ERNEST HARTLEY COLERIDGE

M.A., HON. F.R.S.L.

IN TWO VOLUMES

VOL. II: DRAMATIC WORKS AND APPENDICES

OXFORD AT THE CLARENDON PRESS 1912

[ii]

HENRY FROWDE, M.A. PUBLISHER TO THE UNIVERSITY OF OXFORD LONDON, EDINBURGH, NEW YORK TORONTO AND MELBOURNE

[iii]

CONTENTS OF VOL. II

ERRATA

On p. 1179, line 7, for Sept. 27, read Sept. 23.

On p. 1181, line 33, for Oct. 9 read Oct. 29.

[493]

DRAMATIC WORKS

[494]

[495]

THE FALL OF ROBESPIERRE[495:1]

AN HISTORIC DRAMA

[First Act by Coleridge: Second and Third by Southey—1794.]

TO

H. MARTIN, ESQ.

OF

JESUS COLLEGE

CAMBRIDGE

Dear Sir,

Accept, as a small testimony of my grateful attachment, the following Dramatic Poem, in which I have endeavoured to detail, in an interesting form, the fall of a man, whose great bad actions have cast a disastrous lustre on his name. In the execution of the work, as intricacy of plot could not have been attempted without a gross violation of recent facts, it has been my sole aim to imitate the empassioned and highly figurative language of the French orators, and to develope the characters of the chief actors on a vast stage of horrors.

Yours fraternally,

S. T. Coleridge.

Jesus College, September 22, 1794.

FOOTNOTES:

[495:1] First published (as an octavo pamphlet) at Cambridge by Benjamin Flower in 1794: included in Literary Remains, 1836, i. (1)-32. First collected in P. and D. W., 1877-80, in. (1)-39. 'It will be remarked,' writes J. D. Campbell (P. W., 1893, p. 646), 'that neither title-page nor dedication contains any hint of the joint authorship.' On this point Coleridge writes to Southey, September 19, 1794:—'The tragedy will be printed in less than a week. I shall put my name because it will sell at least a hundred copies in Cambridge. It would appear ridiculous to print two names to such a work. But if you choose it, mention it and it shall be done. To every man who praises it, of course I give the true biography of it.' Letters of S. T. C., 1895, i. 85.

[496]

ACT I

Scene—The Thuilleries.

Enter Tallien and Legendre.

Enter Robespierre, Couthon, St. Just, and Robespierre Junior.

[499]

Enter Robespierre and Barrere.

[501]

Scene changes to the house of Adelaide.

Adelaide enters, speaking to a Servant.

Enter Tallien.

Enter Billaud Varennes and Bourdon l'Oise.

[Adelaide retires.

Enter Barrere abruptly.

[Cry from the street of—No Tyrant! Down with the Tyrant!

FOOTNOTES:

[501:1] This Song was reprinted in Coleridge's Poems of 1796, and later under the title of To Domestic Peace, vide ante, pp. 71, 72.

ACT II

Scene—The Convention.

[506]

Enter St. Just, and mounts the Tribune.

[510]

[511]

(The two Robespierres, Couthon, St. Just, and Lebas are led off.)

ACT III

Scene continues.

Enter Dubois Crancé.

Enter a Messenger.

[512] Enter Merlin of Douay.

Enter another Messenger.

Enter another Messenger.

Enter another Messenger.

[513] Enter Bourdon l'Oise, sword in hand.

(Shouts from without—Down with the Tyrant!)

Enter Legendre—a pistol in one hand, keys in the other.

[514]

(Shouts from without—Live the Convention!—Down with the Tyrants!)

Enter Deputies from the Sections.

Enter Lecointre.

FINIS

[518]

OSORIO

A TRAGEDY[518:1]

DRAMATIS PERSONAE

[Not in MSS.]

[519] Time. The reign of Philip II., just at the close of the civil wars against the Moors, and during the heat of the persecution which raged against them, shortly after the edict which forbad the wearing of Moresco apparel under pain of death.

FOOTNOTES:

[518:1] First published in 1873 by Mr. John Pearson (under the editorship of R. H. Shepherd): included in P. and D. W. 1877-80, and in P. W. 1893.

Four MSS. are (or were) extant, (1) the transcript of the play as sent to Sheridan in 1797 (MS. I); (2) a contemporary transcript sent by Coleridge to a friend (MS. II); (3) a third transcript (the handwriting of a 'legal character') sold at Christie's, March 8, 1895 (MS. III); (4) a copy of Act I in Coleridge's handwriting, which formerly belonged to Thomas Poole, and is now in the British Museum (MS. P.). The text of the present issue follows MS. I. The variants are derived from MSS. I, II as noted by J. Dykes Campbell in P. W. 1893, from a MS. collation (by J. D. Campbell) of MS. III, now published for the first time, and from a fresh collation of MS. P.

