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class="vector-toc-numb">2.5</span> <span>Fears in Solitude</span> </div> </a> <ul id="toc-Fears_in_Solitude-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-The_Nightingale:_A_Conversation_Poem" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#The_Nightingale:_A_Conversation_Poem"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.6</span> <span>The Nightingale: A Conversation Poem</span> </div> </a> <ul id="toc-The_Nightingale:_A_Conversation_Poem-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Dejection:_An_Ode" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Dejection:_An_Ode"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.7</span> <span>Dejection: An Ode</span> </div> </a> <ul id="toc-Dejection:_An_Ode-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-To_William_Wordsworth" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#To_William_Wordsworth"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.8</span> <span>To William Wordsworth</span> </div> </a> <ul id="toc-To_William_Wordsworth-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Themes" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Themes"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Themes</span> </div> </a> <ul id="toc-Themes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Critical_response" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Critical_response"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Critical response</span> </div> </a> <ul id="toc-Critical_response-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Notes" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> 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Click here for more information."><img alt="This is a good article. Click here for more information." src="//upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/19px-Symbol_support_vote.svg.png" decoding="async" width="19" height="20" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/29px-Symbol_support_vote.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/39px-Symbol_support_vote.svg.png 2x" data-file-width="180" data-file-height="185" /></a></span></div></div> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Poems composed by Samuel Taylor Coleridge</div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Samuel_Taylor_Coleridge_by_Washington_Allston_retouched.jpg" class="mw-file-description"><img alt="Painting of a well-dressed man in a 19th-century coat with a ruffled collar at his throat. His grey hair is short and he has sideburns. He is looking solemnly into the distance." src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f2/Samuel_Taylor_Coleridge_by_Washington_Allston_retouched.jpg/220px-Samuel_Taylor_Coleridge_by_Washington_Allston_retouched.jpg" decoding="async" width="220" height="291" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f2/Samuel_Taylor_Coleridge_by_Washington_Allston_retouched.jpg/330px-Samuel_Taylor_Coleridge_by_Washington_Allston_retouched.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f2/Samuel_Taylor_Coleridge_by_Washington_Allston_retouched.jpg/440px-Samuel_Taylor_Coleridge_by_Washington_Allston_retouched.jpg 2x" data-file-width="2400" data-file-height="3175" /></a><figcaption>Samuel Taylor Coleridge portrayed by <a href="/wiki/Washington_Allston" title="Washington Allston">Washington Allston</a> in 1814</figcaption></figure> <p>The <b>conversation poems</b> are a group of at least eight poems composed by <a href="/wiki/Samuel_Taylor_Coleridge" title="Samuel Taylor Coleridge">Samuel Taylor Coleridge</a> (1772–1834) between 1795 and 1807. Each details a particular life experience which led to the poet's examination of nature and the role of poetry. They describe virtuous conduct and man's obligation to God, nature and society, and ask as if there is a place for simple appreciation of nature without having to actively dedicate one's life to <a href="/wiki/Altruism" title="Altruism">altruism</a>. </p><p>The conversation poems were grouped in the 20th century by literary critics who found similarity in focus, style and content. The series title was devised to describe verse where Coleridge incorporates conversational language while examining higher ideas of nature and morality. The works are held together by common themes, in particular they share meditations on nature and man's place in the universe. In each, Coleridge explores his idea of "One Life", a belief that people are spiritually connected through a universal relationship with God that joins all natural beings. </p><p>Critics have disagreed on which poem in the group is strongest. <i>Frost at Midnight</i> is usually held in high esteem, while <i>Fears in Solitude</i> is generally less well regarded. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Grouping">Grouping</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Conversation_poems&action=edit&section=1" title="Edit section: Grouping"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>20th-century literary critics often categorise eight of Coleridge's poems (<i>The Eolian Harp</i>, <i>Reflections on having left a Place of Retirement</i>, <i>This Lime-Tree Bower my Prison</i>, <i>Frost at Midnight</i>, <i>Fears in Solitude</i>, <i>The Nightingale: A Conversation Poem</i>, <i>Dejection: An Ode</i>, <i>To William Wordsworth</i>) as a group, usually as his "conversation poems". The term was coined in 1928 by George McLean Harper, who used the subtitle of <i>The Nightingale: A Conversation Poem</i> (1798) to describe all eight.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Magnuson_2002,_45_2-0" class="reference"><a href="#cite_note-Magnuson_2002,_45-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Harper considered these poems as a form of <a href="/wiki/Blank_verse" title="Blank verse">blank verse</a> that is "...more fluent and easy than Milton's, or any that had been written since Milton".<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> In 2006, Robert Koelzer wrote about another aspect of this apparent "easiness", noting that "<i>The Eolian Harp</i> and <i>The Nightingale</i> maintain a middle register of speech, employing an idiomatic language that is capable of being construed as un-symbolic and un-musical: language that lets itself be taken as 'merely talk' rather than rapturous 'song'."<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Coleridge.jpeg" class="mw-file-description"><img alt="Head and shoulders etching of a young man in a high collar and buttoned coat. He is looking at the viewer." src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e7/Coleridge.jpeg/220px-Coleridge.jpeg" decoding="async" width="220" height="317" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e7/Coleridge.jpeg/330px-Coleridge.jpeg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e7/Coleridge.jpeg/440px-Coleridge.jpeg 2x" data-file-width="485" data-file-height="698" /></a><figcaption>Portrait of Coleridge</figcaption></figure> <p><a href="/wiki/M._H._Abrams" title="M. H. Abrams">M. H. Abrams</a> wrote a broad description of the works in 1965. He observed that in each, the speaker "begins with a description of the landscape; an aspect or change of aspect in the landscape evokes a varied by integral process of memory, thought, anticipation, and feeling which remains closely intervolved with the outer scene. In the course of this meditation the lyric speaker achieves an insight, faces up to a tragic loss, comes to a moral decision, or resolves an emotional problem. Often the poem rounds itself to end where it began, at the outer scene, but with an altered mood and deepened understanding which is the result of the intervening meditation."<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> In fact, Abrams was describing both the conversation poems and later works influenced by them. Abrams' essay has been described as a "touchstone of literary criticism".<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> As Paul Magnuson wrote in 2002, "Abrams credited Coleridge with originating what Abrams called the 'greater Romantic lyric', a genre that began with Coleridge's 'Conversation' poems, and included <a href="/wiki/William_Wordsworth" title="William Wordsworth">William Wordsworth</a>'s <i><a href="/wiki/Tintern_Abbey" title="Tintern Abbey">Tintern Abbey</a></i>, <a href="/wiki/Percy_Bysshe_Shelley" title="Percy Bysshe Shelley">Percy Bysshe Shelley</a>'s <i><a href="/w/index.php?title=Stanzas_Written_in_Dejection&action=edit&redlink=1" class="new" title="Stanzas Written in Dejection (page does not exist)">Stanzas Written in Dejection</a></i> and <a href="/wiki/John_Keats" title="John Keats">John Keats</a>'s <i><a href="/wiki/Ode_to_a_Nightingale" title="Ode to a Nightingale">Ode to a Nightingale</a></i>, and was a major influence on more modern lyrics by <a href="/wiki/Matthew_Arnold" title="Matthew Arnold">Matthew Arnold</a>, <a href="/wiki/Walt_Whitman" title="Walt Whitman">Walt Whitman</a>, <a href="/wiki/Wallace_Stevens" title="Wallace Stevens">Wallace Stevens</a>, and <a href="/wiki/W._H._Auden" title="W. H. Auden">W. H. Auden</a>."