327:"although not so striking in imagery as is the 'Eolian Harp,' still has much to recommend it in this respect The impression left with the reader that the cottage and its surroundings are inestimably lovely, quiet, and peaceful is a paramount one, while the dead lines do not move the reader at all, except to make him wonder if the move from Clevedon for the cause of humanity was a necessary one." Richard Haven argues that the poem's image of the moral path is weak because "the returned traveller can only dismiss his ascent to another mode of being as a pleasant but useless memory".
816:
60:
her state of health. His feelings of guilt, along with a fever that he treated with laudanum, affected him greatly and caused him to express these feelings in a letter to Josiah Wade on 10 February 1796: "My past life seems to me like a dream, a feverish dream! all one gloomy huddle of strange actions, and dim-discovered motives! Friendships lost by indolence, and happiness murdered by mismanaged sensibilities."
265:. This is especially true with a focus from the private to the public spheres. Within the outside world, the poem's narrator is separate from humanity, but his focus is ever on humanity and contains both a religious and political component. The image of "One Life" within the poem compels him to abandon the sensual pleasures of the cottage and to pursue a path of helping humanity.
330:
Anthony
Harding believes "it is important to recognize that it steps outside the idyllic but circumscribed scene of 'The Eolian Harp', and admits the impossibility, in a fallen world, of human self-sufficiency." Oswald Doughty states that the "most important additions" to Coleridge's 1797 edition of
258:
by saying that there were problems within the marriage, especially with it distracting
Coleridge from nature and the world outside of the home that he shared with his wife. The poem expresses feelings of solitude and confinement, and there is a difference between the worlds inside and outside of the
242:
admits that he was unable to do so: "so I own I wish life and strength had been spared to me to complete my
Philosophy. For, as God hears me, the originating, continuing, and sustaining wish and design in my heart were to exalt the glory of his name; and, which is the same thing in other words, to
59:
and began to travel throughout
England in order to meet with various philosophers and political theorists. In part, he was trying to meet with people so he could raise subscriptions for his various works. During this time, he would write home constantly to his pregnant wife and was concerned about
319:
in their review of the 1797 collection of
Coleridge's poem. The July review claims that the poem "evince a feeling heart. The comparison between the weeping eyes of a humane friend and the unmoved face of another equally benevolent, and the contrast between the latter and those who merely affect
207:
Feeling the need to seek out truth creates a separation between the mind of a poet and the mind of a philosopher. The poem reconciles the two by allowing the pursuer of truth to reflect on his time of simply enjoying nature and God's presence. However, the philosopher aspect is dominant and the
217:, to dwell in an Edenic state is a paradise in which the narrator leaves voluntarily because he cannot ignore the problems of the world like a coward. Instead, the individual is compelled to join with humanity and even the lowest form of benefiting humanity is superior to doing nothing at all.
195:
as the scene for both is the same. The land of
Clevedon is praised and seen full of life, and it serves as contrast to escaping from the real world into fantasy and pondering about the abstract. Both poems also describe Coleridge's relationship with his wife and feelings of sexual desire. The
46:
to having to abandon a unity with nature in order to fulfill a moral obligation to humanity. The discussion of man's obligation to each other leads into a discussion on the difference between the life of a philosopher and the life of a poet. By the end of the poem, the narrator follows the
42:, it discusses Coleridge's understanding of nature and his married life, which was suffering from problems that developed after the previous poem. Overall, the poem focuses on humanity's relationship with nature in its various aspects, ranging from experiencing an
343:"mark a new stage in Coleridge's exploration of the sacred relations between man and nature, which gradually become more serious and impassioned as they carry increasingly theological implications behind his Romanticism."
