Thomas Allsop, Letters, Conversations, and Recollections of Samuel Taylor Coleridge,2 volumes (London: Moxon, 1836; New York: Harper, 1836).

Pantisocracy occupied Coleridge’s energies and continued to influence his sense of vocation for some time after the scheme’s collapse in 1795. A communitarian ideal remained essential to his writing, as to the life he now proposed to live. Seven Lectures upon Shakespeare and Milton, by the late S. T. Coleridge[corrupt text], edited by J. Payne Collier (London: Chapman & Hall, 1856).Thelma by Samuel Coleridge-Taylor". Surrey Opera.org. Archived from the original on 1 April 2012 . Retrieved 7 September 2011. Richard & Josephine Haven and Maurianne Adams, Samuel Taylor Coleridge: An Annotated Bibliography of Criticism and Scholarship,volume 1: 1793-1899 (Boston: G. K. Hall, 1976). 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)

From 1810 to 1820, Coleridge gave a series of lectures in London and Bristol – those on Shakespeare renewed interest in the playwright as a model for contemporary writers. Much of Coleridge's reputation as a literary critic is founded on the lectures that he undertook in the winter of 1810–11, which were sponsored by the Philosophical Institution and given at Scot's Corporation Hall off Fetter Lane, Fleet Street. These lectures were heralded in the prospectus as "A Course of Lectures on Shakespeare and Milton, in Illustration of the Principles of Poetry." Coleridge's ill-health, opium-addiction problems, and somewhat unstable personality meant that all his lectures were plagued with problems of delays and a general irregularity of quality from one lecture to the next. Beer, "The Languages of Kubla Khan," in Coleridge's Imagination,edited by Richard Gravil, Lucy Newlyn, and Nicholas Roe (Cambridge: Cambridge University Press, 1985), pp. 218-262.

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Hints towards the Formation of a more Comprehensive Theory of Life,edited by Seth B. Watson (London: Churchill, 1848; Philadelphia: Lea & Blanchard, 1848). 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. A third sister, Mary, had already married a third poet, Robert Lovell, and both became partners in Pantisocracy. Lovell also introduced Coleridge and Southey to their future patron Joseph Cottle, but died of a fever in April 1796. Coleridge was with him at his death. Coleridge renounced poetic vocation in his thirtieth year and set out to define and defend the art as a practicing critic. His promotion of Wordsworth’s verse, a landmark of English literary response, proceeded in tandem with a general investigation of epistemology and metaphysics. Coleridge was preeminently responsible for importing the new German critical philosophy of Immanuel Kant and Friedrich von Schelling; his associated discussion of imagination remains a fixture of institutional criticism while his occasional notations on language proved seminal for the foundation and development of Cambridge English in the 1920s. In his distinction between culture and civilization Coleridge supplied means for a critique of the utilitarian state, which has been continued in our own time. And in his late theological writing he provided principles for reform in the Church of England. Coleridge’s various and imposing achievement, a cornerstone of modern English culture, remains an incomparable source of informed reflection on the brave new world whose birth pangs he attended. Who Was Samuel Coleridge-Taylor? (He's Not to Be Confused with Samuel Taylor Coleridge)", Londonist, 19 May 2017.

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.The lectures of 1811-1812 on Shakespeare were influential in the general revival of interest in the Elizabethan drama. Dr. Johnson’s 1765 preface to his edition of Shakespeare’s works had defended him as the poet of nature who held up a mirror to life and manners. Against this mimetic emphasis Coleridge lay stress on Shakespeare’s expressive language and the psychological acumen associated with it: “In the plays of Shakespeare, every man sees himself, without knowing that he does so.” A more important legacy of the lectures on Shakespeare is the idea of organicism, which has deep roots in his earlier critical reflection. In lecture notes on Shakespeare, Coleridge evokes organic form in terms which mimic the contemporary German critic August Wilhelm Schlegel. The form of Shakespeare’s dramas grew out of his characters and ideas, on Coleridge’s telling; the old dramatic conventions did not impede the conception. The structural variety of his plays—the seeming irregularities of The Tempest, in particular—arose from expressive requirements. Organic form redeemed Shakespeare’s unconventional dramatic constructions. There are minor discrepancies between the full score and the vocal score (the occasional passage occurring in different keys in the two, for example), but nothing that would inhibit the production of a complete, staged performance. Roberts, Brian (2012). "A London Legacy of Ira Aldridge: Henry Francis Downing and the Paratheatrical Poetics of Plot and Cast(e)". Modern Drama. 55 (3): 396–397. doi: 10.3138/md.55.3.386. S2CID 162466396. Coleridge’s contributions to the Lyrical Ballads volume included a short piece from Osorio called “The Foster-Mother’s Tale,” and a meditative poem in blank verse, “The Nightingale,” as well as “The Ancient Mariner.” The collaboration with Wordsworth is perhaps most striking in their development of the conversational idiom for which the subtitle of “The Nightingale, A Conversation Poem, Written in April, 1798” provided a name. It was not the first of the conversation poems; these are considered to begin from “The Eolian Harp” and to include “Reflections on Having Left a Place of Retirement’’ and “This Lime-Tree Bower My Prison” among his earlier meditative verses. Coleridge himself never distinguished them in this way, nor has Wordsworth’s poetry of the kind ever been described as conversational. Yet the term has come to stand for Coleridge’s decisive innovation as a poet and for his contribution to the formation of Wordsworth’s voice.