<sup id="cite_ref-Magnuson_2002,_45_2-1" class="reference"><a href="#cite_note-Magnuson_2002,_45-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>In 1966, George Watson devoted a chapter to the poems in his literary analysis <i>Coleridge the Poet</i>. Although stressing that the form was the only type of poetry Coleridge created, he admitted that "the name is both convenient and misleading. A conversation is an exchange; and these poems, a dozen or fewer, stretching from 'The Eolian Harp' [...] to 'To William Wordsworth] [...] and perhaps further, are plainly monologues. Those who met Coleridge in his later life, it is true, were inclined to find his conversation arrestingly one-sided, but this will hardly serve as an explanation of what is happening here."<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Poems">Poems</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Conversation_poems&action=edit&section=2" title="Edit section: Poems"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="The_Eolian_Harp">The Eolian Harp</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Conversation_poems&action=edit&section=3" title="Edit section: The Eolian Harp"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/The_Eolian_Harp" title="The Eolian Harp">The Eolian Harp</a></div> <div style="float:right; border:1px solid black; padding:10px; margin:0 0 .5em .5em; text-align:left; background:lightgray"><div class="poem"> <p>My pensive Sara! thy soft cheek reclined<br /> Thus on mine arm, most soothing sweet it is<br /> To sit beside our Cot, our Cot o'ergrown<br /> With white-flower'd Jasmin, and the broad-leav'd Myrtle,<br /> (Meet emblems they of Innocence and Love!)<br /> And watch the clouds, that late were rich with light,<br /> Slow saddening round, and mark the star of eve<br /> Serenely brilliant (such should Wisdom be)<br /> Shine opposite! How exquisite the scents<br /> Snatch'd from yon bean-field! and the world <i>so</i> hushed!<br /> The stilly murmur of the distant Sea<br /> Tells us of silence.<br />                            And that simplest Lute,<br /> Plac'd length-ways in the clasping casement, hark!<br /> How by the desultory breeze caress'd, <br /> Like some coy maid half yielding to her lover,<br /> It pours such sweet upbraiding, as must needs<br /> Tempt to repeat the wrong! [...] <br />     —"Eolian Harp" (lines 1–17)<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p> </div> </div> <p>Coleridge began work on <i>The Eolian Harp</i> in August 1795 during his engagement to Sara Fricker. It details their future union and was inspired by his visit to the house in Clevedon that would serve as their home after their wedding.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> The poem is infused by the fact that Coleridge took an idealised view of his life with Fricker.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p><p><i>The Eolian Harp</i> was published in the 1796 edition of Coleridge's poems and in all subsequent collections.<sup id="cite_ref-Mays_p._231_11-0" class="reference"><a href="#cite_note-Mays_p._231-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Coleridge did not stop working on the poem after it was published. He expanded and reworked up until 1817.<sup id="cite_ref-Holmes_p._113_12-0" class="reference"><a href="#cite_note-Holmes_p._113-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> It deals with themes of love, sex and marriage, but is not formed in the usual manner of a love poem. In contrast to the second poem in the series, <i>Reflections</i>, which hints at problems with the relationship, <i>The Eolian Harp </i> focuses on innocence and the poet's anticipation of his conjugal union.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p>The poem creates a series of oppositional themes with aspects of nature representing each: seduction and innocence, order and chaos. These oppositions establish tension before the poem asks as to how they can be reconciled. These images and their being reconciled are described as analogous to the effects of an <a href="/wiki/Aeolian_harp" title="Aeolian harp">Aeolian harp</a><sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> and Coleridge's pantheistic feelings towards nature.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> In terms of religion, <i>The Eolian Harp</i> describes the mind's desire to seek after the divine. His approach is similar to Ralph Cudworth's in <i>The True Intellectual System of the Universe</i>.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> However, Coleridge's <a href="/wiki/Pantheism" title="Pantheism">pantheistic</a> feelings on nature are said to receive reproof from Fricker,<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> and Coleridge returns to a more traditional view of God that deals more with faith than finding the divine within nature.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Reflections_on_Having_Left_a_Place_of_Retirement">Reflections on Having Left a Place of Retirement</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Conversation_poems&action=edit&section=4" title="Edit section: Reflections on Having Left a Place of Retirement"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Reflections_on_Having_Left_a_Place_of_Retirement" title="Reflections on Having Left a Place of Retirement">Reflections on Having Left a Place of Retirement</a></div> <div style="float:right; border:1px solid black; padding:10px; margin:0 0 1em 1em; text-align:left; background:lightgray"><div class="poem"> <p>Ah! quiet Dell! dear Cot, and Mount sublime!<br /> I was constrain'd to quit you. Was it right,<br /> While my unnumber'd brethren toil'd and bled,<br /> That I should dream away the entrusted hours<br /> On rose-leaf beds, pampering the coward heart<br /> With feelings all too delicate for use?<br /> Sweet is the tear that from some Howard's eye<br /> Drops on the cheek of one he lifts from earth:<br /> And he that works me good with unmov'd face,<br /> Does it but half: he chills me while he aids,<br /> My benefactor, not my brother man!<br /> Yet even this, this cold beneficence<br /> Praise, praise it, O my Soul! oft as thou scann'st<br /> The sluggard Pity's vision-weaving tribe!<br /> Who sigh for Wretchedness, yet shun the Wretched,<br /> Nursing in some delicious solitude<br /> Their slothful loves and dainty sympathies!<br /> I therefore go, and join head, heart, and hand,<br /> Active and firm, to fight the bloodless fight<br /> Of Science, Freedom, and the Truth in Christ. <br />     —"Reflections" (lines 43–62)<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p> </div> </div> <p>Soon after his autumn 1795 marriage to Sara Fricker, Coleridge left their home in <a href="/wiki/Clevedon" title="Clevedon">Clevedon</a>, <a href="/wiki/North_Somerset" title="North Somerset">North Somerset</a>. However, he felt guilt at his absence from his wife, and eventually went to live with her family at Redcliffe Hill, Bristol. As he completed <i>The Eolian Harp</i>—composed to commemorate his return to Clevedon—Coleridge composed <i>Reflections on Having Left a Place of Retirement</i> on his absence from Clevedon and later return to be with his wife at Bristol.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> The poem was published in the October 1796 <i>Monthly Magazine</i>,<sup id="cite_ref-Mays_p._260_22-0" class="reference"><a href="#cite_note-Mays_p._260-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> under the title <i>Reflections on Entering into Active Life. A poem Which Affects Not to be Poetry</i>.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> <i>Reflections</i> was included in Coleridge's 28 October 1797 collection of poems and the anthologies that followed.<sup id="cite_ref-Mays_p._260_22-1" class="reference"><a href="#cite_note-Mays_p._260-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p><p>The themes of <i>Reflections</i> are similar to those of <i>The Eolian Harp</i>. They are set in the same location, and both describe Coleridge's relationship with his wife and sexual desire.<sup id="cite_ref-Holmes_p._103_24-0" class="reference"><a href="#cite_note-Holmes_p._103-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> The reflection on his life within the poem represent an unwillingness to accept his current idyllic life and a rejection of the conclusion drawn in <i>The Eolian Harp</i>. Although the land of Clevedon can bring one closer to God in Coleridge's view, he reflects on how one cannot simply exist in such an area but must actively seek out truth in order to fulfill God's will. The poem details how men feel a need to seek truth like a philosopher while also desiring to simply live in an idyllic natural state. The poem reconciles these desires by claiming that the pursuer of truth can still reflect back on his time when he was simply enjoying nature and God's presence.