230:
is repeated. Similarly, the compulsion to enter into the world and help humanity is included, but it is altered from being motivated by guilt to a warning message against a possible invasion from outside forces. As such,
212:
quality of nature because such a state is not yet appropriate. The Edenic imagery figures into many of
Coleridge's poems and is reinforced with the image of myrtle trees and takes on many forms within his poetry. In
47:
philosophical path in a manner similar to what
Coleridge sought to do. The response to the poem from critics was mostly positive, with many of them emphasizing the religious aspects of the work in their analysis.
281:
1.4.42 and is intended to describe the work as a whole as connecting to prose. The second stanza, where the narrator describes Dial Hill as the "stony Mount", is connected to
79:
on leaving it. The poem was not included in
Coleridge's 1796 collection of poems as it was probably still incomplete, but it was published in the October 1796
273:
Besides the natural relationship of the poem with the land of
Clevedon, there are literary connections within the poem. The poem begins with a line from
226:(1798). The later poem recreates the "Valley of Seclusion" image in the form of a dell. Even the image of a passerby looking in on the cottage found in
728:
153:
The narrator describes the reasons why he is leaving Clevedon along with the allowance of remembering his former life there after his work is done:
91:
was included in Coleridge's 28 October 1797 collection of poems and the collections that followed. Of his early poems, Coleridge believed that
293:
could have been an imitation of Crowe's poetry. In terms of Edenic imagery, including types of plant life, Coleridge's are connected to
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760:
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1167:
854:
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imagination aspects of the poem represent an unwillingness to accept nature on its own and rejects the conclusion of
714:
1235:
785:
882:
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833:
1034:
958:
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208:
individual must go out and try to help humanity. Nature can be soothing, but the narrator must reject the
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238:
In Coleridge's own life, he tried to follow the path of the philosopher, but the 10 July 1834 entry in
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does not seek to leave the location to help humanity, but to stay as a protector over his family.
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The poem continues with a goodbye to the valley and asks if his life of pleasure was appropriate:
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277:, although in many versions it is misquoted. The line, "sermoni propiori", is from Horace's
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After the letter, Coleridge returned to his wife who was now living with her family at
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Reflections on Entering into Active Life. A poem Which Affects Not to be Poetry
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After marrying Sara Fricker in autumn 1795, Coleridge left their home at
204:, one cannot just simply exist in such an area but must seek out truth.
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cottage in a similar manner to the focus found within Coleridge's
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to commemorate coming to his home at Clevedon, Coleridge composed
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103:
The poem begins with an idealisation of a "Valley of Seclusion":
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29:
274:
25:
680:
The Collected Works of Samuel Taylor Coleridge: Poetical Works
1021:
201:
200:. Although the land of Clevedon can bring one closer to
682:
I Vol I.I. Princeton: Princeton University Press, 2001.
323:
During the 20th century, Virginia Radley declares that
220:The image of nature and other themes reappears in
1363:
1173:Reflections on Having Left a Place of Retirement
167:Rests the tir'd mind, and waking loves to dream,
112:Thick Jasmins twined: the little landscape round
77:Reflections on Having Left a Place of Retirement
21:Reflections on Having Left a Place of Retirement
640:. Toronto: Associated University Presses, 1981.
450:
448:
415:
413:
158:I therefore go, and join head, heart, and hand,
647:. Cambridge: Cambridge University Press, 1974.
722:
385:
383:
162:Of Science, Freedom, and the Truth in Christ.
160:Active and firm, to fight the bloodless fight
140:On rose-leaf beds, pampering the coward heart
136:While my unnumber'd brethren toil'd and bled,
675:. Allison Park: Pickwick Publications, 1985.
445:
410:
138:That I should dream away the entrusted hours
134:I was constrain'd to quit you. Was it right,
736:
114:Was green and woody, and refresh'd the eye.
110:Our Myrtles blossom'd; and across the porch
895:Introduction to the Tale of the Dark Ladie
729:
715:
654:. Amherst: University of Mass. Press, 1969
380:
618:
429:
427:
425:
243:promote the improvement of humanity. But
315:saw favor with "To the River Otter" and
169:My spirit shall revisit thee, dear Cot!
