203:
to the poem, and indeed, such a reading would go against the way nature is used within the poem; nature is greater than humanity, and the
Romantics like Coleridge are trying to find meaning within nature and are searching for the divine within nature. James McKusick argues that the transparency of nature within the poem allows for the narrator to witness what is hidden within nature, which is "specifically the intense awareness of a child peering into the shimmering depths of a wild, free-flowing river."
614:
202:
According to
William Wimsatt, nature is connected to humanity, and the poem relies on the river to talk about childhood. However, Hendrik Rookmaaker points out that there is little evidence to read the poem in such a manner. There is little justification for the reader to find an unconscious meaning
218:
In 1975, Wimsatt points out that "What is of great importance to note is that
Coleridge's own sonnet 'To the River Otter' (while not a completely successful poem) shows a remarkable intensification of such color." Later, M. H. Abrahms, addressing Coleridge's use of Bowles as a source to imitate,
166:
Coleridge, while writing the poem, focused on the sonnet form and sought to recreate the poetry of Bowles while he put together a collection of his own poems, those of Bowles, Charles Lloyd, and others. The ideas within the poem is thematically connected to Bowles's
120:"Recollections" is a complete poem made up of lines from three of Coleridge's poems: "Absence: A Poem", "To the River Otter", and "Anna and Harland". The lines contain little alteration. Lines 13 and 17–26 are variations of lines 1–11 of "To the River Otter":
53:(1912) determine that the "To the River Otter" is from 1793. However, J. C. C. Mays (2001) argues that there is no certainty for the earlier dating as the poem does not appear in Coleridge's 1796 collection of poems and was not described as "
215:
only says in regard to the poem, "From the new sonnets we select that which is addressed to the river Otter, as it will gratify those who love to refer to the scenes of early enjoyment".
219:
says, "Why
Coleridge should have been moved to idolatry by so slender, if genuine, a talent as that of Bowles has been an enigma of literary history." At the end of the 20th-century,
61:. The poem was eventually republished in Coleridge's 1797 collection of poems and in all of the later collections. "Recollections" was published 2 April 1796 in Coleridge's
526:
970:
179:. Bowles's and Coleridge's poems are part of the larger tradition of 18th-century poems dealing with rivers, including many poems within Egerton Brydges's
1169:
544:
558:
519:
446:
425:
57:" in his later collections. The first 11 lines were used in Coleridge's 1796 poem "Recollection" and published as a sonnet in the late 1796
965:
652:
512:
1033:
680:
583:
975:
631:
832:
756:
588:
749:
223:
argues, in regard to the 1797 edition of
Coleridge's works, that "Apart from the addition of works by Lamb and Lloyd,
666:
1123:
1083:
777:
770:
1129:
1047:
400:
50:
1089:
29:. Though its date of creation is uncertain, it was possibly composed in 1793. It deals with the image of the
1040:
763:
711:
603:
535:
396:
26:
1179:
1147:
742:
980:
598:
1076:
1054:
568:
220:
46:
613:
1174:
1019:
673:
563:
199:
is related to how
Coleridge opens "To the River Otter" and how Warton opens "To the River Lodon".
934:
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30:
404:
1135:
1117:
1111:
1005:
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442:
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The final line ends with a regretful use of "ah" that is common to
Coleridge's poems:
1163:
716:
873:
859:
593:
578:
436:
415:
915:
1026:
908:
866:
845:
805:
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901:
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54:
504:
73:
The sonnet portrays a view of the river Otter from a child's perspective:
852:
84: Thy crossing plank, thy marge with willows grey,
880:
191:. These, in turn, establish the tradition that William Wordsworth's
104: Ah! that once more I were a careless Child!
388:
Abrams, M. H. "Structure and Style in the
Greater Romantic Lyric".
819:
34:
508:
471:
The
Collected Works of Samuel Taylor Coleridge: Poetical Works
392:. Ed. Michael O'Neill and Mark Sandy. London: Routledge, 2006.
497:
Wimsatt, W. K. "The
Structure of Romantic Nature Imagery" in
125: Dear native brook! where first young
501:, ed. M. H. Abrams. Oxford: Oxford University Press, 1975.
80: I never shut amid the sunny ray,
473:
I Vol I.I. Princeton: Princeton University Press, 2001.
417:
Gender, Genre, and the Romantic Poets: An Introduction
144:
But straight, with all their tints, thy waters rise,
1098:
1064:
989:
932:
829:
730:
702:
621:
551:
150:Gleam'd thro' thy bright transparence to the gaze—
466:. Montreal: McGill-Queen's University Press, 1999.
140:Sink the sweet scenes of childhood, that mine eyes
134:What blissful and what anguish'd hours, since last
82:But straight with all their tints thy waters rise,
78:Sink the sweet scenes of childhood, that mine eyes
270:
268:
971:Reflections on Having Left a Place of Retirement
233:Reflections on Having Left a Place of Retirement
148:And bedded sand, that, vein'd with various dyes,
136:I skimm'd the smooth thin stone along thy breast
487:. Amsterdam : J. Benjamins Pub. Co., 1984.
