Abstract
This article examines a little-known poem by Charlotte Caroline Richardson, “On Hearing a Friend Play on the Psaltery” (1818), as an alternative and possible response to Samuel Taylor Coleridge's “The Eolian Harp” (1817). Whether intentionally or not, Richardson's poem interrogates Coleridge's work to arrive at a feminist and secular alternative to his poetics. When read in this context, and also beside Amelia Opie's earlier poem on the Aeolian harp, Richardson can be seen to adapt and repurpose the Romantic harp metaphor to voice reservations about Romantic aesthetics, religiosity and gender norms.
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