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the analysis of the poem this lime-tree bower my prison by samuel taylor coleridge
the analysis of the poem this lime-tree bower my prison by samuel taylor coleridge
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In his poem This Lime-Tree Bower My Prison, Samuel Taylor Coleridge explicates how humans can always find beauty near themselves, even in the least futile of places. Coleridge, a man of twenty five years at the time he wrote this poem, added This Lime-Tree Bower My Prison to his collection of The Conversation Poems (Hill). In the summer of 1797, when he wrote this, he addressed the poem to a friend of his, Charles Lamb, the essayist, and while they departed, Coleridge wrote him this poem in the garden, for he had been hindered from walking by a misfortunate accident earlier in the day. This Lime-Tree Bower My Prison contains three stanzas which hold seventy eight lines.
Coleridge uses a simple conversation to start his poem, one without defamiliarization, “Well, they are all gone, and here must I remain, This lime-tree bower my prison!” (Coleridge). The simple introduction to the first stanza produces a perturbed tone towards his poem. He seems frustrated at the fact that he is unable to travel with his cohorts, as if he is literally locked in a prison. His short stab at the setting tells us of the bower, “a shelter (as in garden) made with tree boughs or vines twined together” (Merriam-Webster 3), consisting of lime trees. He reverses the meaning of bower as being easeful to a confinement, using “prison” (Coleridge) as his metaphor to his feeling of restraint. The hyperbole of a beautiful garden becoming a prison, the speaker wants for his audience to have pity towards him. He is feeling sorry for himself, becoming submissive to his feelings throughout the rest of the poem.
In the following lines, Coleridge sees himself as becoming blind as he gets older. He feels that because he did not go on the walk with his friends, he w...
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Despite the Romantics valuing of nature, the direct threat to the natural habitat marked by the presence of soot around steel manufacturing towns due to the Industrial Revolution catalysed increased support in Pantheism which valued the unity between man, God and nature. A Pantheist himself, Coleridge’s This Lime Tree Bower My Prison (1816) follows the persona’s wishes to accompany his colleagues upon an expedition after suffering a scald. The persona’s initial exclamation “This lime-tree bower my prison!” which metaphorically accentuates his physical constraints contrasts with his affectionate tone after a period of reflection in “This little lime-tree bower” exploring the transformative capabilities of imaginative contemplation with regards to changing perceptions of physical boundaries within nature. Furthermore, the Biblical annotations in the descriptions “Ye purple heath-flowers! richlier burn, ye clouds!” and “the many steepled-tract magnificent / Of hilly fields and meadows” elevates nature to an equal status as God reflecting Pantheist values and the vivid imagery explores the impact of imagination in transcending physical constraints and enabling the individual to explore nature. Hence, through the power of imagination, one is able to transcend the physical
The author is faced with the struggle of coming to terms with his homosexuality, which parallels the “internal” struggle of the form of the poem. The opening sentence of the poem, “In the hall of mirrors nobody speaks,” (Cole 1) sets the gloomy tone through the author’s use of imagery to create before the reader a silent dark hallway with mirrors. The other attribute that describes the bath, “An ember smolders before hollowed cheeks,” (2) ...
Furthermore, Wordsworth’s assertion of feelings as the effects of an action or a situation, which means that actions should influence the emotions of the character and not the other way around, is dissimilar to The Raven’s character’s feeling of desperation in which he succumbed to his distress. However, the lesson derived from the bizarre workings of the human mind in preferring more devotion to the pain for the sake of “preserving the memory,” as “The Raven” illustrates, exposes to us how a particular person behaves towards grief. The statement thus proves in relation to Coleridge’s statement of the readers’ elicitation of the poem is more significant than the poem itself (in reference to his emphasis on the importance of the “Return”). Another variation between Wordsworth and Coleridge is that the former claims that the writer must bring the language near to the language of men, whilst the latter believes that the language of poetry should beautiful and elevated. “The Raven” in this case
Throughout life, we have all experienced the loneliness of being excluded at some point or another. In “This Lime-Tree Bower My Prison,” Samuel Taylor Coleridge shows how his experience with this resentful jealousy matured into a selfless brotherly love and the acceptance of the beneficial effects some amount of denial can have. Each of the poem’s three stanzas demonstrates a separate step in this transition, showing Coleridge’s gradual progression from envy to appreciation. The pervading theme of Nature and the fluctuating diction are used to convey these, while the colloquial tone parallels the message’s universal applications. The poem culminates to show the reader that being deprived of something in life is not always to be regretted, but rather to be welcomed as an opportunity to “smell the roses,” so to speak, and appreciate the blessings we often take for granted.
Throughout the beginning of the poem there are religious undertones Coleridge uses words like bended knee and reverential to highlight a religious belief and perhaps a plea to God to cure the “Pains of Sleep” this is interesting as he seems to feel “humbled” by the spirit presence. He mentions being weak but realises he is blest by this power. The religious undertone suggests to me a feeling of utter helplessness.
