Burgoyne, Daniel. [and Edgar Allan Poe]. 21 (2001).

Hough, Barry; Howard Davis. (Open Book Publishers 2011). Using a new publishing model, this complete book is available open access through Google. Says the publisher's blurb: "Samuel Taylor Coleridge is best known as a great poet and literary theorist, but for one, quite short, period of his life he held real political power - acting as Public Secretary to the British Civil Commissioner in Malta in 1805. This was a formative experience for Coleridge which he later identified as being one of the most instructive in his entire life. In this volume, Barry Hough and Howard Davis show how Coleridge's actions whilst in a position of power differ markedly from the idealism he had advocated before taking office - shedding new light on Coleridge's sense of political and legal morality."

Graver, Bruce and Ronald Tetreault. 9 (1998).

 An essay on the contemporary relevance of Coleridge's political ideas.  (Australia) 19 June 2004.

Koenig-Woodyard, Chris. 10 (1998).

A selective list of online literary criticism and analysis for the nineteenth-century English Romantic poet Samuel Taylor Coleridge, with links to reliable biographical and introductory material and signed, peer-reviewed, and scholarly literary criticism.

- - -. On contemporary parodies of "Christabel." 15 (1999).

Text for "Christabel," "Constancy to an Ideal Object," "Dejection: An Ode: and other poems by Coleridge. Published by , a project of magazine.

Brown, Eric C.  [Dante's , trans. by Rev Henry Boyd (1802)].  38, 4 (Autumn 1998).

- - -. A review of a new edition aimed at students. 19 (2000).

Ib. sc. 3. This low soliloquy of the Porter and his few speeches afterwards, I believe to have been written for the mob by some other hand, perhaps with Shakspeare's consent; and that finding it take, he with the remaining ink of a pen otherwise employed, just interpolated the words—

Kooy, Michael John. A review of by Rosemary Ashton. .

Ib. sc. 2. Now that the deed is done or doing—now that the first reality commences. Lady Macbeth shrinks. The most simple sound strikes terror, the most natural consequences are horrible, whilst previously every thing, however awful, appeared a mere trifle; conscience, which before had been hidden to Macbeth in selfish and prudential fears, now rushes in upon him in her own veritable person:

Caldwell, Lauren.  [and Matthew Arnold].  45, 4 (Winter 2007) [preview of article only].

Smith, Christopher. 9 (1998).

Mr. Coleridge has "a mind reflecting ages past:" his voice is like the echo of the congregated roar of the "dark rearward and abyss" of thought. He who has seen a mouldering tower by the side of a chrystal lake, hid by the mist, but glittering in the wave below, may conceive the dim, gleaming, uncertain intelligence of his eye: he who has marked the evening clouds uprolled (a world of vapours), has seen the picture of his mind, unearthly, unsubstantial, with gorgeous tints and ever-varying forms—

Fulford, Tim.  Fulford considers gendered poetics and Coleridge.  13 (1999).

Weinberg, Alan. [and Percy Bysshe Shelley]. 22 (2001).

Fogle, Richard Harter. Fogel begins, "Coleridge's celebrated theory of dramatic illusion was doubtless forumulated to deal with the problem of Shakespeare and the 'three unities.'" 4, 4 (1960) pp. 33-44 [first page only].

Levy, Michelle.   (2004) [gothic fiction; and Mary Shelley] [abstract only].

Felluga, Dino. A review of by Richard E. Matlak. .

It was not to be supposed that Mr. Coleridge could keep on at the rate he set off; he could not realize all he knew or thought, and less could not fix his desultory ambition; other stimulants supplied the place, and kept up the intoxicating dream, the fever and the madness of his early impressions. Liberty (the philosopher's and the poet's bride) had fallen a victim, meanwhile, to the murderous practices of the hag, Legitimacy. Proscribed by court-hirelings, too romantic for the herd of vulgar politicians, our enthusiast stood at bay, and at last turned on the pivot of a subtle casuistry to the unclean side: but his discursive reason would not let him trammel himself into a poet-laureate or stamp-distributor, and he stopped, ere he had quite passed that well-known "bourne from whence no traveller returns" — and so has sunk into torpid, uneasy repose, tantalized by useless resources, haunted by vain imaginings, his lips idly moving, but his heart forever still, or, as the shattered chords vibrate of themselves, making melancholy music to the ear of memory! Such is the fate of genius in an age, when in the unequal contest with sovereign wrong, every man is ground to powder who is not either a born slave, or who does not willingly and at once offer up the yearnings of humanity and the dictates of reason as a welcome sacrifice to besotted prejudice and loathsome power.