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1
Fay, Jessica. "A Question of Loyalty: Wordsworth and the Beaumonts, Catholic Emancipation and Ecclesiastical Sketches." Romanticism 22, no. 1 (April 2016): 1–14. http://dx.doi.org/10.3366/rom.2016.0253.
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In the Roman Catholic Emancipation debate, William Wordsworth took the opposite view to his friend and patron Sir George Beaumont. Whilst Wordsworth's position as a committed anti-emancipationist is well-known, this essay explores the Beaumonts’ Catholic heritage and their political allegiances. This contextual material provides a backdrop for a reading of a previously un-noted document that Lady Beaumont sent to the Wordsworths in 1809: ‘An account of an English Hermit’. This pamphlet, by an unknown Anglican clergyman (Thomas Barnard), describes the life of an unknown nonjuror (Thomas Gardiner). Analysis of the manuscript, and the circumstances of its circulation, resituates Wordsworth's objections to Emancipation and casts new light on the tone of his Ecclesiastical Sketches (1822). I explore how Wordsworth uses the ‘Advertisement’ to the sonnets in order to counter any resentment the anti-Catholic publication may have engendered between the poet and Sir George, and conclude with a close reading of ‘Catechising’.
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Beattie-Smith, Gillian. "Dorothy Wordsworth: Tours of Scotland, 1803 and 1822." Northern Scotland 10, no. 1 (May 2019): 20–40. http://dx.doi.org/10.3366/nor.2019.0167.
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Dorothy Wordsworth's name, writing, and identity as an author are frequently subsumed in the plural of ‘The Wordsworths’, in her relationship as the sister of the poet, William Wordsworth. But Dorothy was a Romantic author in her own right. She wrote poetry, narratives, and journals. Nine of her journals have been published. In 1803, and again in 1822, she toured Scotland and recorded her journeys in Recollections of a Tour made in Scotland and Journal of My Second Tour in Scotland. This article considers Dorothy's two Scottish journals. It discusses them in the light of historical and literary contexts, and places of memorial.
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Choi, Taesook. "Wordsworth's “The Ruined Cottage” and English Romanticism: Focusing on Nature, Suffering and the Meditative Mind." British and American Language and Literature Association of Korea 150 (September 30, 2023): 85–102. http://dx.doi.org/10.21297/ballak.2023.150.85.
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This paper explores how Wordsworth’s “The Ruined Cottage” embodies and directs the course that Romantic poetry will take, predating his poetic world, the meaning of his poetry, and the essence of poetic theory proclaimed in the Preface to his poetry collection, Lyrical Ballads. In doing so, this paper shall focus on the representation of nature and suffering, considering the dramatic frame as the focal point through which we can glimpse the transformation of Wordsworth’s thought. In “The Ruined Cottage” Wordsworth chooses an ordinary person, Margaret, as the subject matter for a tragic poem, and undertakes the work of mourning. This approach overturns or deviates from the dominant principles of Neo-classicism, allowing Wordsworth to implement his empathy for common people within the realms of literature and criticism. I shall argue that this choice represents novelty and poetic experimentation, serving as a revolutionary declaration about poetry, and impling a subdued form of political engagement. The attitude towards nature and humanity displayed by the wandering peddler and his meditative mind is similar to Wordsworth's perception of nature and humanity revealed through the ruined monastery in “Tintern Abbey”.
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Graver, Bruce. "Neoclassical Wordsworth." Romanticism 28, no. 1 (April 2022): 36–45. http://dx.doi.org/10.3366/rom.2022.0535.
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This essay looks at Wordsworth’s ‘Laodamía’ as an example of a neoclassical phase that his writings took, beginning in 1814 and continuing for about a decade. I examine Wordsworth’s verse form, an adaptation of the stanza Shakespeare used in ‘Venus and Adonis’, and also look at the ways in which he modifies his classical sources, especially Ovid’s Heroides xiii. The essay then considers the style of the poem, especially how Wordsworth incorporates translations and paraphrases of passages from Virgil’s Aeneid, which is itself one of his classical sources. The essay ends with an analysis of the revisions he made, over several years, to the conclusion of the poem.
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Khan, Sajjad Ali. "William Wordsworth, Matthew Arnold and Walter Pater: The Romantic Notion of Education and its Relation to Culture." Global Language Review VI, no. I (March 30, 2021): 206–15. http://dx.doi.org/10.31703/glr.2021(vi-i).22.
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This research paper examines the relationship between Arnold, Pater and modernism through the mediation of Wordsworth's ideas on education. Arnold's ideas on education are inspired by Wordsworth, and Arnold remains the most influential critic and theorist of education in the 'Wordsworthian tradition'. It is important to acknowledge the centrality of Arnold's ideas since Wordsworth's influence on later writers was largely mediated through Arnold's writings. Arnold echoes the best of Wordsworth in his best prose work, Culture and Anarchy. Education is a great help to culture as he says emphatically that 'education is the road to culture'. He recommends 'the right educative influences…under the banner of cultural ideals'. Arnold's influence on Pater is well-known (even if he departs from him). Wordsworth is a common source of influence on both Pater and Arnold. It is argued that Pater's aestheticism is not simply its anti-bourgeois, anti-Christian quality but its links to the notion of education and development.
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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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Wheatley, Kim. "Parodying The Prelude: The Autobiography of John Cowper Powys." Romanticism 29, no. 3 (October 2023): 281–92. http://dx.doi.org/10.3366/rom.2023.0613.
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This essay reads the 1934 prose Autobiography of the twentieth-century British novelist John Cowper Powys as a parody of Wordsworth’s Prelude. It argues that Powys revises Wordsworth’s trajectory of emotional growth, loss and recovery in ways that sometimes endorse and more often satirise the poet’s youthful love of nature and his adult transcendental imaginings. In doing so, Powys anticipates the revisionary readings of recent critics who have interpreted Wordsworth’s ‘language of the sense’ in materialist terms. Powys represents Wordsworth as a poet of physical – and sexual – sensation, registering The Prelude’s openness to physiology-focused interpretation. Powys self-mockingly rewrites the story of the growth of Wordsworth’s mind, debunking The Prelude’s climactic encounters with transcendence. Ultimately however, for Powys as for Wordsworth, nature leads him beyond nature. Powys’s Autobiography thus helps to suggest the limits of approaches focused on what Powys calls ‘the physical quality of Wordsworth’s flesh and blood’.
