Work record

Frost at Midnight

1798 · 18th Century · Poetry · English

Abstract

Written
February 1798; published 1798; revised 1817 and 1834
Setting
A winter night in 1798, recalling the 1780s; Coleridge's cottage at Nether Stowey, Somerset, England
Country
Kingdom of Great Britain (United Kingdom)
Language
English
Genre
Conversation poem (meditative lyric)
Form
Seventy-four lines of blank verse in four verse paragraphs
Recommended
Grades 9–12 (Blank verse meditation; clean.)

Background. During his year of close friendship with Wordsworth in the Quantocks, Coleridge composed several informal reflective poems. This one, set beside his first son's cradle, was printed in a slim pamphlet of political and personal verse.

Content. Alone and awake, the poet notices the deep hush of a freezing night, broken only by an owl and a quivering flake of soot. It recalls his lonely London boyhood, when he dreamed of his birthplace and longed for visitors. He resolves that his baby will grow up in open country, reading the visible speech in which the Creator reveals himself, so that every season, even the icicles of winter, will delight him.

Form. Unrhymed lines move from description into memory and prophecy before circling back to the frost.

Themes. Childhood, fatherhood, memory and the education of a soul by God through creation are bound together; the poem's natural theology is explicitly theistic.

Reception. Five months later Wordsworth's lines above Tintern Abbey borrowed this pattern of a present scene, remembered past and blessing on a companion. Critics now see the piece as the purest example of the conversational meditation that both friends developed, and Hartley Coleridge did grow up among the Lakes.

For students. Pair with Psalm 19 and with Tintern Abbey, which this poem influenced.

Main characters

  • The speaker: Wakeful father by the fire
  • The babe: His sleeping infant son Hartley

Summary

Frost at Midnight is a meditation in blank verse that Coleridge wrote in February 1798 at his cottage in Nether Stowey, Somerset, and published that year in a pamphlet with Fears in Solitude and France: An Ode. It is the finest of his conversation poems, quiet poems that speak as if to a companion and move from a present scene into memory and back. Late at night, while the household sleeps, the speaker sits by a low fire beside the cradle of his infant son Hartley. Outside, the frost performs its secret ministry, unhelped by any wind; the owlet cries; the silence is so deep it disturbs him. The only moving thing is a film of soot fluttering on the grate, which country people called a stranger and believed foretold the arrival of an absent friend. The film reminds him of his schooldays in London, when he would gaze at such a stranger on the school grate, dream of his birthplace and its church bells, and hope that the door would open on a visiting townsman, aunt or sister. He was reared in the great city, pent among dim cloisters, and saw nothing lovely but the sky and stars. Turning to the sleeping baby, he promises a different childhood: Hartley will wander like a breeze by lakes, sandy shores, crags and clouds, and so see and hear the lovely shapes and sounds of that eternal language which God utters, who from eternity teaches himself in all, and all things in himself. Great universal Teacher, he shall mould the child's spirit. Therefore all seasons will be sweet to him, whether summer or winter, when the eave-drops fall or the secret ministry of frost hangs them up in silent icicles, quietly shining to the quiet moon. The poem ends where it began, with the frost, now seen as part of God's teaching.

Virtues in this work

  • Piety: The poem names God as the great universal Teacher who speaks through creation.
  • Charity: A father's loving blessing on his infant son shapes the whole poem.

Plot or Argument

  • Lines 1-23: the silent night

    The frost, the owlet, the sleeping household and the fluttering film on the grate.

  • Lines 23-43: memories of school

    The film recalls the boy at school watching the grate and dreaming of home and of a visitor.

  • Lines 44-64: the promise to the child

    He vows that his son will grow up among lakes and mountains and learn God's eternal language in nature.

  • Lines 65-74: all seasons sweet

    Every season will be sweet to the child, ending with icicles shining to the moon.

Characters

  • The speaker, father

    Coleridge, awake late beside his son's cradle.

  • The babe, son

    His infant son Hartley, asleep in the cradle.

Lessons

  • Nature as God's language

    The father hopes his son will learn the eternal language which God utters in creation. Nature is a school with God as teacher.

    • What does the speaker mean by an eternal language?
    • How does Psalm 19 describe creation speaking?
    • Is nature enough to teach us about God?
  • A father's hope

    The poem is a blessing on a child. The father wants to give his son what he lacked.

    • What did the speaker lack as a boy?
    • What does he hope for Hartley?
    • What do good parents want for their children?
  • Circular form

    The poem returns at the end to the frost of the opening, now transformed.