142:With feelings all too delicate for use?
116:It was a spot which you might aptly call
673:Coleridge as Poet and Religious Thinker
1364:
422:
335:. Richard Holmes points out that both
710:
1168:The Nightingale: A Conversation Poem
629:The Poems of Samuel Taylor Coleridge
306:
659:Coleridge: Early Visions, 1772-1804
613:The Life of Samuel Taylor Coleridge
13:
250:In terms of Coleridge's marriage,
165:Yet oft when after honourable toil
14:
1393:
855:Monody on the Death of Chatterton
701:Coleridge and the Abyssinian Maid
814:
1236:The Rime of the Ancient Mariner
786:Person on business from Porlock
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36:in 1796. Like his earlier poem
16:Poem by Samuel Taylor Coleridge
1178:This Lime-Tree Bower My Prison
834:The Destruction of the Bastile
645:Coleridge and the Idea of Love
436:
401:
392:
371:
362:
353:
1:
959:Lines Written at Shurton Bars
605:
189:are connected to Coleridge's
50:
952:Lines on an Autumnal Evening
883:The Ballad of the Dark Ladié
289:(1788). It is possible that
7:
661:. New York: Pantheon, 1989.
320:sympathy, are well drawn."
10:
1398:
869:Pain: Composed in Sickness
791:Coleridge's theory of life
668:. London: Routledge, 1996.
632:. Oxford University Press.
615:. Oxford: Blackwell, 1997.
433:Coleridge 1921 pp. 106-108
268:
118:The Valley of Seclusion!
1326:Christabel Rose Coleridge
1300:
1266:
1191:
1134:
1031:
980:Poems on Various Subjects
973:Ode on the Departing Year
932:
904:
823:
812:
753:
744:
696:. New York: Viking, 2006.
689:. New York: Twayne, 1966.
678:Mays, J. C. C. (editor).
652:Patterns of Consciousness
624:Coleridge, Ernest Hartley
247:, and his will be done."
180:
1332:Ernest Hartley Coleridge
1250:Time, Real And Imaginary
703:. London: Methuen, 1967.
620:Coleridge, Samuel Taylor
499:Yarlott 1967 pp. 118–119
346:
1352:(nephew and son-in-law)
966:On Receiving an Account
914:The Fall of Robespierre
806:Suspension of disbelief
738:Samuel Taylor Coleridge
687:Samuel Taylor Coleridge
666:Samuel Taylor Coleridge
562:Jackson 1996 qtd. p. 42
517:Jasper 1985 qtd. p. 135
98:
34:Samuel Taylor Coleridge
1350:Henry Nelson Coleridge
945:The Destiny of Nations
526:Yarlott 1967 pp. 97–98
490:Harding 1974 pp. 46–47
368:Ashton 1997 qtd. p. 80
178:
151:
127:
1183:To William Wordsworth
801:Romantic epistemology
535:Mays 2001 pp. 260–262
481:Radley 1966 pp. 48–49
472:Radley 1966 pp. 47–48
377:Ashton 1997 pp. 80–81
155:
131:
105:
1279:Biographia Literaria
1243:The Devil's Thoughts
571:Haven 1969 pp. 50–53
1222:Hymn Before Sunrise
876:Songs of the Pixies
699:Yarlott, Geoffrey.
589:Doughty 1981 p. 127
407:Yarlott 1967 p. 109
1377:Conversation poems
1015:To the River Otter
862:On Quitting School
771:Albatross metaphor
685:Radley, Virginia.
643:Harding, Anthony.
636:Doughty, Oswald. '
611:Ashton, Rosemary.