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Lindstrom, Eric. "Mourning Life: William Wordsworth and Percy Bysshe Shelley." Romanticism 23, no. 1 (April 2017): 38–52. http://dx.doi.org/10.3366/rom.2017.0305.
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What does it mean that Shelley publicly mourns the death a living Wordsworth in his poetry? This essay argues that Percy Bysshe Shelley's renunciation of a narrow concept of selfhood not only informs, but germinates, his psychological and political principles, and in the process shapes his response to William Wordsworth—not as an “egotistical” poet, but as one who paradoxically and enviably escapes mutability by being ontologically identified with forms of non-life. I argue that Shelley brilliantly (and correctly) attributes this position to Wordsworth's poetic thought through his own poetic thinking in works such as Peter Bell the Third, and that Shelley also finds such an alignment incomprehensible. His construction of Wordsworth is a skeptical dialectician's disavowal of mute or dull inclusion. The essay attends to Shelley's treatment of Wordsworth in connection to Shelley's performative speech acts of inversion: life-death; heaven-hell; blessing-curse. Shelley abjures Wordsworth for excessive love for otherwise inanimate things; for ‘ma[king] alive | The things it wrought on’ and awakening slumberous ‘thought in sense’.
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Swaab, Peter. "Wordsworth's Elegies for John Wordsworth." Wordsworth Circle 45, no. 1 (January 2014): 30–38. http://dx.doi.org/10.1086/twc24044352.
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May, Charlotte. "The Professional Poet in the Romantic Period: Unpublished letters from Samuel Rogers to William Wordsworth." Romanticism 29, no. 1 (April 2023): 68–79. http://dx.doi.org/10.3366/rom.2023.0581.
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This article sheds new light on the literary relationship between William Wordsworth and the banker-poet Samuel Rogers through transcriptions of previously unpublished letters from Rogers to Wordsworth. The discussions in these letters reveal how both poets were responding to rapid changes in the commercial bookselling market. As a bestselling author with an extensive social network, Wordsworth sought Rogers’s advice for himself and also to discuss the potential publication of his sister Dorothy Wordsworth’s travel journals. The letters provide Rogers’s perspective on the material practice of writing and publishing in the Romantic period, revealing his knowledge about the transactions of other published authors. Consequently, sociability played a pivotal role in the forging and cultivation of professional poetic identity.
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Lindstrom, Eric. "What Wordsworth Planted." Articles, no. 56 (March 8, 2011): 0. http://dx.doi.org/10.7202/1001093ar.
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This essay shows how the metaphor of “planting” assumes a cluster of meanings beyond horticulture in the romantic age. I pursue the associative dimensions of that figure as an index of both sexuality and obliquely imperial concerns in Wordsworth and his critics. The promiscuity of this word disrupts a received image of the poet as stodgy, self-directed, and somehow verbally and otherwise chaste. I reexamine frankly moving passages from the “memory fragment,” two-book Prelude and from the elegy “Peele Castle.” At the same time the essay heeds the injunction David Simpson offers in the title of his recent essay, “Wordsworth and Empire—Just Joking,” by pursuing the trace of Wordsworth’s possible jokes and the way they extend rather than nullify his resonance to world-formation. As with the “planted” snowdrops of the Prelude, planting in general as a linguistic maneuver displays limit areas over which Wordsworth presumes an ambivalent control, and may not acknowledge willful desires when indeed they are projected.
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Potkay, Adam. "Wordsworth and the Ethics of Things." PMLA/Publications of the Modern Language Association of America 123, no. 2 (March 2008): 390–404. http://dx.doi.org/10.1632/pmla.2008.123.2.390.
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Wordsworth poetically realizes an ecological ethics grounded on the self's non-assimilative encounter with the otherness of nonhuman things. Engaging the etymological force of the word thing, Stoic and Spinozan philosophy, and a poetic tradition of assigning a “face” to natural things, Wordsworth arrives at a lyric apprehension of the “life of things,” a life that human beings share with other thinking and insentient, substantial and circumstantial things. Instead of anthropomorphizing things, Wordsworth “thingicizes” ethics. This aspect of Wordsworth's poems is illuminated when they are read alongside the “ethics of things” developed by Silvia Benso in philosophical dialogue with two major figures of the continental tradition: Heidegger, who conceives of things without ethics, and Levinas, who advances an ethics without things.
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Simons, Christopher. "Peter Bell’s Professions." Romanticism 29, no. 3 (October 2023): 226–38. http://dx.doi.org/10.3366/rom.2023.0609.
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This article investigates the socioeconomic contexts of Wordsworth’s Peter Bell in relation to Peter’s ‘profession’ – to use Wordsworth’s term, when he wrote that first among the ‘great defects’ of Coleridge’s Ancient Mariner is that the protagonist ‘has no distinct character … in his profession of Mariner’. Peter Bell is a ‘potter’; Wordsworth’s footnote to the 1819 first edition defines this as ‘a hawker of earthenware’. Modern scholarship accepts the northern definition of potter as ‘pedlar’, effacing the connection to pottery. Yet evidence in the poem suggests that Wordsworth understood the socioeconomic contexts of the poem’s Swaledale setting in 1798–1800, with particular knowledge of the area’s role as the heart of Britain’s lead-mining industry. Peter’s presence in Swaledale links him, through his ‘professions’, to lead mining in the Pennines; and through lead mining, to the Staffordshire pottery industry and Wordsworth and Coleridge’s friends and patrons, Tom Wedgwood and Josiah Wedgwood II.
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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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Fatah, Shokhan Mohammed. "Industrialization in William Wordsworth's Selected Poems." Journal of University of Human Development 5, no. 3 (July 24, 2019): 116. http://dx.doi.org/10.21928/juhd.v5n3y2019.pp116-119.
