Coleriges The Eolian Harp Essay -- essays research papers

A single inanimate object, The Eolian Harp, sends Coleridge flitting in, out, over and through introspection. The trajectory of the poem may be plotted as follows: terrestrial observations, fixation upon single terrestrial item (i.e. the harp), exulting single item into transcendence, an astral purview of the terrestrial via the item, reassessment of mind frame, guilt and denunciation of transcendent thought, and finally, remorse and dismissal of all preceding drivel (as to adequately and respectfully embrace the noumenal realm). Coleridge’s brain waves wend in a circuitous manner, however, the final result is a sentiment-shift regarding man’s position before (or, as Coleridge concludes, beneath) God.   Ã‚  Ã‚  Ã‚  Ã‚  Stanza one proffers an apostrophic dupe, as Coleridge calls out to his â€Å"pensive Sara†. Pedestrian predictability would indicate an amorous ode, perhaps asserting (due regard given to the title) that Sara is a form of caution thrown to the wind, thus generating sweet music from aforementioned harp. This is immediately proven incorrect, as seen in the succeeding lines. The first stanza curtails with a descriptive rant, offering a sense of conviction, as though it be a poem unto itself. Lines 10 through 12 read: Snatched from yon bean-field! and the world so hushed!/The stilly murmur of the distant sea/Tells us of silence/. The barrage of exclamation in concomitance with mentions of silence serve as a paradox which ultimately muzzles narration. â€Å"Silence† is apropos in halting a poem, as logic indicates that once a poem reaches its end, the mind ceases churning and goes â€Å"silent†. However, in this instance, it may be construed as poe tic device. Acknowledging that the poem (both literally and figuratively) chimes on, the remaining syllables curiously missing from line 12 are transferred to line 13: /And that simplest lute,/. Coleridge once again takes possession of his narrative, linking the two stanzas with a conjunction. Moreover, this line seethes with audible sound, the only tangibly present noun being â€Å"lute†.   Ã‚  Ã‚  Ã‚  Ã‚  Here, with the commencement of Stanza 2, Coleridge begins to divest himself of earthly bodies as to become engrossed in the harp’s presence. First, the harp is only stationed atop the window’s sill. Gradually, Coleridge introduces the components necessary for the harp to function. At line 20... ...with a return to that with which he began: â€Å"/Peace, and this cot, and thee, heart-honored Maid!/. As asserted by the preceding lines, the so coined ‘holier-than-thou’ God is responsible for all fortunes bestowed upon Coleridge. He has also chosen to reveal to the reader that the entire poem was, in fact, an address to his â€Å"heart-honored Maid†. Conceivably, Coleridge has addressed her as such in order to absolve himself of any perceived wrong-doing; specifically in Line 15: /Like some coy maid half yielding to her lover,/. Distinguishing between â€Å"maids†, (one being a trollop, the other a lady of virtue) is a final attempt to get himself ‘off the hook’, colloquially speaking.   Ã‚  Ã‚  Ã‚  Ã‚  As delineated in paragraph one, Coleridge’s poetic field is one rampant with erratic thought and ultimate change. The proposed subject of the poem, an eolian harp, is virtually abandoned and replaced with veneration of a God as well as a lover. One would think that such a fickle publication would be kept isolated by its author. Although, Coleridge may have staked importance in showing his adoration for God publicly. Hence, the ingress and resultant revocation of the Eolian Harp. Coleriges The Eolian Harp Essay -- essays research papers A single inanimate object, The Eolian Harp, sends Coleridge flitting in, out, over and through introspection. The trajectory of the poem may be plotted as follows: terrestrial observations, fixation upon single terrestrial item (i.e. the harp), exulting single item into transcendence, an astral purview of the terrestrial via the item, reassessment of mind frame, guilt and denunciation of transcendent thought, and finally, remorse and dismissal of all preceding drivel (as to adequately and respectfully embrace the noumenal realm). Coleridge’s brain waves wend in a circuitous manner, however, the final result is a sentiment-shift regarding man’s position before (or, as Coleridge concludes, beneath) God.   Ã‚  Ã‚  Ã‚  Ã‚  Stanza one proffers an apostrophic dupe, as Coleridge calls out to his â€Å"pensive Sara†. Pedestrian predictability would indicate an amorous ode, perhaps asserting (due regard given to the title) that Sara is a form of caution thrown to the wind, thus generating sweet music from aforementioned harp. This is immediately proven incorrect, as seen in the succeeding lines. The first stanza curtails with a descriptive rant, offering a sense of conviction, as though it be a poem unto itself. Lines 10 through 12 read: Snatched from yon bean-field! and the world so hushed!/The stilly murmur of the distant sea/Tells us of silence/. The barrage of exclamation in concomitance with mentions of silence serve as a paradox which ultimately muzzles narration. â€Å"Silence† is apropos in halting a poem, as logic indicates that once a poem reaches its end, the mind ceases churning and goes â€Å"silent†. However, in this instance, it may be construed as poe tic device. Acknowledging that the poem (both literally and figuratively) chimes on, the remaining syllables curiously missing from line 12 are transferred to line 13: /And that simplest lute,/. Coleridge once again takes possession of his narrative, linking the two stanzas with a conjunction. Moreover, this line seethes with audible sound, the only tangibly present noun being â€Å"lute†.   Ã‚  Ã‚  Ã‚  Ã‚  Here, with the commencement of Stanza 2, Coleridge begins to divest himself of earthly bodies as to become engrossed in the harp’s presence. First, the harp is only stationed atop the window’s sill. Gradually, Coleridge introduces the components necessary for the harp to function. At line 20... ...with a return to that with which he began: â€Å"/Peace, and this cot, and thee, heart-honored Maid!/. As asserted by the preceding lines, the so coined ‘holier-than-thou’ God is responsible for all fortunes bestowed upon Coleridge. He has also chosen to reveal to the reader that the entire poem was, in fact, an address to his â€Å"heart-honored Maid†. Conceivably, Coleridge has addressed her as such in order to absolve himself of any perceived wrong-doing; specifically in Line 15: /Like some coy maid half yielding to her lover,/. Distinguishing between â€Å"maids†, (one being a trollop, the other a lady of virtue) is a final attempt to get himself ‘off the hook’, colloquially speaking.   Ã‚  Ã‚  Ã‚  Ã‚  As delineated in paragraph one, Coleridge’s poetic field is one rampant with erratic thought and ultimate change. The proposed subject of the poem, an eolian harp, is virtually abandoned and replaced with veneration of a God as well as a lover. One would think that such a fickle publication would be kept isolated by its author. Although, Coleridge may have staked importance in showing his adoration for God publicly. Hence, the ingress and resultant revocation of the Eolian Harp.