Between 1810 and 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.
As a result of these factors, Coleridge often failed to prepare anything but the loosest set of notes for his lectures and regularly entered into extremely long digressions which his audiences found difficult to follow.
However, it was the lecture on Hamlet given on 2 January 1812 that was considered the best and has influenced Hamlet studies ever since.
Before Coleridge, Hamlet was often denigrated and belittled by critics from Voltaire to Dr. Johnson.
Coleridge rescued the play's reputation, and his thoughts on it are often still published as supplements to the text.

In 1812 he allowed Robert Southey to make use of extracts from his vast number of private notebooks in their collaboration Omniana; Or, Horae Otiosiores.

In August 1814, Coleridge was approached by Lord Byron's publisher, John Murray, about the possibility of translating Goethe's classic Faust (1808).
Coleridge was regarded by many as the greatest living writer on the demonic and he accepted the commission, only to abandon work on it after six weeks.
Until recently, scholars were in agreement that Coleridge never returned to the project, despite Goethe's own belief in the 1820s that he had in fact completed a long translation of the work.
In September 2007, Oxford University Press sparked a heated scholarly controversy by publishing an English translation of Goethe's work that purported to be Coleridge's long-lost masterpiece (the text in question first appeared anonymously in 1821).

Between 1814 and 1816, Coleridge lived in Calne, Wiltshire and seemed able to focus on his work and manage his addiction, drafting Biographia Literaria.
He rented rooms from a local surgeon, Mr Page, on Church Street, just opposite the entrance to the churchyard.
A blue plaque marks the property today.

In April 1816, Coleridge, with his addiction worsening, his spirits depressed, and his family alienated, took residence in the Highgate homes, then just north of London, of the physician James Gillman, first at South Grove and later at the nearby 3 The Grove.
It is unclear whether his growing use of opium (and the brandy in which it was dissolved) was a symptom or a cause of his growing depression.
Gillman was partially successful in controlling the poet's addiction.
Coleridge remained in Highgate for the rest of his life, and the house became a place of literary pilgrimage for writers including Carlyle and Emerson.

In Gillman's home, Coleridge finished his major prose work, the Biographia Literaria (mostly drafted in 1815, and finished in 1817), a volume composed of 23 chapters of autobiographical notes and dissertations on various subjects, including some incisive literary theory and criticism.
He composed a considerable amount of poetry, of variable quality.
He published other writings while he was living at the Gillman homes, notably the Lay Sermons of 1816 and 1817, Sibylline Leaves (1817), Hush (1820), Aids to Reflection (1825), and On the Constitution of the Church and State (1830).
He also produced essays published shortly after his death, such as Essay on Faith (1838) and Confessions of an Inquiring Spirit (1840).
A number of his followers were central to the Oxford Movement, and his religious writings profoundly shaped Anglicanism in the mid-nineteenth century.

Coleridge also worked extensively on the
Between 1810 and 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. As a result of these factors, Coleridge often failed to prepare anything but the loosest set of notes for his lectures and regularly entered into extremely long digressions which his audiences found difficult to follow. However, it was the lecture on Hamlet given on 2 January 1812 that was considered the best and has influenced Hamlet studies ever since. Before Coleridge, Hamlet was often denigrated and belittled by critics from Voltaire to Dr. Johnson. Coleridge rescued the play's reputation, and his thoughts on it are often still published as supplements to the text.
In 1812 he allowed Robert Southey to make use of extracts from his vast number of private notebooks in their collaboration Omniana; Or, Horae Otiosiores.
In August 1814, Coleridge was approached by Lord Byron's publisher, John Murray, about the possibility of translating Goethe's classic Faust (1808). Coleridge was regarded by many as the greatest living writer on the demonic and he accepted the commission, only to abandon work on it after six weeks. Until recently, scholars were in agreement that Coleridge never returned to the project, despite Goethe's own belief in the 1820s that he had in fact completed a long translation of the work. In September 2007, Oxford University Press sparked a heated scholarly controversy by publishing an English translation of Goethe's work that purported to be Coleridge's long-lost masterpiece (the text in question first appeared anonymously in 1821).
Between 1814 and 1816, Coleridge lived in Calne, Wiltshire and seemed able to focus on his work and manage his addiction, drafting Biographia Literaria. He rented rooms from a local surgeon, Mr Page, on Church Street, just opposite the entrance to the churchyard. A blue plaque marks the property today.
In April 1816, Coleridge, with his addiction worsening, his spirits depressed, and his family alienated, took residence in the Highgate homes, then just north of London, of the physician James Gillman, first at South Grove and later at the nearby 3 The Grove. It is unclear whether his growing use of opium (and the brandy in which it was dissolved) was a symptom or a cause of his growing depression. Gillman was partially successful in controlling the poet's addiction. Coleridge remained in Highgate for the rest of his life, and the house became a place of literary pilgrimage for writers including Carlyle and Emerson.
In Gillman's home, Coleridge finished his major prose work, the Biographia Literaria (mostly drafted in 1815, and finished in 1817), a volume composed of 23 chapters of autobiographical notes and dissertations on various subjects, including some incisive literary theory and criticism. He composed a considerable amount of poetry, of variable quality. He published other writings while he was living at the Gillman homes, notably the Lay Sermons of 1816 and 1817, Sibylline Leaves (1817), Hush (1820), Aids to Reflection (1825), and On the Constitution of the Church and State (1830). He also produced essays published shortly after his death, such as Essay on Faith (1838) and Confessions of an Inquiring Spirit (1840). A number of his followers were central to the Oxford Movement, and his religious writings profoundly shaped Anglicanism in the mid-nineteenth century.
Coleridge also worked extensively on the
Samuel Taylor Coleridge