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William Wordsworth (1770-1850) is undeniably one of the most significant Romantic poets. He is famous for his love for nature. He finds tranquility and solitude in the company of nature. For him, nature is everything, including faith and God. Wordsworth believes that God has mirrored himself through nature. The industrial revolution made life more complicated, yet productive. The industrial revolution solved some problems while it caused some others, violation of nature is among the most distressing one. As a worshiper of nature, Wordsworth has noticed this impairment and portrayed the two lives, one closer to nature and the other industrialized. This paper aims at presenting William Wordsworth's love for nature through standing against industrialization. His poetry preserves the persistence of nature without any destructive mechanization. From this perspective, three poems of Wordsworth are explained to elucidate the different ways of his approach to new technological innovations and urbanization. The poems include; "The World is Too Much with Us", "Steamboats, Viaducts, and Railways" and "On the Projected Kendal and Windermere Railway". Prior to describing industrialization in the poems, the industrial revolution and its outcomes are generally introduced. Besides, a brief account is given to the British Romanticism due to the fact that Wordsworth is one of the key poets of the movement.
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Zeng, Xiaoxin. "Paradoxes in Wordsworth’s Tintern Abbey: Sense, Nature, Reality." BCP Social Sciences & Humanities 20 (October 18, 2022): 287–92. http://dx.doi.org/10.54691/bcpssh.v20i.2331.
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There are always arguments about the unadorned language and the nature in Wordsworth’s poems. Some consider it as a sentimental approach to escape from the reality, while others are on the contrary. This article is going to check how the language was used, and in what aspect Wordsworth chose to depict the nature to find relationship between human and nature, as well as the society. By examining the paradoxes in the poetry, the article will explore how Wordsworth made innovation at his time, which added a new angle to perceive the world.
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Westwood, Daniel. "‘These Common Woes I Feel’: The Elegist and the Reader in Wordsworth and Shelley." English: Journal of the English Association 69, no. 264 (December 20, 2019): 45–66. http://dx.doi.org/10.1093/english/efz047.
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Abstract This article argues that Shelley’s approach to the elegy owes a significant debt to Wordsworth’s ‘Lucy’ poems, particularly Wordsworth’s examination of the relationship between the elegist and the reader. While the elegy often extols the value of communal bonds and shared experiences in responding effectively to grief, the ‘Lucy’ poems use reticence and obfuscation to qualify the reader’s engagement with the emotional experiences that constitute an elegy. Through this, Wordsworth questions the possibility of the elegist and the reader experiencing a unified response to loss. Identifying the importance of these techniques to Wordsworthian elegy, Shelley’s sonnet ‘To Wordsworth’ shows him inheriting Wordsworth’s belief that any elegy must negotiate between ‘common woes’ and individual feeling. The later Adonais represents Shelley’s fullest reimagining of Wordsworth’s methods. By presenting the poet as a solitary and inscrutable figure, Shelley highlights a disjunction between the universal resonance of death and the elegist’s irrevocably personal perspective on grief. Magnifying the tensions implicit in all elegies, both poets open up a distance between the elegist and the reader to explore broader distinctions between individual and communal experiences of loss.
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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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Yen, Brandon C. "Poetry and Science: William Wordsworth and his Irish Friends William Rowan Hamilton and Francis Beaufort Edgeworth, c. 1829." Romanticism 26, no. 1 (April 2020): 89–101. http://dx.doi.org/10.3366/rom.2020.0450.
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Through hitherto neglected manuscripts at Trinity College Dublin, the Bodleian Library, and the Wordsworth Trust, this paper explores the relationship between William Wordsworth and his Irish friends William Rowan Hamilton and Francis Beaufort Edgeworth around 1829. It details the debates about poetry and science between Hamilton (Professor of Astronomy at Trinity College Dublin and Royal Astronomer of Ireland) and Edgeworth (the novelist Maria Edgeworth's half-brother), in which Wordsworth was embroiled when he visited Ireland in the autumn of 1829. By examining a variety of documents including letters, poems, lectures, and memoirs, a fragment of literary history may be restored and a clearer understanding may be reached of the tensions between poetry and science in Wordsworth's poetry, particularly in The Excursion, and of the Irish provenance of a memorable passage in ‘On the Power of Sound’.
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Domines Veliki, Martina. "VISUALIZING POVERTY IN WORDSWORTH’S POETRY." Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu 63, no. 3-4 (March 19, 2020): 161–78. http://dx.doi.org/10.22210/ur.2019.063.3_4.02.
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VISUALIZING POVERTY IN WORDSWORTH’S POETRY This paper departs from the assumption that Wordsworth’s poetry is highly visual in its quality and it focuses on his three “great period” poems, “Michael”, “The Old Cumberland Beggar” and “Resolution and Independence” (1798–1805) to show how Wordsworth represents poverty. By taking as its starting point some New Historicist readings of these poems (Simpson, Pfau, Connell, Liu) which highlighted Wordsworth’s blindness to social reality of the poor, it wants to enlarge the scope of historicist readings by introducing the framework of the New Poverty Studies (Korte, Christ). Furthermore, it insists on the assumption that the Romantic need to visualize landscape in the picturesque form becomes an important strategy of “configuring” (Korte) the reality of the poor. In other words, the way in which the poor are represented in Wordsworth’s poetry tells us something about practical engagements with poverty in late eighteenth-century England. Also, Wordsworth’s position of a middle-class observer who builds the tension between the seen and the deliberately unseen aspects of his social surrounding, show us how Wordsworth unconsciously falls under the spell of a larger class-related sensibility and thus fails in his humanitarian project.
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Perkins, David. "Wordsworth and the Polemic Against Hunting: "Hart-Leap Well"." Nineteenth-Century Literature 52, no. 4 (March 1, 1998): 421–45. http://dx.doi.org/10.2307/2934060.
