Act iv. Sc. vii. 11. 159-178, p. 291.

The Friend, 1818, Essay VI. iii. 343, * Thekla (plays and sings).

Coleridge applies this to Sir Alex. Ball. 'The oak - forest bellows, the clouds gather, the damsel walks to and fro on the

NOTES TO green of the shore ; the wave breaks with 'THE DEATH OF WALLENSTEIN.' might, with might, and she sings out into

Act i. Sc. iv. 11. 48, 49, p. 311. Cf. the dark night, her eye discoloured with

Remorse, Act iii. Sc. ii. 11. 45, 46. weeping : the heart is dead, the world is empty, and further gives it nothing more

Actii. Sc. vi. l. 50, p. 324.

In all to the wish. Thou Holy One, call thy editions up to and including 1829, Colechild home. I have enjoyed the happi- ridge has this note. It has not been reness of this world, I have lived and have printed since :loved.

'I have here ventured to omit a con'I cannot but add here an imitation of siderable number of lines. I fear that I this song, with which the author of “ The should not have done amiss, had I taken Tale of Rosamond Gray and Blind Mar- this liberty more frequently. It is, howgaret" has favoured me, and which appears

ever, incumbent on me to give the original to me to have caught the happiest manner

with a literal translation. of our old ballads.

· Weh denen die auf dich vertraun, an 'The clouds are black’ning, the storms

Dich threat'ning,

Die sichre Hütte ihres Glückes lehnen, The cavern doth mutter, the green

Gelockt von deiner gastlichen Gestalt. wood moan;

Schnell, unverhofft, bei nächtlich stiller Billows are breaking, the damsel's heart

Weile aching,

Gährt's in dem tückschen Feuerschlunde, Thus in the dark night she singeth

ladet alone,

Sich aus mit tobender Gewalt, und weg Her eye upward roving :

Treibt über alle Pflanzungen der MenThe world is empty, the heart is dead

schen surely,

Der wilde Strom in grausender ZerstöhrIn this world plainly all seemeth

ung amiss ; To thy heaven, Holy One, take home

• WALLENSTEIN. thy little one,

Du schilderst deines Vaters Herz. Wie I have partaken of all earth's bliss,

Both living and loving.'

Beschreibst, so ist's in seinem Einge[Note of S. T. C. 1800, etc.]

weide, The text here differs from that printed

In dieser schwarzen Heuchlersbrust by Lamb in Works, 1818, i. 42, and again

gestaltet. by Canon Ainger (Poems, Plays, and

O mich hat Höllenkunst getäuscht. Mir Essays). Lamb did not again reprint the

sandte verses. None of these translations shews

Der Abgrund den verstecktesten der that Thekla was addressing the Virgin Mary


Schiller -Du Heilige being feminine.

Den Lügekundigsten herauf, und stellt'

ihn afterwards added to Thekla's song.

Als Freund an meine Seite. Wer vermag Act ii. Sc. xii. 11. 102-105, p. 266. It is

Der Hölle Macht zu widerstehn! Ich zog pointed out by Ferd. Freiligrath in the Den Basilisken auf an meinem Busen, Atheneum, Aug. 31, 1861, that Cole- Mit meinem Herzblut nährt' ich ihn, er ridge has here misapprehended the meaning

sog of Taboriten, which he has translated Sich schwelgend voll an meiner Liebe minstrels.' Taboriten was the name of

Brüsten, a branch of the Hussites.

Ich hatte nimmer Arges gegen ihn,

Weit offen liess ich des Gedankens Thore, adapting his translation of Wallenstein Und warf die Schüssel weiser Vorsicht for the stage—Kean having taken a fancy weg,

to exhibit himself in it’ (Life and Corr. v. Am Sternenhimmel, etc.

142). In the Forster Collection at South

Kensington is preserved a copy of the LITERAL TRANSLATION.

translation marked for acting by Macready. 'Alas! for those who place their con- Very interesting accounts of the original fidence on thee, against thee lean the MSS. from which Coleridge translated secure hut of their fortune, allured by thy

were contributed to the Athenæum for hospitable form. Suddenly, unexpectedly, June 15 and August 31, 1861, by in a moment still as night, there is a

Ferdinand Freiligrath. The MS. of the fermentation in the treacherous gulf of 'Camp' seems to have disappeared. fire ; it discharges itself with raging force, and away over all the plantations of men

230. Remorse, p. 360. drives the wild stream in frightful devasta

This Tragedy, a recast of Osorio (see tion. WALLENSTEIN. Thou art portraying • APPENDIX D'), was first performed at thy father's heart; as thou describest, even

