Samuel Taylor Coleridge’s conversation poem, The Eolian Harp, configures a complex and highly significant relationship between activity and passivity. A merely passive poet, under the influence of natural or divine inspiration, would in Coleridge’s view be reduced to a mere automaton. Yet the poem is often thought to represent just such a poet. Similarly, it is thought to represent Sara, the speaker’s interlocutor, as a surrogate self. I shall argue, instead, that the poem presents the self in a ‘middle voice,’ at once active and passive, such that inspiration does not efface human agency. I shall also consider the senses in which Sara evinces a middle voice and thus a distinct and substantial subjectivity. The implications of this argument for Coleridge’s broader corpus, and for some recent critiques of his aesthetics, will be suggested.