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Increasing compassion for animals led in Wordsworth's era to a polemic against hunting. Wordsworth's "Hart-Leap Well" is part of this campaign. Wordsworth's strategy and arguments in the second part of "Hart-Leap Well" are typical of the discourses that attacked hunting, chiefly for its cruelty, but Wordsworth was unusual in also leading readers in the first part of the poem to sympathize with the hunter's emotions, and he illustrates in the figure of Sir Walter the warrior virtues that hunting was said by its defenders to inculcate. The poem reaches more deeply, however, to explore irrational grounds of hunting's appeal in Sir Walter's enlarged sense of secure dominance, power, lust, and megalomania in the aftermath of the chase. As with Coleridge's Ancient Mariner, egoistic self-assertion expresses itself in killing an animal and is figured as solitude. Just as Sir Walter embodies "the coarser pleasures of my boyish days" (as Wordsworth represents them in various poems), the figure of the poet possesses the more reflective, sensitive, and profound awareness that Wordsworth credits to his adult self. In "Hart-Leap Well" Sir Walter's mentality is that of the historical past, and the poet's represents the future. The poem offers a version of the Enlightenment plot of history as the moral progress of mankind. But in the end the poem may contemplate, with pleasure, the vanishing of mankind from the face of the earth, while nature remains in its beauty.
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Joshi, Dipak Raj. "Politics of Sympathy and Outrage in Wordsworth’s Abolitionist Poetry." Studies in Social Science & Humanities 2, no. 9 (September 2023): 1–8. http://dx.doi.org/10.56397/sssh.2023.09.01.
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William Wordsworth has written a number of poems dedicated to abolition of slave trade. His sonnets Poems in Two Volumes (1807) — To Thomas Clarkson, To Toussaint L’Ouverture, September Ist, 1802 —, Humanity (1835), and The Prelude (1850) deal with the issue of slave trade and slavery explicitly. These poems show Wordsworth’s anger on the attitude favoring perpetuation of slavery for economic reasons. This paper seeks to show that Wordsworth’s abolitionist poetry stem from the affective circumstances and not from his genuine feeling for the predicament of the slaves. His sympathy for them verges on the capitalistic and the effect of outrage evoked is not so for the plight of the slaves as much it is for the oppressive ordinance of expansionist Napoleonic France. The outrage at the French villainy translates as the British honesty about the issue of slavery in Wordsworth.
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Somervell, Tess. "Mediating Vision: Wordsworth's Allusions to Thomson's Seasons in The Prelude." Romanticism 22, no. 1 (April 2016): 48–60. http://dx.doi.org/10.3366/rom.2016.0256.
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The importance of James Thomson's eighteenth-century poem The Seasons to Wordsworth's The Prelude has been systematically underestimated by critics, who take at face value Wordsworth's dismissals in his prose writings of Thomson's diction. In fact The Prelude contains a large number of allusions to and direct borrowings from The Seasons. Examining three of the most significant of these allusions, this essay argues that Wordsworth turned to Thomson in order to find a language that could express communion with the external, natural world, and specifically a communion that is mediated by the ‘bodily eyes’, with all their flaws and susceptibility to misapprehension. The poetic vision that is produced out of the eyes’ inaccurate vision is fundamentally ambivalent; mediation between the internal and external creates a space for the mind to exercise its creative and subjective power, but also reveals the mind's limitations. As well as assisting Wordsworth to articulate the mediated character of his encounters with nature, Thomson's language acts as a mediating presence itself, both facilitating and impeding Wordsworth's relationship with another great predecessor, Milton.
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Jagger, Jasmine. "Wordsworth, Coleridge, and the Healing Powers of the Imagination." Romanticism 22, no. 1 (April 2016): 33–47. http://dx.doi.org/10.3366/rom.2016.0255.
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This article discusses a medical link between Wordsworth and Coleridge during and around the composition of The Prelude. Looking closely at popular medical treatises on the imagination and its specific powers over the human mind and body in the late 1700s and early 1800s, it identifies a medical ‘strand’ within the The Prelude, particularly in relation to its address to an ailing Coleridge. Through biographical tracking and close attention to certain poetic emphases and motifs, it identifies a special motive for Wordsworth's writing of his poem, as well as an emergent dynamic between the two poets at this time: namely, that of benign physician (Wordsworth) and wandering patient (Coleridge).
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Olsen, Trenton B. "ROBERT LOUIS STEVENSON'S EVOLUTIONARY WORDSWORTH." Victorian Literature and Culture 44, no. 4 (November 4, 2016): 887–906. http://dx.doi.org/10.1017/s1060150316000267.
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While crediting William Wordsworth'stutelage in his 1887 essay “Books Which Have Influenced Me,” Robert Louis Stevenson indicates that the poet's contribution to his writing is difficult to pin down: “Wordsworth should perhaps come next. Every one has been influenced by Wordsworth and it is hard to tell precisely how” (164). Seeking to understand this relationship, I examined Stevenson's copy of Wordsworth'sThe Poetical Works(1858) at the Beinecke Rare Book and Manuscript Library at Yale University. Stevenson's penciled markings, cross-references, and annotations fill the six-volume set, indicating careful and repeated reading over many years. Stevenson purchased the edition as he was entering adulthood in Edinburgh, and kept it with him until the end of his life in Samoa. While Stevenson's marginalia cannot be precisely dated, the handwriting alongside Wordsworth's poetry ranges from the large sloped script of his early years (1870--1874) to the smaller, more rounded and upright letters he used in the final period of his life (1890–1894). Given this record and the frequency and depth of Stevenson's allusions to Wordsworth in his fiction, essays, and letters, it is surprising that no study of the relationship has been undertaken. In recent book-length studies of Romantic influences on Victorian writing, Stevenson is rarely mentioned, and never in connection with Wordsworth. Even Stephen Gill's encyclopedicWordsworth and the Victoriansmakes no reference to Stevenson.
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Butler, James A. "Tourist or Native Son: Wordsworth's Homecomings of 1799-1800." Nineteenth-Century Literature 51, no. 1 (June 1, 1996): 1–15. http://dx.doi.org/10.2307/2933838.
