Journal articles: 'Lyrical ballads (Wordsworth, William)'

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Sun, Shuting. "Wordsworth against the Capitalist Ideology of Labor in “The Last of the Flock” and “Simon Lee”." English Language and Literature Studies 7, no. 2 (May 30, 2017): 132. http://dx.doi.org/10.5539/ells.v7n2p132.

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In several places in the Lyrical Ballads William Wordsworth challenges the capitalist ideology of labor. In Wordsworth’s view one of the key weaknesses the way this ideology manifests itself in economic thought is the way it generalizes about different people and their situations. The result of such generalizations is that they miss out the different meanings people give to their economic activity and applies to them a crude classification of either rational or irrational. Wordsworth believed that this erroneous economic thinking had infected moral theory. In the Lyrical Ballads Wordsworth investigates specific instances of people for whom capitalist economic imperatives no longer make sense. The implication of these instances is that these people are being marginalized by their failure to be assimilated to alienated labor. They either fail to adapt to alienated labor or adapt to it for motives other than those prescribed by the capitalist ideology of labor. This article will show how “The Last of the Flock” gives an instance of the former kind and “Simon Lee” gives an instance of the latter. In the Lyrical Ballads morality critiques economic thought. Wordsworth uses poetry to reaffirm the authority of moral thought to inform economic thought. This is an act of rebellion against the tendency he saw in his times of economic thought to stand above moral thought.

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Ercüment Yaşar. "William Wordsworth’s Theoretical Contribution to Canon of Literary Criticism in Light of Preface to Lyrical Ballads." Technium Social Sciences Journal 8 (May 14, 2020): 664–69. http://dx.doi.org/10.47577/tssj.v8i1.590.

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Wordsworth’s Preface to Lyrical Ballads, with Pastoral and Other Poems (1802) is both a revolutionary manifesto and a kind of foundational text in the context of the canon of Romantic poetry because of its normative analysis on the nature of poetry and its basic constituent parts although when compared to the systematic approaches in the twentieth century literary theory, Wordsworth does not present an autonomous critical method capable of providing universally valid principles in evaluation of the text. This paper mainly aims to discuss Wordsworth’s contribution to canon of literary criticism on the theoretical level by giving concrete examples from Preface to Lyrical Ballads, with Pastoral and Other Poems (1802) as well as scrutinizing Wordsworth’s definition of poetry and the poet, his ideas on the origin of poetry, the subject matter of poetry, and the language of poetry respectively in order to show that it is revolutionary in terms of prescribing some principles in evaluation of a literary work.

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Hall, Dewey W. "Wordsworth and Emerson: Aurora Borealis and the Question of Influence." Articles, no. 50 (June 5, 2008): 0. http://dx.doi.org/10.7202/018146ar.

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Abstract This article concerns the question of influence evident in the transatlantic relationship between William Wordsworth and Ralph Waldo Emerson. I argue that influence is linked vitally to light—celestial or the northern lights (i.e. aurora borealis)—, which is evident in the prose and poetry by Wordsworth and Emerson. Electromagnetic energy conducts a circuit; this is reflected also in the transatlantic crosscurrent of the precursor and progeny. Notably, Wordsworth’s “The Complaint of a Forsaken Indian Woman” (1798) and his Preface to Lyrical Ballads (1802) influence Emerson’s The Poet (1844), which has been informed also by Michael Faraday’s Experimental Researches in Electricity (1839). The matter pertaining to influence is inextricably connected to electromagnetism, light, and aurora borealis that appear in the work by Wordsworth and Emerson. Inspiration, then, ultimately can be derived from a celestial source in relation to the terrestrial.

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Priydarshi, Ashok Kumar. "John Keats as a Critic: A New Approach." Journal of Advanced Research in English and Education 06, no. 04 (December 8, 2021): 5–6. http://dx.doi.org/10.24321/2456.4370.202107.

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Romantic literary criticism in English literature is basically associated with and dominated by the writings of William Wordsworth in his ‘Preface to Lyrical Ballads’ (1800) and Coleridge in his ‘Biographia Literaria’. Apart from them, PB Shelly, Hazlitt, De Quincy and John Keats also contributed to the development of criticism in the Romantic period.

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Priydarshi, Ashok Kumar. "John Keats as a Critic: A New Approach." Journal of Advanced Research in English and Education 06, no. 04 (December 8, 2021): 5–6. http://dx.doi.org/10.24321/2456.4370.202107.

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Romantic literary criticism in English literature is basically associated with and dominated by the writings of William Wordsworth in his ‘Preface to Lyrical Ballads’ (1800) and Coleridge in his ‘Biographia Literaria’. Apart from them, PB Shelly, Hazlitt, De Quincy and John Keats also contributed to the development of criticism in the Romantic period.

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Bate, Jonathan, James Butler, Karen Green, and William Wordsworth. "'Lyrical Ballads' and Other Poems, 1797-1800 by William Wordsworth." Yearbook of English Studies 25 (1995): 302. http://dx.doi.org/10.2307/3508889.