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p><p><i>Reflections</i> further differs from <i>The Eolian Harp</i> by looking at problems within Coleridge's marriage, especially when the union distracts him from the world outside of his home. The poem expresses desire for solitude and confinement and emphasises the difference between the worlds within and outside of the cottage. Overall, there is focus on the relationship of the private to the public spheres. When engaged with the outside world the narrator is separate from mankind, yet his focus is devoted to helping mankind, which contains religious and political components. The image of "One Life" compels him to abandon the sensual pleasures of the cottage, to pursue a path of altruism.<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="This_Lime-Tree_Bower_My_Prison">This Lime-Tree Bower My Prison</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Conversation_poems&action=edit&section=5" title="Edit section: This Lime-Tree Bower My Prison"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/This_Lime-Tree_Bower_My_Prison" title="This Lime-Tree Bower My Prison">This Lime-Tree Bower My Prison</a></div> <div style="float:right; border:1px solid black; padding:10px; margin:0 0 .5em .5em; text-align:left; background:lightgray"><div class="poem"> <p>Well, they are gone, and here must I remain,<br /> This lime-tree bower my prison! I have lost<br /> Beauties and feelings, such as would have been<br /> Most sweet to my remembrance even when age<br /> Had dimm'd mine eyes to blindness! They, meanwhile,<br /> Friends, whom I never more may meet again,<br /> On springy heath, along the hill-top edge,<br /> Wander in gladness, and wind down, perchance,<br /> To that still roaring dell, of which I told;<br />     —"This Lime-Tree Bower" (lines 1–9)<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p> </div> </div> <p>During summer 1797, Coleridge spent time with many of his friends, including <a href="/wiki/John_Thelwall" title="John Thelwall">John Thelwall</a>, William and <a href="/wiki/Dorothy_Wordsworth" title="Dorothy Wordsworth">Dorothy Wordsworth</a>, <a href="/wiki/Charles_Lamb_(writer)" class="mw-redirect" title="Charles Lamb (writer)">Charles Lamb</a>, <a href="/wiki/Thomas_Poole_(tanner)" title="Thomas Poole (tanner)">Thomas Poole</a>, and his wife Sara Fricker. During this time, he suffered an accident in which his foot was burned. As a result, he was left alone at Poole's property underneath a lime tree, while Lamb, the Wordsworths and his wife went on a journey across the Quantocks.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p><p>The first version of the poem was sent in a letter to Southey and was only 56 lines. The first published edition, in 1800, was 76 lines long.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> The poem was revised and published under another name in Southey's <i>Annual Anthology</i>. A later revised edition was included in <i>Sibylline Leaves</i>, Coleridge's 1817 collection of poems.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> </p><p>Within the verse, Coleridge seeks to discover the environment that his friends are exploring because he is unable to join them.<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> The poem links the lime-tree bower to the Quantocks where the Wordsworths, Lamb and Fricker were out walking. Although he is separated from them, the poet connects to his distant friends and they are able to share in a common view on life.<sup id="cite_ref-Holmes_1989,_154–155_32-0" class="reference"><a href="#cite_note-Holmes_1989,_154–155-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> The poem describes Coleridge's loneliness and solitude throughout, yet he is glad that his friends are able to experience nature. Because of this, he is able to tolerate his prison, which he views as merely physical rather than intellectual.<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Frost_at_Midnight">Frost at Midnight</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Conversation_poems&action=edit&section=6" title="Edit section: Frost at Midnight"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Frost_at_Midnight" title="Frost at Midnight">Frost at Midnight</a></div> <div style="float:right; border:1px solid black; padding:10px; margin:0 0 .5em .5em; text-align:left; background:lightgray"><div class="poem"> <p>Therefore all seasons shall be sweet to thee,<br /> Whether the summer clothe the general earth<br /> With greenness, or the redbreast sit and sing<br /> Betwixt the tufts of snow on the bare branch<br /> Of mossy apple-tree, while the nigh thatch<br /> Smokes in the sun-thaw; whether the eave-drops fall<br /> Heard only in the trances of the blast,<br /> Or if the secret ministry of frost<br /> Shall hang them up in silent icicles,<br /> Quietly shining to the quiet Moon.<br />     —"Frost at Midnight" (lines 65–74)<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p> </div> </div> <p><i>Frost at Midnight</i> was written in February 1798. It is based on Coleridge's childhood as well as his friendship with Wordsworth, who first exposed Coleridge to the wild beauty of the Lake District. The poem was published in a small work containing his <i>France: An Ode</i> and <i>Fears in Solitude</i>.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> It was rewritten many times; seven versions have been printed. Of these, the 1798 edition contains six concluding lines that were removed from later editions.<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> </p><p>The narrator comes to an understanding of nature while isolated with his thoughts. Nature becomes a comfort; however, the poet remembers the loneliness of childhood when he felt isolated from nature and other people, as if living in a world of strangers.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> His hope is that his own child, Hartley Coleridge, will experience an easier and more harmonious life.<sup id="cite_ref-Ashton_1997,_136_38-0" class="reference"><a href="#cite_note-Ashton_1997,_136-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> </p><p>Although Wordsworth places a similar emphasis on living in harmony with nature in his poetry, Coleridge's view is different from that of Wordsworth's in that he believed that nature represents a physical presence of God's word; this is combined with a Neoplatonic understanding of God that emphasizes the need to understand the divine in order to embrace it.<sup id="cite_ref-Holmes_1989,_183–184_39-0" class="reference"><a href="#cite_note-Holmes_1989,_183–184-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Fears_in_Solitude">Fears in Solitude</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Conversation_poems&action=edit&section=7" title="Edit section: Fears in Solitude"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Fears_in_Solitude" title="Fears in Solitude">Fears in Solitude</a></div> <div style="float:right; border:1px solid black; padding:10px; margin:0 0 .5em .5em; text-align:left; background:lightgray"><div class="poem"> <p>O native Britain! O my Mother Isle!<br /> How shouldst thou prove aught else but dear and holy<br /> To me, who from thy lakes and mountain-hills,<br /> Thy clouds, thy quiet dales, thy rocks and seas,<br /> Have drunk in all my intellectual life,<br /> All sweet sensations, all ennobling thoughts,<br /> All adoration of the God in nature,<br /> All lovely and all honourable things,<br /> Whatever makes this mortal spirit feel<br /> The joy and greatness of its future being?<br />     —"Fears in Solitude" (lines 182–191)<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> </p> </div> </div> <p><i>Fears in Solitude</i> was written after rumors of a French invasion spread across England. Although Coleridge was opposed to Prime Minister <a href="/wiki/William_Pitt_the_Younger" title="William Pitt the Younger">William Pitt</a>'s control over the British government, he sided with his homeland.<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> He began work on the poem during April 1798<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> and it was first published in a small pamphlet along with <i>Frost at Midnight</i> and <i>France: An Ode</i>.<sup id="cite_ref-Ashton_1997,_136_38-1" class="reference"><a href="#cite_note-Ashton_1997,_136-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> It was eventually printed seven times<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> with a later printing removing any anti-Pitt sentiment.<sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> </p><p>The poem is critical of the corruption Coleridge sees within his own government, but it still displays his loyalty and devotion to England.