Osorio was begun at Stowey in March, 1797. Two and a half Acts were written before June, four and a half Acts before September 13, 1797. A transcript of the play (MS. I) was sent to Drury Lane in October, and rejected, on the score of the 'obscurity of the last three acts', on or about December 1, 1797. See 'Art.' Coleridge, Osorio and Remorse, by J. D. Campbell, Athenaeum, April 8, 1890.

In the reign of Philip II shortly after the civil war against the Moors, and during the heat of the Persecution which raged against them. Maria an orphan of fortune had been espoused to Albert the eldest son of Lord Velez, but he having been supposed dead, is now addressed by Osorio the brother of Albert.

In the character of Osorio I wished to represent a man, who, from his childhood had mistaken constitutional abstinence from vices, for strength of character—thro' his pride duped into guilt, and then endeavouring to shield himself from the reproaches of his own mind by misanthropy.

Don Garcia (supposed dead) and Valdez father of Don Ordoño, and Guardian of Teresa di Monviedro. Don Garcia eldest son of the Marquis di Valdez, supposed dead, having been six years absent, and for the last three without any tidings of him.

Teresa Senñora [sic] di Monviedro, an orphan lady, bequeathed by both Parents on their death-bed to the wardship of the Marquis, and betrothed to Don Garcia—Gulinaez a Moorish Chieftain and ostensibly a new Christian—Alhadra his wife. MS. III.

For the Preface of MS. I, vide Appendices of this edition.

LINENOTES:

Osorio A Tragedy—Title] Osorio, a Dramatic Poem MS. II: Osorio, The Sketch of a Tragedy MS. III.

ACT THE FIRST[519:1]

Scene—The sea shore on the coast of Granada.

Velez, Maria.

[522]

[523]

Enter Francesco and Alhadra.

Enter Osorio.

[Alhadra is about to speak, but is interrupted by

[Maria looks at Francesco with disgust and horror. Osorio's appearance to be collected from the speech that follows.

[525]

[Osorio walks to the end of the stage. Velez follows soothing him.

[Osorio and Velez returning.

[Exeunt Velez, Francesco, and Osorio.

[Alhadra had been betrayed by the warmth of her feelings into an imprudence. She checks herself, yet recollecting Maria's manner towards Francesco, says in a shy and distrustful manner

[527]

[Enter Albert disguised as a Moresco, and in Moorish garments.

[Alhadra advances to Albert, who has walked to the back of the stage near the rocks. Maria drops her veil.

[Albert, on hearing this, pauses and turns round.

[Albert sinks down and hides his face in his garment [robe Remorse].

END OF ACT THE FIRST.

FOOTNOTES:

[519:1] For Act I, Scene 1 (ll. 1-118) of Remorse, vide post, pp. 820-3.

[528:1] With lines 219-21 compare Fragments from a Notebook, No. 17, p. 990.

LINENOTES:

Before 1: ACT THE FIRST (The Portrait and the Picture). Corr. in MS. III.

Scene—The sea shore, &c.] Scene—The Sea shore on the coast of Granada, in the Seigniory of the Marquis Valdez. Valdez Teresa corr. in MS. III. [For Velez, Maria, Osorio, Albert, Francesco, read Valdez, Teresa, Ordonio, Alvar, Isidore throughout, Remorse.

Before 1, Scene II.: Enter Teresa and Valdez. Remorse.

Osorio] Ordoño] corr. in MS. II.

Albert's] Garcia's corr. in MS. III.

mine] my Remorse, 1813.

him] him Remorse.

Or hover round, as he at midnight oft Remorse.

my] my Remorse. Stage-direction om. Remorse.

Erased MS. III.

Remorse.

Corr. in MS. III.

Marginal correction in MS. III, Remorse.

dreams] fancies Remorse.

Stage-direction om. Remorse.

Erased MS. III.

Marginal correction in MS. III, Remorse.

Stage-direction om. Remorse.

And most delight his spirit, go, make thou Remorse.

with] in Remorse.

my father] Lord Valdez Remorse.

dream] hear Remorse.

Erased MS. III.

Enter Monviedro with Alhadra.

Enter from the opposite side Don Ordonio

MS. III, Remorse.

Erased MS. III.

The] Our MS. III.

Remorse.

Have learnt by heart their falsehoods to gain time. Corr. in MS. III.

who (you know, &c., . . . with her Erased MS. III. The stage-direction (Alhadra here advances towards Ordonio) is inserted at the end of Francesco's speech.

om. MS. III.