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Jung, Sandro. "Wordsworth's "Tintern abbey" and the tradition of the "hymnal" ode." Acta Neophilologica 40, no. 1-2 (December 15, 2007): 51–60. http://dx.doi.org/10.4312/an.40.1-2.51-60.

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Despite the claims for simplicity of language that Wordsworth articulated in the early years of his literary career, especially in the "Preface" to Lyrical Ballads-his pronounced difference from earlier (Neoclassical) poets, poetic practice, and the forms of poetry of the Augustans-he could not escape what Waiter Jackson Bate long ago termed the "burden of the past". Wordsworth's indebtedness to his literary forbears is not only ideational but formal as well. The present article aims to examine Wordsworth's "Tintern Abbey" and relate it to the tradition of the hymnal ode used so masterfully by William Collins in the mid-century, at the same time reconsidering the generic conceptualisation of the poem as an ode in all but name which in its structure and essence re-evokes mid-century hymnal odes but which is contextualised within Wordsworth's notion of emotional immediacy and simplicity.

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Metzl, Jonathan M. "Medical Humanities Do Not Humanize Doctors: The Trouble with Trying to Soften Hard Science." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 951–53. http://dx.doi.org/10.1632/s0030812900109587.

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“Poetry is the breath and finer spirit of all knowledge,” William Wordsworth famously wrote in the Preface to the 1802 version of Lyrical Ballads. “[I]t is the impassioned expression which is in the countenance of all Science. Emphatically it may be said of the Poet, as Shakespeare hath said of man, ‘that he looks before and after.‘ He is the rock of defence of human nature; an upholder and preserver, carrying every where with him relationship and love” (xxxvii).

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Alegria, Diego. "Modernismo or Transatlantic Romanticism: José Martí and William Wordsworth." Essays in Romanticism: Volume 28, Issue 1 28, no. 1 (April 1, 2021): 43–56. http://dx.doi.org/10.3828/eir.2021.28.1.5.

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In this essay, I argue that Spanish American modernismo (1880-1917) constitutes an affirmation and negation of Romanticism: it is a manifestation of Romanticism’s critical reason and self-definition as literature in the Spanish American sphere, and it is a denial of Romanticism as a European cultural period and as a metropolitan literary model. To explore this contradiction, I contrast the allegories of literature in William Wordsworth’s “Preface” to Lyrical Ballads (1802) and José Martí’s “Prólogo al Poema del Niágara de Juan A. Pérez Bonalde” (1882). Both texts have been considered as pivotal literary manifestos of Romanticism and modernismo, respectively. Through this essay, its theoretical background, and rhetorical reading, I rethink the transatlantic relationship between both cultural movements and their self-definitions as literature.

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Hegele, Arden. "Wordsworth's Dropsy: Flux and Figure in The Excursion." Romanticism 24, no. 1 (April 2018): 36–52. http://dx.doi.org/10.3366/rom.2018.0352.

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This essay traces how William Wordsworth engages with both Romantic medical discourse and aesthetic theory by insisting that the mind is physically embodied, and finds his most complex and compelling treatment of this subject in his long poem of 1814, The Excursion. Adapting the formal model of poesis as a hydraulic process that he had theorized in the ‘Preface’ to Lyrical Ballads, the Wordsworth of 1814 considers minds as embodied brains governed by the influx of both liquid and language: the discovery of a waterlogged Voltaire corresponds to the shape of the Solitary's psychology through the formal mechanisms of intake, excess, and outflow. In this poem, however, Wordsworth's well-established hydraulics take on a newly pathological function, as his characters employ the imagery of the dropsy of the brain, or hydrocephalus, as they investigate and attempt to treat the Solitary's morbid state of being. What emerges throughout The Excursion – and, in turn, in ‘Simon Lee’ – is that the physical register of disease stands in for the characters' emotional states as a sylleptic structure of feeling. Ultimately, Wordsworth's dropsical brains bring into focus the Romantic idea of poetry as organic form, to ask how mechanistic and organic models might be reconciled in his notion of the hydraulic mind.

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Firoze Basu. "“Why I Write”; Corresponding Elements in the Poetic Discourse of Jibanananda and Wordsworth." Creative Launcher 6, no. 2 (June 30, 2021): 149–57. http://dx.doi.org/10.53032/tcl.2021.6.2.20.

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In his Bengali treatise on poetry named Kobitar Kotha/Why I Write there is evidence of vernacular poet Jibanananda (1899-1954). Jibanananda was familiar with the poetic cannons of European poetry. He emphasizes, in his treatise on poetry, on “experience” along with “imagination” as intrinsic to the creative process of poetry. The affinity of English Romantic poet William Wordsworth’s (deliberation on nature of Poetry and the definition of a Poet in Preface to The Lyrical Ballads and Jibanananda’s two articles on the same subject-Kobitar Kotha/The Story of Poetry and Keno Likhi/Why I Write is remarkable. This paper seeks to identify some areas of commonality in this sphere.

