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Dejection: An Ode by Samuel Taylor Coleridge

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Coleridge sits alone on a stormy night, feeling utterly numb.

Composed
1802 · Romantic
Core theme
Despair
The PoemFull text

Dejection: An Ode

Samuel Taylor Coleridge, 1802

Late, late yestreen I saw the new Moon, With the old Moon in her arms; And I fear, I fear, my Master dear! We shall have a deadly storm. Ballad of Sir Patrick Spence. I. Well! If the Bard was weather-wise, who made The grand old ballad of Sir Patrick Spence, This night, so tranquil now, will not go hence Unrous'd by winds, that ply a busier trade Than those which mould yon clouds in lazy flakes, Or the dull sobbing draft, that moans and rakes Upon the strings of this Æolian lute, Which better far were mute. For lo! the New-moon winter-bright! And overspread with phantom-light, (With swimming phantom-light o'erspread But rimm'd and circled by a silver thread) I see the old Moon in her lap, foretelling The coming on of rain and squally blast. And oh! that even now the gust were swelling, And the slant night-shower driving loud and fast! Those sounds which oft have raised me, whilst they awed, And sent my soul abroad, Might now perhaps their wonted impulse give, Might startle this dull pain, and make it move and live! II. A grief without a pang, void, dark, and drear, A stifled, drowsy, unimpassion'd grief, Which finds no natural outlet, no relief, In word, or sigh, or tear— O Lady! in this wan and heartless mood, To other thoughts by yonder throstle woo'd, All this long eve, so balmy and serene, Have I been gazing on the western sky, And it's peculiar tint of yellow green: And still I gaze—and with how blank an eye! And those thin clouds above, in flakes and bars, That give away their motion to the stars; Those stars, that glide behind them or between, Now sparkling, now bedimm'd, but always seen; Yon crescent Moon, as fix'd as if it grew In its own cloudless, starless lake of blue; I see them all so excellently fair, I see, not feel how beautiful they are! III. My genial spirits fail, And what can these avail, To lift the smoth'ring weight from off my breast? It were a vain endeavor, Though I should gaze for ever On that green light that lingers in the west: I may not hope from outward forms to win The passion and the life, whose fountains are within. IV. O Lady! we receive but what we give, And in our life alone does nature live: Ours is her wedding-garment, ours her shroud! And would we aught behold, of higher worth, Than that inanimate cold world allow'd To the poor loveless ever-anxious crowd, Ah! from the soul itself must issue forth, A light, a glory, a fair luminous cloud Enveloping the Earth— And from the soul itself must there be sent A sweet and potent voice, of its own birth, Of all sweet sounds the life and element! V. O pure of heart! thou need'st not ask of me What this strong music in the soul may be! What, and wherein it doth exist, This light, this glory, this fair luminous mist, This beautiful, and beauty-making power. Joy, virtuous Lady! Joy that ne'er was given, Save to the pure, and in their purest hour, Life, and Life's Effluence, Cloud at once and Shower, Joy, Lady! is the spirit and the power, Which wedding Nature to us gives in dow'r A new Earth and new Heaven, Undreamt of by the sensual and the proud— Joy is the sweet voice, Joy the luminous cloud— We in ourselves rejoice! And thence flows all that charms or ear or sight, All melodies the echoes of that voice, All colours a suffusion from that light. VI. There was a time when, though my path was rough, This joy within me dallied with distress, And all misfortunes were but as the stuff Whence Fancy made me dreams of happiness: For hope grew round me, like the twining vine, And fruits, and foliage, not my own, seem'd mine. But now afflictions bow me down to earth: Nor care I that they rob me of my mirth, But oh! each visitation Suspends what nature gave me at my birth, My shaping spirit of Imagination. For not to think of what I needs must feel, But to be still and patient, all I can; And haply by abstruse research to steal From my own nature all the natural Man— This was my sole resource, my only plan: Till that which suits a part infects the whole, And now is almost grown the habit of my Soul. VII. Hence, viper thoughts, that coil around my mind. Reality's dark dream! I turn from you, and listen to the wind, Which long has rav'd unnotic'd. What a scream Of agony by torture lengthen'd out That lute sent forth! Thou Wind, that rav'st without. Bare crag, or mountain-tairn, or blasted tree. Or pine-grove whither woodman never clomb, Or lonely house, long held the witches' home, Methinks were fitter instruments for thee. Mad Lutanist! who in this month of show'rs, Of dark brown gardens, and of peeping flow'rs, Mak'st Devils' yule, with worse than wint'ry song, The blossoms, buds, and tim'rous leaves among. Thou Actor, perfect in all tragic sounds! Thou mighty Poet, e'en to Frenzy bold! What tell'st thou now about? 'Tis of the Rushing of an Host in rout. With groans of trampled men, with smarting wounds— At once they groan with pain, and shudder with the cold! But hush! there is a pause of deepest silence! And all that noise, as of a rushing crowd, With groans, and tremulous shudderings—all is over— It tells another tale, with sounds less deep and loud! A tale of less aifright, And temper'd with delight, As Otway's self had fram'd the tender lay— 'Tis of a little child Upon a lonesome wild, Not far from home, but she hath lost her way: And now moans low in bitter grief and fear, And now screams loud, and hopes to make her mother hear. VIII. 'Tis midnight, but small thoughts have I of sleep: Full seldom may my friend such vigils keep! Visit her, gentle Sleep! with wings of healing, And may this storm be but a mountain-birth, May all the stars hang bright above her dwelling, Silent as though they watch'd the sleeping Earth! With light heart may she rise, Gay fancy, cheerful eyes, Joy lift her spirit, joy attune her voice: To her may all things live, from Pole to Pole, Their life the eddying of her living soul! O simple spirit, guided from above, Dear Lady! friend devoutest of my choice, Thus may'st thou ever, evermore rejoice.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Coleridge sits alone on a stormy night, feeling utterly numb. He can see the beauty of nature around him, but he can’t *feel* it anymore, and that realization is heartbreaking. He understands why: joy doesn’t stem from the outside world; it comes from within us, and his inner well has run dry. By the end, he shifts his focus away from his own misery and wishes the joy he’s lost upon the woman he loves.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Well! If the Bard was weather-wise, who made / The grand old ballad of Sir Patrick Spence,