122:
101:
75:
457:Samuel Taylor Coleridge: The Critical Heritage
227:contains ten new poems by Coleridge, of which
146:The crossing plank, and margin's willowy maze,
138:Numb'ring its light leaps! Yet so deep imprest
520:
258:
256:
86:And bedded sand that vein'd with various dyes
8:
693:Introduction to the Tale of the Dark Ladie
527:
513:
505:
88:Gleam'd through thy bright transparence!
494:. Oxford: Oxford University Press, 1994.
45:Editions of Coleridge's works edited by
485:Towards a Romantic Conception of Nature
282:
280:
243:
132:How many various-fated years have past,
480:. New York: St. Martin's Press, 2000.
33:, near Coleridge's childhood home in
7:
966:The Nightingale: A Conversation Poem
406:The Poems of Samuel Taylor Coleridge
390:Romanticism: Romanticism and History
438:Poetic Form and British Romanticism
142:I never shut amid the sunny blaze,
14:
1170:Poetry by Samuel Taylor Coleridge
653:Monody on the Death of Chatterton
492:Coleridge and Textual Instability
195:would later join. The opening of
18:Sonnet by Samuel Taylor Coleridge
612:
441:. Oxford University Press, USA.
1034:The Rime of the Ancient Mariner
584:Person on business from Porlock
420:. Manchester University Press.
976:This Lime-Tree Bower My Prison
632:The Destruction of the Bastile
1:
757:Lines Written at Shurton Bars
750:Lines on an Autumnal Evening
681:The Ballad of the Dark Ladié
59:Sonnets from Various Authors
1196:
667:Pain: Composed in Sickness
589:Coleridge's theory of life
459:. London: Routledge, 1996.
409:. Oxford University Press.
304:Coleridge 1921 pp. 521-522
211:A review in the July 1798
1124:Christabel Rose Coleridge
778:Poems on Various Subjects
771:Ode on the Departing Year
610:
542:
469:Mays, J. C. C. (editor).
401:Coleridge, Ernest Hartley
340:Rookmaaker 1984 pp. 28–29
235:are the most important."
229:Sonnet to the River Otter
1130:Ernest Hartley Coleridge
1048:Time, Real And Imaginary
397:Coleridge, Samuel Taylor
1150:(nephew and son-in-law)
764:On Receiving an Account
712:The Fall of Robespierre
604:Suspension of disbelief
536:Samuel Taylor Coleridge
435:Curran, Stuart (1986).
181:Sonnets and Other Poems
27:Samuel Taylor Coleridge
1148:Henry Nelson Coleridge
743:The Destiny of Nations
499:English Romantic Poets
187:, and Thomas Warton's
159:
113:
97:
981:To William Wordsworth
599:Romantic epistemology
483:Rookmaaker, Hendrik.
455:Jackson, James (ed).
376:Stillinger 1994 p. 13
313:Curran 1986 pp. 35–36
250:Mays 2001 pp. 299–300
169:To the River Wensbeck
1077:Biographia Literaria
1041:The Devil's Thoughts
462:Kneale, J. Douglas.
414:Cox, Philip (1996).
349:Jackson 1996 qtd. 42
286:Coleridge 1921 p. 48
274:McKusick 2000 p. 131
183:, Charlotte Smith's
47:James Dykes Campbell
1020:Hymn Before Sunrise
674:Songs of the Pixies
177:To the River Itchen
813:To the River Otter
660:On Quitting School
569:Albatross metaphor
490:Stillinger, Jack.
464:Romantic Aversions
367:Abrams 2006 p. 208
358:Wimsatt 1975 p. 28
189:To the River Lodon
23:To the River Otter
1157:
1156:
1136:Herbert Coleridge
1118:Hartley Coleridge
1112:Derwent Coleridge
1055:The Knight's Tomb
961:Frost at Midnight
956:Fears in Solitude
946:Dejection: An Ode
792:Religious Musings
476:McKusick, James.