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Amit, Mr. "Romanticism: Characteristics, Themes and Poets." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 17, 2021): 66–74. http://dx.doi.org/10.24113/ijellh.v9i5.11034.

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This paper examines about Romanticism or Romantic era, themes and some famous writers, poets and poems of romantic era. Romanticism is one of the repetitive topics that are connected to either creative mind, vision, motivation, instinct, or independence. The subject frequently condemns the past, worries upon reasonableness, disconnection of the essayist and pays tribute to nature. Gone before by Enlightenment, Romanticism brought crisp verse as well as extraordinary books in English Literature. Begun from England and spread all through Europe including the United States, the Romantic development incorporates well known journalists, for example, William Wordsworth, Coleridge, Keats, Lord Byron, Shelley, Chatterton, and Hawthorne. ‘Romantic’ has been adjusted from the French word romaunt that implies a story of Chivalry. After two German scholars Schlegel siblings utilized this word for verse, it changed into a development like an epidemic and spread all through Europe. Romanticism in English writing started during the 1790s with the distribution of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge. Wordsworth's "Preface" to the subsequent version (1800) of Lyrical Ballads, in which he portrayed verse as the spontaneous overflow of powerful feelings", turned into the statement of the English Romantic development in verse. The first phase of the Romantic movement in Germany was set apart by advancements in both substance and artistic style and by a distraction with the mysterious, the intuitive and the heavenly. An abundance of abilities, including Friedrich Hölderlin, the early Johann Wolfgang von Goethe, Jean Paul, Novalis, Ludwig Tieck, A.W. what's more, Friedrich Schlegel, Wilhelm Heinrich Wackenroder, and Friedrich Schelling, have a place with this first phase. The second phase of Romanticism, involving the period from around 1805 to the 1830s, was set apart by a reviving of social patriotism and another regard for national roots, as bore witness to by the accumulation and impersonation of local old stories, people songs and verse, society move and music, and even recently disregarded medieval and Renaissance works. The resuscitated recorded appreciation was converted into creative composition by Sir Walter Scott, who is frequently considered to have imagined the verifiable novel. At about this equivalent time English Romantic verse had arrived at its peak in progress of John Keats, Lord Byron, and Percy Bysshe Shelley.

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Thapa, Dharma Bahadur. "Romantic Elements in Laxmiprasad Devkota’s Muna-Madan." Tribhuvan University Journal 35, no. 2 (December 31, 2020): 103–15. http://dx.doi.org/10.3126/tuj.v35i2.36195.

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This article is an attempt to study Laxmiprasad Deckota’s poetic work Muna-Madan to see how much it concords the romantic philosophical parameters. It analyses the textual properties of the work on the basis of romantic principles and philosophy propounded by William Wordsworth in his famous essay “Preface to Lyrical Ballads.” It also invokes C. W. F. Von Schlegel’s poetic theory and the philosophically grounded definitions of romanticism given by authors like Bertrand Russell, Justin and Gaarder. Finally the paper comes to the conclusion that Devkota’s Muna-Madan contains all the major characteristics like strong subjectivism, foregrounding of folk culture, privileging the common over the sophisticated and spiritualization of nature that a romantic poetry should possess.

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Burt, Stephanie. "Why Not More Comics?" Publications of the Modern Language Association of America 134, no. 3 (May 2019): 572–78. http://dx.doi.org/10.1632/pmla.2019.134.3.572.

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Why comics? “All that it is Necessary to say … upon this subject, may be effected by affirming, what few persons will deny, that, of two descriptions, either of passions, manners, or characters, each of them equally well executed, the one in prose and the other in comics, the comics will be read a hundred times where the prose is read once.” That's not exactly what William Wordsworth wrote in his Preface to Lyrical Ballads, of course—he had “verse” where I have “comics” (112). Nor did Wordsworth say that the pleasure of seeing expressive, hand-drawn characters could produce a complex feeling of delight, which is of the most important use in tempering the painful feeling always found intermingled with powerful descriptions of the deeper passions … while, in lighter compositions, the ease and gracefulness with which artists manage their lines are themselves confessedly a principal source of the gratification of the Reader.

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Manning, Peter J. "Lyrical Ballads and Other Poems, 1797-1800. William Wordsworth, James Butler, ed., and Karen Green." Wordsworth Circle 25, no. 4 (September 1994): 224–26. http://dx.doi.org/10.1086/twc24043118.

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Nicholson, M. ""Rural Architecture": Local Lyric and Cumbrian Culture in William Wordsworth's Lyrical Ballads (1800)." Genre 48, no. 3 (January 1, 2015): 405–33. http://dx.doi.org/10.1215/00166928-3160508.