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> The poem operates in a circular pattern with its beginning and ending at the Stowey dell. By introducing the historically real possibility of an invasion of England, the narrator announces his determination to protect his family and the dell, along with his fellow Britons.<sup id="cite_ref-Yarlott,_117–120_46-0" class="reference"><a href="#cite_note-Yarlott,_117–120-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> Throughout the poem, there is also an emphasis on the simple life and the narrator desires to return to his previous idyllic lifestyle.<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="The_Nightingale:_A_Conversation_Poem">The Nightingale: A Conversation Poem</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Conversation_poems&action=edit&section=8" title="Edit section: The Nightingale: A Conversation Poem"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/The_Nightingale:_A_Conversation_Poem" title="The Nightingale: A Conversation Poem">The Nightingale: A Conversation Poem</a></div> <div style="float:right; border:1px solid black; padding:10px; margin:0 0 .5em .5em; text-align:left; background:lightgray"><div class="poem"> <p>'Most musical, most melancholy' bird!<br /> A melancholy bird? Oh! idle thought!<br /> In Nature there is nothing melancholy.<br /> But some night-wandering man, whose heart was pierced<br /> With the remembrance of a grievous wrong,<br /> Or slow distemper, or neglected love,<br /> (And so, poor wretch! filled all things with himself,<br /> And made all gentle sounds tell back the tale<br /> Of his own sorrow) he, and such as he,<br /> First named these notes a melancholy strain.<br />     —"The Nightingale" (lines 13–22)<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> </p> </div> </div> <p><i>The Nightingale</i> was written in April 1798, during the same time Coleridge wrote <i>Fears in Solitude</i>. The poem was included in the <i><a href="/wiki/Lyrical_Ballads" title="Lyrical Ballads">Lyrical Ballads</a></i>, a joint publication with Wordsworth. The nightingale is part of a discussion directed to Wordsworths in which Coleridge refutes the traditional association between nightingales and melancholic feelings because of the bird's appearance in the myth of <a href="/wiki/Philomela" title="Philomela">Philomela</a>.<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> </p><p>In a break from tradition, the nightingales in Coleridge's poem represented an experience he had with the Wordsworths. The narrative is interrupted by a mysterious female character. In this case, the female is not Coleridge's wife, Sara, a fact which separates <i>The Nightingale</i> from the other poems in the series. The work mentions Hartley, the child they had together, as well as a resonant night in which Coleridge viewed and contemplated the moon.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> <a href="/wiki/John_Keats" title="John Keats">John Keats</a> would later follow Coleridge's depiction and use of nightingale in "<a href="/wiki/Ode_to_a_Nightingale" title="Ode to a Nightingale">Ode to a Nightingale</a>".<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Dejection:_An_Ode">Dejection: An Ode</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Conversation_poems&action=edit&section=9" title="Edit section: Dejection: An Ode"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Dejection:_An_Ode" title="Dejection: An Ode">Dejection: An Ode</a></div> <div style="float:right; border:1px solid black; padding:10px; margin:0 0 .5em .5em; text-align:left; background:lightgray"><div class="poem"> <p>    Joy, virtuous Lady! Joy that ne'er was given,<br /> Save to the pure, and in their purest hour,<br /> Life, and Life's effluence, cloud at once and shower,<br /> Joy, Lady! is the spirit and the power<br /> Which wedding Nature to us gives in dower<br />     A new Earth and new Heaven,<br /> Undreamt of by the sensual and the proud—<br /> Joy is the sweet voice, Joy the luminous cloud—<br />         We in ourselves rejoice!<br />     —"Dejection" (lines 64-72)<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> </p> </div> </div> <p>Coleridge was living apart from his family in 1802. During this period he intended to write a poem for Sara Hutchinson, with whom he had fallen in love. He sent her the verse on 4 April 1802.<sup id="cite_ref-53" class="reference"><a href="#cite_note-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> The original draft was titled "Letter to Sara Hutchinson", but renamed as <i>Dejection</i> when published. There are many differences between the versions. The original consisted of 340 lines; when published, 139 lines were cut to emphasise two moments in Coleridge's emotional struggle, while many personal elements were removed.<sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> The poem was published in <i><a href="/wiki/The_Morning_Post" title="The Morning Post">The Morning Post</a></i> on 4 October 1802. The date corresponds with Wordsworth's marriage to Mary Hutchinson.<sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> </p><p><i>Dejection</i> was a response to Wordsworth's <i>Immortality Ode</i>.<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> It conveys feelings of dejection, expressed through an inability to write or appreciate nature. Wordsworth is introduced in the poem as a counterbalance to Coleridge; Wordsworth is able to turn his darkness to benefit and accept comfort. However, Coleridge cannot find any positive aspect to his despair, and is paralyzed by his emotions.<sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup> The poem captures many of the feelings expressed in his earlier works, including his exploration of a problematic childhood and thoughts on his religious beliefs.<sup id="cite_ref-59" class="reference"><a href="#cite_note-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="To_William_Wordsworth">To William Wordsworth</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Conversation_poems&action=edit&section=10" title="Edit section: To William Wordsworth"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/To_William_Wordsworth" title="To William Wordsworth">To William Wordsworth</a></div> <div style="float:right; border:1px solid black; padding:10px; margin:0 0 .5em .5em; text-align:left; background:lightgray"><div class="poem"> <p>Thy long sustainéd Song finally closed,<br /> And thy deep voice had ceased—yet thou thyself<br /> Wert still before my eyes, and round us both<br /> That happy vision of belovéd faces—<br /> Scarce conscious, and yet conscious of its close<br /> I sate, my being blended in one thought<br /> (Thought was it? or aspiration? or resolve?)<br /> Absorbed, yet hanging still upon the sound—<br /> And when I rose, I found myself in prayer. <br />     —"To William Wordsworth" (lines 104–112)<sup id="cite_ref-60" class="reference"><a href="#cite_note-60"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup> </p> </div> </div> <p><i>To William Wordsworth</i> commemorates the time when Coleridge stayed with the Wordsworths during the winter of 1806–1807, and recalls when William Wordsworth read his newly completed <i><a href="/wiki/The_Prelude" title="The Prelude">The Prelude</a></i>. Coleridge wrote his poem in response during January 1807, to capture his feelings about his friend's poem.<sup id="cite_ref-61" class="reference"><a href="#cite_note-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup> Portions of the verse were printed in the 1809 <i>Friend</i>, however Wordsworth did not wish it to be made public due to the private nature of Coleridge's thoughts.<sup id="cite_ref-62" class="reference"><a href="#cite_note-62"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup> Eventually, it was published in Coleridge's 1817 collection <i>Sibylline Leaves</i>.<sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup> </p><p>The poem begins by summarising the themes of <i>The Prelude</i>, and develops into a discussion of Wordsworth's understanding of his beliefs and their relationship with nature.<sup id="cite_ref-64" class="reference"><a href="#cite_note-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> In the poem, Coleridge is self-critical in a near masochistic manner, holding his poetry and thoughts as inferior to Wordsworth. This is partly because Coleridge believed that Wordsworth was able to find bliss from solitude while he was unable to find anything but pain.<sup id="cite_ref-65" class="reference"><a href="#cite_note-65"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> Coleridge discusses his youthful hopes to become a great poet and how his ability to write has diminished over time.<sup id="cite_ref-66" class="reference"><a href="#cite_note-66"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup> The poem's admiration of Wordsworth's ability is rendered without jealousy, though he is scornful of his own.