448:978-0-19-506072-0
427:978-0-7190-4263-8
295:Kneale 1999 p. 89
207:Critical response
25:" is a sonnet by
1187:
1066:Biographical and
923:To Lord Stanhope
785:Sibylline Leaves
717:Remorse (Osorio)
616:
529:
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506:
452:
431:
410:
377:
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322:Mays 2001 p. 299
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263:
262:Mays 2001 p. 259
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95:
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1189:
1188:
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1160:
1159:
1158:
1153:
1142:James Coleridge
1126:(granddaughter)
1094:
1069:
1067:
1060:
998:
995:Lyrical Ballads
992:
991:Late poetry and
985:
951:The Eolian Harp
939:
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928:
838:
834:
825:
735:
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726:
705:
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646:Easter Holidays
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254:
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221:Jack Stillinger
213:Critical Review
209:
185:Elegiac Sonnets
164:
158:
156:lines 13, 17–26
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51:E. H. Coleridge
43:
19:
12:
11:
5:
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1106:Sara Coleridge
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1016:
1013:France: An Ode
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929:
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905:
898:
895:To Mrs Siddons
891:
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877:
870:
863:
856:
849:
841:
839:
830:
827:
826:
824:
823:
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799:To a Young Ass
795:
788:
781:
774:
767:
760:
753:
746:
738:
736:
734:Bristol poetry
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728:
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684:
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488:
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447:
432:
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378:
369:
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351:
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333:
331:Cox 1996 p. 42
324:
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288:
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264:
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208:
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163:
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91:
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67:
49:(1899) and by
42:
39:
17:
13:
10:
9:
6:
4:
3:
2:
1192:
1181:
1180:British poems
1178:
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1168:
1167:
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1140:
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1021:
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1002:
1000:
997:
996:
988:
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967:
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959:
957:
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931:
924:
920:
917:
913:
910:
906:
903:
899:
896:
892:
889:
885:
882:
878:
875:
871:
868:
864:
861:
857:
854:
850:
847:
843:
842:
840:
837:
836:
828:
821:
817:
815:
814:
810:
808:
807:
803:
801:
800:
796:
794:
793:
789:
787:
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782:
780:
779:
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773:
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768:
766:
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758:
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751:
747:
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744:
740:
739:
737:
732:Cambridge and
729:
723:
720:
718:
715:
713:
710:
709:
707:
701:
694:
690:
689:
685:
682:
678:
675:
671:
668:
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661:
657:
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650:
647:
643:
640:
636:
633:
629:
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590:
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582:
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575:
572:
570:
567:
565:
562:
560:
557:
556:
554:
550:
546:
545:List of poems
541:
537:
530:
525:
523:
518:
516:
511:
510:
507:
500:
496:
493:
489:
486:
482:
479:
478:Green Writing
475:
472:
468:
465:
461:
458:
454:
450:
444:
440:
439:
433:
429:
423:
419:
418:
412:
408:
407:
402:
398:
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387:
386:
382:
373:
370:
364:
361:
355:
352:
346:
343:
337:
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328:
325:
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316:
310:
307:
301:
298:
292:
289:
283:
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257:
253:
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244:
238:
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234:
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226:
222:
216:
214:
206:
204:
200:
198:
197:Tintern Abbey
194:
193:Tintern Abbey
190:
186:
182:
178:
174:
170:
161:
151:
121:
116:Recollections
115:
105:
100:
89:
74:
68:
66:
64:
60:
56:
52:
48:
40:
38:
36:
32:
28:
24:
16:
1084:The Watchman
1082:
1075:
1032:
1025:
1004:
993:
935:Conversation
874:To Kosciusko
860:To Priestley
831:
812:
811:
804:
797:
790:
783:
776:
769:
762:
755:
748:
741:
692:
686:
623:Early poetry
594:Organic form
579:Pantisocracy
498:
491:
484:
477:
470:
463:
456:
437:
416:
405:
389:
372:
363:
354:
345:
336:
327:
318:
309:
300:
291:
246:
232:
228:
224:
217:
212:
210:
201:
196:
192:
188:
184:
180:
176:
172:
168:
165:
124:
119:
103:
98:
77:
72:
65:periodical.
63:The Watchman
62:
58:
44:
22:
20:
15:
1068:other works
916:To Sheridan
31:River Otter
1175:1793 poems
1164:Categories
1138:(grandson)
1132:(grandson)
1108:(daughter)
1027:Kubla Khan
1006:Christabel
909:To Southey
867:To Fayette
846:To Erskine
835:Characters
806:To Fortune
639:Dura Navis
574:Lake Poets
559:Early life
383:References
173:To Evening
94:lines 6–11
41:Background
1144:(brother)
1090:Notebooks
902:To Godwin
888:To Bowles
564:Opium use
55:juvenilia
853:To Burke
399:(1921).
154:—
108:—
92:—
881:To Pitt
833:Eminent
722:Zapolya
403:(ed.).
110:line 14
1099:Family
552:Topics
445:
424:
175:, and
162:Themes
1120:(son)
1114:(son)
937:poems
820:Lewti
704:Plays
239:Notes
127:Poesy
35:Devon
688:Love
443:ISBN
422:ISBN
231:and
225:1797
69:Poem
130:...
1166::
279:^
267:^
255:^
171:,
37:.
1057:"
1053:"
1050:"
1046:"
1043:"
1039:"
1022:"
1018:"
1015:"
1011:"
925:"
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911:"
907:"
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900:"
897:"
893:"
890:"
886:"
883:"
879:"
876:"
872:"
869:"
865:"
862:"
858:"
855:"
851:"
848:"
844:"
822:"
818:"
695:)
691:(
683:"
679:"
676:"
672:"
669:"
665:"
662:"
658:"
655:"
651:"
648:"
644:"
641:"
637:"
634:"
630:"
528:e
521:t
514:v
451:.
430:.
21:"
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