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Graver, Bruce. "William Wordsworth, Lyrical Ballads 1800. With an Introduction by Jonathan Wordsworth. Banbury: Woodstock Books, 1997. 2 volumes bound as one. ISBN: 1-85477-200-7. Price: £48.00 (US$85.00)." Romanticism on the Net, no. 10 (1998): 0. http://dx.doi.org/10.7202/005798ar.

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Kim, Jihee. "Against Neoclassical Poetic Practices in Mary Wollstonecraft’s “On Poetry” and William Wordsworth’s “Preface” to the Lyrical Ballads." Journal of East-West Comparative Literature 59 (March 31, 2022): 101–20. http://dx.doi.org/10.29324/jewcl.2022.3.59.101.

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Butler, James A. "A Complete Concordance to the "Lyrical Ballads" of Samuel Taylor Coleridge and William Wordsworth: 1798 and 1800 Editions. Patricia A. McEahern and Thomas F. Beckwith." Wordsworth Circle 18, no. 4 (September 1987): 182–84. http://dx.doi.org/10.1086/twc24042508.

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McEathron, Scott. "Wordsworth, Lyrical Ballads, and the Problem of Peasant Poetry." Nineteenth-Century Literature 54, no. 1 (June 1, 1999): 1–26. http://dx.doi.org/10.2307/2902995.

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Wordsworth's account in the "Preface" to Lyrical Ballads of the groundbreaking nature of his rustic poetics has long served as foundational to our understanding of Romanticism. Yet his representation of "the public taste in this country" in 1800 elided the presence of a decades-long tradition of "peasant" and "working-class" poetry in Britain. Figures like Stephen Duck ("The Thresher Poet"), Robert Burns, and Ann Yearsley ("The Bristol Milkwoman") had been the focus of fashionable critical interest because they were seen as embodying the very values of simplicity and rustic authenticity that Wordsworth claimed were absent from the contemporary scene. Though a review of this context exposes Wordsworth to charges of solipsism and historical repression, it also helps us to imagine how the pervasiveness of peasant verse complicated his efforts to establish himself as a legitimate conduit for rusticism and "the real language of men." While Wordsworth did not have to create a taste for rural subjects and pseudo-humble diction, he faced the more difficult task of creating a vital rustic verse that was distinct from peasant poetry. In staging confrontations between educated narrators and uneducated subjects, several poems of the 1798 Lyrical Ballads, including "The Thorn" and "Simon Lee," dramatize Wordsworth's historical dilemma as a gentlemanly chronicler of "low and rustic life." Through these experiments in narratorial perspective, class identification, and social sympathy, Wordsworth establishes both the contemporaneity and the innovation of his poetic project.

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McEathron, Scott. "Wordsworth, Lyrical Ballads, and the Problem of Peasant Poetry." Nineteenth-Century Literature 54, no. 1 (June 1999): 1–26. http://dx.doi.org/10.1525/ncl.1999.54.1.01p0003v.

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Broadhead, Alex. "Framing dialect in the 1800 Lyrical Ballads: Wordsworth, regionalisms and footnotes." Language and Literature: International Journal of Stylistics 19, no. 3 (August 2010): 249–63. http://dx.doi.org/10.1177/0963947010370187.

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This article addresses one of the most theoretically and linguistically vexing issues in the history of English poetic language: stylistic variation in Wordsworth and Coleridge’s Lyrical Ballads. It suggests that two footnotes, added to the 1800 edition, offer a new perspective on a question which has prompted debate since its publication: specifically, what is the relationship between Wordsworth’s use of dialect and the language of ‘low and rustic life’ promised by the 1800 Preface to Lyrical Ballads? In sections 1 and 2 the article expands on the importance of the footnotes in relation to the discussion surrounding Wordsworth’s language. Section 3 examines the departure of Lyrical Ballads from 18th-century conventions regarding the glossing of non-standard language in poetry, while section 4 explores the function of the unfootnoted and unframed regionalisms that can be found throughout the collection. Sections 5 and 6 discuss the content of the two footnotes in relation to Wordsworth’s blurring of the roles of poet and glosser, and suggest that this conflation of roles is connected to Wordsworth’s implicit blurring of Standard English and dialect in his definition of ‘low and rustic life’ (a definition explored in greater detail in section 7). The conclusion suggests that the lack of specificity in Wordsworth’s Preface and his approach to framing dialect were part of a single strategy to integrate Standard English and dialect in a more organic manner than was typical of 18th-century writing.

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FOAKES, R. A. "Beyond the Visible World: Wordsworth and Coleridge in Lyrical Ballads." Romanticism 5, no. 1 (April 1999): 58–69. http://dx.doi.org/10.3366/rom.1999.5.1.58.

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Stillinger, Jack. "Wordsworth, Coleridge, and the Shaggy Dog: The Novelty of "Lyrical Ballads" (1798)." Wordsworth Circle 31, no. 2 (March 2000): 70–76. http://dx.doi.org/10.1086/twc24044179.

