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Unfortunately, however, the imaginatively realised mountain sequence (which is the one instance of fine writing in the poem) is only tenuously connected to the opening verse-paragraph and is disastrously severed from the paragraphs which follow it. In the last two sections, having voluntarily cast aside his visionary mantle, Coleridge enters the arena of public action; and in this world, as Richard Haven points out, 'the visionary moment seems unreal or unimportant': 'the remembered moment has no ...

Southey was interested, and Coleridge wrote back five days later: 'I will speak to Johnson about the Fears in Solitude - if he give them up, they are your's' (CL, 1552)_ Johnson, however, would not relinquish his right to the poems, and in February 1800 Coleridge told Southey that 'The fears in Solitude, 1 fear, is not my Property - & 1 have no encouragement to think, it will be given The Conversation Poems 39 up' (CL, I 573). The three poems were later published together in the Poetical Register for 1808-9, and also appeared in 1812 as a separate publication, under the imprint of Law and Gilbert.

Yes! they wander on In gladness all .... (20-7) 36 A Colerz'dge Companz'on Here the imagination is set free and the poet shares vicariously the joy of his friends. is left behind and the poet selflessly participates in the experience of others. The distance between they and I (gradually faded in the first movement) is entirely obliterated here; the threatening solipsism of the dell yields place to generosity of impulse: 'Yesl they wander on / In gladness all' - a joy that the poet, in empathetic love, experiences too.

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