Drury Lane, January 23, 1813, and ranso is it shaped in his entrails, in this black

for twenty nights. It was published at hypocrite's breast. O, the art of hell

same time as a pamphlet and went immedihas deceived me! The Abyss sent up to

ately into a second and third edition (see me the most spotted of the spirits, the * APPENDIX K' for titles, prefaces, promost skilful in lies, and placed him as a

logue by Lamb, and epilogue by Colefriend by my side. Who may withstand ridge). the power of hell ? I took the basilisk to

Osorio is first heard of in March 1797, my bosom, with my heart's blood I when Coleridge tells Cottle (E.R. i. 232) nourished him ; he sucked himself glutfull that Sheridan has asked him to write a at the breasts of my love. I never har

Tragedy. “I have no genius that way,' boured evil towards him ; wide open did I

he adds, Robert Southey has.' It was leave the door of my thoughts ; I threw

finished to the middle of the fifth act by away the key of wise foresight. In the September 13, and Coleridge took the MS. starry heaven, etc.—We find a difficulty to Bowles. By the middle of October in believing this to have been written by it was sent off to Drury Lane—without SCHILLER.

hope of its success, or even of its being Act iv. Sc. V. p. 347.

This dialogue acted,' Coleridge told Thelwall. He heard between Thekla and Neubrunn has been of its rejection by the beginning of Decemtransferred almost bodily to Remorse, Act ber (see Notes to Preface to Remorse in iii. Sc. ii. —the dialogue between Teresa ' APPENDIX K'). The MS. was not reand Valdez. The passages were not in turned, but formed part of the scanty Osorio

salvage of the fire at D. L. in 1809, and, Act iv. end of Sc. vi. p. 349. Schiller after vicissitudes, came to light, and was supplied the answer to the question of printed in 18737 (see Atheneum, April 5, Thekla's fate in his poem, “Thekla, Eine

1890, Art. "Coleridge's Osorio and ReGeisterstimme' (Thekla, the Voice of a

morse'). Spirit), which was translated by Matthew

The present owner of this MS. was Arnold—Thekla’s Answer' — first pub- that I might verify it with the printed

kind enough to send it across the Atlantic lished in his Poems, 1853.

text ; while another, which appears to be Act v. Sc. i. 11. 94-114, p. 351. See The Friend (1818), iii. 101.

l'Osorio : a Tragedy. As originally written in 1797, by S. T. Coleridge. Now first printed

... with the various readings of Remorse and Two attempts have been made to fit Monograph on the history of the Play. ... Coleridge's Wallenstein to the English By the author of Tennysoniana. London: J. stage. In 1823, as Southey informs Pearson, 1873.' The editor of this was also the Ticknor that "Coleridge talks of . editor of P. and D. IV. of S.T. C. 1877-80.

that given by Coleridge to Dr. Carlyon, The vine shall grow, but we shall never was courteously entrusted to me that I

see it.' might extract a few very interesting notes

Lamb had called his attention to the with which Coleridge had enriched it while

passage (June 14, 1796), though in another in Germany (see introductory note to

connection. OSORIO in APPENDIX D'). It has also

Act i. Sc. ii. 1. 229, p. 367. This line the little ‘Preface' which Dr. Carlyon

is also in the lines Addressed to a Young printed in his Early Years and Late

Man of Fortune, p. 68. Reflections (1856, i. 143). In this Coleridge calls his play everything that is bad

Act i. Sc. ii. l. 337, p. 369.

In an —'imperfect,'' obscure,' 'a mere embryo.' | annotated copy Coleridge says that here * The growth of Osorio's character is no

there should be a half-pause and dropping where explained, and yet I had most clear

of the voice-to suit the relaxation of the and psychologically accurate ideas of the metre. He adds that Gifford expressed whole of it.' In September 1800 Coleridge himself in Murray's shop to the effect that told Godwin (Macmillan's Magazine, April for this line Coleridge deserved whipping1864) he had abandoned an intention of this line !' (he exclaims) which he had rewriting the play. In January 1801 he

conceited to be a little beauty.' told Poole he had 'greatly added to and

Act iii. Sc. i. 11. 40-44.

Cf. What is altered' it and was about to publish it 'as Life ? p. 173. a poem.' But he did not, and nothing Act iii. Sc. i. Song, p. 379. In Wordsmore is heard of the piece until 1812, worth's Memorials of a Tour on the Conwhen, by the encouragement of Lord tinent (1822) there is this Note to his Byron, Osorio, recast and entitled Remorse, Hymn for the Boatmen, etc., which also was produced at Drury Lane in January has the refrain ‘Miserere Domine':- See 1813. It was also published as a pam- the beautiful Song in Mr. Coleridge's phlet (see "APPENDIX K,' p. 545). The Tragedy of “The Remorse,” Why is the Prologue by Lamb was a refurbished

Harp of Quantock silent ?' Rejected Address' composed for the D. L. In the annotated copy of P.W. 1828, Committee's prize in the previous October. Coleridge corrects the twelfth line of Song Remorse ran for twenty nights, a good success for those days, and was acted in

On the yellow moonlight sea' the provinces. Coleridge told Poole that

to quiet: calling it a 'strange misprint.' he would get more by it 'than by all my

In Osorio he wrote quiet,' but up to 1834 literary labours put together—nay, thrice

the word had always been yellow,' and is as much subtracting my heavy losses by allowed so to stand in two carefully corthe “Friend” – £400, including the

rected copies of Remorse (second edition) Copyright.'