598:Holmes 1989 p. 104
580:Harding 1974 p. 48
553:Holmes 1989 p. 148
544:Harding 1974 p. 46
508:Jasper 1985 p. 134
463:Holmes 1989 p. 103
419:Sisman 2006 p. 129
398:Ashton 1997 p. 139
1359:
1358:
1338:Herbert Coleridge
1320:Hartley Coleridge
1314:Derwent Coleridge
1257:The Knight's Tomb
1163:Frost at Midnight
1158:Fears in Solitude
1148:Dejection: An Ode
994:Religious Musings
657:Holmes, Richard.
454:Radley 1966 p. 48
442:Ashton 1997 p. 81
359:Ashton 1997 p. 80
307:Critical response
233:Fears in Solitude
223:Fears in Solitude
1389:
1382:Christian poetry
1268:Biographical and
1125:To Lord Stanhope
987:Sibylline Leaves
919:Remorse (Osorio)
818:
731:
724:
717:
708:
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664:Jackson, James.
650:Haven, Richard.
638:Perturbed Spirit
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389:Mays 2001 p. 260
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245:visum aliter Deo
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83:under the title
81:Monthly Magazine
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1344:James Coleridge
1328:(granddaughter)
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1197:Lyrical Ballads
1194:
1193:Late poetry and
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1153:The Eolian Harp
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937:
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848:Easter Holidays
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671:Jasper, David.
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341:The Eolian Harp
331:poems included
313:Critical Review
309:
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256:The Eolian Harp
198:The Eolian Harp
192:The Eolian Harp
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108:In the open air
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73:The Eolian Harp
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39:The Eolian Harp
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1308:Sara Coleridge
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1215:France: An Ode
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1097:To Mrs Siddons
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1001:To a Young Ass
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936:Bristol poetry
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694:The Friendship
692:Sisman, Adam.
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185:The themes of
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95:was his best.
71:. As he wrote
65:Redcliffe Hill
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747:List of poems
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300:Paradise Lost
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287:Lewesdon Hill
284:
283:William Crowe
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254:differs from
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1286:The Watchman
1284:
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1206:
1195:
1172:
1137:Conversation
1076:To Kosciusko
1062:To Priestley
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825:Early poetry
796:Organic form
781:Pantisocracy
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251:
249:
244:
239:
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227:
221:
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197:
190:
186:
184:
157:
152:
133:
128:
107:
102:
92:
88:
84:
80:
76:
72:
62:
54:
44:Edenic state
37:
20:
19:
18:
1270:other works
1118:To Sheridan
337:Reflections
333:Reflections
325:Reflections
317:Reflections
303:Book Four.
295:John Milton
291:Reflections
252:Reflections
215:Reflections
187:Reflections
175:lines 60–65
148:lines 44–48
93:Reflections
89:Reflections
28:written by
1372:1796 poems
1366:Categories
1340:(grandson)
1334:(grandson)
1310:(daughter)
1229:Kubla Khan
1208:Christabel
1111:To Southey
1069:To Fayette
1048:To Erskine
1037:Characters
1008:To Fortune
841:Dura Navis
776:Lake Poets
761:Early life
606:References
262:Kubla Khan
240:Table Talk
228:Reflection
51:Background
1346:(brother)
1292:Notebooks
1104:To Godwin
1090:To Bowles
766:Opium use
124:lines 4–9
1055:To Burke
622:(1921).
173:—
146:—
122:—
57:Clevedon
1083:To Pitt
1035:Eminent
924:Zapolya
626:(ed.).
279:Satires
269:Sources
69:Bristol
30:English
1301:Family
754:Topics
275:Horace
210:Edenic
181:Themes
1322:(son)
1316:(son)
1139:poems
1022:Lewti
906:Plays
347:Notes
32:poet
24:is a
890:Love
339:and
311:The
99:Poem
26:poem
297:'s
285:'s
202:God
87:.
1368::
447:^
424:^
412:^
382:^
67:,
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1050:"
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1024:"
1020:"
897:)
893:(
885:"
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878:"
874:"
871:"
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857:"
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846:"
843:"
839:"
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832:"
730:e
723:t
716:v
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