<sup id="cite_ref-67" class="reference"><a href="#cite_note-67"><span class="cite-bracket">[</span>67<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Themes">Themes</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Conversation_poems&action=edit&section=11" title="Edit section: Themes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><i>The Eolian Harp</i> examines Coleridge's understanding of nature within the concept of his "One Life", an idea that came from reflection on his experiences at Clevedon.<sup id="cite_ref-Holmes_p._113_12-1" class="reference"><a href="#cite_note-Holmes_p._113-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> The conversation poems as a whole are connected to the ideas within <i>The Eolian Harp</i> that deal with the nature and mans' understanding of the universe. In particular, <i>The Eolian Harp</i> express an unease with David Hartley's ideas about necessity.<sup id="cite_ref-68" class="reference"><a href="#cite_note-68"><span class="cite-bracket">[</span>68<span class="cite-bracket">]</span></a></sup> Within <i>Reflections</i>, the idea of "One Life" compels the narrator to abandon the sensual pleasures of the cottage and of nature in order to pursue a path of helping mankind.<sup id="cite_ref-69" class="reference"><a href="#cite_note-69"><span class="cite-bracket">[</span>69<span class="cite-bracket">]</span></a></sup> <i>This Lime-Tree Bower</i> continues the conversation poems theme of "One Life" by linking Coleridge's surroundings with the walk his friends went on. Although they are all separated, Coleridge connects to his distant friends by their mutual experience and appreciation of nature.<sup id="cite_ref-Holmes_1989,_154–155_32-1" class="reference"><a href="#cite_note-Holmes_1989,_154–155-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p><p><i>Frost at Midnight</i> uses the idea of "One Life" as the poem describes the idea life that Coleridge's child will experience in the countryside. Coleridge hoped that the boy would become a "child of nature" and raised free of the constraints that come from a disconnection from nature.<sup id="cite_ref-70" class="reference"><a href="#cite_note-70"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup> <i>Fears in Solitude</i> describes the unity of mankind and nature, which manifests in the form of fearing for his fellow countrymen in times of invasion.<sup id="cite_ref-Yarlott,_117–120_46-1" class="reference"><a href="#cite_note-Yarlott,_117–120-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> This idea of "One Life", according to Abrams, "best epitomize the Romantic constellation of joy, love, and the shared life".<sup id="cite_ref-71" class="reference"><a href="#cite_note-71"><span class="cite-bracket">[</span>71<span class="cite-bracket">]</span></a></sup> </p><p>Both <i>The Eolian Harp</i> and <i>Reflections</i> deal with similar understandings of nature but differ in approach. By <i>Reflections</i>, Coleridge questions his right to simply enjoy nature.<sup id="cite_ref-Holmes_p._103_24-1" class="reference"><a href="#cite_note-Holmes_p._103-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> The image of nature and other themes reappears in <i>Fear in Solitude</i>, and the later poem even recreates the "Valley of Seclusion" image. Similarly, the compulsion to enter into the world and help mankind is included, but it is altered from being motivated by guilt to a warning message against a possible invasion from outside forces. As such, <i>Fear in Solitude</i> does not seek to leave the location to help mankind, but to stay as a protector over his family.<sup id="cite_ref-72" class="reference"><a href="#cite_note-72"><span class="cite-bracket">[</span>72<span class="cite-bracket">]</span></a></sup> </p><p><i>This Lime-Tree Bower</i> and <i>Frost at Midnight</i> also deal with a similar understanding of nature, and the ideas within <i>This Lime-Tree Bower</i> form the basis for a natural education. Coleridge hoped that his son Hartley would be able to learn through nature in an innocent way. Unlike Wordsworth's nature, Coleridge's has a strong Christian presence and nature is a physical presence of God's word.<sup id="cite_ref-Holmes_1989,_183–184_39-1" class="reference"><a href="#cite_note-Holmes_1989,_183–184-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> There is also a connection between <i>Dejection</i> and <i>Frost at Midnight</i> with its emphasis on Coleridge's private life.<sup id="cite_ref-73" class="reference"><a href="#cite_note-73"><span class="cite-bracket">[</span>73<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Critical_response">Critical response</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Conversation_poems&action=edit&section=12" title="Edit section: Critical response"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The poems are considered by many critics to be among Coleridge's finest.<sup id="cite_ref-Bloom_p._202_74-0" class="reference"><a href="#cite_note-Bloom_p._202-74"><span class="cite-bracket">[</span>74<span class="cite-bracket">]</span></a></sup> The final ten lines of <i>Frost at Midnight</i> were chosen by Harper in 1928 as the "best example of the peculiar kind of blank verse Coleridge had evolved, as natural-seeming as prose, but as exquisitely artistic as the most complicated sonnet."<sup id="cite_ref-75" class="reference"><a href="#cite_note-75"><span class="cite-bracket">[</span>75<span class="cite-bracket">]</span></a></sup> In 1966, Virginia Radley argued, "Although no conversation poem can rightly be said to stand equally with the poems of high imagination [...] certainly "Frost at Midnight" and "This Lime-tree Bower ..." both have within them that quality of heart so essential to these latter poems. Because of this quality, and because of the striking effectiveness of their imagery, these poems can be said to be the true harbingers of Coleridge's greatest poems".<sup id="cite_ref-76" class="reference"><a href="#cite_note-76"><span class="cite-bracket">[</span>76<span class="cite-bracket">]</span></a></sup> </p><p>Others agree on the strength of <i>Frost at Midnight</i>. Richard Holmes wrote in 1989 that the poem "is one of the most intricately structured of all the Conversation Poems".<sup id="cite_ref-77" class="reference"><a href="#cite_note-77"><span class="cite-bracket">[</span>77<span class="cite-bracket">]</span></a></sup> Rosemary Ashton argued in 1997 that the poem is "one of [Coleridge's] most delightful conversation poems".<sup id="cite_ref-78" class="reference"><a href="#cite_note-78"><span class="cite-bracket">[</span>78<span class="cite-bracket">]</span></a></sup> Agreeing with this view in 2006, Adam Sisman believes that <i>Frost at Midnight</i> is "perhaps the most beautiful of Coleridge's 'conversation poems'".<sup id="cite_ref-79" class="reference"><a href="#cite_note-79"><span class="cite-bracket">[</span>79<span class="cite-bracket">]</span></a></sup> Other poems in the series received praise, with George Watson, in 1966, claiming that <i>To William Wordsworth</i> "is the last pure example that Coleridge's poetry affords of the conversation poem [...] the poem is extravagant in its very being."<sup id="cite_ref-80" class="reference"><a href="#cite_note-80"><span class="cite-bracket">[</span>80<span class="cite-bracket">]</span></a></sup> Also, Holmes describes <i>The Eolian Harp</i> as a "beautiful Conversation Poem".<sup id="cite_ref-81" class="reference"><a href="#cite_note-81"><span class="cite-bracket">[</span>81<span class="cite-bracket">]</span></a></sup> </p><p>Not all of the poems have been well received. Watson believes that <i>Fears in Solitude</i> "shows how precarious Coleridge's new achievement was. It is a shameless return to the older, effusive manner, evidently written in a white heat of patriotic indignation against the degradation of English public opinion during the French wars, and it is only by stretching charity that it can be considered a conversation poem at all."<sup id="cite_ref-82" class="reference"><a href="#cite_note-82"><span class="cite-bracket">[</span>82<span class="cite-bracket">]</span></a></sup> Holmes simply claims <i>Fears in Solitude</i> as "one of the most difficult of [Coleridge's] Conversation Poems".<sup id="cite_ref-83" class="reference"><a href="#cite_note-83"><span class="cite-bracket">[</span>83<span class="cite-bracket">]</span></a></sup> In discussing <i>The Nightingale</i>, Ashton writes that, "Bantering though this is, and, however, beautiful the final lines about Hartley are, 'The Nightingale' is as a whole a less successful poem than the other conversation poems. It has rather a blank at the centre, just where the others pivot on a significant controlling idea."