Wordsworth is raised in a simple country side and he views his childhood as a time when his relationship with nature was at its greatest; he revisits his childhood memories to relieve his feelings and encourage his imagination. Even if he grew up within nature, he didn’t really appreciate it until he became an adult. He is pantheistic; belief that nature is divine, a God. Since he has religious aspect of nature, he believes that nature is everything and that it makes a person better. His tone in the poem is reproachful and more intense. His poem purpose is to tell the readers and his loved ones that if he feels some kind of way about nature, then we should have the same feeling toward it as well. On the other side, Coleridge is raised in rural city such as London and expresses his idea that, as a child, he felt connected to nature when looking above the sky and seeing the stars. Unlike Wordsworth who felt freedom of mind, Coleridge felt locked up in the city. Since he did not have any experience with nature, he did not get the opportunity to appreciate nature until he became an adult. In Coleridge’s poem “Frost at Midnight,” readers see how the pain of alienation from nature has toughened Coleridge’s hope that his child enjoy a peaceful nature. Instead of looking at the connection between childhood and nature as
...e challenges that the Gloss of 1817 received a number of criticisms but Warren proceeded to take most of his interpretation regardless, “The nastiest Gloss receives the highest concentration of theorizing from Mr. Warren, who appreciates the difficulty of accepting our standard text” (Empson 157). Empsonadmits symbolism has validity, but criticizes the interpretation by Warren of the astronomical and spiritual aspects of the poem. Empson also provides a background context for Coleridge’s inner conflict and religious confusion supporting his own interpretation. At the conclusion, Empson denounces the religious overtones of the Gloss stating, “it takes away from the mystic, legendary tone of the complex and psychological poem” (Empson 175). In Empson’s critical lens, the worth of the poem comes from its complexity which Warren ignores through his “limited” viewpoint.
...ous allegory represents Christian ideals such as sin, forgiveness, and prayer. In addition, Coleridge’s use of language and form contribute to the message conveyed in the text. The form fluctuates throughout the text by use of different rhyme schemes, loose meter, and stanzas in length varying four to nine lines. The variety of form could be representative the array of interpretations of this text. Coleridge conveys profound religious meaning by using symbolic language with interpretive representations. Although his use of elevated language possibly narrowed the audience, that could have been his intentions due to the complexities of this philosophical poem. In the end, Coleridge’s depiction of the Mariner’s journey ultimately conveys the Christian ideal, which is to love and appreciate all creatures created by God, whether Albatross or snake.
Through alliteration and imagery, Coleridge turns the words of the poem into a system of symbols that become unfixed to the reader. Coleridge uses alliteration throughout the poem, in which the reader “hovers” between imagination and reality. As the reader moves through the poem, they feel as if they are traveling along a river, “five miles meandering with a mazy motion” (25). The words become a symbol of a slow moving river and as the reader travels along the river, they are also traveling through each stanza. This creates a scene that the viewer can turn words into symbols while in reality they are just reading text. Coleridge is also able to illustrate a suspension of the mind through imagery; done so by producing images that are unfixed to the r...
Moreover, these various fragments all combine to instill a sense of ambiguity throughout the poem. In a sense, as the poem progresses, the audience discovers further and more troublesome questions regarding its message and its implications. The audience, perhaps, even begins to wonder if there are indeed absolute answers or whether Coleridge consciously intended to create an unresolved poem. Amid this unsettling tumult of questions, one is left to dedicatedly follow Coleridge’s journey in a sequential manner in an attempt to consider and ponder these ambiguities as they arise. Inevitably, however, lingering questions will ...
Coleridge's poem The Rime of the Ancient Mariner can be interpreted in many different ways regarding the question of the relationship between the man and the nature. According to Geoffrey H. Hartman "Coleridge's poem traces the 'dim and perilous way' of a soul that has broken with nature and feels the burdenous guilt of selfhood" (48). Robert Penn Warren explains his perception and “the primary theme in this poem as the theme of sacramental vision, or the
While Coleridge describes the process of creating Romantic poetry and encourages poets to use the combination of nature and imagination in this process, Keats is more focused on reality and is well aware of the limitations of the Grecian urn. With the poets’ admiration of nature present in both poems …… to be completed.
Coleridge, like many other romantic writers of his time such as Wordsworth, demonstrated through his works a great interest in nature. Instead of following the philosophy of the eighteenth century which drew the line between man and nature, Coleridge developed a passionate view of the idea that there is just ''one''. He believed that nature was ""the eternal language which God utters"", therefore conecting men, nature and the spiritual together. In his poetry, Coleridge used his philosophy to to explore wider issues through the close observation of images and themes relating to the natural world.
He paints pictures using words. During the Romantic Era, extensive travel was not undertaken by many people; therefore, most people would not know how a river that ran beneath the earth and then reemerged sounded. Coleridge uses sounds that might be familiar to everyone to represent the sound of the river. When he writes in stanza two that “from this chasm, with ceaseless turmoil seething, / as if this earth in fast thick pants were breathing” (17-18), he is not claiming that the earth is breathing, but that the sound coming from the chasm was “as if …breathing.” If instead, like the prose, he had written “…as if this earth were breathing in fast thick pants,” the reader may have understood what sound was made, but the poem would have given up some of its eerie attributes. The removal of this device would have created a more concrete world; however, it would have also removed the fairy-tale like quality of the piece. The imagery is important because it allows the reader to see both the haunting “woman wailing for her demon-lover” and hear the “mighty fountain” (16.19). The metaphors that Coleridge uses to describe the sounds in this dreamlike garden add to the imagery that pulls the poem from natural to supernatural. Simile is not the only device that Coleridge uses that makes these words more fit for poetry than