    Editor's note

    Coleridge begins with a quote from a Scottish ballad that foretells a deadly storm when the new moon cradles the old one. He looks up and sees that very moon, signaling that the storm is on its way. Yet, he *craves* the storm — he hopes its chaos and thunder will jolt him from the numbness he feels within. The Aeolian lute, a wind-harp hanging in his window, is already moaning, and he wishes it would simply fall silent.

  2. A grief without a pang, void, dark, and drear, / A stifled, drowsy, unimpassion'd grief,

    Editor's note

    This captures the emotional heart of the poem in straightforward terms. Coleridge identifies his state: it’s not deep sorrow, not tears, not anger — just an empty, suffocating numbness. He’s been gazing at a stunning evening sky for hours, and while he can *see* the beauty of the stars and the crescent moon, it doesn’t resonate with him. He acknowledges it as a fact rather than an emotion. That disconnect between observation and emotion is the injury.

  3. My genial spirits fail, / And what can these avail,

    Editor's note

    Short and to the point, this stanza acknowledges defeat. His creative and emotional energy — what he refers to as his 'genial spirits' — has dwindled. No amount of gazing at the green light on the western horizon will change that. The issue lies within him; it can't be resolved by simply observing nature more intently. He's starting to grasp that the source of his feelings comes from within, not from the outside world.

  4. O Lady! we receive but what we give, / And in our life alone does nature live:

    Editor's note

    This is Coleridge's philosophical response to his own crisis. Nature isn’t inherently beautiful or alive — we *create* that beauty by projecting our inner experiences onto it. The soul emits 'a light, a glory, a fair luminous cloud' that surrounds the world and gives it an enchanted feel. Without that inner light, the world remains merely cold matter. The soul serves as both the wedding garment (life) and the shroud (death) that nature dons.

  5. O pure of heart! thou need'st not ask of me / What this strong music in the soul may be!

    Editor's note

    Coleridge identifies the inner light as Joy. This isn't just regular happiness; it's a profound, energizing joy that belongs to those who are pure in heart. This Joy connects us to nature, refreshes our perception of the world, and inspires all beauty—every melody, every color. The stanza's almost ecstatic repetition of the word 'Joy' adds a layer of painful irony, as Coleridge is reflecting on something he can no longer experience.

  6. There was a time when, though my path was rough, / This joy within me dallied with distress,

    Editor's note

    Coleridge reflects on his younger self, a time when even challenges sparked his imagination and hope wrapped around him like a vine. Now, hardships weigh him down. To escape his pain, he has turned to 'abstruse research' — dry, intellectual pursuits — which have gradually stifled his 'shaping spirit of Imagination.' The tendency to suppress his emotions has become so entrenched that it's tainted his entire soul. This is the raw truth at the core of the poem.

