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Osorio is a tragedy in blank verse by Samuel Taylor Coleridge. It was written in 1797 but was unperformed following its rejection by Drury Lane Theatre. Coleridge revised and recast the play sixteen years later, giving it the new title of Remorse. Remorse met with considerable critical and commercial success when it was first performed in 1813: it ran for twenty nights at Drury Lane and was issued in print three times within the year. Despite the play's success, later critics dismissed the work as an Elizabethan pastiche. Swinburne said Remorse had "little worth praise or worth memory".

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  • Osorio (play) (en)
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  • Osorio is a tragedy in blank verse by Samuel Taylor Coleridge. It was written in 1797 but was unperformed following its rejection by Drury Lane Theatre. Coleridge revised and recast the play sixteen years later, giving it the new title of Remorse. Remorse met with considerable critical and commercial success when it was first performed in 1813: it ran for twenty nights at Drury Lane and was issued in print three times within the year. Despite the play's success, later critics dismissed the work as an Elizabethan pastiche. Swinburne said Remorse had "little worth praise or worth memory". (en)
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  • Osorio is a tragedy in blank verse by Samuel Taylor Coleridge. It was written in 1797 but was unperformed following its rejection by Drury Lane Theatre. Coleridge revised and recast the play sixteen years later, giving it the new title of Remorse. Remorse met with considerable critical and commercial success when it was first performed in 1813: it ran for twenty nights at Drury Lane and was issued in print three times within the year. Despite the play's success, later critics dismissed the work as an Elizabethan pastiche. Swinburne said Remorse had "little worth praise or worth memory". Historicist scholars, however, have identified a revolutionary viewpoint embedded within Osorio which Coleridge, disavowing his youthful radicalism, sought to dilute when he later reformulated the work to create Remorse. Set in sixteenth-century Granada, the play is notable for its use of Gothic elements such as a castle, dungeon, cave and the supernatural. Coleridge's use of these may represent an attempt to elevate what he saw as the vulgar and sensational trappings of popular Gothic plays by situating them within a more refined form of poetic drama. (en)
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