Prism XI (The Moon and the clouds)

So the simulated prisms evolved into a oneiric sight of a moon under the cover of the clouds. You may know the common symbology: the moon is the object of desire -the beloved; and the clouds are the level of conciousness; but here, with the clouds over the moon, in this dreamy sight, the conciousness seems to represent a waste ground without the beloved, so the image is more representative of lovers known and united by the dream state, not the wakefulness... like in a second life, lived in dreams and nightmares, and beyond life and death. Strange indeed.

I.
How warm this woodland wild Recess!
Love surely hath been breathing here;
And this sweet bed of heath, my dear!
Swells up, then sinks with faint caress,
As if to have you yet more near.

II.
Eight springs have flown, since last I lay
On sea-ward Quantock's heathy hills,
Where quiet sounds from hidden rills
Float hear and there, like things astray,
And high o'er head the sky-lark shrills.

III.
No voice as yet had made the air
Be music with your name; yet why
That asking look? that yearning sigh?
That sense of promise every where?
Belovéd! flew your spirit by?

IV.
As when a mother doth explore
The rose-mark on her long-lost child,
I met, I loved you, maiden mild!
As whom I long had loved before--
So deeply had I been beguiled.

V.
You stood before me like a thought,
A dream remembered in a dream.
But when those meek eyes first did seem
To tell me, Love within you wrought--
O Greta, dear domestic stream!

VI.
Has not, since then, Love's prompture deep,
Has not Love's whisper evermore
Been ceaseless, as thy gentle roar?
Sole voice, when other voices sleep,
Dear under-song in clamor's hour.

Samuel Taylor Coleridge, "Recollections of love".