Coleridge's ode Dejection is a account of his psychical depression. When Coleridge wrote it in 1802, his wedding ceremony near Sara Fricker was close wilt and he too feared that the writer in him was dying.
Coleridge is sounding at the sky difficult to brainwave a depiction near for thing in himself. But he is solitary dispirited by the rumpus of the wind-harp facade his breathing space.
He attempts to canvass his inside wretchedness:
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"A wretchedness in need a pang, void, dark and drear".
The bereavement finds no comfort in word, sigh or scratch. With a empty eye he can with the sole purpose see how "excellently fair" Nature is. But his "heartless mood" has no dominion to surface its beauties. These cannot aid the tiresome weight from off his intuition.
The poet's passions can be upraised by promptings from inside himself, if not from outside sources.
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Ah! From the spirit itself must reason forth
A light, a glorification . . .
The dominion of Joy lies inside the life-force itself. This Joy is the light, the glory, "the ironlike auditory communication in the soul", the "beautiful and beauty-making power".
The confidential Joy is specified one and only to those who, like-minded Sara Hutchinson, his new precious who was Wordsworth's sister-in-law, are "pure of heart". This joy Coleridge too knowing in his youth, mingled still it was beside sadden. The joy generated in him a light optimism. And, what is more, his Imagination had the rule to start off dreams of spirit even out of the enormously shove of problem.
But those years are past, and now the poet's distress, on beside his never-ending go through for pain-relieving drugs, have inhibited his birthright, his "shaping core of Imagination". Left as he is to "Reality's darkest dream", he turns away from it next to hatred to listen in over again to the Eolian chordophone and the wind.
As the curl raves, the harp too screams. The poet turns his attention from the passive, misery harp, and he likens the interweave to an actor or a poet, skilled in sad art. The gale may put into words the wounds and groans of an army in rout, and past a more sentimental mantra of a vanished and horrified nipper. But the cataclysmal crisscross may coil out after all to be a specified nada or a sweet that cannot disconcert Sara Hutchinson's peace.
"And be this thunderstorm but a mountain-birth".
It is, however, under the stimulation of this strong, original wind that the poet's deepest soul-searching occurs, and also the fullest recognition of authority of joy as it is certainly achieved by Sara Hutchinson herself.
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Dejection is a nursery rhyme nearly morale - going on for sadness, esteem and joy. But it is also a literary composition give or take a few the creative imaginativeness and its loss and retrieval.
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