Is Isidore. (Ordonio starts) Remorse.

Stage-direction (triumphantly) om. Remorse.

Remorse.

The stage-direction Maria looks, &c., om. Remorse.

Francesco (. . . Osorio) om. Remorse.

Val. You pressed upon him too abruptly father Remorse.

Ord. O heavens! I?—I doted?—Remorse. Stage-directions (starting, &c.), (Then, as, &c.) om. Remorse.

Before 144 stage direction ends at 'follows' Remorse.

Stage-direction (her eye, &c.) om. Remorse.

Till that] Until Remorse.

Stage-direction before 154 om. Remorse.

Ordonio (as they return to Valdez). Remorse.

Stage-direction om. Remorse.

do] do Remorse.

I hope, my lord, your merely human pity MS. III, Remorse.

Nay, nay . . . Ferdinand om. Remorse.

was] was Remorse.

Myself I'll sift him Remorse.

[Francesco's speech 'My lord you have it' is thus expanded]:—

Remorse.

Stage-direction om. Remorse.

Attributed to Valdez in Remorse.

I'll loiter yet awhile t'enjoy the sea breeze. Remorse.

The stage-direction, Alhadra had been, &c., was interpolated by S. T. C. in MS. III, and 'distrustful' is written 'mistrustful'. It is omitted in Remorse.

The line was originally written:—

and in this form it stands in the Poole MS. MSS. II, III have the line as amended, but have also this stage-direction '(perceiving that Alhadra is conscious she has spoken imprudently)'; and MS. II has the word me underlined.

Remorse.

In Poole MS. this line was originally—

stalk'd] walk'd Remorse.

on] by Remorse.

Interpolated by S. T. C.

MS. III.

foul officers] familiars Remorse.

ragged] rugged Remorse.

'(ironically)' only in MS. II.

And they do] And Christians Remorse.

Solely my complexion] I was a Moresco Remorse.

There] Where Remorse.

Remorse.

the dull bell counting Remorse.

blessed] all-cheering. Remorse.

my] our Remorse.

dreams] slumbers Remorse.

God] Heaven Remorse.

deliver'd] released Corr. in MS. III, Remorse.

fit] trance Remorse.

Fearless in act, but feeble in endurance Corr. in MS. III, Remorse.

MS. III erased: om. Remorse.

Between 249-50

Corr. in MS. III.

Between 250 and 263

[Alhadra advances to Alvar, who has walked to the back of the stage near the rocks. Teresa drops her veil.

Remorse.

Corr. in MS. III.

Before stage-direction affixed to 259.

Corr. in MS. III.

Philip the Second had forbidden under pain of death the Moorish Robes MS. II: Phillip (sic) the Second had prohibited under pain of death all the Moorish customs and garments MS. III.

the creature] a brother Corr. in MS. III.

Albert (retiring)] advancing as if to pass them Corr. in MS. III. Stage-direction om. Remorse.

Stage-direction om. Remorse.

Stage-direction om. Remorse.

om. Remorse.

Stage-direction They advance . . . followed by Alvar Corr. in MS. III: om. Remorse.

Alhadra (with bitter scorn). Corr. in MS. III.

om. Remorse.

Prefixed to 279. Alhadra walks away to the back of the stage, to the part where Alvar had first placed himself, stoops in the act of taking up a small Picture, looks at it and in dumb show appears as talking to herself. Corr. in MS. III.

Corr. in MS. III.

She deems me dead yet wears no mourning garments Remorse.

om. Remorse.

gentle maid] noble dame Remorse.

om. Remorse.

Between 285 and 288

Corr. in MS. III: Remorse.

Polluted] Dishonour'd MS. III, Remorse. [In MS. III S. T. C. substituted 'Polluted' for 'Dishonoured.'

Remorse.

Affixed to 296 During this speech Alhadra returns, and unobserved by Alvar and Teresa scans the picture, and in dumb show compares it with the countenance of Alvar. Then conceals it in her robe. MS. III.

Stage-direction om. Remorse.

threaddy] thready Remorse.

him] them Remorse.

Stage-direction om. Remorse.

sins] guilt Remorse.

all is] all as MS. III, Remorse.

MS. III erased.

foll.

Addition on margin of MS. III.

om. Remorse.

While] Whilst Remorse.

Interpolated by S. T. C. MS. III.

Could she walk here, if she had been a traitress Remorse.

[535]

ACT THE SECOND

Scene the First.—A wild and mountainous country. Osorio and Ferdinand are discovered at a little distance from a house, which stands under the brow of a slate rock, the rock covered with vines.