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After many years of wandering in England and abroad, in November 1799 Wordsworth returned to his native Lake District on a "picturesque tour." guiding his southern friend Coleridge. That tour made clear to Wordsworth that tourists-and worse, tourists who returned to settle in the Lake District-were damaging the landscape and the people. When he himself took up residence in Grasmere the following month, Wordsworth's anxiety about his tourist experiences found expression in several poems in which he eventually defined his poetic identity by weighing the tourist against the native son. Somehow the poet born in Cockermouth and educated in Hawkshead had to create a fictive self who had returned (through birthright and not because he happened to see an empty house while on tour) to a home at Grasmere. In "The Brothers," "Hartleap Well," Home at Grasmere, and several Inscriptions and Poems on the Naming of Places, Wordsworth constructed that persona-and built a secure and permanent habitation for his mind. Only when Wordsworth had in his own imagination shed the stigman of intruder and outsider, a "tourist" to Grasmere and the Lake District, coul he tap the spring of inspiration that produced the poetry of his great decade.
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Widmer, Matthias. "Wordsworth's Aeneid and the Influence of its Eighteenth-Century Predecessors." Translation and Literature 26, no. 1 (March 2017): 23–51. http://dx.doi.org/10.3366/tal.2017.0274.
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William Wordsworth's attempt at translating Virgil's Aeneid reached as far as Book 4, and mostly survives in manuscript drafts. The literary influences behind it can be illuminated through the poet's correspondence, and analysed more fully by tracing verbal echoes and other resonances in his translation. Despite the hostility he expressed towards Dryden and Pope, the foremost translators of the previous age, Wordsworth followed them in using heroic couplets, and, as has previously been argued, his translation draws increasingly on Dryden's Aeneis the further he advanced with his project. But Wordsworth owes an equally large debt, hitherto unrecognized, to the eighteenth-century blank verse renderings by Joseph Trapp and others, who anticipated many of his supposed stylistic innovations.
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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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Burkett, Andrew. "Wordsworthian Chance." Articles, no. 54 (December 15, 2009): 0. http://dx.doi.org/10.7202/038762ar.
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Abstract First-generation Romantic poets generally hold a deeply rooted faith in the notion of the limitless nature of possibility, and in reaction to Enlightenment determinism, several of these poets strive for an understanding and representation of nature that is divorced from Enlightenment notions of causality. This essay specifically explores William Wordsworth’s poetic denunciation of such deterministic accounts of causality through an investigation of The Prelude’s (1799, 1805, 1850) complication of the assumption that the natural effect can be traced backward towards a single identifiable cause. I argue that in place of this principle of sufficient reason, Wordsworth embraces the notion of “chance” as possessing the inexhaustible powers of difference. In accordance with his fascination with the potentialities of the novel infinite, the idea of “chance” allows Wordsworth to challenge the notion of “necessity,” or the philosophic claim that steadfast and orderly laws determine all events in space and time. While Wordsworth certainly does not argue with the notion that cause-effect chains can be traced temporally back in time, such a genealogical record, he suggests, can only ever be deduced and constructed a posteriori. Only after the fact of its historical instantiation can the genealogical record of causal relations be deciphered and inscribed, he indicates. Such a genealogy, then, in no way undermines a faith in chance. Rather, according to Wordsworth, the record only makes the idea of chance all the more manifest. Such a posteriori inscriptions provide a distillation of the concept of chance. In this causal record Wordsworth locates the phantom outlines left in chance’s conceptual wake, or perhaps better stated, through the specters of the idea of chance.
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Firoze Basu. "The “Healing Touch” of Nature: Corresponding Elements in the Poetry of William Wordsworth and Jibanananda Das." Creative Launcher 6, no. 1 (April 30, 2021): 181–92. http://dx.doi.org/10.53032/tcl.2021.6.1.21.
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This paper endeavours to find resonances between Wordsworth's treatment and responses to Nature and Jibanananda's fascination with rural Bengal. A lecturer in English, he tried to bring the West to the Bengali psyche and consciousness utilizing the unique strategy of de-familiarizing the Bengali landscape. In effecting this achievement Jibanananda's familiarity with English poetry is of paramount importance. He has analogical and genealogical similarities with Keats and Wordsworth's particularly Wordsworth, in the celebrations of solitude, of nature.
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Beattie-Smith, Gillian. "Dorothy Wordsworth’s Journals of Scotland: The Creation of the Romantic Author." Postscriptum Polonistyczne 27, no. 1 (June 30, 2021): 51–67. http://dx.doi.org/10.31261/https://doi.org/10.31261/ps_p.2021.27.03.
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The increase in popularity of the Home Tour in the 19th century and the publication of many journals, diaries, and guides of tours of Scotland by, such as, Samuel Johnson and James Boswell, led to the perception of Scotland as a literary tour destination. The tour of Scotland invariably resulted in a journal in which identities such as writer, traveller, observer, were created. The text became a location for the pursuit of a sense of place and identity. For women in particular, the text offered opportunities to be accepted as a writer and commentator. Dorothy Wordsworth made two journeys to Scotland: the first, in 1803, with William Wordsworth and Samuel Taylor Coleridge, and the second, in 1822 with Joanna Hutchinson, the sister of Mary, her brother’s wife. This paper considers Dorothy’s identity constructed in those Scottish journals. Discussions of Dorothy Wordsworth have tended to consider her identity through familial relationship, and those of her writing by what is lacking in her work. Indeed, her work and her writing are frequently subsumed into the plural of ‘the Wordsworths’. This paper considers the creation of individual self in her work, and discusses the social and spatial construction of identity in Dorothy’s discourse in her journals about Scotland.
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Sumati Bharti. "Pantheism and William Wordsworth." Knowledgeable Research: A Multidisciplinary Journal 2, no. 04 (November 30, 2023): 39–43. http://dx.doi.org/10.57067/kr.v2i1.191.
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A religious theory that may be utilized to construct an Islamic criticism of English literature according to Islamic principles is Wordsworth’s pantheism. Pantheism may encourage academics whose ultimate objective is to understand God via the study of natural objects of the universe found in English literature, despite the fact that it is fundamentally antithetical to God’s oneness. We were therefore enthralled by Wordsworth’s interpretation and comprehension of nature. However, we tried to reconstruct the idea from an Islamic perspective utilizing Quranic text after learning that his idea of God’s partial presence as a being within each natural element violates Islamic monotheism. The romantic poets like such as Wordsworth, Keats, and Shelley in Britain; transcendentalists Emerson and Thoreau in the United States; and Goethe and Hegel in Germany all contributed to the idea’s rise in popularity in the late 18th and early 19th centuries. It emerged as the preeminent literary form dedicated to praising nature in the nineteenth century. Philosophers and poets from all eras and stages manifest pantheism in a variety of languages.
