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The Eolian Harp is a poem written by Samuel Taylor Coleridge in 1795 and published in his 1796 poetry collection. It is one of the early conversation poems and discusses Coleridge's anticipation of a marriage with Sara Fricker along with the pleasure of conjugal love .
Reflections on Having Left a Place of Retirement is a poem written by English poet Samuel Taylor Coleridge in 1796. Like his earlier poem The Eolian Harp, it discusses Coleridge's understanding of nature and his married life, which was suffering from problems that developed after the previous poem.
20th-century literary critics often categorise eight of Coleridge's poems (The Eolian Harp, Reflections on having left a Place of Retirement, This Lime-Tree Bower my Prison, Frost at Midnight, Fears in Solitude, The Nightingale: A Conversation Poem, Dejection: An Ode, To William Wordsworth) as a group, usually as his "conversation poems".
Samuel Taylor Coleridge (/ ˈ k oʊ l ə r ɪ dʒ / KOH-lə-rij; [1]) (21 October 1772 – 25 July 1834) was an English poet, literary critic, philosopher, and theologian who was a founder of the Romantic Movement in England and a member of the Lake Poets with his friend William Wordsworth.
The Eolian Harp. "My pensive Sara! thy soft cheek reclined" 1795 1796 To the Author of Poems [Joseph Cottle] published anonymously at Bristol in September 1795 "Unboastful Bard! whose verse concise yet clear" 1795 1795, September The Silver Thimble.
When Coleridge's Poems on Various Subjects was reviewed, few reviewers paid attention to Lines Written at Shurton Bars. [15] John Aikin, in the June 1796 Monthly Review, states, "The most of [the 'poetical Epistles'], addressed to his 'Sara', is rather an ode, filled with picturesque imagery: of which the follow stanzas [lines 36–60] compose a very striking sea-piece". [16]
It is such lyrics and conversation poems as "The Eolian Harp" and "Lines Written at Shurton Bars" that are seen as prefiguring the great works of Coleridge's maturity. [7] [36] [37] Lawrence Hanson, for example, wrote that these "are saved by their spontaneity and lightness from the confusion of overmuch thought. They contain hints of the ...
Coleridge originally had no intention of making his notebooks public, but in his later years he came to think of them as a legacy to be passed down to his disciples. He even allowed his friend Robert Southey to use a number of extracts in their collaborative work Omniana , published in 1812 and reprinted in an expanded form in 1836.