Skip to content
Storgy

The Annotated Edition

Dejection: An Ode by Samuel Taylor Coleridge

Summary, meaning, line-by-line analysis & FAQ.

Read aloud in ~9 minOpen reading mode →

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

Composed
1802 · Romantic
Form
ode
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

Study actions

§01Quick summary

What this poem is about

Coleridge sits alone on a stormy night, feeling utterly numb. He notices the beauty in nature but struggles to feel it. He attributes this to a loss of inner joy, which he thinks is what truly brings the world to life. Ultimately, he resigns himself to his situation and instead hopes for that joy for the woman he’s speaking to.

§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 describes a new moon surrounded by the light of the old moon as a signal of an impending storm. He gazes up and recognizes that very omen in the sky, and he finds himself half-hoping the storm would just come already — because the fierce sounds of wind and rain once resonated deeply within him. At this moment, however, even that hope seems faint. The Aeolian lute, a harp positioned in a window to be played by the wind, is already lamenting, and he believes it would be better off silent.

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

    Editor's note

    This is the poem's emotional heart laid bare. Coleridge identifies his state: it's not a sharp, weeping grief but a hollow, numb one that can't even find relief in a sigh or a tear. He’s been gazing at a stunning evening sky — with its yellow-green light, drifting clouds, and a steady crescent moon — and the truly awful part is that he can appreciate the beauty of it all while feeling completely empty. "I see, not feel how beautiful they are" captures the poem's most heartbreaking moment.

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

    Editor's note

    "Genial" here refers to life-giving, creative energy — akin to the Latin *genius*. Coleridge recognizes that merely gazing at the green light on the horizon won’t heal him. Beauty exists outside; the source of emotion lies within. No amount of outward searching can reignite a fire that has extinguished inside.

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

    Editor's note

    This is a condensed version of Coleridge's philosophical argument. Nature doesn’t provide us with beauty or meaning; instead, we project these qualities onto it based on our inner experiences. When we feel joy, the soul adorns nature in a "wedding-garment," and when we face sorrow, it wraps it in a "shroud." Without this inner light, the world remains simply cold matter. Those who never experience this deeper connection are "loveless" and "ever-anxious," trapped in that cold world indefinitely.

  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 finally identifies the inner light as Joy. This isn't just ordinary happiness; it's a deep, creative joy that belongs to those who remain untainted. This Joy is what "weds" us to nature — it acts as the dowry that enables the union of mind and world. The stanza reaches an almost ecstatic climax, stacking synonyms (light, glory, mist, voice, cloud) before concluding with the straightforward assertion: "We in ourselves rejoice!"

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

    Editor's note

    Coleridge reflects on a younger version of himself who could turn suffering into inspiration — where misfortune served as the foundation for hopeful dreams. Now, though, pain only weighs him down. To make matters worse, his way of coping — immersing himself in "abstruse research" (tedious academic work) to escape his feelings — has gradually stifled the very "shaping spirit of Imagination" that once defined him as a poet. He recognizes that this habit of suppression has tainted his entire soul.

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

    Editor's note

    He attempts to push away the dark thoughts and finally focuses on the storm raging outside, which he had previously ignored. The wind takes on the role of a dramatic performer — a "Mad Lutanist," a tragic actor, a powerful poet — and the Aeolian lute wails alongside it. The wind's "story" transitions from a chaotic battle scene filled with groaning wounded men to something softer and more poignant: a small child lost on a moor at night, calling out for her mother. This image of helpless, frightened innocence reflects Coleridge's own inner turmoil.

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

    Editor's note

    The poem concludes not with Coleridge's own recovery but with a heartfelt wish for the woman he has been addressing. He cannot experience Joy himself, so he wishes it for her: peaceful sleep, shining stars, a light heart in the morning, and a vibrant spirit that brings everything around her to life. It's a generous and somewhat bittersweet ending — he paints for her the very experience that has slipped away from him.

§04Tone & mood

How this poem feels

The tone throughout most of the poem is heavy and introspective — mournful without veering into melodrama, contributing to its unsettling quality. Coleridge doesn’t wail; instead, he captures a sense of numbness that’s more challenging to digest and linger with. In stanzas IV and V, the tone briefly elevates into something nearly ecstatic as he defines Joy, yet it feels like the rapture of someone recounting a homeland he’s been forced to leave. The final stanza shifts outward, becoming genuinely tender and even gentle — a soft blessing following a long, dark night.