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Dr.Shaifali Saxena* and Dr Manali Saxena**. "William Wordsworth and the French Revolution: A Study of Ideals and Realities." Knowledgeable Research: A Multidisciplinary Journal 2, no. 09 (April 25, 2024): 32–34. http://dx.doi.org/10.57067/wrj8ct26.
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This research paper delves into the profound impact of the French Revolution on the poetry of William Wordsworth, one of the most eminent Romantic English poets. Through an analysis of Wordsworth's life, works, and ideological evolution, this paper explores the intersection of revolutionary fervor and poetic expression during a tumultuous period in European history. Drawing on primary sources and literary analysis, the paper investigates Wordsworth's initial enthusiasm for the Revolution, his subsequent disillusionment, and the enduring legacy of his poetic response to the transformative events of his time.
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Atta Salman, Mohammed. "Wordsworth’s Lucy poems as the Reflections of the French Revolution: A New Historicist Study." Journal of Education College Wasit University 2, no. 45 (December 21, 2021): 513–46. http://dx.doi.org/10.31185/eduj.vol2.iss45.2321.
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The current study takes a New Historic outlook toward William Wordsworth’s the “Lucy Poems” and believes that by a minute scrutiny of these poems we can expose the power structure and the dominant discourses that according to New Historicism have shaped the poet’s character, society and world. Accordingly, the paper suggests that the poet through symbolic and non-symbolic ways has embedded historical and political facts in these poems. To do so, the research will reveal some controversial correspondences among these poems, William Wordsworth’s life and historical facts of the French Revolution. To support this idea, the study will bring quotations not only from modern conspicuous literary critics but also from the poets and Romantic contemporaries to show how the historical and political discourses of the period have greatly influenced both William Wordsworth and even the literature of the whole era, i.e., Romanticism. As a matter of fact, this research intends to connect the “Lucy Poems” to the contemporary historical context and the poet’s ideals of the Revolution in France. The findings, however, reveal that William Wordsworth has been submissive to the historical events of his time.
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Snow, Heidi J. "William Wordsworth’s Definition of Poverty." Articles, no. 56 (March 8, 2011): 0. http://dx.doi.org/10.7202/1001098ar.
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A close examination of Dorothy Wordsworth and William Wordsworth’s writing indicates that they considered themselves as living in poverty for some years before their case was settled with Lord Lowther. Both their material circumstances and contemporary definitions of poverty led them to identify themselves as “poor.” This article examines that self-identification and its evidence in their writings. Finally, William Wordsworth’s poem, “Last of the Flock,” indicates that he rejected a narrow parish view of poverty for a wider view that included the right to own some property.
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Mamun, Md Muntasir. "Education Movements and William Wordsworth." International Journal of Multidisciplinary Perspectives in Higher Education 3, no. 1 (December 26, 2018): xx. http://dx.doi.org/10.32674/jimphe.v3i1.633.
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The seventeenth and early eighteenth centuries experienced major educational movements, including orthodox religious formalism and rationalistic formalism of the Enlightenment. Toward the end of the latter century, however, naturalist and individualist views of education began to counter formalism, inspired by poets and philosophers like William Wordsworth and Jean Jacques Rousseau. This article focuses on Wordsworth's poetry to show how his philosophy of moral and spiritual development of the individual helped to establish faith in Nature as a basis of moral guidance of education. Wordsworth believed that education is a process of natural growth of the student, and the teacher, like a gardener, should be a watchful guide on the side, not a sage on the stage. The child, engaged in real life situations and exposed to good role models, comes to understand the need for sharing, kindness, honesty, diligence, loyalty, courage, and other virtues. The article concludes by showing the value of the above philosophy for our time. In the 21st century, the business world of global capitalism threatens to reduce humanity to mere products or commodities and knowledge has become a mere market entity. Under these circumstances, William naturalistic philosophy of education can strengthen education against the capitalist threat.
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Callaghan, Madeleine. "Wordsworth, Shelley, and Hardy: The Inheritance of Loss." ELH 91, no. 1 (March 2024): 181–206. http://dx.doi.org/10.1353/elh.2024.a922013.
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Abstract: This article calls for a revaluation of Thomas Hardy's Poems of 1912–13 , viewing them as in dialogue with William Wordsworth's Lucy poems and Percy Bysshe Shelley's Jane poems. Though Poems of 1912–13 has been favored with a great deal of criticism that aims to come to terms with its manifold influences, the Romantic influence upon Hardy's collection has been overlooked. This article considers how Hardy brings Wordsworth and Shelley's sequences into conversation with his elegies to argue that Hardy reimagines both poets' sequences to create his poetry of mourning.
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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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Jones, Chris, and Li-Po Lee. "Wordsworth’s Creation of Active Taste." Articles, no. 54 (December 15, 2009): 0. http://dx.doi.org/10.7202/038764ar.
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Abstract Building on Bakhtinian approaches to Wordsworth’s early poems, we extend their findings to The Prelude, using analytical tools from narratology and film criticism to trace the interplay of different views and voices. By dramatising his narrator and his problems in suturing together past and present and the viewpoints of the young “hero” and the older narrator, Wordsworth the poet is continuing his project of educating an active taste. The narrator demonstrates the processes of the imagination but in ways that reveal its artifice for others to use. The gaps and uncertainties which critics often see as suppressions are invitations for the reader to exercise a revisionary activity of his own in recognising the possibility of different stories from that which the narrator tries to tell. We analyse visual images for their dissonant suggestions and the manipulations of viewpoint that problematize any secure unity of purpose other than that of suturing the reader into the creative community that Wordsworth hails at the conclusion.
