Religious
Frost at midnight creates a sense of the Romantic belief in the freedom of individual spirituality. This is reflected by Coleridge’s introspection, his ‘abstruser musings’ which take place in complete isolation. Coleridge also seeks spirituality outside of traditional frameworks by personifying the natural elements within his poem. Capitalisation of Frost lends an air of importance to the element as it “performs its secret ministry.” In addition, The Frost being “unhelped by any wind” conveys the understanding that this element is entirely self-sustaining. This is reminiscent of Transcendentalist Romanticism, pioneered by Ralph Waldo Emerson, which sought to sustain individual spirituality outside of corrupt institutions such as the Church. The ember, “idling Spirit,” also reflects Coleridge’s alternative spirituality. It is “the soul unquiet thing” whilst every other creature is “inaudible as dreams,” creating a sense that it itself is alive. Coleridge’s belief in this preternatural “stranger” radically opposes the strictly rationalistic mindset of the Enlightenment’s Newtonian Christianity. Thus, Coleridge has renounced the institutionalised worship of the ‘great city’. He goes on to celebrate that his child should be educated within God’s domain: nature. In accordance with Romantic views, Coleridge believes that God is ubiquitous, and therefore that he and nature are inseparable educative forces- “from eternity doth teach Himself in all, and all things in Himself.” This exemplifies Frost at Midnight’s semblance with Romantic views towards religion in the 18th and 19th centuries.
Philosophic
Samuel Taylor Coleridge, in his poem ‘Frost at Midnight’
is routinely challenging philosophic ways of thinking during the Romantic Era.
The referencing and description of the ember in the poem is potentially
representative of the human spirit and provokes abstract thinking throughout
the poem. Whilst the central meaning to the poem remains ambiguous, it’s
apparent that the piece follows a personal journey to which he is addressing a
child, most probably his own. Coleridge uses child-like references to create a
sense of innocence, when speaking of the subject of his poem he describes
‘Whose puny flaps...make a toy of Thought’ in the lead up to his direct ‘dear
Babe, that sleepest cradled by my side,.’ Coleridge’s capitalisation of the
word ’Thought’ is significant in depicting the prominence it served to
Romantics, in particular French Philosopher Denis Diderot. Diderot was arrested
in response to his now outlawed encyclopaedia that expressed thoughts of
‘thinking differently.’ He argues that the valuing of feelings and thoughts was
quickly usurping Gods place amongst civilisation. Coleridge, heavily influenced
by this, introduces his value of nature and through the use of natural imagery
expresses ‘For I was reared/In the great
city, pent ‘mid cloisters dim,/And saw nought lovely but the sky and stars./But
thou, my babe! Shalt wander like a breeze/By lakes and sandy shores, beneath
the crags/Of ancient mountain, and beneath the clouds,’ Here, Coleridge is
at his most vulnerable, ultimately enabling readers to truly understand the
passion and desire he has in connecting with nature. Romantics played a crucial
role in the deference and replacement of the once dominant and core belief in
God.
Scientific
Samuel Taylor Coleridge’s poem Frost at Midnight violently rejects scientific explanation and favours the pure imagination and nature. The Romantics believed that the world was a chaotic mess and no man could understand or explain it, which, thoroughly disagreed with the Enlightenment principles. Sciences that began to emerge during the 18th and 19th century restricted the place of God in the universe whereas in Frost at Midnight God or spirituality can be found in anything having an omnipresent nature, such as an ember “to watch the fluttering stranger”. Changes in scientific opinion, as exemplified by the work of Isaac Newton, on Coleridge were profound, influencing him to reconsider his outlook on the world. Most Romantics remained supportive of their faith whilst writing, but displayed an understanding of the scientific theories relating to the creation of the world whereas Coleridge did not. This is demonstrated through his overwhelming love of nature, “it thrills my heart/ With tender gladness, thus to look at thee,/And think that thou shalt learn far other lore,/And in far other scenes!”. The persona is overjoyed that his son will grow up and learn from nature, which he considers God, as he lived in the city growing up and was only given rational scientific explanations. The Romantics that accepted Religion understood that God might have created Nature, which they see as a replacement to, or alternative form of religion. The natural world, studied more intently after the scientific reforms of the French Revolution, was to be worshipped for its beauty, and qualities of emotional and psychological rejuvenation.
Economic
Poets of the Romantic Period valued a connection to the natural world, distancing themselves from the economic world. The concept of the ‘noble savage’ became extremely prominent due to this desire to have a connection with the natural, Rousseau explaining, “The noble savage is an individual living in a ‘pure state of nature’—gentle, wise, uncorrupted by the vices of civilization.”This discontent with urbanization is evident in Coleridge’s poem, ‘Frost at Midnight’, where the persona reminisces on time spent in the city, from his peaceful house in the woods, “How oft, at school, with most believing mind, Presageful, have I gazed upon the bars, To watch that fluttering stranger”. The house is in complete isolation, and the silence bothers Coleridge. He grew up in the city, and is more familiar with the constant noise associated with a more urban location. “The inmates of my cottage, all at rest, have left me to that solitude.”His “populous village” of a house is only as noisy as the dreams of the sleeping family inside it. He realizes the opportunities his son will have, and is at peace with the idea that his child will never suffer the confines of the urbanized world.
The realization of Coleridge’s persona reflects Adam Smith’s concept that each person, by looking out for him or herself, inadvertently helps to create the best outcome for all.“By lakes and sandy shores, beneath the crags / Of ancient mountain, and beneath the clouds...” Rather than seeing the link between childhood and nature as an inevitable, Coleridge seems to perceive it as a fragile, precious, and extraordinary connection, one of which he himself was deprived. Coleridge knows his son will be able to wander through nature at his own pleasure, basking in the abundance of beauty, knowing it will bring his son inspiration and happiness.
The realization of Coleridge’s persona reflects Adam Smith’s concept that each person, by looking out for him or herself, inadvertently helps to create the best outcome for all.“By lakes and sandy shores, beneath the crags / Of ancient mountain, and beneath the clouds...” Rather than seeing the link between childhood and nature as an inevitable, Coleridge seems to perceive it as a fragile, precious, and extraordinary connection, one of which he himself was deprived. Coleridge knows his son will be able to wander through nature at his own pleasure, basking in the abundance of beauty, knowing it will bring his son inspiration and happiness.