I have examined. Act i. Sc. i. p. 360. This scene did not Act iii. Sc. ii. 11. 45, 46, p. 382. Taken exist in Osorio.

from the Death of Wallenstein, i. iv. II. Act i. Sc. i. 11. 56-59, p. 361. Cf. Destiny Remorse Coleridge says he will some day

48, 49, p. 311.

In an annotated copy of of Nations, ll. 165-168, p. 73.

weed out from it this and other plagiarAct i. Sc. ii. 11. 218-220, p. 367. See isms from himself and Schiller in the Walthese lines in ‘Fragment 18,' p. 454.

lenstein. Coleridge no doubt had in his mind these Act iii. Sc. ii. 11. 122 to end of speech, p. lines in Beaumont and Fletcher's The Two

383. In an annotated copy Coleridge Noble Kinsmen. Palamon and Arcite are writes : 'It was pleasing to observe, during conversing in prison :

the rehearsal, all the actors and actresses, · This is all our world :

and even the mechanics, on the stage, We shall know nothing here, but one clustering round while these lines were another :

repeating, just as if it had been a favourite Hear nothing but the clock that tells our

strain of music.' woes.

Act iii. Sc. ii. 11. 158-167, p. 384.


ii. 72).

These speeches taken almost bodily from two. To go into the minutia would take the dialogue between Thekla and Neu- more space than the importance of the brunn in Death of Wallenstein, Act iv. Sc. matter warrants, but the following Note V. p. 347

attached to 1. 248 (p. 397) in ed. 1877-80 Act iv. Sc. i. 11. 18-20, p. 385.

Cf. will shew one of the versions of the crisis of The Lime-tree Bower my Prison, ll. 17-19,

the tragedy. There is not a word of it in p. 93.

any copy of the first edition I have seen. Act. iv. Sc. i. ll. 37, 38, p. 386. In an

The curious may see the matter gone into

with some detail in the Atheneum, April annotated copy Coleridge speaks of the trouble he had to teach De Camp to speak

5, 1890:these lines properly --'a hurried under- 'In the first edition of Remorse, after voice---as anticipating Ordonio's scorn, the cry of No mercy !” “Naomi adand yet unable to suppress his own super

with the sword, and Alhadra stition !'

snatches it from him and suddenly stabs Act iv. Sc. i. 11. 68-73. See an inter- Ordonio. Alvar rushes through the Moors esting comment on this in Biog. Lit. (1817,

and catches him in his arms.” After Compare with The Pains of Sleep Ordonio's dying speech there are “shouts (p. 170) and The Visionary Hope (p. 171).

of Alvar! Alvar! behind the scenes. A See Atheneum, June 25, 1892, Art. ‘Cole

Moor rushes in." ridge's Osorio and Remorse,'

Moor. We are surprised! Away! away! Act iv. Sc. ii. p. 388. In the second

this instant ! edition a note to the heading 'Scene ii.'

The country is in arms ! Lord Valdez directed the reader to the Appendix,'

heads them, where was printed The Foster-Mother's

And still cries out, “My son ! my Alvar Tale. See p. 83, ‘Note 107,' and `AP

lives!” PENDIX K.'

Haste to the shore ! they come the oppoAct iv. Sc. ii. 11. 51-62.

Cf. Frag

site road.

Your wives and children are already safe. ment 79,' p. 462.

The boat is on the shore—the vessel waits. Act iv. Sc. iii. 11. 1-24, and long stage Alhadra. Thou then art Alvar ! to my direction which follows. This was first

aid and safety printed in second edition. I am disposed Thy word stands pledged. to think Alhadra's soliloquy was not

Alvar. Arm of avenging Heaven ! spoken on the stage, for fear the pit should

I had two cherish'd hopes—the one reinterpret 'hanging woods' as 'the gallows.'

mains, See a curious passage which seems to point

The other thou hast snatch'd from me : to this in Remains, ii. 48, 49, under “The

but my word Drama generally, and Public Taste.' See

Is pledged to thee; nor shall it be reAtheneum, June 25, 1892, Art. Cole

tracted. --1813.' ridge's Osorio and Remorse.'