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Rahman, Sofiur. "Wordsworth's Romanticism in the Light of the Poem “Munajat Arwah” of Khalil Gibran: A Study." RESEARCH REVIEW International Journal of Multidisciplinary 8, no. 12 (December 14, 2023): 88–96. http://dx.doi.org/10.31305/rrijm.2023.v08.n12.013.
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Literature has a long history, and it shows that many writers and thinkers have helped start, develop, enrich, and bring about major changes or literary catalysts in the genre they work in. Not only do they start a new trend, but they also create a completely new way of writing, often against all odds and expectations. They change the way literature is written now and in the future. Gibran A famous writer, Khalil Gibran (1883–1931), owned such a thing. He is praised for his work as a novelist, philosopher, poet, and artist. Gibran In spite of being born in Lebanon, Khalil Gibran lived most of his life in the United States. He learned about the ideas of English Romanticism while living there. Wordsworth, Blake, Shelley, and Keats were some of the most famous Romantic poets. It was because of him and his later work with the Ar-rabitah group of AL-Mahjer poets that Arabic Romanticism began, which was a reaction against Arabic neoclassical poetry. People say that Romanticism is the return to nature. The poet's mind is affected by nature, and nature responds to the poet's mind in a way that is coloured by imagination. In this way, nature becomes a major theme in the poems of William Wordsworth, who is known as the founder of English Romanticism and a literary legend. One important way that Wordsworth's love of nature shows itself is in the way he insisted on shifting the focus from city life to country life. Gibran also felt the same way about this shift, filled with nostalgia and regret for how factory smoke had changed country life. Gibran writes about nature in a way that is a lot like Wordsworth's in his famous book Munajat Arwah (Communion of Spirits), which came out in 1914. As a result, this poem is used to show how the English Romantic poet shaped Gibran's vision of nature's beauty as superior to life in cities, which is filled with pollution and waste. In this study, we will also do our best to find ways that Gibran Khalil and William Wordsworth, who started Arabic and English Romanticism, wrote about nature in ways that are similar. This essay is mostly about Gibran's well-known poem Munajat Arwah. This essay is mostly about Gibran's well-known poem Munajat Arwah. In the way that Wordsworth thought and spoke, the poem praises the superiority of nature over city life.
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Najim Abid Al-Khafaji, Saad. "Motherhood in Wordsworth: A Psychoanalytic Study of his Poetics." Al-Adab Journal 1, no. 127 (December 5, 2018): 30–39. http://dx.doi.org/10.31973/aj.v1i127.198.
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By definition, the Romantic ego is a male; the creator of language which helps him to establish “rites of passage toward poetic creativity and toward masculine empowerment.”1 The outlet for a male quest of self – possession in Romantic poetry is women. For the Romantic poets , the “true woman was emotional, dependent and gentle –a born flower”2 and “the Ideal mother was expected to be strong , self- reliant , protective and efficient caretaker in relation to children and home.”4 With emphasis on the individual in Romantic literature and ideology, mothers are depicted as good when they are natural or unnaturally bad. In the Romantic period then, women’s maternal function equals the “foundation of her social identity and of her sexual desire.”5 Consequently, “convinced that within the individual and autonomous and forceful agent makes creation possible”, the Romantic poets “struggle to control that agent and manipulate its energy.”6
In a number of William Wordsworth’s (1770-1850) poems, this creative agent who possesses the powers of creation and imagination becomes a female character who is also often a mother. Nonetheless, when critics examine mothers in Wordsworth’s poetry, they also explore the child/poet’s relationship. Events in Wordsworth’s life surely influenced his attention to mothers. From a psycho-analytic perspective this interest might be an unconscious desire to resurrect the spirit of his dead mother Ann Wordsworth who died when the poet was almost eight. Thus in his poetry, the mother is the counterpart of the genuine faculty of the imagination of the poet and has a strong and felt presence within the poet’s poetic system.
In The Prelude, Wordsworth acknowledges his mother’s deep influence on him. He associates her death with the break within his own poetic development; a sign that the poet relies upon in his creative power .It is through her that the young poet came first in contact with the genial current of the natural world. Nevertheless, without his mother, the male child’s connection to nature not only stands, it grows stronger:
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Powell, Raymond. "Wordsworth, Dorothy Wordsworth,Tintern Abbey andSamson Agonistes." Neophilologus 79, no. 4 (October 1995): 689–93. http://dx.doi.org/10.1007/bf01126899.
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Ward, John Powell. "Wordsworth's Eldest Son: John Wordsworth and the Intimations Ode." Wordsworth Circle 36, no. 2 (March 2005): 66–80. http://dx.doi.org/10.1086/twc24045111.
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Beenstock, Zoe. "Looking at Sympathy in Wordsworth's Disability Poetry." Romanticism 26, no. 1 (April 2020): 62–74. http://dx.doi.org/10.3366/rom.2020.0448.
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Wordsworth's poems about disability – ‘The Idiot Boy’ and ‘The Blind Highland Boy’ and other long poems in which disability plays a tangential yet pivotal role like The Prelude and, less obviously, ‘The Ruined Cottage’ – posit the encounter with impairment as central to feelings of sympathy. Consequently, these poems are usually read as advocating the inclusion of people with disabilities. This article argues that Wordsworth's poems about disability reify a pattern of liberal identity that posits impairment as an obstacle to subjecthood reflecting Wordsworth's misreading of Adam Smith's moral theory. Departing from Smith's argument that disability is socially constructed, Wordsworth separates disabled and able-bodied lives into separate spheres, mediated by a voyeuristic aesthetic. As a result, characters with disabilities arouse intense curiosity and yearning in Wordsworth's poems, but also remain a spectacle of dependence and an adjunct to able identity.
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Labbe, Jacqueline M. "Smith, Wordsworth, and the Model of the Romantic Poet." Articles, no. 51 (October 31, 2008): 0. http://dx.doi.org/10.7202/019257ar.
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AbstractThis essay examines how Charlotte Smith and William Wordsworth manipulate the autobiographical and elements of poetical voicing as they explore the figure of the Romantic Poet. Focusing onBeachy Head(1807) andThe Prelude(1805), I suggest that in devising separate, competing but eventually equal “personal” voices inBeachy Head, and in interrogating tropes of genre and composition inThe Prelude, the two poets signal their interest in using poetry to provide an answer to Wordsworth’s famous question, “What is a Poet?” For each, the model of the Romantic poet is most viable when, like wet clay, it is still able to be shaped.