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Newman, Ian. "Moderation in the Lyrical Ballads: Wordsworth and the Ballad Debates of the 1790s." Studies in Romanticism 55, no. 2 (2016): 185–210. http://dx.doi.org/10.1353/srm.2016.0020.

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Williams, John. "Wordsworth, Shelley, and the Riddle of Peter Bell." Romanticism 23, no. 1 (April 2017): 75–87. http://dx.doi.org/10.3366/rom.2017.0308.

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In 1819 Shelley was moved to anger and derision when Wordsworth published Peter Bell. His satirical response was predicated on an ironically autobiographical interpretation of the poem, and in this respect, Shelley's reading of the poem merits further study with respect to both poets. Hazlitt, Keats, Lamb, and others, were quick to note the egotistical drive that informed Wordsworth's writing, but in Peter Bell the Third Shelley claimed that Wordsworth went far beyond that. He insisted that Wordsworth had unintentionally satirised himself with devastating accuracy in the manner of Thomas Moore's satire on political apostasy, The Fudge Family in Paris. Shelley's reading of the poem casts a fresh light on the importance of Peter Bell for an appreciation of the complexity of Wordsworth's development as a poet at the time of writing Lyrical Ballads, a complexity that relates both to the controversial style of Peter Bell, and to the ambivalent relationships within the poem between poet, narrator, protagonist, and reader.

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Maver, Igor. "From Albion's shore: Lord Byron' poetry in Slovene translations until 1945." Acta Neophilologica 22 (December 15, 1989): 51–59. http://dx.doi.org/10.4312/an.22.0.51-59.

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The publication in 1830 of the early poems of the doyen of Slovene poetry - Dr France Prešeren in Kranjska čbelica (The Carniola Bee) - marks the beginning of Slovene Romanticism, which ends in 1848, -with the last of his poems published in the fifth volume of the same literary magazine. The period from 1830 to the »revolutionary« year of 1848 is thus committed to Romanticism as the leading movement of Slovene literature, artfully embodied in Prešeren's fine lyrical poetry that aimed at and considerably contributed to national unification and identification, as well as in the Europe-oriented literary criticism of Matija čop. Comparing the trends of the English and Slovene Romantic Revival, we can readily establish that the emergence of Romantic tenets expressed in poetry was somewhat late on Slovene ground. In England, of course, the crucial years are1789, when Lyrical Ballads were published by Wordsworth and Coleridge, and the year 1832, which marks the death of Sir Walter Scott.

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Maver, Igor. "From Albion's shore: Lord Byron' poetry in Slovene translations until 1945." Acta Neophilologica 22 (December 15, 1989): 51–59. http://dx.doi.org/10.4312/an.22.1.51-59.

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The publication in 1830 of the early poems of the doyen of Slovene poetry - Dr France Prešeren in Kranjska čbelica (The Carniola Bee) - marks the beginning of Slovene Romanticism, which ends in 1848, -with the last of his poems published in the fifth volume of the same literary magazine. The period from 1830 to the »revolutionary« year of 1848 is thus committed to Romanticism as the leading movement of Slovene literature, artfully embodied in Prešeren's fine lyrical poetry that aimed at and considerably contributed to national unification and identification, as well as in the Europe-oriented literary criticism of Matija čop. Comparing the trends of the English and Slovene Romantic Revival, we can readily establish that the emergence of Romantic tenets expressed in poetry was somewhat late on Slovene ground. In England, of course, the crucial years are1789, when Lyrical Ballads were published by Wordsworth and Coleridge, and the year 1832, which marks the death of Sir Walter Scott.

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Ávila, Francisco Javier. "Abriendo caminos poéticos: de Boscán y Garcilaso en sus Obras (1543) a Wordsworth y Coleridge en las Lyrical Ballads (1798)." Revista Canadiense de Estudios Hispánicos 41, no. 1 (September 10, 2016): 141–67. http://dx.doi.org/10.18192/rceh.v41i1.2045.

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El objetivo de este artículo es analizar comparativamente dos textosincluidos en sendas obras poéticas de enorme transcendencia en susrespectivos ámbitos literarios: por un lado la “Carta a la Duquesa de Soma”,donde Boscán presenta la nueva poesía renacentista que quiere abrirse pasoen la España del siglo XVI, texto que puede leerse en las Obras (Barcelona,1543) que reúnen poemas del propio Boscán y de Garcilaso de la Vega; porotro, el “Advertisement” o “Advertencia” que Wordsworth sitúa al frente delas Lyrical Ballads (Bristol y Londres, 1798), con poemas de Wordsworth yColeridge, y que constituye el primer hito del Romanticismo en lenguainglesa. En la “Carta” de Boscán y la “Advertencia” de Wordsworthconsideraremos cuestiones como la configuración de la lengua poética en susrelaciones con la coloquial, la noción de poesía y sus límites, o la dinámicaentre el acercamiento a los modelos literarios previos y la creatividadindividual. Más allá de las dos épocas implicadas, asociaremos lasreflexiones, actitudes y dificultades expuestas por el poeta catalán y el ingléscon las que pueden surgir en el siglo XXI cuando nuevas tendencias literariasintentan consolidarse frente al canon establecido.

