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The Eolian Harp is a poem written by Samuel Taylor Coleridge in 1795 and published in his 1796 poetry collection. It is one of the early conversation poems and discusses Coleridge's anticipation of a marriage with Sara Fricker along with the pleasure of conjugal love .
20th-century literary critics often categorise eight of Coleridge's poems (The Eolian Harp, Reflections on having left a Place of Retirement, This Lime-Tree Bower my Prison, Frost at Midnight, Fears in Solitude, The Nightingale: A Conversation Poem, Dejection: An Ode, To William Wordsworth) as a group, usually as his "conversation poems".
It is such lyrics and conversation poems as "The Eolian Harp" and "Lines Written at Shurton Bars" that are seen as prefiguring the great works of Coleridge's maturity. [7] [36] [37] Lawrence Hanson, for example, wrote that these "are saved by their spontaneity and lightness from the confusion of overmuch thought. They contain hints of the ...
The Eolian Harp. "My pensive Sara! thy soft cheek reclined" 1795 1796 To the Author of Poems [Joseph Cottle] published anonymously at Bristol in September 1795 "Unboastful Bard! whose verse concise yet clear" 1795 1795, September The Silver Thimble.
As he wrote The Eolian Harp to commemorate coming to his home at Clevedon, Coleridge composed Reflections on Having Left a Place of Retirement on leaving it. [3] 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 Monthly Magazine [ 4 ] under the title ...
Aeolian harps have been featured and mentioned in a number of poems. These include at least four Romantic-era poems: "The Eolian Harp" and "Dejection, an Ode", both by Samuel Taylor Coleridge, and "Mutability" and "Ode to the West Wind" by Percy Bysshe Shelley. [10] The former of these two appears alongside his essay "A Defence of Poetry".
It is certainly plain compared to 'Religious Musings' and his other declamatory poems, and yet the tone is versatile, modulating from the conversational and the chatty into something unusually arresting." [5] In the 21st century, Adam Sisman declared that the poem "was a further development of the new style he had initiated in 'The Eolian Harp ...
When Coleridge's Poems on Various Subjects was reviewed, few reviewers paid attention to Lines Written at Shurton Bars. [15] John Aikin, in the June 1796 Monthly Review, states, "The most of [the 'poetical Epistles'], addressed to his 'Sara', is rather an ode, filled with picturesque imagery: of which the follow stanzas [lines 36–60] compose a very striking sea-piece". [16]