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Coleridge’s Image of Hamlet
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Samuel Taylor Coleridge borrowed ideas from his eighteenth-century predecessors, modified them into his theories such as ‘practical criticism’ and ‘mental philosophy’, introduced new terms such as ‘modern’, ‘romantic’ and ‘psychological’, then changed the course of criticism by demonstrating Shakespeare as an archetype of the creative imagination and by treating his plays as wholes rather than parts. Coleridge’s criticism of Shakespeare was characteristic of his philosophic depths and profound imagination. He identified Shakespeare’s creative practice with the process of shaping his identity. Coleridge’s notion of Shakespeare was connected to the study of the workings of Hamlet’s mind and his inward poetic world. He coined the term ‘psychological Method’ to express a profoundly philosophic mind, and formulated its principles by turning to Hamlet for an example of the methodically cultivated mind: Hamlet’s recollection is mediated by reflection, and his mental activity involved in developing a general truth from his experience. This method formed the ground for the Coleridgean smack of Hamlet as a man of exceptional intelligence and introspective genius. Coleridge’s image of Hamlet lent himself to be an object of the debate over his critical practice of noting down: his tendency towards digression, inconsistent pattern of thought, and insufficiency in making connections between various concepts. His contemporary critics were censorious of his incapacity to constitute an explanatory discourse. The Coleridge-Hamlet image, however, initiated the phenomenon ‘the Hamlet effect’, that is, the reading of him as a personal identification with his character. It has secured the most influential position in the history of the criticism of Hamlet.
Abstract
Samuel Taylor Coleridge borrowed ideas from his eighteenth-century predecessors, modified them into his theories such as ‘practical criticism’ and ‘mental philosophy’, introduced new terms such as ‘modern’, ‘romantic’ and ‘psychological’, then changed the course of criticism by demonstrating Shakespeare as an archetype of the creative imagination and by treating his plays as wholes rather than parts. Coleridge’s criticism of Shakespeare was characteristic of his philosophic depths and profound imagination. He identified Shakespeare’s creative practice with the process of shaping his identity. Coleridge’s notion of Shakespeare was connected to the study of the workings of Hamlet’s mind and his inward poetic world. He coined the term ‘psychological Method’ to express a profoundly philosophic mind, and formulated its principles by turning to Hamlet for an example of the methodically cultivated mind: Hamlet’s recollection is mediated by reflection, and his mental activity involved in developing a general truth from his experience. This method formed the ground for the Coleridgean smack of Hamlet as a man of exceptional intelligence and introspective genius. Coleridge’s image of Hamlet lent himself to be an object of the debate over his critical practice of noting down: his tendency towards digression, inconsistent pattern of thought, and insufficiency in making connections between various concepts. His contemporary critics were censorious of his incapacity to constitute an explanatory discourse. The Coleridge-Hamlet image, however, initiated the phenomenon ‘the Hamlet effect’, that is, the reading of him as a personal identification with his character. It has secured the most influential position in the history of the criticism of Hamlet.
참고문헌 (14)
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