| Lewti, or the Circassian Love-chaunt | |
|---|---|
| by Samuel Taylor Coleridge | |
| Meter | Iambic tetrameter |
| Rhyme scheme | Irregular |
| Publication date |
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| Lines | 83 |
| Full text | |
 Sibylline Leaves (Coleridge)/Lewti at Wikisource | |
"Lewti, or the Circassian Love-chaunt" is a poem by Samuel Taylor Coleridge, first published in 1798.
This poem was first published in the Morning Post (under the signature Nicias Erythraeus), on 18 April 1798: and was included in the Annual Anthology, 1800; and Sibylline Leaves , 1817, 1828, 1829, and 1834. [1] In the Morning Post the poem was originally entitled "Lewti; or the Circassian's Love Chant". [1]
"Lewti" was to have been included in the Lyrical Ballads of 1798, but at the last moment the sheets containing it were cancelled and "The Nightingale" substituted. [2] [1] A copy which belonged to Southey, with the new Table of Contents and "The Nightingale" bound up with the text as at first printed, is in the British Library. [1] Another copy is extant which contains the first Table of Contents only, and Lewti without the addition of "The Nightingale". [1] In the Morning Post the following note accompanies the poem:
It is not amongst the least pleasing of our recollections, that we have been the means of gratifying the public taste with some exquisite pieces of Original Poetry. For many of them we have been indebted to the author of the Circassian's Love Chant. Amidst images of war and woe, amidst scenes of carnage and horror of devastation and dismay, it may afford the mind a temporary relief to wander to the magic haunts of the Muses, to bowers and fountains which the despoiling powers of war have never visited, and where the lover pours forth his complaint, or receives the recompense of his constancy. The whole of the subsequent Love Chant is in a warm and impassioned strain. The fifth and last stanzas are, we think, the best. [1]
| Hush! [lower-alpha 4] my heedless feet from under Slip the crumbling banks for ever: Like echoes to a distant thunder, They plunge into the gentle river. The river-swans have heard my tread. And startle from their reedy bed. O beauteous birds! methinks ye measure Your movements to some heavenly tune! O beauteous birds! 'tis such a pleasure To see you move beneath the moon, I would it were your true delight To sleep by day and wake all night.I know the place where Lewti lies, When silent night has closed her eyes: It is a breezy jasmine-bower, The nightingale sings o'er her head: Voice of the Night! had I the power [lower-alpha 5] That leafy labyrinth to thread, And creep, like thee, with soundless tread, I then might view her bosom white Heaving lovely to my [lower-alpha 6] sight, As these two swans together heave On the gently-swelling wave.Oh! that she saw me in a dream, And dreamt that I had died for care; All pale and wasted I would seem, Yet fair withal, as spirits are! I'd die indeed, if I might see Her bosom heave, and heave for me! Soothe, gentle image! soothe my mind! To-morrow Lewti may be kind. |
Samuel Taylor Coleridge was an English poet, literary critic, philosopher, and theologian who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets. He also shared volumes and collaborated with Charles Lamb, Robert Southey, and Charles Lloyd.
The Rime of the Ancient Mariner is the longest major poem by the English poet Samuel Taylor Coleridge, written in 1797–1798 and published in 1798 in the first edition of Lyrical Ballads. Some modern editions use a revised version printed in 1817 that featured a gloss. Along with other poems in Lyrical Ballads, it is often considered a signal shift to modern poetry and the beginning of British Romantic literature.
Philomela or Philomel is a minor figure in Greek mythology who is frequently invoked as a direct and figurative symbol in literary and artistic works in the Western canon.
This article contains information about the literary events and publications of 1798.
"The Wind That Shakes the Barley" is an Irish ballad written by Robert Dwyer Joyce (1836–1883), a Limerick-born poet and professor of English literature. The song is written from the perspective of a doomed young Wexford rebel who is about to sacrifice his relationship with his loved one and plunge into the cauldron of violence associated with the 1798 rebellion in Ireland. The references to barley in the song derive from the fact that the rebels frequently carried barley or oats in their pockets as provisions for when on the march. This gave rise to the post-rebellion phenomenon of barley growing and marking the "croppy-holes," unmarked mass graves into which rebel casualties were thrown. To many Irish nationalists, these "croppy-holes" symbolised the regenerative nature of resistance to British rule in Ireland. Barley growing every spring was said by nationalists authors to symbolize continuous Irish resistance to British rule, particularly in nationalist literature and poetry written about the rebellion.
Nationality words link to articles with information on the nation's poetry or literature.
"Monody on the Death of Chatterton" was composed by Samuel Taylor Coleridge in 1790 and was rewritten throughout his lifetime. The poem deals with the idea of Thomas Chatterton, a poet who committed suicide, as representing the poetic struggle.
