e surprised by its call. The objects surrounding the speaker become metaphors for the work of the mind and the imagination so that the fluttering film on the fire grate plunges him into the recollection of his childhood. His memory of feeling trapped in the schoolhouse naturally brings him back into his immediate surroundings with a surge of love and sympathy for his son. His final meditation on his son's future becomes mingled with his Romantic interpretation of nature and its role in the child's imagination, and his consideration of the objects of nature brings him back to the frost and the icicles, which, forming and shining in silence, mirror the silent way in which the world works upon the mind; this revisitation of winter's frosty forms brings the poem full circle.
             Frost at Midnight is part of a series of poems considered to be Coleridge's conversation poems. The structure of the text is nonlinear and disjointed imitating the movement of the mind. Coleridge creates this discontinuity by breaking up sentences through the use of
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