that he must shift the theme to avoid thoughts of suicide: There is also an introduction of Chatterton joining Coleridge, Southey, and the Pantisocratic government to live happily together: In the final lines, Chatterton is no longer Chatterton but Coleridge's own Romantic identity: 1797 and 1803 versions Coleridge began his 1797 edition of poems with a preface that made clear what kind of alterations would be made to all of his poems, including "Monody": I return my acknowledgements to the different Reviewers for their assistance, which they have afforded me, in detecting my poetic deficiencies. I have endeavoured to avail myself of their remarks... My poems have been rightly charged with a profusion of double-epithets, and a general turgidness. I have pruned the double-epithets with no sparing hand; and used my best efforts to tame the swell and glitter both of thought and diction. However, the 1796 and 1797 are similar except for a few removed double-epithets and some other minor changes. Likewise, the 1797 version and the 1803 version are similar except that Coleridge removed a 16 line passage and 3 other lines. 1829 and 1834 versions The 1829 version opened with 15 new lines which rely on Chatterton as an image of Coleridge's own response to his inevitable death: Some other stanzas are added and recast to emphasise a connection between Coleridge and Chatterton. This blending of identities continues when the poem describes Chatterton in heaven and then the experience of a harsh reality: The only other alteration in the poem is a readdition of four lines discussing "the fair promise of my spring", the return to the elegy format with an emphasis on rhyming couplets similar to those of Alexander Pope and Samuel Johnson, and the re-addition of double-epithets into the poem. The 1834 version, the final version of "Monody", is similar to the 1829 version of the poem with the addition of 11 lines. These 11 lines were the final 11 lines of the 1790 version: This addition was probably not done by Coleridge and does not match the rhythm of the rest of the poem. Instead, it is possible that Coleridge's nephew took lines from the original poem and added it to the 1829 edition when editing the 1834 collection of poems. Themes The original version contains hints of Romantic themes when it mourns the death of Chatterton. Coleridge was influenced by John Milton's Lycidas,