    • How has the frost changed in meaning by the end?
    • Why end with the moon and icicles?

Context

Coleridge lived at Nether Stowey near Wordsworth in 1797-98, the most creative year of his life. His son Hartley was born in 1796. Coleridge's own schooling at Christ's Hospital in London had been lonely.

Composition

Written February 1798 and published in a quarto pamphlet with Fears in Solitude that year; revised for Sibylline Leaves (1817). The text here is the 1834 version in E. H. Coleridge's edition.

Reception

It became the model of the Romantic conversation poem and influenced Wordsworth's Tintern Abbey, written five months later.

Comparisons

Quotes

“Therefore all seasons shall be sweet to thee,”
— Samuel Taylor Coleridge, Frost at Midnight, Line 65 (Gutenberg #29090: The Complete Poetical Works of Samuel Taylor Coleridge, ed. Ernest Hartley Coleridge (Oxford, 1912)).Quote card
“Quietly shining to the quiet Moon.”
— Samuel Taylor Coleridge, Frost at Midnight, Line 74 (Gutenberg #29090: The Complete Poetical Works of Samuel Taylor Coleridge, ed. Ernest Hartley Coleridge (Oxford, 1912)).Quote card

For Students

A reading companion for classical Christian high school students. See the student guide.

Reading Guide

Watch for

  • The silence and the single moving thing, the film on the grate.
  • The jump from the present night to memories of school.
  • The turn to the cradle and the word thou.
  • The language of God as teacher.
  • The return to the frost at the end.

Key terms and names

Conversation poem
Coleridge's informal blank-verse poems addressed to a present companion.
Stranger
A film of soot on the grate, believed to foretell a visitor.
Blank verse
Unrhymed iambic pentameter.
Ministry
Service; the frost's quiet work.
Natural theology
Knowledge of God drawn from creation.

Seminar Questions

  1. Comprehension What is the time and setting of the poem?
  2. Comprehension What does the film on the grate remind the speaker of?
  3. Comprehension What future does he promise his son?
  4. Interpretation How does the speaker's childhood differ from the one he hopes for Hartley?
  5. Interpretation What does Coleridge mean by God's eternal language?
  6. Interpretation How has the meaning of the frost changed by the end?
  7. Big Question Can nature teach a child to know God?

Faith Connections

  • Psalm 19:1-4 (Scripture)

    The heavens declare the glory of God; day unto day utters speech: Coleridge's eternal language.

  • Romans 1:20 (Scripture)

    God's invisible attributes are clearly seen in the things that are made.

  • Job 38:22, 29-30 (Scripture)

    God asks Job about the treasuries of snow and the hoary frost of heaven: the frost's secret ministry is his.

  • Augustine, Confessions X.6 (Great Conversation)

    Augustine questions the earth and sky, which answer that God made them.

Logic and Rhetoric

Central argument: The speaker's own city childhood gave him little of nature; his son will grow up among lakes and mountains; there God teaches through creation; therefore every season will be sweet and instructive to the child.

Rhetorical device: circular structure. The poem opens and closes with the secret ministry of frost.

Debate: Resolved: that a child raised in the country is better taught than one raised in the city.

Memory Work

Of that eternal language, which thy God Utters, who from eternity doth teach Himself in all, and all things in himself.

Lines 60-62. A compact statement of God teaching through creation.

The Frost performs its secret ministry, Unhelped by any wind.

Lines 1-2. The quiet, memorable opening.

Writing Prompts

Essay: Explain how memory, present scene and hope for the future are woven together in Frost at Midnight.

Comparison with Lines Composed a Few Miles above Tintern Abbey: Compare the blessings at the end of Frost at Midnight and Tintern Abbey: what does each poet hope nature will do?

Creative Prompts

  • Classroom

    Mark the four movements of the poem and give each a title.

  • Essay

    Is Coleridge's natural theology in Frost at Midnight Christian? Compare Romans 1:20 and Psalm 19.

  • Poetry

    Write a blank-verse blessing for a younger brother, sister or child you know.

Further Reading

  • Lyrical Ballads, William Wordsworth and Samuel Taylor Coleridge

  • Biographia Literaria, Samuel Taylor Coleridge

Verification notes

Text from E. H. Coleridge's 1912 edition (Gutenberg #29090), 1834 text; editor's line numbers and notes removed. The superstition of the stranger is explained in Coleridge's own note.

No verification flags recorded.