Ferdinand and Osorio.

[537]

[Osorio starts, looks at him wildly, then, after a pause, during which his features are forced into a smile.

[540]

[Exit Osorio. Ferdinand goes into his house.

Scene changes.

The inside of a cottage, around which flowers and plants of various kinds are seen.

Albert and Maurice.

Enter Osorio.

[Osorio walks leisurely round the room, and looks attentively at the plants.

[Albert grasps Maurice's hand in agitation.

[Exit Maurice.

[547]

[548]

[549]

Enter Maurice.

[Maurice goes out.

END OF ACT THE SECOND.

LINENOTES:

Before 1

A wild and mountainous Country. Ordonio and Isidore are discovered, supposed at a little distance from Isidore's house.

Remorse.

Had been my bed and pillow Remorse.

And how, my Lord, I pray you to name Remorse.

Stage-direction om. Remorse.

this world] mankind Remorse.

Stage-direction om. Remorse.

Between 24 and 26

Remorse.

The words in square brackets are interpolated in MS. I. They are in their place, as here, in MSS. II, III, and in Remorse.

on] upon Remorse.

Remorse.

Between 40 and 41

Remorse.

Isid. But now, &c. Remorse.

om. Remorse.

Isidore. Why—why, my lord! Remorse.

Between 50 and 53

Remorse.

Stage-direction before 53 om. Remorse.

Remorse.

After 63 Ord. Virtue—Remorse.

Isid. Tries to o'erreach me, &c. Remorse.

Stage-direction om. Remorse.

And those, the two Morescoes who were with you? Remorse.

Am not I a man? Remorse.

Stage-direction om. Remorse.

which] that Remorse.

his] its Remorse.

That woman is dishonoured Remorse.

him] his Remorse.

last] length Remorse.

Stage-direction om. Remorse.

He was his Maker's image undefac'd Remorse.

Stage-direction om. Remorse.

Stage-direction om. Remorse.

Stage-direction om. Remorse.

Isidore. You are disturb'd, my lord Remorse.

After 117 Ord. (starts). A gust, &c. Remorse.

Shame . . . dog om. Remorse.

Between 125 and 140.

Remorse.

robe] robes Remorse.

Stage-direction, a] the Remorse.

You cannot err. It is a small green dell Remorse.

Between 158 and 205:

Scene II.

The inside of a Cottage, around which flowers and plants of various kinds are seen. Discovers Alvar, Zulimez and Alhadra, as on the point of leaving.

Enter Ordonio.

Remorse.

[For lines 31-46 of Remorse, Act II, Scene II, vide supra Osorio, Act II, Scene II, lines 169-84.]

Stage-direction preceding 162:

Albert and an old servant both drest as Morescoes. Corr. in MS. III.

MS. III erased.

Corr. in MS. III.

Corr. in MS. III.

After Enter Osorio.

Corr. in MS. III.

om. MS. III.

Stage-directions (groaning, &c.) before 206, and (Albert, &c.) after 206 om. Remorse.

Zul. (to Alvar). Why, &c. Remorse.

in anguish] forgiveness Remorse.

Remorse.

Who] Hath Remorse.

[Exit Zulimez.

Remorse.

No, no!] O no! Remorse.

fits] suits Remorse.

Before 226 Ord. (aside). O what a, &c. Remorse.

Remorse.

Remorse.

And for the boon I ask of you but this Remorse.

Stage-direction om. Remorse.

Remorse.

After 242 Stage-direction om. Remorse.

Alv. (aside). Alas! &c. Remorse.

Have you no servants here, &c.? Remorse.

Stage-direction om. Remorse.

Remorse.

Stage-direction om. Remorse.

Stage-direction om. Remorse. God] Heaven Remorse.

What, art thou mad? Why look'st thou upward so? Remorse.

Stage-direction om. Remorse.

Stage-direction om. Remorse. Well—and this lady! Pray, proceed my lord MS. III. erased.

Stage-direction om. Remorse.

Before and after 287 Stage-direction om. Remorse.

this] the Remorse.

Stage-direction om. Remorse.

Ordonio. We'll hazard no delay. Be it to-night, Remorse.

Remorse.

Exit Ordonio. Alvar (alone, indignantly flings the purse away and gazes, &c. Remorse.

Thee perjur'd, thee a traitress! Thee dishonour'd! Remorse.

Between 312 and 313:

Remorse.

Affixed to 318-19 omitted.

(Ali re-enters).

MS. III.

318-20 and stage-directions [Maurice, &c.; (gazing, &c.) om. Remorse.

image] portrait Remorse.

shall] will Remorse.

[550]