William Wordsworth was a prolific poet of the Romantic movement, perhaps best known for publishing Lyrical Ballads with friend and fellow poet Samuel Taylor Coleridge in 1798. These poems were written in what Wordsworth described as a ‘common tongue’ with a focus on themes often found in Romantic poetry, such as the pastoral, the mythical, fragmentation, heroism and satire. In Lyrical Ballads one recurring subject almost unique to Wordsworth in its passion and persistence is that of motherhood. The connection between womanhood and nature make it a frequently explored theme for many poets, such as Blake in his Songs of Innocence. However, I have chosen to focus on Wordsworth since motherhood is not only examined at great length in his poetry, but also because biographical details of his own life make analysis of his works concerning the topic all the more significant, since he had lost his own mother at the age of eight.
For a topic such as motherhood, one school of critical thought likely to provide interesting observations is that of psychoanalysis. I have chosen to focus on Jacques Lacan for this essay since his theories have a greater emphasis on the use and formation of language in the individual than other key figures in his field, such as Jung or Freud. Lacan believed that when we examine literature, we do not merely analyse the characters of a text, but also the text itself as an effect of the linguistic wordplay of the unconscious. For this reason I feel that Lacan is particularly well suited to the discussion of poetry. In this essay I shall be making reference to Lacan’s analysis of The Three Orders and his account of The Mirror Stage in relation to the ego.
For Lacan, the Mirror Stage is not ...
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...ressing or painful situations, although we may have forgotten of origins of the compulsion. In the symbolic realm we also begin our unending search for Objet (petit) a, the lost object that must constantly be sought in order, we feel, to complete us: an unobtainable other. For Wordsworth, this Objet (petit) a appears to be the mother figure and his compulsion is to write about her from every perspective.
Works Cited
Bennett, Andrew, and Nicholas Royle. An introduction to literature, criticism and theory 4. ed. Harlow: Pearson Longman, 2009.
Leitch, Vincent B. "Jacques Lacan." In The Norton anthology of theory and criticism. New York: Norton, 2001.
Wilden, Anthony. System and structure: essays in communication and exchange. 2nd ed. London: Tavistock, 1980.
Wu, Duncan. "Lyrical Ballads." In Romanticism: an anthology. Oxford, UK: Blackwell, 1994.
Harmon, William, William Flint Thrall, Addison Hibbard, and C. Hugh Holman. A Handbook to Literature. 11th ed. Upper Saddle River, NJ: Pearson Prentice Hall, 2009. Print.
Meyer, Michael. The Bedford Introduction to Literature. Ed. 8th ed. Boston: Bedford/St. Martin's, 2008. 2189.
Bibliography:.. Works Cited Meyer, M., Ed., (1999). Bedford Introduction to Literature, 5th Ed. Boston: Bedford/St. Martin.
Guerin, Wilfred L., et al., eds. A Handbook of Critical Approaches to Literature. Toronto: Oxford UP, 1992.
Heberle, Mark. "Contemporary Literary Criticism." O'Brien, Tim. The Things They Carried. Vol. 74. New York, 2001. 312.
164-69. Rpt. in Contemporary Literary Criticism. Ed. Jeffrey W. Hunter. Vol. 341. Detroit: Gale, 2013.Artemis Literary Sources. Web. 5 May 2014.
Harmon, William, and C. Hugh Holman. A Handbook to Literature. New Jersey: Prentice Hall, 1996.
Derrida, Jacques, and John D. Caputo. Deconstruction In A Nutshell : A Conversation With Jacques Derrida. New York: Fordham University Press, 1997. eBook Collection (EBSCOhost). Web. 10 Feb. 2014.
Guerin, Wilfred L., Earle Labor, Lee Morgan, Jeanne C. Reesman, and John R. Willingham. A Handbook of Critical Approaches to Literature. New York: Oxford University Press, 1999. 125-156.
During the early seventeenth century, poets were able to mourn the loss of a child publicly by writing elegies, or poems to lament the deceased. Katherine Philips and Ben Jonson were two poets who wrote the popular poems “On the Death of My Dearest Child, Hector Philips”, “On My First Son”, and “On My First Daughter” respectively. Although Philips and Jonson’s elegies contain obvious similarities, the differences between “On the Death of My Dearest Child” and “On My First Son” specifically are pronounced. The emotions displayed in the elegies are very distinct when considering the sex of the poet. The grief shown by a mother and father is a major theme when comparing the approach of mourning in the two elegies.
Bressler, Charles E. Literary Criticism: An Introduction to Theory and Practice. 5th ed. New York: Longman, 2011. Print.
Forum 19.4 (Winter 1985): 160-162. Rpt. inTwentieth-Century Literary Criticism. Ed. Thomas J. Schoenberg and Lawrence J. Trudeau. Vol. 192. Detroit: Gale, 2008. Literature Resource Center. Web. 30 Nov. 2013.
One of our greatest fears is the fear of death. Immortality is something any of us would take in a heartbeat, so we do not have to face death. But this is something that we cannot run away from. Mortality is an unpleasant thought that sits in the back of our minds form our day to day lives. Yet, this fear is something that is developed more over time as we grow older. Children believe that the world is such a wonderful place, they fell invincible. They also have wonderful creative skills and imaginations which is often revealed to us when they can play one game for hours at one time. Yet, as a child ages, this imagination and creativity can disappear. This is what William Wordsworth is terrified of. Wordsworth is an English poet as well as his colleague Samuel Taylor Coleridge published the first edition of Lyrical Ballads and it changed everything as mentioned Evelyn Toynton, “In early 1798, Coleridge and a little-known poet named William Wordsworth decided to publish a joint volume of their poems.” (Toynton, Evelyn). William expressed this fear of premature mortality of the imagination in each of his works, Lines Composed a Few Miles above Tintern Abbey, The Prelude, The World is Too Much with Us, and London, 1802.
In order to examine the titular character and his desire, you must first understand the underlying concepts of Lacanian psychoanalysis. The Lacanian school of psychology is a stark departure from the earlier Freudian school of psychology as it is concerned with the relationship to culture as opposed to biology (Eagleton 142). The main tenet of this ideology, according to Lacan in the eleventh of his seminars, states that humans are born into a condition of ‘lack’ (IX). This ‘lack’ is to mean an absence of something important. This object is referred to as the ‘real’, which can in turn described as the existence we inhabited before birth (Eagleton 161). According to these ideals, the ultimate goal in life is to chase after the ‘real’ by finding ‘signifiers’ that signify the ‘real’ (Eagleton 161).This means that throughout your life you will try and find the ‘real’ you once had using the different ‘signifiers’ that are encountered acting as waypoints on the journey to your ‘desire’.
A lot of literature has been written about motherhood. Wordsworth is a well known English poet who mentions motherhood and female strength in several of his poems, including the Mad Mother, The Thorn, and The Complaint of a Forsaken Indian Woman. This leads some critics to assume that these poems reflect Wordsworth's view of females. Wordsworth portrays women as dependent on motherhood for happiness, yet he also emphasizes female strength.