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Seven Lectures upon Shakespeare and Milton, by the late S. T. Coleridge[corrupt text], edited by J. Payne Collier (London: Chapman & Hall, 1856). By 1896, Coleridge-Taylor was already earning a reputation as a composer. He was later helped by Edward Elgar, who recommended him to the Three Choirs Festival. His "Ballade in A minor" was premiered there. His early work was also guided by the influential music editor and critic August Jaeger of music publisher Novello; he told Elgar that Taylor was "a genius". Date reflects date of collection, as, although stated to have been published within the literary remains, the edition was not stated, and the first publication date not found

Who Extracted a Passage from a poem without adding a word respecting the context, and then derided it as unitelligible. Le Dictionnaire Bouillet au XIX esiècle affirme que le mérite de Coleridge comme poète est d'avoir protesté contre les lieux communs et la littérature factice de son temps, d'avoir consulté la nature, d'avoir ramené l'attention sur le Moyen Âge et suscité Byron. Coleridge brillait par l'esprit: un des grands cafés de Londres lui versait des appointements pour qu'il y tînt conversation.This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. ( December 2021) ( Learn how and when to remove this template message) Sir Malcolm Sargent conducts British Music includes "Othello Suite" – New Symphony Orchestra. Label: Beulah Records 1PD13

Nicolas Roe, Wordsworth and Coleridge: The Radical Years(Oxford & New York: Oxford University Press, 1987). In 1794, during a walking tour from Cambridge where he was an undergraduate, he met Robert Southey and together they devised a plan to set up a commune of six families in the valley of the Susquehanna, New England, a scheme which eventually collapsed in argument and conflict. Coleridge and Southey married two of three sisters who had been involved in the abortive plans. Coleridge and his wife, Sara, then moved to Nether Stowey, with their now young family and it was near here that Coleridge met William Wordsworth and began a friendship which, despite difficulties, had a profound influence on the work of both poets, and on the development of English poetry itself. Most of Coleridge’s best work, and all the poems recorded here, were written during the years 1797–8 between walking and talking with Wordsworth and his sister Dorothy. Community after the collapse of Pantisocracy meant a wife and family, impassioned friendships based on shared concerns, and the company of kindred spirits. Thomas Poole, a prosperous tanner of good family in the tiny Somerset village of Nether Stowey, became Coleridge’s closest associate in the uncertain period following his return to Bristol in 1796. The arduous and ultimately futile enterprise of The Watchman led him to seek a steady haven where he might work and write in sympathetic surroundings. Supporting Sara and their newborn son, Hartley (born September 1796), was a priority: “Literature will always be a secondary Object with me.” There was something desperate in such a resolution, and it proved hard to keep after their move to a small thatched cottage in Nether Stowey at the end of 1796.

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Date reflects date of collection, as, although stated to have been published within the literary remains, the edition was not stated, and the first publication date not found. Samuel Taylor Coleridge is the premier poet-critic of modern English tradition, distinguished for the scope and influence of his thinking about literature as much as for his innovative verse. Active in the wake of the French Revolution as a dissenting pamphleteer and lay preacher, he inspired a brilliant generation of writers and attracted the patronage of progressive men of the rising middle class. As William Wordsworth’s collaborator and constant companion in the formative period of their careers as poets, Coleridge participated in the sea change in English verse associated with Lyrical Ballads (1798). His poems of this period, speculative, meditative, and strangely oracular, put off early readers but survived the doubts of Wordsworth and Robert Southey to become recognized classics of the romantic idiom. Coleridge-Taylor composed a violin concerto for the American violinist Maud Powell. The American performance of the work was subject to rewriting because the parts were lost en route—not, as legend has it, on the RMS Titanic but on another ship. [11] The concerto has been recorded by Philippe Graffin and the Johannesburg Philharmonic Orchestra under Michael Hankinson (nominated "Editor's Choice" in Gramophone magazine), Anthony Marwood and the BBC Scottish Symphony Orchestra under Martyn Brabbins (on Hyperion Records), and Lorraine McAslan and the London Philharmonic Orchestra conducted by Nicholas Braithwaite (on the Lyrita label). It was also performed at Harvard University's Sanders Theatre in the autumn of 1998 by John McLaughlin Williams and William Thomas, as part of the 100th-anniversary celebration of the composition of Hiawatha's Wedding Feast. M. H. Abrams, Natural Supernaturalism: Tradition and Revolution in Romantic Literature(New York: Norton, 1971).