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Consider his only other poem beginning with that rhetorical shrug, "Well! " Had dimm'd mine eyes to blindness! However, in the same month that Lloyd departed for Litchfield —March of 1797—Coleridge had to assure Joseph Cottle, his publisher, that making room for Lloyd's poetry in the volume would enhance its "saleability, " since Lloyd's rich "connections will take off a great many more than a hundred [copies], I doubt not" (Griggs 1. Referring to himself in the third person, he writes, But wherefore fastened? Well, they are gone, and here must I remain, This lime-tree bower my prison! Like Dodd's effusion, John Bunyan's dream-vision, Pilgrim's Progress, was written in prison and represents itself as such. In reflection (sat in his lime tree bower), he uses his imagination to think of the walk and his friend's experience of the walk.
Seneca, Oedipus, 530-48]. As so often in Coleridge's writings, levity and facetiousness belie deeper anxieties. Empty time is a problem, especially when our minds have not yet become practiced in dealing with it. The wide range of literary sources contributing to the composition of "This Lime-Tree Bower " makes the poem something of an intertextual harlequin. Coleridge's sympathy with "Brothers" (typically disguised by an awkward attempt at wit) may have been subconsciously sharpened by the man's name: Frank Coleridge, the object of his childish homicidal fury, had eventually taken his own life in a fit of delirium brought on by an infected wound after one of two assaults on Seringapatam (15 May 1791 or 6-7 February 1792) in the Third Mysore War of 1789-1792. Coleridge's repeated invitations to join him in the West Country had been extended to her as well as to her brother as early as June 1796 (Lamb, Letters, I. This is what I began with. Wind down, perchance, In Seneca's play the underworldly grove of trees and pools is the place from which the answer to the mystery is dragged, unwillingly and unhappily, into the light.
It's true, the poem ends with Coleridge blessing the ominous black bird as it flies overhead, much as the cursed Ancient Mariner blesses the water-snakes and so sets in motion his redemption. With noiseless step, and watchest the faint Look. However, he was prevented from walking with them because his wife, according to Wordsworth, "accidentally emptied a skillet of boiling milk on my foot, which confined me during the whole time of C. Lamb's stay" (Coleridge's marriage was generally unhappy). In a letter to Joseph Cottle of 20 November he explained that he was taking aim at the "affectation of unaffectedness, " "common-place epithets, " and "puny pathos" of their false simplicity of style. He watches as they go into this underworld. This would not, however, earn him enough for his family to live on. Dodd inveighs against the morally corrosive effects of imprisonment (2.
The Lamb-tree of Christian gentleness is imprisoned by something grasping and coal-black. Through the late twilight: [53-7]. This view caps an itinerary that Coleridge not only imagines Charles to be pursuing, along with William, Dorothy, and (in both the Lloyd and Southey manuscript versions) Sarah herself, but that he in fact told his friends to pursue. For Coleridge, the Primary Imagination is the spontaneous act of creation that overtakes the poet, when an experience or emotions force him to write. 174), but it is difficult to read the poet's inclusion of his own explicitly repudiated style of versification—if it was indeed intended as a sample of his own writing—as anything but a disingenuous attempt to appear ingenuous in his offer of helpful, if painful, criticism to "our young Bards. " To all appearances, the financial benefit to Coleridge would otherwise have continued. 22] Coleridge had run into Lloyd upon a visit to Alfoxden on 15 September (Griggs 1. Comes sudden on my heart, and I am glad. Full-orb'd of Revelation, thy prime gift, I view display'd magnificent, and full, What Reason, Nature, in dim darkness teach, Tho' visible, not distinct: I read with joy.
Once assigned their own salvific itinerary, however, do the poet's friends actually pursue it? Reading the poem this way shines some light (though of course I'm only speaking personally here) on why I have always found its ostensible message of hope and joy undercut by something darker and unreconciled, the sense of something unspoken in the poem that is traded off somehow, some cost of expiation. The glowing foliage, illuminated by the same solar radiance in which he pictures Charles Lamb standing at that very moment, "[s]ilent with swimming sense, " and the singing of the "humble Bee" (59) in a nearby bean-flower reassure the poet that "Nature ne'er deserts the wise and pure" (61). Faced with mounting bills, Dodd took holy orders in 1751, starting out as curate and assistant to the Reverend Mr. Wyatt of West Ham. So taken was Coleridge by these thirty lines that he excerpted them as a dramatic monologue, under the title of "The Dungeon, " for the first edition of Lyrical Ballads published the following year, along with "The Foster-Mother's Tale" from Act 4.
The poem makes it clear Coleridge is imagining and then describing things Charles is observing, rather than his own (swollen-footed, blinded) perspective: 'So my friend/ Struck with deep joy may stand... gazing round'. However, we cannot give whole credit to the poet's imagination; the use of imagery by him also makes it clear that he has been deeply affected by nature. Taken together, writes Crawford, these two half-hidden events "suggest that a violent history of the human subject" may lie at the heart of the poem (190), and she identifies this violent history with the poem's abjection of the feminine and the "domestic" (199). Assuming that some editions would not have survived, this list, which I compiled from WorldCat, is probably incomplete. The speaker suddenly feels as happy as if he were seeing the things he just described. He then feels grounded, as he realizes the beauty of the nature around him. With this in mind let us now turn our attention the text.