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Roberts, Daniel Sanjiv. "Not "Forsworn with Pink Ribbons": Hannah More, Thomas De Quincey, and the Literature of Power." Romanticism on the Net, no. 25 (June 11, 2009): 0. http://dx.doi.org/10.7202/006012ar.

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Abstract De Quincey's conception of the literature of "power" as opposed to that of "knowledge," has proved to be one of the most influential of romantic theories of literature, playing no small part in the canonization of Wordsworth. De Quincey's early acquaintance with the Lyrical Ballads was made through the Evangelical circles of his mother, who was a follower of Hannah More and a member of the Clapham sect. In later years, however, De Quincey repudiated his early Evangelical upbringing and wrote quite scathingly of the literary pretensions of Hannah More. This paper attempts to uncover the revisionary nature of De Quincey's later reminiscences of More and to indicate thereby the covert influence of Evangelical thinking on his literary theorizing. Far from absolving literature of politics, however, colonialist and nationalist imperatives typical of Evangelical thinking may be seen to operate within the spiritualized and aesthetic sphere to which literary power is arrogated by De Quincey.

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Robinson, Mary, and Adriana Craciun. "Present State of the Manners, Society, Etc. Etc. of the Metropolis of England." PMLA/Publications of the Modern Language Association of America 119, no. 1 (January 2004): 103–19. http://dx.doi.org/10.1632/003081204x23566.

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Mary robinson's essay “present state of the manners, society, etc. etc. of the metropolis of England,” published in the reformist Monthly Magazine shortly before the author's death in 1800, makes a significant statement on the volatility of British print culture at the turn of the nineteenth century. Once again recognized as a major writer of the Romantic period, Robinson influenced and was influenced by contemporaries such as Southey, Wordsworth, and especially Coleridge, who called Robinson “a woman of undoubted genius” (Letter). “Metropolis” is an important document not only because of its engagement with the contemporary debate over the direction of print culture and the public sphere but also because of the alternative it offers to Wordsworth's Preface to the Lyrical Ballads. Moreover, it provides an important link between earlier eighteenth-century concepts of urban culture and cosmopolitan refinement and later nineteenth-century ideas of urban identity such as Poe's Man of the Crowd and Baudelaire's flâneur. Resolutely urban, democratic, and cosmopolitan, Robinson's essay amounts to a manifesto of metropolitan culture.

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Prieto de Paula, Ángel Luis. "Unamuno: la abolición del género novela." Anales de Literatura Española, no. 22 (December 15, 2010): 33. http://dx.doi.org/10.14198/aleua.2010.22.03.

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A comienzos del siglo XIX, la escritura debe reorganizar el árbol de los géneros literarios. El «Preface» de Wordsworth a Lyrical Ballads (edición de 1800) es una temprana manifestación teórica de este proceso, en torno a un desbordamiento de la subjetividad. De ahí derivan las penetraciones de la narrativa en la poesía, y de la poesía en la narrativa. En el caso de Unamuno, un ejemplo de lo primero es Teresa, libro de poemas con arquitectura propia de una novela; y un ejemplo de lo segundo es Niebla, una novela que impugna su propio género. Entelequia mental y artificio de la inteligencia, el protagonista es alguien cuya misión vital consiste en sentirse ser: un «alma sin vestimenta humana» que refleja el vacío filosófico del que parecen haber huido todas las certezas. El final de este camino es La novela de don Sandalio (1933), cuyo protagonista no es, como otras veces, una proyección del yo autorial, sino un nombre –ajeno a toda orientación teleológica– cuyo hueco existencial es colonizado por el narrador.

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Edmond, Rod. "“WITHOUT THE CAMP”: LEPROSY AND NINETEENTH-CENTURY WRITING." Victorian Literature and Culture 29, no. 2 (September 2001): 507–18. http://dx.doi.org/10.1017/s1060150301002145.

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FOUCAULT WAS PROBABLY RIGHT WHEN he argued in the first chapter of Madness and Civilization that the asylum replaced the lazar house at the end of the Middle Ages, but he exaggerated in claiming that leprosy had disappeared from the western world. The decline of leprosy in early modern Europe did not mean that fear of it vanished or that Europe lost all contact with the disease. From the sixteenth century it became involved in the debate about the origin of syphilis, which at first was widely believed to be a new form of leprosy. A later, converse theory claimed that leprosy was a common terminal stage of syphilis, particularly in hot climates (Leprosy in India 353). This was given circulation and respectability at the turn of the nineteenth century by William Jones when he wrote that “The Persian, or venereal, fire generally ends in this malady” (qtd. in Crook and Guiton 91). The Collected Works of this distinguished Orientalist were published in 1799 and widely discussed. Britain’s steady colonial expansion in the late eighteenth century had brought renewed contact with leprosy and the consequent fear of its reintroduction into Europe. Although the disease had remained available to writers as a figure for horror throughout the early modern period, it was to take on renewed force in the century or so following the publication of Lyrical Ballads (1798).

