The 'voice' is his own, he speaks aloud the thoughts and feelings that are important to him, as though to a friend or loved one. Such is the power of the poem, and quality of the writing, that the reader easily becomes that 'friend'.
Using blank verse, which is said to adhere closely to the naturally occurring rhythms of spoken English, the poet's own voice is easily heard. This flow and cadence is also more realistically maintained by the way in which divisions of ideas, themes or concepts are presented; not divided into stanzas, but verse paragraphs. As with any good conversation, the language is designed to communicate clearly, naturally and with evident personal connection. Though essentially a monologue, the piece demonstrates the interaction between the inner mind of the poet, the audience and the natural world. Coleridge shows and shares himself, his thoughts, emotions and love of nature, expressing a unity of all these throughout.
"' the tripartite rondo structure', beginning with the introduction of a particular situation, going through a middle part of the speaker's meditation, and ending with a return to the original situation after the speaker has some deepened insight." (Hill, p. 19. 1983).
The use of enjambment aids the flow, creating a soothing, smooth movement forward as the idyllic picture unfolds. The Rose is capitalized, and the verb 'peep'd' personify thee flower, with the same process applied to the Sea, with the word 'murmur'. By using capitals for Jasmin and Myrtle, their importance as sensual attributes is established. Though peace and tranquillity prevail, the physical movements of a vibrant nature is suggested with the verbs applied to the plants. By placing contrasting adjectives 'low' and 'tallest' in line one, perspective and proportion are immediately established. So the imagery creates a wholly sensual experience; visual, auditory and olfactory, which informs the reader that the poet is happy here, loves the environment and the life he is leading. This sets the tone and attitude prevalent at the beginning.
He reinforces this further when describing 'the wealthy son of Commerce' (l. 11), 'Bristowas's citizen' (l. 12), a metaphor for a rich city businessman from Bristol, and by using further 'sight' related verbs. There are examples here of imperfect and pararhymes, as in 'muse', paus'd', 'pleas'd', 'gaz'd', 'sigh'd' and 'said'. These also represent internal rhyme, and, with some alliteration, serve to emphasize the feelings of the visitor, along with the poet's pleasure in sharing the 'Blessed place' (l.17). One of the most beautiful lines must be: "Long-listening to the viewless sky lark's note" (l. 19), in which the alliteration conjures the image of stillness and expectancy, which patience is finally rewarded in lines 20-21:
"(Viewless, or haply for a moment see
Gleaming on sunny wings)"
No colour is blatantly stated, instead the imagination pictures gold, yellow, and bright sunshine. "Such, sweet Girl" brings Sarah, his wife, into the