The Eolian Harp is written in blank verse and has an irregular split into two verse paragraphs, one long, one short. The form is lyrical as it deals with a mans thoughts and emotions but it is often written in a conversational style, particularly in the first verse paragraph giving it an informal, simple feel:to sit beside our cot, our cot overgrown (l.3)andI stretch my limbs at noon,Whilst thro my half-closd eyelids I beholdThe sunbeams dance. (l.35-37)The choice to write in a conversational tone while using blank verse is an important one. As Sue Asbee states choosing to write in blank versewill elevate the subject (Approaching Poetry, p14). Blank verse is traditionally reserved for kings, nobles, heroes, and heroines, but by mixing blank verse with a conversational tone, Coleridge appeals to all and in doing so elevates the subject matter.
However, there is one point that a singular rhyme does appear:On vain Philosophys aye-babbling spring.
For never guiltless may I speak of Him,Th INCOMPREHENSIBLE! (l.57-59)It could be argued that this rhyme happened naturally without any significant meaning, but that is unlikely. Poets are very particular about their words and it is more than coincidence that, at the moment Coleridge praises his god, he introduces a rhyme on the word Him. That this is followed by a capitalised INCOMPRENSIBLE adds to the argument that he is important and the effect is that it does stand out from all that comes before it as, although
Bibliography: sbee, S. (2006) Approaching Poetry, Milton Keynes, The Open UniversityReid, N. (2006) Coleridge, Form and Symbol, Or the Ascertaining Vision, Aldershot, Ashgate PublishingWellek, R. (1963) The Concept of Romanticism in literary historyin Bygrave, S (2006) Romantic Writings London, The Open UniversityZuk, E. Coleridges Blank Verse [online], http://www.expansivepoetryonline.com/journal/cult072004.html (Accessed 28th April 2008)