Bowles (two versions)

8. Mrs Siddons

9. To William Godwin, Author of ‘Political Justice’

10. To Robert Southey, of Balliol College, Oxford, Author of the ‘Retrospect’, and Other Poems

11. To Richard Brinsley Sheridan, Esq.

12. To Lord Stanhope, on Reading his Late Protest in the House of Lords

To Earl Stanhope

Lines to a Friend in Answer to a Melancholy Letter

To an Infant

To the Rev. W. J. Hort, while teaching a young lady some song-tunes on his flute

Sonnet (‘Sweet Mercy! how my very heart has bled’)

To the Nightingale

Lines composed while climbing the left ascent of Brockley Coomb, Somersetshire, May, 1795

Lines in the Manner of Spenser

To the Author of Poems published anonymously at Bristol in September 1795

The Production of a Young Lady, addressed to the author of the poems alluded to in the preceding epistle

Effusion XXXV. Composed August 20th, 1795, at Clevedon, Somersetshire

The Eolian Harp

Lines written at Shurton Bars, near Bridgewater, September, 1795, in answer to a letter from Bristol

Reflections on Having Left a Place of Retirement

On Donne’s Poetry

The Hour When We Shall Meet Again

The Destiny of Nations

Religious Musings

From an Unpublished Poem

On Observing a Blossom on the First of February, 1796

Verses addressed to J. Horne Tooke

On a Late Connubial Rupture in High Life

Sonnet written on receiving letters informing me of the birth of a Son, I being at Birmingham

Sonnet composed on a journey homeward; the author having received intelligence of the birth of a son, Sept. 20th, 1796

Sonnet to a friend who asked, how I felt when the nurse first presented my infant to me

Sonnet [to Charles Lloyd]

To a Young Friend, on his Proposing to Domesticate with the Author. Composed in 1796

Addressed to a Young Man of Fortune Who Abandoned Himself to an Indolent and Causeless Melancholy

To a Friend Who Had Declared his Intention of Writing No More Poetry

Ode to the Departing Year

The Raven

To an Unfortunate Woman at the Theatre

To an Unfortunate Woman

To the Rev. George Coleridge

On the Christening of a Friend’s Child

Inscription by the Rev. W. L. Bowles in Nether Stowey Church

This Lime-Tree Bower My Prison

The Foster-Mother’s Tale

The Dungeon

Sonnets Attempted in the Manner of Contemporary Writers:

Sonnet I

Sonnet II

Sonnet III

Parliamentary Oscillators

The Rime of the Ancyent Marinere (1798)

The Rime of the Ancient Mariner (1834)

Christabel

Lines to W. L. while he Sang a Song to Purcell’s Music

The Three Graves

The Wanderings of Cain

Fire, Famine, and Slaughter

The Old Man of the Alps

The Apotheosis, or The Snow-Drop

Frost at Midnight

France. An Ode

Lewti, or the Circassian Love-Chaunt

To a Young Lady on her Recovery from a Fever

Fears in Solitude

The Nightingale

The Ballad of the Dark Ladie

Kubla Khan: Or, A Vision in a Dream

[Lines from a notebook – September 1798]

[Hexameters:] William, My Teacher, My Friend!

[Translation of a passage in Ottfried’s metrical paraphrase of the Gospel]

[Fragmentary translation of the Song of Deborah]

Catullian Hendecasyllables

The Homeric Hexameter Described and Exemplified

The Ovidian Elegiac Metre Described and Exemplified

On a Cataract

Tell’s Birth-Place

The Visit of the Gods

On an Infant which Died before Baptism

Something Childish, but Very Natural

Home-Sick, Written in Germany

The Virgin’s Cradle-Hymn

Lines written in the album at Elbingerode, in the Hartz Forest

The British Stripling’s War-Song

Names

The Devil’s Thoughts

Lines Composed in a Concert-Room

The Exchange

[Paraphrase of Psalm 46. Hexameters]

Hymn to the Earth. Hexameters

Mahomet

Ode to Georgiana, Duchess of Devonshire

A Christmas Carol

On an Insignificant

Job’s Luck

Love

The Madman and the Lethargist, an Example

On a Volunteer Singer

Talleyrand to Lord Grenville

The Two Round Spaces on the Tomb-Stone

The Mad Monk

A Stranger Minstrel

Inscription for a Seat by the Road Side Half-Way Up a Steep Hill Facing South

Apologia Pro Vita Sua

The Night-Scene: A Dramatic Fragment

On Revisiting the Sea-Shore

Inscription for a Fountain on a Heath

Drinking versus Thinking

An Ode to the Rain

The Wills of the Wisp

Ode to Tranquillity

A Letter to——, April 4, 1802. – Sunday Evening

Dejection: An Ode

[A Soliloquy of the full Moon, She being in a Mad Passion–]

Answer to a Child’s Question

A Day Dream

The Day-Dream

To Asra

The Happy Husband

A Thought Suggested by a View of Saddleback in Cumberland

[Untitled]

The Keepsake

The Picture, or the Lover’s Resolution

Hymn before Sun-Rise, in the Vale of Chamouni

The Good, Great Man

The Knight’s Tomb

To Matilda Betham from a Stranger

Westphalian Song

The Pains of Sleep

[Lines from a notebook – September 1803]

[Lines from a notebook – February-March 1804]

[What is Life?]