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Dr. Upendra Kumar. "Reinterpretation of Alfred Lord Tennyson’s Selected Poetry: A Thematic Analysis." Creative Launcher 5, no. 3 (August 30, 2020): 124–29. http://dx.doi.org/10.53032/tcl.2020.5.3.17.

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Alfred Lord Tennyson was the most loved and acclaimed poet of the Victorian Era. He was born on 06 August 1809 in Somersby, Lincolnshire, England. He belonged to an influential family as his father was a clergyman having a large family. Alfred Lord Tennyson had 11 siblings and he showed his interest for writing in his early age. When he was merely thirteen years old, he wrote a 6000-line poem in epic style. His father was suffering from mental breakdowns and had an addiction for alcoholism. One of Tennyson’s brothers would quarrel with his father and another was sent to mental asylum. One more brother had opium addiction like T.S. Eliot. Tennyson entered Trinity College, Cambridge in 1827 and he wrote Poems by Two Brothers in collaboration with his brother there. Tennyson had close friendship with Arthur Henry Hallam and both of them went to Europe tour in 1830 and 1832. Tennyson wrote an elegy In memoriam on Hallam’s death. He dedicated some of his poem to Hallam. He published Poems Chiefly Lyrical in 1830 and then Poems in 1832. People criticized these books and consequently he did not write for nine years. He got emotionally attached with Emily Sellwood. He rose to fame in 1942 and when his elegy published in 1850, he became the most popular poet of England. He became the Poet Laureate of England after the death of William Wordsworth and when Samuel Rogers refused this offer. He got married with Emily Sellwood. He died on October 6, 1892 and was buried in Westminster Abbey. Present paper is an attempt to analyse Tennyson’s selected poems from multiple angles.

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Kirzhaeva, Vera P., and Oleg E. Osovskiy. "A Bourgeois Reader Through the Eyes of a Post-Bourgeois Researcher: On Tatiana Venediktova’s Literature as an Experience, or a “Bourgeois Reader” as a Cultural Hero. Moscow: New Literary Observer, 2018. 280 p." Tekst. Kniga. Knigoizdanie, no. 23 (2020): 158–70. http://dx.doi.org/10.17223/23062061/23/10.

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Tatiana Venediktova’s new book is devoted to the problem particularly relevant for contemporary philosophers, culturologists and philologists. In the situation of radical changes in the social and economic status of literature, the question of the reader’s role ceases to be an element of receptive aesthetics or the psychology of reading only and strongly requires new approaches for its research. In Venediktova’s interpretation, the reader is a real participant in the creative process and gets new experience through communication with the literary work creating new meanings, often different from those the author laid in the text. The figure of a bourgeois reader is presented through the intersection of literary history, cultural history and literary theory dimensions. This gave Venediktova the possibility to use the sociological poetics of Mikhail Bakhtin’s circle. At the same time, Venediktova’s research methods have little in common with the traditional sociology of reading and the new sociology of reader. The reference to Bakhtin is not only a tribute to today’s fashion in the humanities. Bakhtin as a reader and creator of new artistic and aesthetic meanings is a special and not yet explored part in the modern history of literary text interpretation. In the later fragments, Bakhtin offers his own understanding of the image of the reader opposing it to the structuralist image of the ideal reader. Venediktova chooses the 19th century as a field of her research. It is the historical period when the bourgeois class consciousness reaches its highest point and acquires a special sociality; one of its characteristic features is the wide-spread distribution of books and reading and the final democratisation of the readership. The author presents a transition from the theoretical description of the bourgeois reader to the historical interpretation of the possibilities and ways of gaining aesthetic experience as a consistent transfer from poetry to prose. The prosaisation of the lyrical vision of the world and man finds its continuation in the novel as a “bourgeois epic” (Hegel). The concept of the book is especially convincing due to the author’s reliance on the authoritative circle of the classics of the contemporary humanities as well as on the well-made and logical composition of the text. The literary-historical parts of the monograph become a natural continuation and development of theoretical ideas. In gaining new reader experience, the specific characteristics of its source, the changing position of the creator of the text are important. It equally works in relation to the poetry of William Wordsworth, Edgar Allan Poe, Walt Whitman, Charles Baudelaire and to the novels of Honoré de Balzac, Herman Melville, Gustave Flaubert, and George Eliot. Another important feature of the book is the prospects of the research. The problem of the bourgeois reader seems relevant for the sociocultural history of Russian literature and for the understanding of the role and interaction of the reader and writer in the space of today’s World Wide Web.

