Coleridge frost at midnight. Frost at Midnight : Samuel Taylor Coleridge : Free Download, Borrow, and Streaming : Internet Archive 2022-10-19
Coleridge frost at midnight Rating:
"Frost at Midnight" is a poem written by Samuel Taylor Coleridge in 1798. It is a contemplative poem in which the speaker reflects on the quiet and peaceful nature of a frosty winter night.
The poem begins with the speaker sitting alone in his cottage, surrounded by the stillness of the night. He looks out at the frost-covered landscape and marvels at the beauty of the ice crystals that sparkle in the moonlight. He is struck by the peacefulness of the scene, and he feels a sense of calm and solitude as he contemplates the world around him.
As the poem progresses, the speaker reflects on the passage of time and the fleeting nature of life. He thinks about his own childhood and the memories that he has of his own father reading to him by the fireside. He wonders about the future and what his own children will be like.
In the final stanza, the speaker turns his thoughts to nature and the way in which it reflects the state of the human soul. He observes that the frost, like the human heart, can be both beautiful and destructive, and he reflects on the way in which the natural world can bring both joy and sorrow.
Overall, "Frost at Midnight" is a thoughtful and meditative poem that explores the beauty and solitude of a winter night. It invites the reader to consider the passage of time and the changing nature of life, and it encourages us to take a moment to appreciate the peacefulness and beauty of the world around us.
Frost at Midnight : Samuel Taylor Coleridge : Free Download, Borrow, and Streaming : Internet Archive
Coleridge is saying here that he identifies with the fluttering film of ash on his fire: because it seems alive it provides him with a companion. Coleridge is awake, but he can remember sleep and also experience it with intense vicarious happiness in seeing Hartley there, in the present. Sea, and hill, and wood, With all the numberless goings-on of life, Inaudible as dreams! But increasingly unhappy with his marriage and, suffering although unknowingly at this stage from an addiction to opium, Coleridge sought to recover his health by leaving for Malta in 1804. Traill, Coleridge,English Men of Letters London: Macmillan, 1884; New York: Harper, 1884. The jealous Sara had spilled a pan of boiling milk on his foot, excluding him from the company of Dorothy and William Wordsworth, as well as Charles Lamb, on a jaunt in the surrounding spur of low hills— combes, in local parlance—the Quantocks.
Sea, and hill, and wood, With all the numberless goings-on of life, Inaudible as dreams! But whenever his mind becomes vacant for a moment, he becomes conscious of the material world around him and listens to the gentle breathing of his child. Whenever he is deeply immersed in thinking, he does not hear the sound of the breathing of the child. The process was a fitful, often tortuous one. And in his late theological writing he provided principles for reform in the Church of England. How oft, at school.
Cottle and Robinsons, London, 1797; third edition with deletions, London: Printed by N. The metaphysical investigation assumed a life of its own, waylaid by deep plunges into Kant and Schelling, among others. In the course of the next year Coleridge delivered a series of lectures on politics and religion in Bristol, where Southey had connections. As Coleridge watches the fluttering ash, the imagined stranger remains in the multiplicitous realm of imagination and has not yet crystalized into a singular, real person. Its contents were various, including reports from Parliament, foreign intelligence, and responses to current issues.
In this literary work, several essential themes are connected. It might be verse, but it was not good poetry. This has often been aptly compared to the simile of an eye trying to see itself seeing, and not only what it sees. He did much to encourage it, certainly, but he lived to regret what his friends made of him and to defend himself against charges of idleness and premature decay. And this is the subject of the poem, which is characteristic of the deep and subtle ways of thinking about the past that Wordsworth and Coleridge were experimenting with when they composed Lyrical Ballads 1798. New York: Norton, 1988. And, even in his sleep, he continued to dream of these sweet things.
As he was afraid of his strict teacher, he used to look at his book. Futurity is there still in the extraordinary blessing that ends the poem, but not chronology—not the next day and the day after that, but the suspended and privileged time in which the whole blessed future may be felt in the instant. Its influence rings clear in Look, Stranger! Was natural beauty sufficient to our moral needs? In the exemplary setting of the new life he was undertaking, the claims of enlightenment thinking succumbed to faith. How did this bear on our idea of society? Mary, a small town in Devon, England. But thou, my babe! Reminiscing about his childhood, Coleridge then alludes to the fact that he used to slip into naps during class lessons and dream of sweet things like home and family. His basic literary values were formed here under the tutelage of the Reverend James Bowyer, a larger-than-life figure who balanced classical models with native English examples drawn from Biographia Literaria, chapter 1. Wordsworth frankly disliked it after the reviews came in, but Lamb led the way in appreciating its odd mix of romance and realism.
Sea, hill, and wood, This populous village! Yet his enduring commitments showed through. Besides, it also used to haunt him and gave him a wild and inexplicable pleasure. I regulated all my creeds by my conceptions not by my sight—even at that age. Another reference to Christ's Hospital School. Thus, childhood returns as Coleridge shifts his thoughts of the past to thoughts of the present, the beautiful babe lying next to him; and Ann returns, perhaps, in the love that he feels for her in memory and for Hartley in the present.
On his way north he tarried in London as political correspondent for the Morning Post, writing a brilliant piece on Pitt, the prime minister, showing what his own convictions counted for. Throughout his adult life Coleridge had crippling bouts of anxiety and depression; it has been speculated that he had bipolar disorder, which had not been defined during his lifetime. The conviction of a benevolent nature is compromised by mounting fears. Reasons for the divergence are bound to be conjectures after the fact, but two at least remain worth considering. At the same time, he describes sights and scenes of Nature as colored by human emotions.
Their achievement in the developing conversational line has seemed more momentous in retrospect than it did at the time. He, therefore, used to gaze expectantly at the bars of the gate whether the film was fluttering or not. Frost at Midnight redefines the experience as one that deprived him of the countryside. He moved permanently to London in 1810, having quarreled with Wordsworth. Coleridge's nature has a Christian presence and nature is a physical presence of God's word. Meditation has no object; the extreme stillness of the night prevents Coleridge from having to think of any particular thing, so it takes itself as the object. His move with Sara to Clevedon, Somersetshire, along the Bristol Channel, in October 1795 was a change of air though not of social context.
Frost at Midnight by Samuel Taylor Coleridge: Summary & Analysis
In all parts of the kingdom these films are called strangers and supposed to portend the arrival of some absent friend. The ideals of Pantisocracy, as they called their project, involved shared labor and shared rewards. He also identifies another role of the imagination: to unify the world around us. Probably a reference to the headmaster, the Rev. There were no strings attached. The boy would become a "child of nature" and raised free of the constraints found in philosophical systems produced by those like Another key theme within Frost at Midnight that is important to note is that of the flickering film of ash. Active in the wake of the French Revolution as a dissenting pamphleteer and lay preacher, he inspired a brilliant generation of writers and attracted the patronage of progressive men of the rising middle class.
The Visionary Company: A Reading of English Romantic Poetry. Stillness becomes paradoxically redundant, a characteristic romantic theme that has to do with the strange doubling of self-reflection. The poet envisions a future version of what he is already experiencing: the stillness of a frosty night. The owlet is crying loudly again and again. Coleridge as Poet and Religious Thinker. The rest of the family is asleep, and he considers the beautiful frost that settles on the house and seems to increase the sense of calm and peace within it. Also, the blue flame of fire lying low, is absolutely motionless.