<sup id="cite_ref-84" class="reference"><a href="#cite_note-84"><span class="cite-bracket">[</span>84<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Conversation_poems&action=edit&section=13" title="Edit section: Notes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width reflist-columns-3"> <ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Harper 1928, 3–27</span> </li> <li id="cite_note-Magnuson_2002,_45-2"><span class="mw-cite-backlink">^ <a href="#cite_ref-Magnuson_2002,_45_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Magnuson_2002,_45_2-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Magnuson 2002, 45</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Harper 1928, 11</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Koelzer 2006, 68</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Abrams 1965, 527</span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Koelzer 2006, 67</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Watson 1966, 61</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Coleridge 1921 pp. 100-102</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Ashton 1997, 74</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Doughty 1981, 97</span> </li> <li id="cite_note-Mays_p._231-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-Mays_p._231_11-0">^</a></b></span> <span class="reference-text">Mays 2001, 231</span> </li> <li id="cite_note-Holmes_p._113-12"><span class="mw-cite-backlink">^ <a href="#cite_ref-Holmes_p._113_12-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Holmes_p._113_12-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Holmes 1989, 113</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Ashton 1997, 75–76</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">Yarlott 1967, 97</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">Radley 1966, 44–46</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Ashton 1997, 107</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Jasper 1985, 20</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Yarlott 1967, 118</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">Radley 1966, 46</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">Coleridge 1921, pp. 106-108</span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">Ashton 1997, 80–81</span> </li> <li id="cite_note-Mays_p._260-22"><span class="mw-cite-backlink">^ <a href="#cite_ref-Mays_p._260_22-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Mays_p._260_22-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Mays 2001, 260</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">Ashton 1997, 139</span> </li> <li id="cite_note-Holmes_p._103-24"><span class="mw-cite-backlink">^ <a href="#cite_ref-Holmes_p._103_24-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Holmes_p._103_24-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Holmes 1989, 103</span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text">Radley 1966, 47–49</span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text">Yarlott 1967, 97–98</span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text">Coleridge 1921 pp. 178-181</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text">Holmes 1989, 152–153</span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text">Ashton 1997, 105</span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text">Mays 2001, 350</span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text">Ashton 1997, 105–107</span> </li> <li id="cite_note-Holmes_1989,_154–155-32"><span class="mw-cite-backlink">^ <a href="#cite_ref-Holmes_1989,_154–155_32-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Holmes_1989,_154–155_32-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Holmes 1989, 154–155</span> </li> <li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text">Yarlott 1967, 111–113</span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text">Coleridge 1921 pp. 240-242</span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text">Mays 2001, 453</span> </li> <li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text">Mays 2001, 453, 456</span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Radley 1966, 54–55</span> </li> <li id="cite_note-Ashton_1997,_136-38"><span class="mw-cite-backlink">^ <a href="#cite_ref-Ashton_1997,_136_38-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Ashton_1997,_136_38-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Ashton 1997, 136</span> </li> <li id="cite_note-Holmes_1989,_183–184-39"><span class="mw-cite-backlink">^ <a href="#cite_ref-Holmes_1989,_183–184_39-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Holmes_1989,_183–184_39-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Holmes 1989, 183–184</span> </li> <li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text">Coleridge 1921 pp. 256-263</span> </li> <li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text">Ashton 1997, 133–134</span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text">Mays 2001, 468–469</span> </li> <li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text">Mays 2001, 469</span> </li> <li id="cite_note-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-44">^</a></b></span> <span class="reference-text">Ashton 1997, 209</span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text">Holmes 1989, 202</span> </li> <li id="cite_note-Yarlott,_117–120-46"><span class="mw-cite-backlink">^ <a href="#cite_ref-Yarlott,_117–120_46-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Yarlott,_117–120_46-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Yarlott, 117–120</span> </li> <li id="cite_note-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-47">^</a></b></span> <span class="reference-text">Radley 1966, 53–54</span> </li> <li id="cite_note-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-48">^</a></b></span> <span class="reference-text">Coleridge 1921 pp. 264-267</span> </li> <li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text">Ashton 1997, 136–139</span> </li> <li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text">Holmes 1989, 191–193</span> </li> <li id="cite_note-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-51">^</a></b></span> <span class="reference-text">Ashton 1997 pp. 136–137</span> </li> <li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text">Coleridge 1921 pp. 362-368</span> </li> <li id="cite_note-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-53">^</a></b></span> <span class="reference-text">Ashton 1997, 201–202</span> </li> <li id="cite_note-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-54">^</a></b></span> <span class="reference-text">Holmes 1989, 309, 318–319</span> </li> <li id="cite_note-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-55">^</a></b></span> <span class="reference-text">Ashton 1997, 202</span> </li> <li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text">Rossington, Michael. "Wordsworth and Coleridge: The Making of the Major Lyrics, 1802–1804 by Gene W. Ruoff". <i>The Modern Language Review</i>, Volume 87, No. 2, April, 1992. 438–440</span> </li> <li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text">Watson 1966, 77</span> </li> <li id="cite_note-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-58">^</a></b></span> <span class="reference-text">Ashton 1997, 201–203</span> </li> <li id="cite_note-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-59">^</a></b></span> <span class="reference-text">Holmes 1989, 298</span> </li> <li id="cite_note-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-60">^</a></b></span> <span class="reference-text">Coleridge 1921 pp. 403-408</span> </li> <li id="cite_note-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-61">^</a></b></span> <span class="reference-text">Ashton 1997, 239–240</span> </li> <li id="cite_note-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-62">^</a></b></span> <span class="reference-text">Mays 2001, 815</span> </li> <li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text">Ashton 1997, 239</span> </li> <li id="cite_note-64"><span class="mw-cite-backlink"><b><a href="#cite_ref-64">^</a></b></span> <span class="reference-text">Ashton 1997, 240</span> </li> <li id="cite_note-65"><span class="mw-cite-backlink"><b><a href="#cite_ref-65">^</a></b></span> <span class="reference-text">Yarlott 1967, 1–2</span> </li> <li id="cite_note-66"><span class="mw-cite-backlink"><b><a href="#cite_ref-66">^</a></b></span> <span class="reference-text">Ashton 1997, 240–241</span> </li> <li id="cite_note-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-67">^</a></b></span> <span class="reference-text">Watson 1966, 80–81</span> </li> <li id="cite_note-68"><span class="mw-cite-backlink"><b><a href="#cite_ref-68">^</a></b></span> <span class="reference-text">Jasper 1985, 35–36</span> </li> <li id="cite_note-69"><span class="mw-cite-backlink"><b><a href="#cite_ref-69">^</a></b></span> <span class="reference-text">Yarlott 1967, 98</span> </li> <li id="cite_note-70"><span class="mw-cite-backlink"><b><a href="#cite_ref-70">^</a></b></span> <span