The Annotated Edition
Dejection: An Ode by Samuel Taylor Coleridge
Coleridge sits alone on a stormy night, feeling utterly numb.
- Composed
- 1802 · Romantic
- Form
- ode
- Core theme
- Despair
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
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.
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.
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.
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.
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!"
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.
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.
'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
§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
§08FAQ
Questions readers ask
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—”
“I see, not feel how beautiful they are!”
“O Lady! we receive but what we give, And in our life alone does nature live: Ours is her wedding-garment, ours her shroud!”
“My shaping spirit of Imagination.”
“Hence, viper thoughts, that coil around my mind. Reality's dark dream!”
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
Row A — Thesis
1 ptIn '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
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