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Rzepka, Charles J. "From Relics to Remains: Wordsworth’s “The Thorn” and the Emergence of Secular History." Romanticism on the Net, no. 31 (July 27, 2004). http://dx.doi.org/10.7202/008696ar.

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Abstract In their recurrent focus on the relationship between narrative and experience, “testimony” and “relics,” the Lyrical Ballads show Wordsworth to be our first truly archaeological poet, the first to take seriously the notion of “pre-history” as a mode of encountering the material world in the present, and not just a way of designating a material world that pre-dates written records. Wordsworth’s reading in Druid history, and specifically William Stukeley’s accounts of barrow excavations near Stonhenge and Avebury, helped to shape the poet’s understanding of “pre-history” in this sense. “The Thorn”, with its reiterations of measurement and spatial orientation relative to the site of a mound that may or may not be “an infant’s grave,” reflects the specific influence of Stukeley’s accounts, as well as Wordsworth’s preoccupation with the mystery of how whatever “remains” in the present manages to make present, in the space and time of a universal history, the historian or poetic “pre-historian” who has encountered it.

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Barfoot, C. C. "William Wordsworth and Samuel Taylor Coleridge. Lyrical Ballads. Ed. Michael Mason. Second edition, Harlow: Pearson Education, 2007. ISBN: 978-I-4058-4060-6. Price: £13.99 William Wordsworth and Samuel Taylor Coleridge. Lyrical Ballads 1798 and 1800. Eds. Michael Gamer and Dahlia Porter. Ontario: Broadview Editions, 2008. ISBN: 978-I-4058-4060-6. Price: US and C$ 19.95 William Wordsworth and Samuel Taylor Coleridge. Lyrical Ballads. An electronic scholarly edition. Eds. Bruce Graver and Ron Tetreault; technical editor, Vivien Hannon:." Romanticism and Victorianism on the Net, no. 57-58 (2010). http://dx.doi.org/10.7202/1006524ar.

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Lewicz, Piotr. "W poszukiwaniu tożsamości podmiotu romantycznego - między pamięcią indywidualną a zbiorową. "Lyrical Ballads" Williama Wordswortha oraz "Ballady i romanse" Adama Mickiewicza." Pamiętnik Literacki, no. 2 (2014). http://dx.doi.org/10.18318/pl.2014.2.3.

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Reichimann, Brunilda. "NATURE AND FRONTIERS OF WORDSWORTH'S "SPOTS OF TIME"." Revista Letras 36 (October 11, 2010). http://dx.doi.org/10.5380/rel.v36i0.19266.

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Este trabalho explora um poema de Wordsworth intitulado "Resolution and Independence" com o objetivo de ilustrar a filosofia de criação poética do mesmo autor. Seleciona-se a expressão "spots of time", mencionada pela primeira vez na Introdução da segunda edição do livro Lyrical Ballads, marco do inicio do romantismo inglês, por carregar em si o germe de sua filosofia. Como demonstramos, este poema revela a natureza e delineia as fronteiras dos "spots of time".

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"Gaskell, R., Wordsworth's Poem of the Mind: An Essay on The Prelude; Campbell, P., Wordsworth and Coleridge: Lyrical Ballads; Wordsworth, W. and Coleridge, S. T. (ed. R. L. Brett and A. R. Jones), Lyrical Ballads." Notes and Queries, December 1992. http://dx.doi.org/10.1093/nq/39.4.512.

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Anderson, Robert. ""Enjoyments, of a [. . .] more exquisite nature": Wordsworth and Commodity Culture." Romanticism on the Net, no. 26 (May 6, 2003). http://dx.doi.org/10.7202/005697ar.

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Abstract This essay seeks to explore Wordsworth’s ambivalent relation to the commodity culture emerging in England around the turn of the Nineteenth-century. It does so by examining his unpublished poem "The Ruined Cottage" and his preface to Lyrical Ballads in two related contexts: the discourse of advertising and the history of consumer culture, including the institution of peddling. Wordsworth’s promise of the possibility of "enjoyments of. . . a more exquisite nature" available in his poetry if readers are willing to "give up much of what is ordinarily enjoyed" as poetry is similar to the structure of advertisement copy then as now: give up the product you now enjoy for a new and improved one. In the very essay in which he articulates a critique of industrialization and consumerism, Wordsworth unwittingly proposes a consumerist solution to the problem of consumerism. Drawing on the historical work of Colin Campbell and Neil McKendrick, this essay suggests that a dynamic similar to that operating in the preface holds for "The Ruined Cottage" as well. There is a distinct pattern in the poem, particularly in the Pedlar’s visits to Margaret, of intense but fleeting attachment which is similar to the process of consumption in which buyers form an intense attachment to a commodity which is abandoned a short time later as attachments to new products are formed. Far from being an example of the Romantic ideology in which poetry evades history, the poem can be seen as a Godwinian analysis of the ways which social forces and institutions "insinuate themselves" into the most intimate matters (82).

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Journal articles on the topic 'Lyrical ballads (Wordsworth, William)'

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