Samuel taylor coleridge essay king lear

Why not, my lord?

samuel taylor coleridge hamlet essay

Regan: Good sir, no more; these are unsightly tricks: Return you to my sister. If then they chanc'd to slack you, We would controul them: if you will come to me For now I spy a danger I entreat you To bring but five-and-twenty; to no more Will I give place, or notice.

He was here fairly caught in the web of his own imagination. We have seen in Othello, how the unsuspecting frankness and impetuous passions of the Moor are played upon and exasperated by the artful dexterity of Iago.

O, let no woman's weapons, water-drops, Stain my man's cheeks! Of all Shakespeare's plays Macbeth is the most rapid, Hamlet the slowest in movement.

They let us know that the trial is but a trick; and that the grossness of the old king's rage is in part the natural result of a silly trick suddenly and most unexpectedly baffled and disappointed.

Samuel coleridge taylor

Strike her young bones, You taking airs, with lameness! Lear: Is this well spoken now? To Gonerill My train are men of choice and rarest parts, That all particulars of duty know; And in the most exact regard support The worships of their name. But alas! 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. It is with some difficulty that Lear gets to speak with his daughter Regan, and her husband, at Gloster's castle. Gonerill: Never afflict yourself to know the cause, But let his disposition have that scope That dotage gives it. Cornwall: Fie, sir, fie! How fares your majesty! Lear may well "beat at the gate which let his folly in," after, as the Fool says, "he has made his daughters his mothers.

Fortunately many sources still exist: lecture notes, newspaper reports, notes taken by members of the audience, mentions in letters. Regan: I cannot think my sister in the least Would fail her obligation; if, sir, perchance, She have restrain'd the riots of your followers, 'Tis on such ground, and to such wholesome end.

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The imagination is glad to take refuge in the half-comic, half-serious comments of the Fool, just as the mind under the extreme anguish of a surgical operation vents itself in sallies of wit. Fool: Thou wast a pretty fellow, when thou had'st no need to care for her frowning; now thou art an O without a figure: I am better than thou art now; I am a fool, thou art nothing. How fares your majesty! The true character of the two eldest daughters, Regan and Gonerill they are so thoroughly hateful that we do not even like to repeat their names breaks out in their answer to Cordelia who desires them to treat their father well—"Prescribe not us our duties"—their hatred of advice being in proportion to their determination to 'do wrong, and to their hypocritical pretension to do right. Looking on the Steward Gonerill: At your choice, sir. Lear: My curses on her! Only the trick of making tragedy-heroes and heroines out of shopkeepers and barmaids was too low for the age, and too unpoetic for the genius, of Beaumont and Fletcher, inferior in every respect as they are to their great predecessor and contemporary. If, till the expiration of your month, You will return and sojourn with my sister, Dismissing half your train, come then to me; I am now from home, and out of that provision Which shall be needful for your entertainment.

Coleridge was aware of the requirements of a number of different audiences for his varying literary output: he writes of the need to keep his audience at a lecture entertained.

To attempt to give a description of the play itself or of its effect upon the mind, is mere impertinence: yet we must say something.

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