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Extra info for A Coleridge Companion: An Introduction to the Major Poems and the Biographia Literaria

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But the words struck deep. For eighteen months there was stony silence between the two principals. Living wretchedly in London with 'the never-dosing, festering Wound of Wordsworth & his Family' forever before him, Coleridge resumed his on-and-off journalistic career with Daniel Stuart's Court'er and delivered, when his health permitted, several series of lectures on literature and on Shakespeare in particular. At length, through the mediation of Lamb and Henry Crabb Robinson, a superficial reconciliation with Wordsworth was effected in May 1812, but the fire had gone out of their friendship: 'A Reconciliation has taken place -', Coleridge told Tom Poole almost a year later, 'but the Feelt'ng, which I had previous to that moment, when the .

16 In Coleridge's writings after 1800, asJohn Beer has said, the wind-harp image loses 'its dominating position as a primary symbol, and remains only as a useful symbol for certain permanent elements in human experience' . 17 While the complexity of the poem's evolution and the changes in Coleridge's philosophy between 1795 and 1828 preclude the possibility of any easy interpretation, it is still possible, using the textus receptus of 1828, to make some general interpretative comments about 'The Eolian Harp' .

Pale beneath the blaze Hung the transparent foliage; and I watch'd Some broad and sunny leaf, and lov'd to see The shadow of the leaf and stem above Dappling its sunshinel 38 And that walnut-tree Was richly ting'd, and a deep radiance lay Full on the ancient ivy, which usurps Those fronting elms, and now, with blackest mass Makes their dark branches gleam a lighter hue Through the late twilight. . (43-56) With 'sudden' delight he realises that the beauty of which he felt deprived when the poem began and which he had later experienced vicariously with Lamb has, in fact, been all about him in the bower all along.

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