Devoir de Philosophie

Coleridge's poem: Frost at midnight

Publié le 21/10/2012

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frost
FROST AT MIDNIGHT Merleau-Ponty wrote: 'I grasp myself, not as a constituting subject which is transparent to itself... but as a particular thought, as a thought engaged with certain objects as a thought in act; and it is in this sense that I am certain of myself' .Frost at midnight has been written in 1798. In this conversation poem, Coleridge, late at night, who is the only awoken in the cottage adresses a silent listener who is his son, Hartley Coleridge. Coleridge sits next to his son's cradle takes this instance of solitude to allow his reflections to expand to his love of nature. Indeed, in that poem, Coleridge emphasizes the beauty and desirability of the individual's connection with Nature, aspiring for a life in the countryside for his child, where a connection with nature can nurture his imagination. Indeed, here, Coleridge seems to grasp the opportunity of a very moment of communion with nature to experience his thought ant to engaged it towards a philosophical dimension, which in fact raises only one question "Do I exist ?" Through this poem, Coleridge wants to analyse the sense of the existence. To what extent is this poem, through the celebration of a moment of communion with nature which favorises meditation, a metaphysical quest aiming at determine the sense of existence ? I/ Celebration of a moment of communion between the poet and nature II/ Nature as the opporunity for a raises of meditation III/ The act of writing as a metaphysical contemplation and conception of the world I/ Celebration of a moment of communion between the poet and nature A- The immediacy of the moment the immediacy of the moment -> solemn gentleness depiction of night "midnight" baby's presence = only to accentuate solitude -> sleeping "slumbers peacefully" (l.7) "the frost performs its secret ministry" -> silence upon landscape immobility of the landscape / instant BUT natural objects describes -> prompt his thoughts in other directions. Sense of immediacy = maintain BY speaker interrupted by sth happening ex: the owlet's cry (l.2) -> to wrench the reader back from the speaker's abstract thoughts to the living, physical world of the poem this windless night -> primordial, prereflective, or perhaps proto-spiritual. The owlet's cry indirectly introduces the speaker's own waking solitude "solitude " (l.5) emphasized by the "calm" (l.8) but also non-human features that peopled the village "sea, hill and wood" (l.10-11) = internal solitude Silence : the "extreme silentness" = monolythic seems to SEPARATE the poet / any sense of meditation " it disturbs and vexes meditation" (l.8-9) B- An ode to nature "hush of nature" (l.17) > Cycle of seasons We are given a marvellous set of correspondences which reinforce the interlinking of the seasons in very compressed form: summer green is rhymed in winter by a mossy apple-tree the singing redbreast suggests springtime while his hue transfers by...
frost

« – the singing redbreast suggests springtime while his hue transfers by implication to the apples on the tree to figure the ripeness of autumn.

– The frost remembers the winter season > Appreciation of Nature "This populous village !" (l.11) exclamation = admiration, enthusiasm Third verse paragraph : a real ode to nature = sort of a lyricism veil upon that part of the text - 55-60 => natural elements "mountains, clouds,lakes, shores" = accumulation => impression of richness and diversity perceptions / senses "see and hear" (l.59) CONTRARY TO CITY third verse paragraf depreciative tone "in the great city, pend mid cloisters dim" (l.53) C- Nature as the place for bring up a child idyllic innocence of childhood "peacefully" (l.7) -> not disturbed by perspectives => calm Admiration for his child BABE = a true object of attentio n: "My babe so beautiful! it thrills my heart With tender gladness, thus to look at thee" (l.49-50) A poet => apiration to suberting / to de-creation here baby is the opportunity to CREATE sth, to ENGENDER = to create a comfort NATURE appears as the frame for a childhood in Coleridge's mind Jealous of Wordsworth natural childhood C= brought in city -celebration of the cycle of season "all seasons" (l.66) => offers the possibilities of a stable equilibrium for the child Nature as the place for elevation of the mind -> intelligibility rejection of the city in the third verse paragraph (l52-53) BUT aspiration for countryside => elevation of the mind EDUCATION l.

51-52 " that you shalt learn far other lore, and in far other scenes" CITY = place for alienation COUNTRYSIDE/NATURE = elevation of spirit and mind II/ Nature as the opportunity for a raise of meditation (power Nature/ Mind) A- The effects of Nature upon Imagination Nature NURTURES imagination -> nature depiction that engenders meditation and imagination in Coleridge's mind Impression of supernatural : Sort of a gothic dimension ( => Nature => reflection on reality and unreality (supernatural) – Real/ Unreal -> world seems to be actively mimicking its own intangibility, realising an unreality paradoxically "abstrusers" "inaudible" to reduce it to an unreality "sea, hill and wood" (l.10-11) repeats itself like the owl-cry = silent village is peopled only by these non-human features => Solitude "frost" (l.1) = both present and secret -> the film is distractingly visible but not entirely real. »

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