class="reference-text">Sisman 2006, 218–219</span> </li> <li id="cite_note-71"><span class="mw-cite-backlink"><b><a href="#cite_ref-71">^</a></b></span> <span class="reference-text">Abrams 1973, 434</span> </li> <li id="cite_note-72"><span class="mw-cite-backlink"><b><a href="#cite_ref-72">^</a></b></span> <span class="reference-text">Yarlott 1967, 118–119</span> </li> <li id="cite_note-73"><span class="mw-cite-backlink"><b><a href="#cite_ref-73">^</a></b></span> <span class="reference-text">Watson 1966, 74</span> </li> <li id="cite_note-Bloom_p._202-74"><span class="mw-cite-backlink"><b><a href="#cite_ref-Bloom_p._202_74-0">^</a></b></span> <span class="reference-text">Bloom 1971, 202</span> </li> <li id="cite_note-75"><span class="mw-cite-backlink"><b><a href="#cite_ref-75">^</a></b></span> <span class="reference-text">Harper 1928, 15</span> </li> <li id="cite_note-76"><span class="mw-cite-backlink"><b><a href="#cite_ref-76">^</a></b></span> <span class="reference-text">Radley 1966, 56</span> </li> <li id="cite_note-77"><span class="mw-cite-backlink"><b><a href="#cite_ref-77">^</a></b></span> <span class="reference-text">Holmes 1989, 183</span> </li> <li id="cite_note-78"><span class="mw-cite-backlink"><b><a href="#cite_ref-78">^</a></b></span> <span class="reference-text">Ashton 1997, 134</span> </li> <li id="cite_note-79"><span class="mw-cite-backlink"><b><a href="#cite_ref-79">^</a></b></span> <span class="reference-text">Sisman 2006, 219</span> </li> <li id="cite_note-80"><span class="mw-cite-backlink"><b><a href="#cite_ref-80">^</a></b></span> <span class="reference-text">Watson 1966, 80</span> </li> <li id="cite_note-81"><span class="mw-cite-backlink"><b><a href="#cite_ref-81">^</a></b></span> <span class="reference-text">Holmes 1989, 95</span> </li> <li id="cite_note-82"><span class="mw-cite-backlink"><b><a href="#cite_ref-82">^</a></b></span> <span class="reference-text">Watson 1966, 71</span> </li> <li id="cite_note-83"><span class="mw-cite-backlink"><b><a href="#cite_ref-83">^</a></b></span> <span class="reference-text">Holmes 1989, 194</span> </li> <li id="cite_note-84"><span class="mw-cite-backlink"><b><a href="#cite_ref-84">^</a></b></span> <span class="reference-text">Ashton 1997, 137</span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Conversation_poems&action=edit&section=14" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Abrams, M. H. "Structure and Style in the Greater Romantic Lyric". in Hilles, Frederick W.; Bloom, Harold. <i>From Sensibility to Romanticism</i>. Oxford: Oxford University Press, 1965. OCLC 349530</li> <li>Abrams, M. H. <i>Natural Supernaturalism</i>. New York: W. W. Norton, 1973. <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-393-00609-3" title="Special:BookSources/0-393-00609-3">0-393-00609-3</a></li> <li>Ashton, Rosemary. <i>The Life of Samuel Taylor Coleridge</i>. Oxford: Blackwell, 1997. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-631-18746-4" title="Special:BookSources/0-631-18746-4">0-631-18746-4</a></li> <li>Bloom, Harold. <i>The Visionary Company: A Reading of English Romantic Poetry</i> (Revised Edition). Ithaca: Cornell University Press, 1971. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8014-0622-6" title="Special:BookSources/0-8014-0622-6">0-8014-0622-6</a></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFColeridge1921" class="citation book cs1"><a href="/wiki/Samuel_Taylor_Coleridge" title="Samuel Taylor Coleridge">Coleridge, Samuel Taylor</a> (1921). <a href="/wiki/Ernest_Hartley_Coleridge" title="Ernest Hartley Coleridge">Coleridge, Ernest Hartley</a> (ed.). <a rel="nofollow" class="external text" href="https://archive.org/details/poemsofsamueltay1921cole/page/n9"><i>The Poems of Samuel Taylor Coleridge</i></a>. Oxford University Press.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Poems+of+Samuel+Taylor+Coleridge&rft.pub=Oxford+University+Press&rft.date=1921&rft.aulast=Coleridge&rft.aufirst=Samuel+Taylor&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fpoemsofsamueltay1921cole%2Fpage%2Fn9&rfr_id=info%3Asid%2Fen.wikipedia.org%3AConversation+poems" class="Z3988"></span></li> <li>Doughty, Oswald. <i>Perturbed Spirit</i>. Toronto: Associated University Presses, 1981. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8386-2353-0" title="Special:BookSources/0-8386-2353-0">0-8386-2353-0</a></li> <li>Harper, George McLean. <i>Spirit of Delight</i>. New York: Ayer Publishing, 1928. OCLC 4148552</li> <li>Holmes, Richard. <i>Coleridge: Early Visions, 1772–1804</i>. New York: Pantheon, 1989. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-375-70540-6" title="Special:BookSources/0-375-70540-6">0-375-70540-6</a></li> <li>Jasper, David. <i>Coleridge as Poet and Religious Thinker</i>. Allison Park: Pickwick Publications, 1985. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-915138-70-0" title="Special:BookSources/0-915138-70-0">0-915138-70-0</a></li> <li>Koelzer, Robert. "Abrams Among the Nightingales: Revisiting the Greater Romantic Lyric". <i>The Wordsworth Circle</i> 37 (2), Spring 2006. 67–71</li> <li>Magnuson, Paul. "The Politics of Frost at Midnight". In Kroeber, Karl; Ruoff, Gene W. <i>Romantic Poetry: Recent Revisionary Criticism</i>. Rutgers University Press, 1993. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8135-2010-X" title="Special:BookSources/0-8135-2010-X">0-8135-2010-X</a></li> <li>Magnuson, Paul. "The 'Conversation' poems". in Newlyn, Lucy. <i>The Cambridge Companion to Coleridge</i>. Cambridge: Cambridge University Press, 2002. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-521-65071-2" title="Special:BookSources/0-521-65071-2">0-521-65071-2</a></li> <li>Mays, J. C. C. (editor). <i>The Collected Works of Samuel Taylor Coleridge: Poetical Works</i> I Vol I.I. and I.2. Princeton: Princeton University Press, 2001. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-691-00483-8" title="Special:BookSources/0-691-00483-8">0-691-00483-8</a></li> <li>Radley, Virginia. <i>Samuel Taylor Coleridge</i>. New York: Twayne, 1966. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8057-1100-7" title="Special:BookSources/0-8057-1100-7">0-8057-1100-7</a></li> <li>Watson, George. <i>Coleridge the Poet</i>. New York: Barnes & Noble, 1966. OCLC 294824</li> <li>Yarlott, Geoffrey. <i>Coleridge and the Abyssinian Maid</i>. London: Methuen, 1967. OCLC 223912190</li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" · ";font-weight:bold}.mw-parser-output .hlist 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href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1239400231">.mw-parser-output .navbar{display:inline;font-size:88%;font-weight:normal}.mw-parser-output .navbar-collapse{float:left;text-align:left}.mw-parser-output .navbar-boxtext{word-spacing:0}.mw-parser-output .navbar ul{display:inline-block;white-space:nowrap;line-height:inherit}.mw-parser-output .navbar-brackets::before{margin-right:-0.125em;content:"[ "}.mw-parser-output .navbar-brackets::after{margin-left:-0.125em;content:" ]"}.mw-parser-output .navbar li{word-spacing:-0.125em}.mw-parser-output .navbar a>span,.mw-parser-output .navbar a>abbr{text-decoration:inherit}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}html.skin-theme-clientpref-night .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}}@media print{.mw-parser-output .navbar{display:none!important}}</style><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Samuel_Taylor_Coleridge" title="Template:Samuel Taylor Coleridge"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Samuel_Taylor_Coleridge" title="Template talk:Samuel Taylor Coleridge"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Samuel_Taylor_Coleridge" title="Special:EditPage/Template:Samuel Taylor Coleridge"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Samuel_Taylor_Coleridge" style="font-size:114%;margin:0 4em"><a href="/wiki/Samuel_Taylor_Coleridge" title="Samuel Taylor Coleridge">Samuel Taylor Coleridge</a></div></th></tr><tr><td class="navbox-abovebelow" colspan="3"><div><a href="/wiki/List_of_poems_by_Samuel_Taylor_Coleridge" title="List of poems by Samuel Taylor Coleridge">List of poems</a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Topics</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Early_life_of_Samuel_Taylor_Coleridge" title="Early life of Samuel Taylor Coleridge">Early life</a></li> <li><a href="/wiki/Coleridge_and_opium" title="Coleridge and opium">Opium use</a></li> <li><a href="/wiki/Albatross_(metaphor)" title="Albatross (metaphor)">Albatross metaphor</a></li> <li><a href="/wiki/Lake_Poets" title="Lake Poets">Lake Poets</a></li> <li><a href="/wiki/Pantisocracy" title="Pantisocracy">Pantisocracy</a></li> <li><a href="/wiki/Person_on_business_from_Porlock" title="Person on business from Porlock">Person on business from Porlock</a></li> <li><a href="/wiki/Coleridge%27s_theory_of_life" title="Coleridge's theory of life">Coleridge's theory of life</a></li> <li><a href="/wiki/Organic_form" title="Organic form">Organic form</a></li> <li><a href="/wiki/Romantic_epistemology" title="Romantic epistemology">Romantic epistemology</a></li> <li><a href="/wiki/Suspension_of_disbelief" title="Suspension of disbelief">Suspension of disbelief</a></li></ul> </div></td><td class="noviewer navbox-image" rowspan="9" style="width:1px;padding:0 0 0 2px;padding-left: 0.5em;"><div><span class="mw-image-border" typeof="mw:File"><a href="/wiki/File:Samuel_Taylor_Coleridge_portrait.jpg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Samuel_Taylor_Coleridge_portrait.jpg/75px-Samuel_Taylor_Coleridge_portrait.jpg" decoding="async" width="75" height="100" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Samuel_Taylor_Coleridge_portrait.jpg/112px-Samuel_Taylor_Coleridge_portrait.