On Receiving an Account that his only Sister's Death was Inevitable was composed by Samuel Taylor Coleridge in 1794, and deals with the death of Coleridge's step-sister Ann (1791), as well as that of his brother Luke (1790). A later poem, was written for Coleridge's friend Charles Lamb and seeks to comfort him after the loss of his sister.
Lines on an Autumnal Evening was composed by Samuel Taylor Coleridge in 1793. The poem, rewritten throughout Coleridge's life, discusses nature and love. As Coleridge developed and aged, the object of the poem changed to be various women that Coleridge had feelings toward.
Religious Musings was composed by Samuel Taylor Coleridge in 1794 and finished by 1796. It is one of his first poems of critical merit and contains many of his early feelings about religion and politics.
The conversation poems are a group of at least eight poems composed by Samuel Taylor Coleridge (1772–1834) between 1795 and 1807. Each details a particular life experience which led to the poet's examination of nature and the role of poetry. They describe virtuous conduct and man's obligation to God, nature and society, and ask as if there is a place for simple appreciation of nature without having to actively dedicate one's life to altruism.
The Eolian Harp is a poem written by Samuel Taylor Coleridge in 1795 and published in his 1796 poetry collection. It is one of the early conversation poems and discusses Coleridge's anticipation of a marriage with Sara Fricker along with the pleasure of conjugal love. However, The Eolian Harp is not a love poem and instead focuses on man's relationship with nature. The central images of the poem is an Aeolian harp, an item that represents both order and wildness in nature. Along with the harp is a series of oppositional ideas that are reconciled with each other. The Eolian Harp also contains a discussion on "One Life", Coleridge's idea that humanity and nature are united along with his desire to try to find the divine within nature. The poem was well received for both its discussion of nature and its aesthetic qualities.
"This Lime-Tree Bower My Prison" is a poem written by Samuel Taylor Coleridge during 1797. The poem discusses a time in which Coleridge was forced to stay beneath a lime tree while his friends were able to enjoy the countryside. Within the poem, Coleridge is able to connect to his friend's experience and enjoy nature through him, making the lime tree only a physical prison, not a mental one.
Frost at Midnight is a poem by Samuel Taylor Coleridge, written in February 1798. Part of the conversation poems, the poem discusses Coleridge's childhood experience in a negative manner and emphasizes the need to be raised in the countryside. The poem expresses hope that Coleridge's son, Hartley, would be able to experience a childhood that his father could not and become a true "child of nature". The view of nature within the poem has a strong Christian element in that Coleridge believed that nature represents a physical presence of God's word and that the poem is steeped in Coleridge's understanding of Neoplatonism. Frost at Midnight has been well received by critics, and is seen as the best of the conversation poems.
Fears in Solitude, written in April 1798, is one of the conversation poems by Samuel Taylor Coleridge. The poem was composed while France threatened to invade Great Britain. Although Coleridge was opposed to the British government, the poem sides with the British people in a patriotic defense of their homeland. The poem also emphasizes a desire to protect one's family and to live a simple life in harmony with nature. The critical response to the poem was mixed, with some critics claiming that the work was "alarmist" and anti-British.
The Nightingale: A Conversation Poem is a poem written by Samuel Taylor Coleridge in April 1798. Originally included in the first edition of Lyrical Ballads, which he published with William Wordsworth, the poem disputes the traditional idea that nightingales are connected to the idea of melancholy. Instead, the nightingale represents to Coleridge the experience of nature. Midway through the poem, the narrator stops discussing the nightingale in order to describe a mysterious female and a gothic scene. After the narrator is returned to his original train of thought by the nightingale's song, he recalls a moment when he took his crying son out to see the moon, which immediately filled the child with joy. Critics have found the poem either decent with little complaint or as one of his better poems containing beautiful lines.
France an Ode was written by Samuel Coleridge in April 1798. The poem describes his development from supporting the French Revolution to his feelings of betrayal when they invaded Switzerland. Like other poems by Coleridge, it connects his political views with his religious thoughts. The Gothic elements of the poem connect the poem's style to many of his early poetic works.
"The Virgin's Cradle Hymn" is a short lullaby text. It was collected while on a tour of Germany by the English poet Samuel Taylor Coleridge, and published in his Sibylline Leaves of 1817. According to his own note, Coleridge copied the Latin text from a "print of the Blessed Virgin in a Catholic village in Germany", which he later translated into English. The text, actually from a collection of devotional Flemish engravings by Hieronymus Wierix, has inspired a number of modern choral and vocal musical settings.
"Time, Real and Imaginary. An Allegory" is a short poem of 11 lines written by Samuel Taylor Coleridge at an uncertain date, and first published in 1817.
Sibylline Leaves: A Collection of Poems is a volume of poems by Samuel Taylor Coleridge, first published in 1817.
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