The Eolian Harp

BibliographyAsbee, S. (2006) Approaching Poetry, Milton Keynes, The Open UniversityReid, N. (2006) Coleridge, Form and Symbol, Or the Ascertaining Vision, Aldershot, Ashgate PublishingWellek, R. (1963) The Concept of Romanticism in literary historyin Bygrave, S (2006) Romantic Writings London, The Open UniversityZuk, E. Coleridges Blank Verse [online], http://www.expansivepoetryonline.com/journal/cult072004.html (Accessed 28th April 2008)

Yeats’ interest in rhythm was deeply tied to the notion of the sound of the earth and nature, and our relationship with the elements. He also had a profound interest and belief in faery, and the ways in which one could transcend material reality in order to reach that world which ran alongside the natural world. Yet Yeats, who was born in 1865 and died in 1939, lived through an era of immense scientific discovery and change. He lived in a world where, by and large, to believe in faery was to be irrational, and the industrial hum of engines prevailed over the quieter sounds of nature. In his earlier poetry, he conveys a certain reverence towards the ancient rhythms of language and nature, flying in the face of the frenetically busy London life he experienced as a young man. The bewitching beauty of the landscape of Sligo, steeped in folklore, were the true rhythms which brought on the ‘state of perhaps real trance’, allowing him to

I remember the day with clarity. Yet, I remember it with an ancient feel of age and a deep ache. I don't quite remember what she looked like in those last moments, but I do remember how her blood stained the earth a beautiful crimson.

“Ode to enchanted light” by Pablo Neruda (1904- 1973) and “Sleeping in the Forest” by Mary Oliver (b. 1935) are both lyrical poems that both express their love for nature and the beauty of it. Neruda and Oliver recognized and accomplished writers who have both won many awards for their work in literature. Both of the poets express different styles and forms of writing as of figurative language and structure. The poem “Ode to enchanted light” is a lyrical poem which functions as a free verse poem because it doesn’t follow any set of rules but is still considered a traditional poem due to the fact that it is an ode. Although there is no rhythm in this poem, one could argue that there is because of the alliterative “s” sound being repeated throughout

The line reads, “Make my thy lyre, even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies.” Like the Eolian Harp, Shelly uses this motif to express creativity. Shelly uses the harp and the season of autumn. The season when leaves change and the wind are in harmony can open a person mind to being creative. The harp in “Ode to the West Wind”, is symbolizing a sense of self and being in nature and letting nature control you. In letting nature take control creativity can come alive. Both Shelly and Coleridge has similar ideas about the harp and draw inspiration for

As the relative versatileness, all the five programmers are assigned in new application developments and modifications to existing applications and all of them are involved in operating, security, utility, and other system software programming and maintenance tasks; one of them who involved less locates documents related to the programming logic maintained in the programming department’s files. Besides, all of the five programmers have the access to the copy of the current entire program tapes or disks in order to reprogram the application. That is to say, there is no authorizations of access of information and data storages.

feels on his arm or he could be referring to how "soothing" it is "To

Coleridge was a firm believer that there is a connection between madness and moral evil. He felt that in the midst of some horror, people may tend to think that God has left them, and then they would blame their mental disease on demons. He expressed this message through the protagonist he created in his longest poem “The Rime of the Ancient Mariner.” The Mariner experiences this exact

The harp and the wind that acts upon it is representative as poetry and the poetic wit, especially in Coleridge. In Coleridge’s poem “The Eolian Harp”, his usage of language such as “desultory breeze,” “sweet upbraiding,” and “sequacious notes” (14-18) imply that the notes from produces by the wind comes together to form actual music. This is further emphasized in stanza

After dispiritedly claiming that there are no trains, or chances, passing at night, the speaker addresses, “Though the night is still for sleep and dreaming” (line 6). Even though the speaker is upset that no trains have passed by, there is still hope, because the speaker can now rest and imagine of what “trains,” or opportunities, may come. The hard “e” sound in “sleep” and “dreaming” is an example of assonance, which sets an enchanting mood. The “th” sound in “though” and “the” creates a mood and expresses a melody, through alliteration, just as the “s” sound in “still” and “sleep.” The devices used in this line establish a mood of hopefulness and a tone of comfort.

As they discussed Shelvocke's book, Wordsworth proffers the following developmental critique to Coleridge, which importantly contains a reference to tutelary spirits: "Suppose you represent him as having killed one of these birds on entering the south sea, and the tutelary spirits of these regions take upon them to avenge the crime.” By the time the trio finished their walk, the poem had taken

Coleridge’s “Kubla Khan” is a bright example of the transforming power imagination has. The poet’s usage of diction and allegories transform this poem into a symbol for imagination. It is said that it was written after Coleridge’s encounter with the sublime while still being under the effect of opium, and when he went to record it, he was disrupted by a visitor and the remaining of the poem was lost even to him. In the poem he shows how possibilities are limitless as long as our imaginations are; Coleridge uses “caverns measureless to man” as a

Coleridge wrote three poems in which he introduced the supernatural, revealed his faith and imagination and yet they remained unfinished, it is ironic that these are the poems that Coleridge is most famous for and that are so readily elected to represent his early style and beliefs. There was ‘The Wanderings of Cain’, a poem famous for it’s imaginative approach, simple in its presentation but effective. In 1816 the unfinished poems 'Christabel' and 'Kubla Khan' were published, comparisons between good and evil are portrayed so efficiently through the natural forces, visions and interpretations. Imagination and innovative ideas impressed the readers and yet, the poems remained unfinished.

'Christabel', an unfinished 'gothic' ballad, evokes a sinister atmosphere, hinting at evil and the grotesque. In his poems Coleridge's detailed perception of nature links scene and mood, and leads to a contemplation of moral and universal concerns. In his theory of poetry Coleridge stressed the aesthetic quality as the primary consideration. The metrical theory on which 'Christabel' is constructed helped to break the fetters of 18th-century correctness and monotony and soon found disciples, among others Walter Scott and Lord Byron.

Inspiration gives the poet a melody, a sequence of simple notes, resembling the wind 's "stream" (15), but his creative mind imposes a new harmony of this melody, by adding chords and by repeating and varying the main motifs. The human imagination actively works with this "wind" to impose "harmony" on its melody. The lyre "accomodate[s] its chords to the motions of that which strikes them, in a determined proportion of sound; even as the musician can accommodate his voice to the sound of the lyre" (§8). In this way, the poet 's mind and the inspiration it receives co-create the poem.