Dejection: An Ode

Daria Tufeanu
Samuel Taylor
Coleridge
• Participated in the change of
English Lyrical Ballads;
• Imported the critical philosophy
of Immanuel Kant and Friedrich
von Schelling;
• W. Wordsworth’s collaborator;
• He provided principles for the
reformation of the Catholic
Church in his theological
writings.
 Coleridge’s Style & Themes
The poet’s stylistic choices are similar to the ones of
other romantics from the 18 th century. Coleridge explores
man’s relationship with nature and makes use of night’s
mysticism to indulge into philosophy. Dreams are a medium
prompted by lavish imagination, a quality that all poets must
posses in order to flourish. Sleep evokes another realm full of
euphoria and joy, allowing the author ’s escape from the real,
bleak world. Moreover, he decides to revisit notions of
innocence and purity, while his focus seems to be on the
ideality of childhood.
 Theory of Imagination
Coleridge’s view on imagination became a crucial source of inspiration
for the following generations of poets. He approaches this subject in his
“Biographia Literaria”, where he splits imagination into two branches: primary
and secondary.

• The poet considers primary imagination to be people’s

instinctual ability of creating associations between the
senses and external factors or translating images into
feelings. In brief, it is an universal faculty, found in all.

• However, secondary imagination is a rather unique

quality. The greatest poetic minds must possess it in
order to fiddle with the perception of others. It is a
deliberate endeavor that leads to the creation of art.
 • “Dejection” was first addressed
to William Wordsworth and
later on, after several revisions,
William Wordsworth to “Edmund”. Coleridge finally
introduced the nameless “Lady”
Despite their deep and lasting friendship, Coleridge in 1817.
and Wordswor th did not refrain from criticizing each
other. Coleridge’s “Theory of Imagination” is the
result of their conflicting ideologies. Wordswor th
had a direct and simple writing style, allowing him to
express his ideas in a straightfor ward manner, while
Coleridge tackled metaphysical themes through the
use of emotionally-charged language. Wordswor th’s
vehement attitude toward Coleridge’s concepts
slowly star ted marring their relationship, which
caused the two to drift apar t. Nonetheless, their
shared publication – “Lyrical Ballads” – had a
significant impact upon English lyricism.
Stanza
Analysis
First Stanza
“Dejection” starts with an atypical cry. From Coleridge’s
informal approach, the poem can only take an intimate turn.
Despite the storm that seems to be brewing, the speaker
desperately grasps at the sense of normalcy he has grown
accustomed to. The emotion’s intensity sweeps his turbulent
state into one of hollow numbness. His absence of mind can be
paralleled with the initial tranquility of the outer world,
prompting us to think that nature might represent an extension
of self. Nonetheless, this belief is soon to be countered. While
seemingly trying to reject the thoughts consuming him, the
poet contrastively hopes for the inevitable storm – that used to
awe him – to awaken him from his dormant state once more.
The Moon as romantic symbolism
• In Coleridge’s composition, the Moon is
usually a representation of God;
• In true romantic fashion, the Moon could
be the initiating factor of imagination,
dreams and premonitions;
• The phantom of the Old Moon could also
reveal a loss of identity – a result of the
speaker’s powerful emotions – while the
apparition of the New Moon could mean
rebirth or just change.
Second Stanza
The deep sensations have rendered the poet
incapable of using his outlet, be it artistic or
The Moon
bodily. Dejection comes from his lack of • The New Moon’s first stage is part
inspiration as well as from his unrequited love for of an intricate process. The speaker
the Lady. He cannot express himself through tears, refuses acceptance and embraces
nor through words. Nature is now merely an outer sorrowness; for now. The crescent
force with no connection to the author. He seeks shape could be interpreted as the
beginning of this lamentable state
out Nature’s beauty, yet fails to feel it. He glances
that will lead down the path of
forlornly at the skies above and their reflection in
acceptance in the future.
the crystalline water, but to no avail. He does not
reckon Nature as animate as he did in “Eolian
Harp” and “Frost at Midnight”.
 Third Stanza
Experiencing poetic paralysis has made the speaker’s vision shift.
Instead of looking for outwardly sources of inspiration, he decides to search
inside. The connection between man and Nature is forsaken through self-
reflection. Nature becomes a projection of humanity rather than man a result
of Nature.

Fourth & Fifth Stanza

Nature remains cold without the imagination of humankind. The
source of beauty in Nature is dictated by man’s keen eye. Nature became
complete with the addition of human life and is now in a state of
equilibrium. The speaker desires for his Lady to live happily and
harmoniously, unlike himself.
 Sixth Stanza
The speaker mourns his long-forgotten
days of glory, in which he used to be Personal Interpretation
carelessly joyful. This attitude helped
him surpass misfortunes, until time • Coleridge’s view on imagination is complex.
started chipping away at his optimistic He sees it as a source of delusion as well as
spirit. Now that his happiness is gone, the source of beauty. He chastises the part
so are his poetic abilities. Suffocated by
these aspects of life, he turns to that indulges delusion, while underlining
philosophy. Due to the irreparable the importance of its overall existence.
damage caused by the bleak thoughts
Considered a gift from Nature that helps
corrupting his soul, he must go down
the path of acceptance. the speaker truly see its beauty, imagination
seems to be a core fragment of human
essence.
 Seventh Stanza

Overwhelmed by the impending doom, the poet

channels his dejection into the last remaining bits of
imagination, of poetic genius. Sound is omnipresent
throughout his metaphorical visual representations of
the twisted reality, wind becoming a tragic element in
Coleridge’s eyes. By isolating the screams of agony, the
wind’s muffling attributes manage to turn the scene
even the more doleful. The storm that once was a
source of inspiration is now merely the root of pain and • In spite of the poet’s desperate
fear. attempts at rejecting the dark reality,
he wants to succumb to his original
state of being: that of admiration for
the storm. But there is no going back;
he cannot find wonder, nor comfort in
the once inspirational phenomenon.
 Eight Stanza
Coleridge feels like he has been forsaken by joy forever, yet wishes his
beloved Lady to be blessed by its presence for the rest of her life. He desires
for her to be visited by gentle sleep and never be kept awake by bleak
thoughts similar to his. Imagination has abandoned him, but he hopes it will
never leave the Lady.
The poet invokes the divine power of Nature to protect Sara. Despite
the hopeless note the poem ends with and the loneliness that suffocates the
speaker, his intent remains innocent and full of love.
Conclusion
Samuel Taylor Coleridge
is a visionary poet, one that
manages to enthrall the readers,
laying himself bare before them.
A revolutionary presence in the
18th century’s writing contingent,
the poet’s great influence upon
English lyricism will continue to
remain a historical milestone.
Bibliography
• S a m u e l Ta y l o r C o l e r i d g e | Po e t r y F o u
ndation

• D e j e c t i o n : A n O d e ( Po e m + A n a l y s i s ) • Samuel Taylor Coleridge, 1817, “ Biographia

Literaria”, Chapter 13;
• D e j e c t i o n : A n O d e Po e m S u m m a r y a
nd Analysis | • Cambridge University Press, 2006, “ The
LitChar ts Cambridge Companion to Coleridge ”, Par t I
“Text and Contexts”, Chapter 4 “ Biographia
• C o l e r i d g e ’s Po e t r y : S y m b o l s | S p a r k N Literaria” by James Engell.
otes

• C o l e r i d g e ’s Po e m s T h e m e s |
GradeSaver

• How Wordswor th and Coleridge

F o r g e d Ro m a n t i c M o v e m e n t ( c i t y -
journal.org)