[Lines from a notebook – April 1805]

[Lines from a notebook – May-June 1805]

Phantom

[An Angel Visitant]

Reason for Love’s Blindness

[Untitled]

Constancy to an Ideal Object

[Lines from a notebook – March 1806]

[Lines from a notebook – June 1806]

Farewell to Love

Time, Real and Imaginary

[Lines from a notebook – 1806]

[Lines from a notebook – October-November 1806]

[Lines from a notebook-1806]

[Lines from a notebook – November-December 1806]

[Lines from a notebook – February 1807]

[Lines from a notebook – February 1807]

[Lines from a manuscript – 1807 – 8]

[Lines from a notebook – July 1807; includes lines previously published separately as ‘Coeli enarrant’]

[Lines from a notebook – January 1808]

To William Wordsworth

Metrical Feet. Lesson for a Boy

Recollections of Love

The Blossoming of the Solitary Date-Tree. A Lament

To Two Sisters

On Taking Leave of ——, 1817

A Child’s Evening Prayer

Ad Vilmum Axiologum

Psyche

[Sonnet – translated from Marino]

[Fragment: ‘Two wedded Hearts’]

A Tombless Epitaph

On a Clock in a Market-Place

Separation

The Visionary Hope

[Lines from a notebook – March 1810]

[Lines from a notebook – April-June 1810]

[Lines from a notebook – May 1810]

Epitaph on an Infant

[Lines from a notebook – 1811]

[Fragment of an ode on Napoleon]

[Lines inscribed on the fly-leaf of Benedetto Menzini’s ‘Poésie’ (1782)]

[Lines from a notebook – May–June 1811]

[Lines from a notebook – May – July 1811]

[Lines from a notebook – May 1814?]

[Lines from a notebook – 1815–16]

[Lines from a notebook – 1815–16]

On Donne’s First Poem

Limbo

Moles

Ne plus ultra

The Suicide’s Argument

[An Invocation: from ‘Remorse’]

God’s Omnipresence, a Hymn

To a Lady. With Falconer’s ‘Shipwreck’

Human Life, On the Denial of Immortality

[Song from ‘Zapolya’]

[Hunting Song from ‘Zapolya’]

[Faith, Hope, and Charity. From the Italian of Guarini]

Fancy in Nubibus

Israel’s Lament

A Character

Lines to a Comic Author, on an Abusive Review

To Nature

The Tears of a Grateful People

First Advent of Love

[Reason]

[Lines from a notebook – 1822]

From the German

The Reproof and Reply

Youth and Age

Desire

The Delinquent Travellers

Song, ex improviso

Work Without Hope

The Two Founts

The Pang More Sharp Than All

Sancti Dominici Pallium

The Improvisatore

Love’s Burial-Place: A Madrigal

Lines Suggested by the Last Words of Berengarius

Epitaphium testamentarium

Duty Surviving Self-Love

[Homeless]

’Eρως àει´ λáληθρoς έταîρoς

Song

Profuse Kindness

Written in an Album

To Mary Pridham

Verses Trivocular

Water Ballad

Cologne

On my Joyful Departure from the Same City

[The Netherlands]

The Garden of Boccaccio

Alice du Clos: Or The Forked Tongue. A Ballad

Love, Hope, and Patience in Education

[Lines written in commonplace book of Miss Barbour]

To Miss A. T.

Love and Friendship Opposite

Not at Home

W.H. Eheu!

Phantom or Fact?

Charity in Thought

Humility the Mother of Charity

[‘Gently I took that which ungently came’]

Cholera Cured Before Hand

Love’s Apparition and Evanishment

To the Young Artist, Kayser of Kaserwerth

Know Thyself

My Baptismal Birth-Day

Epitaph

Appendices:

1: On the Wretched Lot of the Slaves in the Isles of Western India

2: [Notebook draft of an essay on punctuation]

Notes

Index of Titles

Index of First Lines

INTRODUCTION

At first glance it might appear to be easier to produce a complete and textually accurate edition of the poems of Coleridge than of the other canonically dominant Romantic poets.