The robbers and the police
British romantic drama and the Gothic treacheries of Coleridge’s Remorse
in European Gothic
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter explores Samuel Taylor Coleridge's Remorse by focusing on Coleridge's response to, and assimilation of, the best-known and most controversial foreign text of Romantic England: Friedrich Schiller's early Sturm und Drang masterpiece Die Rauber. Coleridge's adaptation of The Robbers made the protorevolutionary motif of the wronged but virtuous son palatable, enjoyable and even commercially profitable for British theatrical culture during the years of the counter-revolutionary consolidation. Virtually all aspects of Remorse recapitulate the effects of German and Anglo-German robber and revenge drama. Remorse is set in a sixteenth-century Spain which is clearly a police state, not unlike the Regency Britain of Coleridge's own experience. One of the many features that link Remorse with the Gothic heritage in fiction and drama is Coleridge's play's obvious fascination with techniques of supervision, penalization and imprisonment.

European Gothic

A spirited exchange 1760-1960

Editor: Avril Horner


All Time Past Year Past 30 Days
Abstract Views 70 19 0
Full Text Views 38 10 0
PDF Downloads 26 13 1