  7. Hence, viper thoughts, that coil around my mind. / Reality's dark dream!

    Editor's note

    Coleridge attempts to dispel his gloomy thoughts and focuses on the storm wind that has been howling outside without his notice. He imagines the wind as a mad musician and a tragic actor, listening as it appears to narrate two tales: the first, a chaotic battle filled with groans; the second, a softer story of a lost child weeping for her mother in the dark. That second image—small, tender, and frightened—strikes a chord with Coleridge himself.

  8. 'Tis midnight, but small thoughts have I of sleep: / Full seldom may my friend such vigils keep!

    Editor's note

    The poem concludes with a shift in focus. Coleridge moves away from his own feelings and pours his remaining tenderness into the 'Lady' — most likely Sara Hutchinson. He hopes she sleeps soundly, that the stars shine brightly above her, and that Joy uplifts her spirit and enriches her voice. Everything he has lost, he wishes for her. It's a bittersweet ending: he may no longer find joy himself, but he can still express love.

§04Tone & mood

How this poem feels

The tone shifts through various registers without becoming overly dramatic. It begins with a restless, almost hopeful dread — Coleridge *wants* the storm to jolt him awake. Then it transitions into a quieter, more painful feeling: a flat, exhausted numbness that he articulates with clinical detail. In the central stanzas, the tone briefly rises into something resembling rapture as he defines Joy, but this rapture looks back — he's talking about a country he has been forced to leave. By stanza VI, the tone becomes confessional and self-critical. Stanza VII is the most chaotic, reflecting the storm raging outside. The final stanza is tender, selfless, and quietly heartbroken — it conveys the feelings of someone who has found peace with their own loss by channeling love toward another person.

§05Symbols & metaphors

Symbols & metaphors

The Aeolian lute
A wind-harp that only plays when the wind passes through it — it lacks any will of its own. Coleridge uses this as a symbol of a passive, mechanical reaction to outside forces. Early in the poem, it moans softly; by stanza VII, it screams. It embodies the type of creativity Coleridge worries he has been reduced to: reactive and involuntary, devoid of the inner Joy that allows for genuine imagination.
The new moon with the old moon in her arms
Borrowed from the ballad of Sir Patrick Spence, this image has long been seen as a harbinger of a storm. In the poem, it serves two purposes: as a literal weather sign and as a symbol of something ominous. The old moon cradled in the new also suggests a hint of the past lingering in the present — the remnants of what once was, visible within what currently exists.
The luminous cloud
Coleridge's central image for joy and the creative imagination portrays the soul sending out "a light, a glory, a fair luminous cloud" that wraps around the Earth, enhancing its beauty. This cloud is radiant yet diffuse, casting color on everything without being confined to a single form. When it's absent, the world feels cold and lifeless.
The twining vine
In stanza VI, Coleridge likens the hope of his youth to a vine that grew around him, providing fruit and leaves that felt personal, even though they weren't truly his. This imagery evokes a sense of natural, effortless abundance. Now, that vine has disappeared, leaving behind burdens that weigh him down — highlighting the stark difference between who he was and who he has become.
The lost child in the storm
Near the end of stanza VII, the wind seems to share the tale of a small child lost on a wild moor, calling out for her mother. This image hits the reader with raw emotion. The child is close to home but can't find her way back—a subtle reflection of Coleridge himself, who remembers the feelings of joy and imagination but struggles to reclaim them.
The storm wind
The wind serves as both a literal and symbolic presence. Coleridge wishes it could jolt him back to his emotions, yet he observes it storming outside while feeling numb within. In stanza VII, he gives it the traits of a mad musician and a tragic poet—representing everything he used to be and worries he has lost. The wind embodies the passionate, untamed creative energy that he feels has abandoned him.

§06Historical context

Historical context

Coleridge wrote the first version of this poem in April 1802 as a lengthy letter to Sara Hutchinson, the woman he loved but could not be with because he was unhappily married to Sara Fricker. This letter was raw and personal, while the published ode, released on the same day as Wordsworth's "Ode: Intimations of Immortality," was revised to be more formal and less confessional. The two poems are in direct dialogue, both addressing the loss of a deep connection with nature that the poets felt slipping away as they grew older. By 1802, Coleridge was already grappling with opium dependence, a troubled marriage, and the feeling that his best creative years were behind him. The poem sits at the crossroads of Romantic philosophy — particularly the notion that the mind actively shapes how we perceive the world — and a profound personal crisis.

§07FAQ

Questions readers ask

Coleridge feels nothing. He gazes at the beautiful night sky and acknowledges its beauty, but it fails to stir any emotion within him. The poem reflects his struggle to understand why this is the case — his conclusion is that true joy originates from within us, rather than from nature, and his own well of joy has run dry. He concludes by wishing the joy he's lost upon the woman he loves.