§05Symbols & metaphors

Symbols & metaphors

The Aeolian lute
A harp played gently by the wind, the Aeolian lute was one of Coleridge's favorite symbols for the human mind taking in impressions from nature. Here, it takes on a darker tone — it moans, it screams, and silence would be preferable. It reflects a creative faculty that, while still technically operational, now only produces suffering.
The new moon with the old moon in her arms
Borrowed from the *Ballad of Sir Patrick Spence*, this image of earthshine illuminating the dark side of the moon serves as a classic storm omen. In the poem, it indicates not only inclement weather but also the pervasive sense of dread and unease that Coleridge experiences.
The wedding-garment and the shroud
Two contrasting veils that the soul casts over nature. When we feel joy within, nature seems to don festive attire; when the soul feels lifeless, nature is draped in mourning. The same world outside takes on a completely different appearance based on our inner state.
The lost child
The wind's last "story" — a small child wandering alone on a moor, sobbing for her mother — serves as a reflection of Coleridge's own feelings. He feels spiritually adrift, scared, and yearning for a sense of comfort (Joy, connection, imaginative life) that seems to have vanished.
Light and the luminous cloud
Joy is often portrayed as a light or a glowing mist that the soul radiates to embrace the Earth. It serves as both the origin of beauty and the means by which we experience it. In its absence, the world feels dark and cold, regardless of how many stars are shining.
The storm
The storm on the horizon is exactly what Coleridge longs to experience — he wishes its intensity could "startle" his numbing pain back to life. The fact that the storm appears in stanza VII yet doesn’t heal him underscores that no outside force can replace the inner Joy he has lost.

§06Form & structure

Form & structure

Form
ode

§07Historical context

Historical context

Coleridge penned the initial version of this poem in April 1802, aimed at Sara Hutchinson, the woman he loved but couldn't marry due to his unhappy marriage to Sara Fricker. That same morning, Wordsworth shared the opening stanzas of what would later be known as the *Ode: Intimations of Immortality* — a poem grappling with a similar sense of lost visionary feeling. The two poems engage in a direct dialogue, and reading them together offers one of the most profound experiences in English Romantic poetry. By 1802, Coleridge was already relying on opium, his marriage was falling apart, and he sensed his poetic creativity waning. He made significant revisions before the poem's publication in 1817, changing the recipient from Sara to a more generic "Lady" and removing some of the most intimate lines. This ode stands at the heart of Coleridge's career: it is both a remarkable example of Romantic lyricism and a poignant farewell to the creative confidence that enabled such works.

§08FAQ

Questions readers ask

In the original 1802 letter-poem, she was Sara Hutchinson, the sister of Wordsworth's future wife, and Coleridge was deeply in love with her. When he revised the poem for publication, he changed her name to "Lady" (and in some versions "Edmund") to make it less explicitly personal. Understanding this biographical context adds a sense of longing to the final stanza, where he wishes her the joy he can no longer feel himself.

Key quotes

Key quotes

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—
This is Coleridge's most concentrated diagnosis of his psychological state — the paradox of a grief so numbed it cannot even express itself through normal emotional channels. The accumulation of negatives ('void,' 'no natural outlet,' 'no relief') and the broken-off dash enact the very blockage he is describing, making form and content inseparable.
I see, not feel how beautiful they are!
This single line is the emotional and philosophical crux of the poem: Coleridge can perceive beauty intellectually but is severed from any felt response to it. The stark contrast between 'see' and 'feel,' separated only by a comma, crystallises the dejection he has been building towards across the entire second stanza.
O Lady! we receive but what we give, And in our life alone does nature live: Ours is her wedding-garment, ours her shroud!
Here Coleridge states the ode's central philosophical argument — that Nature's meaning is a projection of the human mind, not an independent quality. The shocking juxtaposition of 'wedding-garment' and 'shroud' shows that this creative power can bring either vitality or death-in-life, raising the personal lament to a universal claim about imagination.
My shaping spirit of Imagination.
Placed at the end of a long sentence describing how intellectual labour and suffering have gradually destroyed his creative faculty, this phrase carries enormous weight as Coleridge's name for the very thing he has lost. Its position as a line-ending revelation, after 'Suspends what nature gave me at my birth,' makes the loss feel irreversible and foundational to his identity as a poet.
Hence, viper thoughts, that coil around my mind. Reality's dark dream!
The serpent metaphor vividly externalises the intrusive, constricting quality of Coleridge's depressive thinking, while the oxymoron 'Reality's dark dream' destabilises the boundary between waking life and nightmare. This moment also marks the poem's dramatic turn toward the storm outside, shifting attention from inward paralysis to the wild, turbulent energy of the wind.

Citation

Cite this poem

MLA

Coleridge, Samuel Taylor. "Dejection: An Ode." 1802. Storgy, https://storgy.com/poems/dejection-an-ode-samuel-taylor-coleridge/.

APA

Coleridge, S. T. (1802). Dejection: an ode. Storgy. https://storgy.com/poems/dejection-an-ode-samuel-taylor-coleridge/

Text source: en.wikisource.org

TeacherAP Lit Q1 scaffold — preview

Row A — Thesis

1 pt

In 'Dejection: An Ode,' Coleridge uses the dissolution of the speaker's imaginative faculty—figured as a light that the soul must generate rather than passively receive—to argue that the loss of creative joy is not merely an emotional wound …

  • Row B — Evidence + Commentary4 pts
  • Row C — Sophistication1 pt
  • Common student errors
Unlock the full scaffold

Available on any Storgy plan — model paragraphs, band callouts, and common student errors for every poem.

The study desk

Teaching materials and reference tools prepared for this poem.