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Frost at Midnight is a poem by Samuel Taylor Coleridge, written in February 1798. Part of the conversation poems , the poem discusses Coleridge's childhood experience in a negative manner and emphasizes the need to be raised in the countryside.
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".
The poem received mixed reviews from critics, and Coleridge was once told by the publisher that most of the book's sales were to sailors who thought it was a naval songbook. Coleridge made several modifications to the poem over the years. In the second edition of Lyrical Ballads, published in 1800, he replaced many of the archaic words.
A Desultory poem, written on the Christmas Eve of 1794 "This is the time, when most divine to hear," 1794-6 1796 [Note 9] Monody on the Death of Chatterton. "O what a wonder seems the fear of death," 1790-1834 1794 The Destiny of Nations. A Vision "Auspicious Reverence! Hush all meaner song," 1796 1817 Ver Perpetuum. Fragment from an ...
[51] [52] The poems are considered by many critics to be among Coleridge's finest verses; thus Harold Bloom has written, "With Dejection, The Ancient Mariner, and Kubla Khan, Frost at Midnight shows Coleridge at his most impressive." [53] They are also among his most influential poems, as discussed further below.
Soon after, the poem was published in a small work containing his other poems Frost at Midnight and Fears in Solitude under the title France: An Ode to sound more neutral. [3] The poems were published in order with Fears in Solitude first and Frost at Midnight last to position the public poem, France: An Ode, in between two conversation poems. [4]
The editions are so different that they reflect the conflict and division that Coleridge felt during 1802. The tone of the poems are different, as the original was passionate and emotional, and the printed version was organized and philosophical. [15] There is a connection between Dejection and Frost at Midnight in everything but its form. This ...
His conversation poems such as "The Eolian Harp" and "Frost at Midnight" are the best known of his blank verse works. The blank verse of Keats in Hyperion is mainly modelled on that of Milton, but takes fewer liberties with the pentameter and possesses the characteristic of Keats's verse.