Gray's Elegy Written in a Country Churchyard, and the poetry of both William Bowles and Thomas Warton. Gray's particular influence was in word choice and Coleridge's incorporating the image of Chatterton as a young poet. Warton's The Suicide provides a connection to Chatterton by describing a poor poet killing himself. Although Warton made it clear that he was not thinking of Chatterton when composing the poem, Coleridge believed that there was a connection, and he believed that Warton's depiction was too unfavourable towards Chatterton. Coleridge was personally affected by the idea of Chatterton's death and how the poet was ruined by debt. Of the later point, Coleridge knew of poverty affecting many poets that he admired along with having a lot of experience with his own debt and poverty. The second edition shows a stronger influence of Gray and the elegy form. Gray's The Bard influences the poem's discussion of Chatterton as a poet, the Elegy influences the poem's discussion of Chatterton's solitude, and The Progress of Poesy influences the discussion of Chatterton's youth. Like Gray's poetry, the poem relies heavily upon personification and Coleridge borrows phrases from Gray. Even Coleridge's Chatterton and Gray's Bard share a similar character that is only separated by the actual biographical events of Chatterton's life and death. However, the 1767 revision begins to drop Gray as an influence and substitutes Wordsworth in his place. Wordsworth's influence did not directly affect the poem, but instead caused Coleridge to think of the poem as part of his childhood poems and not part of his mature work. Although he did revise the work again for the 1803 edition, his estimation of the poem did not improve. It was not until 1829 that Coleridge began to identify himself with Chatterton again. Within the final version of the poem, Coleridge transitions abruptly from a discussing a painful theme, a technique that is common to the ode. Later, he develops this transition further in his poem "Dejection". The ode form allowed Coleridge to create stand alone stanzas that create contrasts with other stanzas, and the reliance on a speaker within the poem provides a psychological dimension to these changes. Critical reception Charles Lamb did not like the changes incorporated in the 1796 edition of "Monody" and told Coleridge "I rather wish you had left the monody on Chatterton concluding as it did abruptly. It had more of unity" and, later,