeing plays and in theatrical illusion. His focus moved to reading plays partly because of his dislike of performance but more importantly because of his dislike of current theatrical practices. Thus his theory of illusion applies equally to theatrical illusion and the reading experience. Coleridge establishes illusion as the product of the imaginations of both poet and audience working in co-operation. Finally, I discuss Coleridge’s idea of the perfect audience for Shakespeare’s plays, the audience that the plays imply. In conclusion I offer a general view of Coleridge’s Shakespearean criticism and indicate its crucial place in critical history. Contents Acknowledgments 7 Abbreviations 8 Introduction 11 Chapter 1: Reconciliation of British and German Sources 23 The British Connection 27 The Change of Aesthetic Orientation in the Latter Part of the Eighteenth Century 27 Samuel Johnson 34 David Garrick 46 Character Criticism 54 The German Connection 61 Chapter 2: Coleridge’s Concept of Nature and His Poetic Principles 78 The Concept of Nature 79 Nature as Natura Naturans 80 Organic Natm*e 88 Coleridge’s Artistic Principles 93 All 93 Organic Unity 97 Reconciliation of Opposites 104 Imagination 108 Chapter 3: Shakespeare: Nature Humanized 122 A Child of Nature 124 Shakespeare: Nature Humanized 128 Shakespeare as A Genius 131 Genius: Summing Whole Mental Faculties 139 Genius and Judgment 142 Shakespeare: Poet of Method 144 Shakespeare: Proteus and Spinozistic Deity 149 Shakespeare as A Prophet 155 A Man of his Age and of No Age 162 Chapter 4: Shakespeare’s Poetic Work: Nature Shakespearianized 168 Fine Arts and Shakespeare’s Poetic Works 170 Shakespeare’s Works and Painting 172 Shakespeare’s Works and Music 181 Shakespeare’s Poetic Work 187 Form 189 Characterisation 194 Language 203 Metre 215 Pun 217 Wit 219 Chapters : Appreciation of Shakespeare 223 The Concept of Theatre 224 Elizabethan Stage versus the Contemporaiy Stage 230 Coleridge’s Idea of Illusion 236 Illusion and Dream 239 Imitation and Coleridge’s Theory of Illusion 250 The Audience 254 Author-Audience-Work 262 Conclusion 271 Bibliography 284 Acknowledgements Professor Stephen Prickett contributed invaluably to the development of this thesis. Î am enormously indebted to Mr. Richard Cronin, who went beyond the call of duty to see this thesis to completion. Without these two supervisors of mine, this thesis would never have come into being. I wish to thank Rev. Finlay Mackenzie and his wife Christine Mackenzie for their concern and kindness. Several friends deserve special mention. I am profoundly grateful to my friends for their helping me to use a computer. My family gave me constant support. I am thankful to my sisters, brothers, brothers-in-law, sister-in-law, nephews, and nieces for their warm wishes and encouragement. I am especially gratehil to my two brothers, Sang won and Jaewon. Sangwon motivated me to study in Britain and Jaewon gave me invaluable comfort and encouragement whenever I was in a difficult situation.
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