‘The Dungeon’ (1798)

By Samuel Taylor Coleridge

Coleridge’s poem ‘The Dungeon’ was originally a soliloquy within the 1797 play Osorio. He excised it and treated it as a freestanding poem in his poetry collection Lyrical Ballads the following year. Its stance toward the prison systems of late 18th-century Europe echoes fellow Romantics’ concerns about the corrupting nature of modern life. In Coleridge’s estimation, prisons themselves were the source of corruption, rather than the convicts within their walls. The poem describes them as sites that left their occupants’ souls “hopelessly deformed / By sights of ever more deformity” (lines 18-19).

And this place our forefathers made for man!
This is the process of our love and wisdom,
To each poor brother who offends against us –
Most innocent, perhaps -and what if guilty?
Is this the only cure? Merciful God!
Each pore and natural outlet shrivelled up
By Ignorance and parching Poverty,
His energies roll back upon his heart,
And stagnate and corrupt; till changed to poison,
They break out on him, like a loathsome plague-spot;
Then we call in our pampered mountebanks –
And this is their best cure! uncomforted
And friendless solitude, groaning and tears,
And savage faces, at the clanking hour,
Seen through the steam and vapours of his dungeon,
By the lamp’s dismal twilgiht! So he lies
Circled with evil, till his very soul
Unmoulds its essence, hopelessly deformed
By sights of ever more deformity!

With other ministrations thou, O Nature!
Healest thy wandering and distempered child:
Thou pourest on him thy soft influences,
Thy sunny hues, fair forms, and breathing sweets,
Thy melodies of woods, and winds, and waters,
Till he relent, and can no more endure
To be a jarring and a dissonant thing
Amid this general dance and minstrelsy;
But, bursting into tears, wins back his way,
His angry spirit healed and harmonized
By the benignant touch of Love and Beauty.

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