About 1820, Coleridge told Allsop, The Act v. Sc. i. p. 392. A long scene

Remorse is certainly a great favourite of which opened the act in Osorio (q.v.) was

mine, the more so as certain pet abstract omitted. In Remorse it opens with The notions of mine are therein expounded.' Dungeon (see p. 85), and the following lines (31-105) were composed for Remorse.

231. Zapolya, p. 399. Act v. Sc. i. 11. 172-175.

Cf. The

First printed as a pamphlet before ChristAncient Mariner, ll. 255-258.

mas 1817. See `APPENDIX K,' p. 552. Act v. Sc. i. 11. 252, etc., pp. 397, 398. It was composed at Calne in the winter of There must have been three distinct issues 1815-16, under encouragement from Lord of the ‘first edition' of Remorse. This por- Byron, and rejected in March 1816 by tion differs in the copies used respectively the Committee of Drury Lane Theatre in in editing Osorio (1873) and P. and D. favour of Maturin's Bertram--the butterfly W. (1877-80), and all the copies I have which Coleridge broke on the wheel in examined agree in differing from these


Lit. The MS. was put into Murray's hands for publication, and money advanced on it, but in March 1817,

232. Job's Luck, p. 444. and against Coleridge's protests, it was redeemed by Rest Fenner and published

First printed in M. Post, Sept. 26, by him. 'It might go down in a collec

1801, with the heading The Devil out

witted': next as Epigram' in The Keeption, but alone it would be neither profit

sake for 1829. A correspondent of N. able to [the publisher] nor creditable to me.

and Q. (1st ser. ii. 516) points out that it . . If I published “Zapolya" at

is a translation of one of Owen's Epigrams, all, it should be with a dramatic essay

Bk. iii. 199. prefixed and two other tragedies, the Remorse greatly improved as one' (Coleridge to Fenner's partner, Curtis, March

233. Epigram 14, p. 444. 17, 1817, printed in Lippincott's Mag.

See an absurd story adapting this June 1874). "Fenner's action was justified epigram to the author of The Ancient by the success of Zapolya, from the pub

Mariner' in Biog. Lit. 1817, i. 28. Colelisher's point of view, at least, for two

ridge reprinted the original lines, without thousand copies were sold.

note or comment, in The Keepsake for PART II. Act i. Sc. i. 11. 25-28, p. 1829. 411. See an amusing story of the ‘metaphysics' in these lines told by Coleridge in the concluding chapter of Biog. Lit.

234. Epigrams 15 and 16, pp. 444, 445. Glycine's Song, p. 422. See also p. 186 In his own copy of the Ann. Anth. and Note 196.

(1800) Coleridge drew his pen through PART II. Act iv. Sc. i. 11. 44-49, p.

these and wrote on the margin : ‘Dull and 434. These lines were first added in

profane.' 1829, and ll. 50-53 rewritten,

PART II. Act iv. Sc. ii. 11. 4-6, pp. 235. Epigram 25 (the Epitaph on 435, 436. The editor of 1877-80 says that

Hazlitt), p. 446. in a copy of Zapolya then in Mr. Pickering's possession, Coleridge had added Considering the virulence with which some new lines here, making the passage

Hazlitt had attacked and pursued him, read thus:-

Coleridge's prose reflection (here first

printed) is, perhaps, as kind and forgiving · That but oppress'd me hitherto, now as could have been expected ; but one feels scares me.

that Coleridge falls short of the occasion You will ken Bethlen ?

in this lame adaptation of an old 'epitaph' Glycine. O at farthest distance, originally and essentially inappropriate. Yea, oft where Light's own courier-beam

exhausted Drops at the threshold, and forgets its 236. Epigrams 33-52, pp. 447-450. message,

The good, great Nlan (p. 169) was inA something round me of a wider reach

cluded in this series. In the second of the Feels his approach, and trembles back to

two issues of The Friend, No. XII., Epitell me.

grams Nos. 33, 54, 36, 35, 40, and 42 And the same moment I descry him, lady,

were printed on p. 192, replacing SpeciI will return to you.'

mens of Rabbinical Wisdom' discarded. 1 Coleridge appears to have written another

These double (contemporaneous) issues do play in the winter of 1815-16, which was declined not extend beyond No. XII. In The Friend, by Covent Garden. See letter to Dr. Brabant | Epigram 42' was headed ‘For a French printed in Westm. Rev. of July 1870 (p. 5), and

House-dog's Collar.' Epigram 49.' See Lamb's letters to Wordsworth of April 9 and 26,

some remarks à propos in Table Talk, May 1816 (Ainger's Letters, i. 302, 304). The MS. of 7, 1830. Lamb admired the effusion, and the second play seems to have disappeared with

said of the series : Take 'em altogether, out leaving any other trace.

they are as good as Harrington's.'

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