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Syafrina, Rany. "Romantic Ideas in William Wordsworth’s Play The Borderers." LINGUA LITERA : journal of english linguistics and literature 2, no. 2 (September 2, 2018): 100–113. http://dx.doi.org/10.55345/stba1.v2i2.21.
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William Wordsworth is mostly known as a poet, but in reality he also wrote a closet drama The Borderers. As an author, William Wordsworth is also influenced by his surrounding society, political movement, as well as philosophical ideas of Romanticism. As the result, most of his works contain the aspect of Romanticismsin the use of language as well as in developing the story. This research, tries to describe the Romantic aspects in William Wordsworth The Borderer, includingthe celebration of the nature, the importance of dream, and an interest toward social surrounding. In writing his work, Wordsworth not only describes thelandscape as it is, but he also adds his personal experience in exploring the countryside as well as in presenting his social critique. Wordsworth uses bothlandscape and dreams to criticize the society and to describe the possibility of good and bad in human nature. In consequence, The Borderers is not onlyconsidered as a common play but also a private writing about Wordsworth disappointment toward his social surrounding.
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McCully, C. B. "Writing under the influence: Milton and Wordsworth, mind and metre." Language and Literature: International Journal of Stylistics 9, no. 3 (August 2000): 195–214. http://dx.doi.org/10.1177/096394700000900301.
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This article suggests, in the spirit of Hayes (1983), that poetic influence can in part be expressible through a series of constraints as these are manifest in metrical filters, devices which essentially define which cadences are metrical for one poet, yet unmetrical for another. Synchronically, metrical filters help to account for the differences between the pentametric lines of Shakespeare, say, and those of Marlowe or John Donne. Diachronically, however, the employment of metrical templates yields challenging insights into how one poet, or group of poets, inherits, and seems to absorb, the metrical cadences of one or more strong precursors. In this instance, the focus of attention is on the literary relationship between Milton and Wordsworth, and the article shows, using a survey from Wordsworth’s mature work, that Wordsworth indeed seems to have inherited Milton’s characteristic intra-linear metrical structures, and employed them in his verse. Misreading, or ‘creative misprision’, may be, as Bloom (1973) suggests, the thematic hallmark of poetic influence, but here, metrically speaking, imitation is clearly the sincerest form of debt.
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Ruslida, Vivi Melaty, Barnabas Sembiring, and Indah Damayanti. "FIGURATIVE LANGUAGE IN WILLIAM SHAKESPEARE AND WILLIAM WORDWORTH’S POEM." Edu-Ling: Journal of English Education and Linguistics 2, no. 2 (July 31, 2019): 145. http://dx.doi.org/10.32663/edu-ling.v2i2.1098.
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This study aims to determine the use and meaning of figurative language (majas) in poetry. The sample of this study is ten poems from two different writers of the era, namely Shakespeare and Wordsworth. This research uses a descriptive qualitative method and an objective approach used to analyze data. Figurative language (majas) was analyzed based on theories from Wren and Martin and also analyzed the meaning of each figurative language (majas) that had been discovered. The figurative language (majas) found is presented in tabular form. From the data analysis, all figurative languages ??(majas) were found in Shakespeare's five poems except Euphemism and Irony. In Wordsworth's poem, all figurative languages ??(majas) are found except Synecdoche and Irony. From the figurative language (majas) that has been found and from the author's background, it has been concluded that Shakespeare is a Poetic person, he usually uses some beautiful words. Meanwhile, Wordsworth is a Romantic person. He usually talks about love, feelings and even sadness which is always associated with the loss of someone he loves.
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Shin, Sung Jin. "Limitations of Smithian Sympathy: Smith’s Social Sympathy and Wordsworth’s Unreadable City." British and American Language and Literature Association of Korea 147 (December 31, 2022): 79–96. http://dx.doi.org/10.21297/ballak.2022.147.79.
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In The Theory of Moral Sentiments (1759), Adam Smith suggests an important theory about moral sentiments that influenced many contemporary writers. While some praised Smith’s original theory of moral sentiments that emphasized the importance of society, others have been more skeptical about the workings of Smithian sympathy. In this essay, I first explore the primary elements of Smith’s theory that make it unique and significant. Then, I turn to the evaluation of Smithian sympathy by another important thinker in the early nineteenth century, the Romantic poet William Wordsworth. Wordsworth evaluates the workings of Smithian sympathy in his portrayal of London in Book Seventh of The Prelude (1805), where the emerging city of London serves as a counterexample to the mechanism of Smithian sympathy as the London society fails to work as a mirror for its members. The examination of Book Seventh of The Prelude will not only illuminate the flaws in the Smithian scheme of sympathy but also highlight Wordsworth’s insights on the subject as well as his corrections to Smith’s system.
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Alina Imtiaz. "Stylistic Analysis Of William Wordsworth Poem “Three Years She Grew In Sun And Shower”." MAIRAJ 2, no. 1 (July 17, 2023): 12–27. http://dx.doi.org/10.58760/mairaj.v2i1.12.
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The aim of this paper is to analyze William Wordsworth poem “Three years she grew in sun and shower”. This stylistic analysis focused on four levels of languages which are phonological level, graphological level, lexical level and grammatical level covering the sounds, rhyming scheme, literary devices and use of grammar. The phonological features employed in the poem were alliteration, assonance, metaphor, simile, personification, imagery and free repetition.The graphological features were use of capitalization and use of punctuation. This analysis found that Wordsworth positioned nature as essential part of life. As nature has power to educate better than all the wise. Nature was placed as a character in this poem nature is communicating with Lucy. In order to find the tools, tone, and all the other features of the poem the researcher apply the stylistic analysis method offered by Leech and Short in their works named “A linguistic guide to English poetry” in Longman (1969). This research is helpful to analyze the structure and style of Wordsworth’s poetry and his themes, views and treatment of nature.