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Samuel_Taylor_Coleridge_portrait.jpg/150px-Samuel_Taylor_Coleridge_portrait.jpg 2x" data-file-width="648" data-file-height="866" /></a></span></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Early poetry</div></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li>"<a href="/wiki/The_Destruction_of_the_Bastile" title="The Destruction of the Bastile">The Destruction of the Bastile</a>"</li> <li>"<a href="/wiki/Dura_Navis" title="Dura Navis">Dura Navis</a>"</li> <li>"<a href="/wiki/Easter_Holidays" title="Easter Holidays">Easter Holidays</a>"</li> <li>"<a href="/wiki/Monody_on_the_Death_of_Chatterton" title="Monody on the Death of Chatterton">Monody on the Death of Chatterton</a>"</li> <li>"<a href="/wiki/On_Quitting_School" title="On Quitting School">On Quitting School</a>"</li> <li>"<a href="/wiki/Pain:_Composed_in_Sickness" title="Pain: Composed in Sickness">Pain: Composed in Sickness</a>"</li> <li>"<a href="/wiki/Songs_of_the_Pixies" title="Songs of the Pixies">Songs of the Pixies</a>"</li> <li>"<a href="/wiki/The_Ballad_of_the_Dark_Ladi%C3%A9" title="The Ballad of the Dark Ladié">The Ballad of the Dark Ladié</a>"</li> <li><i><a href="/wiki/Love_(Coleridge)" title="Love (Coleridge)">Love</a></i> (<i>Introduction to the Tale of the Dark Ladie</i>)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Plays</div></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0;font-style:italic;"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/The_Fall_of_Robespierre" title="The Fall of Robespierre">The Fall of Robespierre</a></li> <li><a href="/wiki/Osorio_(play)" title="Osorio (play)">Remorse (Osorio)</a></li> <li><a href="/wiki/Zapolya_(play)" title="Zapolya (play)">Zapolya</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Cambridge and<br />Bristol poetry</div></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/The_Destiny_of_Nations" title="The Destiny of Nations">The Destiny of Nations</a></i></li> <li><i><a href="/wiki/Lines_on_an_Autumnal_Evening" title="Lines on an Autumnal Evening">Lines on an Autumnal Evening</a></i></li> <li><i><a href="/wiki/Lines_Written_at_Shurton_Bars" title="Lines Written at Shurton Bars">Lines Written at Shurton Bars</a></i></li> <li><i><a href="/wiki/On_Receiving_an_Account" title="On Receiving an Account">On Receiving an Account</a></i></li> <li><i><a href="/wiki/Ode_on_the_Departing_Year" title="Ode on the Departing Year">Ode on the Departing Year</a></i></li> <li><i><a href="/wiki/Poems_on_Various_Subjects" title="Poems on Various Subjects">Poems on Various Subjects</a></i></li> <li><i><a href="/wiki/Sibylline_Leaves" title="Sibylline Leaves">Sibylline Leaves</a></i></li> <li><i><a href="/wiki/Religious_Musings" title="Religious Musings">Religious Musings</a></i></li> <li><i><a href="/wiki/To_a_Young_Ass" title="To a Young Ass">To a Young Ass</a></i></li> <li><i><a href="/wiki/To_Fortune" title="To Fortune">To Fortune</a></i></li> <li><i><a href="/wiki/To_the_River_Otter" title="To the River Otter">To the River Otter</a></i></li> <li>"<a href="/wiki/Lewti" title="Lewti">Lewti</a>"</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;"><i><a href="/wiki/Sonnets_on_Eminent_Characters" title="Sonnets on Eminent Characters">Eminent<br />Characters</a></i></div></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li>"<a href="/wiki/To_Erskine" title="To Erskine">To Erskine</a>"</li> <li>"<a href="/wiki/To_Burke" title="To Burke">To Burke</a>"</li> <li>"<a href="/wiki/To_Priestley" title="To Priestley">To Priestley</a>"</li> <li>"<a href="/wiki/To_Fayette" title="To Fayette">To Fayette</a>"</li> <li>"<a href="/wiki/To_Kosciusko" title="To Kosciusko">To Kosciusko</a>"</li> <li>"<a href="/wiki/To_Pitt" title="To Pitt">To Pitt</a>"</li> <li>"<a href="/wiki/To_Bowles" title="To Bowles">To Bowles</a>"</li> <li>"<a href="/wiki/To_Mrs_Siddons" title="To Mrs Siddons">To Mrs Siddons</a>"</li> <li>"<a href="/wiki/To_Godwin" title="To Godwin">To Godwin</a>"</li> <li>"<a href="/wiki/To_Southey" title="To Southey">To Southey</a>"</li> <li>"<a href="/wiki/To_Sheridan" title="To Sheridan">To Sheridan</a>"</li> <li>"<a href="/wiki/To_Lord_Stanhope" title="To Lord Stanhope">To Lord Stanhope</a>"</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;"><a class="mw-selflink selflink">Conversation<br />poems</a></div></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0;font-style:italic;"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Dejection:_An_Ode" title="Dejection: An Ode">Dejection: An Ode</a></li> <li><a href="/wiki/The_Eolian_Harp" title="The Eolian Harp">The Eolian Harp</a></li> <li><a href="/wiki/Fears_in_Solitude" title="Fears in Solitude">Fears in Solitude</a></li> <li><a href="/wiki/Frost_at_Midnight" title="Frost at Midnight">Frost at Midnight</a></li> <li><a href="/wiki/The_Nightingale:_A_Conversation_Poem" title="The Nightingale: A Conversation Poem">The Nightingale: A Conversation Poem</a></li> <li><a href="/wiki/Reflections_on_Having_Left_a_Place_of_Retirement" title="Reflections on Having Left a Place of Retirement">Reflections on Having Left a Place of Retirement</a></li> <li><a href="/wiki/This_Lime-Tree_Bower_My_Prison" title="This Lime-Tree Bower My Prison">This Lime-Tree Bower My Prison</a></li> <li><a href="/wiki/To_William_Wordsworth" title="To William Wordsworth">To William Wordsworth</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Late poetry and<br /><i><a href="/wiki/Lyrical_Ballads" title="Lyrical Ballads">Lyrical Ballads</a></i></div></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Christabel_(poem)" title="Christabel (poem)">Christabel</a></i></li> <li>"<a href="/wiki/France:_An_Ode" title="France: An Ode">France: An Ode</a>"</li> <li>"<a href="/wiki/Hymn_Before_Sunrise" title="Hymn Before Sunrise">Hymn Before Sunrise</a>"</li> <li><i><a href="/wiki/Kubla_Khan" title="Kubla Khan">Kubla Khan</a></i></li> <li><i><a href="/wiki/The_Rime_of_the_Ancient_Mariner" title="The Rime of the Ancient Mariner">The Rime of the Ancient Mariner</a></i></li> <li>"<a href="/wiki/The_Devil%27s_Thoughts" title="The Devil's Thoughts">The Devil's Thoughts</a>"</li> <li>"<a href="/wiki/Time,_Real_And_Imaginary" class="mw-redirect" title="Time, Real And Imaginary">Time, Real And Imaginary</a>"</li> <li>"<a href="/wiki/The_Knight%27s_Tomb" title="The Knight's Tomb">The Knight's Tomb</a>"</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Biographical and<br />other works</div></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Biographia_Literaria" title="Biographia Literaria">Biographia Literaria</a></i></li> <li><i><a href="/wiki/The_Watchman_(periodical)" title="The Watchman (periodical)">The Watchman</a></i></li> <li><a href="/wiki/Coleridge%27s_notebooks" title="Coleridge's notebooks">Notebooks</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Family</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Sara_Coleridge" title="Sara Coleridge">Sara Coleridge</a> (daughter)</li> <li><a href="/wiki/Derwent_Coleridge" title="Derwent Coleridge">Derwent Coleridge</a> (son)</li> <li><a href="/wiki/Hartley_Coleridge" title="Hartley Coleridge">Hartley Coleridge</a> (son)</li> <li><a href="/wiki/Christabel_Rose_Coleridge" title="Christabel Rose Coleridge">Christabel Rose Coleridge</a> (granddaughter)</li> <li><a href="/wiki/Ernest_Hartley_Coleridge" title="Ernest Hartley Coleridge">Ernest Hartley Coleridge</a> (grandson)</li> <li><a href="/wiki/Herbert_Coleridge" title="Herbert Coleridge">Herbert Coleridge</a> (grandson)</li> <li><a href="/wiki/James_Coleridge" title="James Coleridge">James Coleridge</a> (brother)</li> <li><a href="/wiki/Henry_Nelson_Coleridge" title="Henry Nelson Coleridge">Henry Nelson Coleridge</a> (nephew and son-in-law)</li></ul> </div></td></tr></tbody></table></div> <p class="mw-empty-elt"> </p>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Conversation_poems&oldid=1236403066">https://en.wikipedia.org/w/index.php?title=Conversation_poems&oldid=1236403066</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div 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