And Then There Were Three
From author to appearance, purpose to publisher, the creation of the Lyrical Ballads was far from simple. Though the blank-verse Tintern Abbey is one of the “other poems” hidden in the back of just one edition of William Wordsworth and Samuel Taylor Coleridge’s ballads, the pastoral ode best represents the Wordsworthian anxiety that casts a shadow over the entire, complex publication of the Lyrical Ballads.
Tintern Abbey was not meant to be a part of the Lyrical Ballads, but was added at the last minute, when the poems were already in the printing press (Moorman). Though hasty and not quite fitting, Wordsworth’s final addition to the first volume of the Lyrical Ballads became its most illustrious installation. Though both the Lyrical Ballads and Tintern Abbey eventually found their own wide audiences, the single poem did not fit with the purpose of the whole.
Wordsworth and Coleridge set out to conduct an experiment. Coleridge’s short ballads were radical because they were, in his own words, “directed to persons and characters supernatural or at least romantic; yet so as to transfer from our inward nature a human interest and a semblance of truth.” Wordsworth’s mission was the opposite: “to give charm of novelty to things of every day” (cited by Rannie). Though Wordsworth’s 1798 Advertisement and Prefaces of 1800 and 1802, and Coleridge’s 1817 Biographia Literaria explain the experiment clearly and directly, their initial intention for publication was nothing like the volumes of poems that were eventually produced.
The idea for a joint effort eventually came out of the Wordsworth and Coleridge’s partnership on The Rime of the Ancient Mariner. While Coleridge produced the bulk of the poem, its ...
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...ment within the volume, Tintern Abbey is at the forefront.
REFERENCES
Gill, Stephen. William Wordsworth: A Life. Oxford: Clarendon Press, 1989.
Graver, Bruce and Ronald Tetreault. Editing Lyrical Ballads for the Electronic Environment. 1998. Romanticism on the Net. 4 March 2003. <http://users.ox.ac.uk/~scat0385/electronicLB.html>.
Jordan, John E. Why the Lyrical Ballads? London: University of California Press, 1976.
Moorman, Mary. William Wordsworth: The Early Years, 1770-1803. Oxford: Clarendon Press, 1957.
Rannie, David Watson. Wordsworth and His Circle. London: Methuen & Co., 1907.
Woof, R.S. Wordsworth’s Poetry and Stuarts Newspapers: 1797-1803. 1962. University of Virginia. 4 March 2003.<http://etext.lib.virginia.edu/etcbin/toccer-sb? id=sibv015&images=bsuva/sb/images&data=/texts/english/bibliog/SB&tag=public∂=10&division=div>.
Lyrical Ballads were written in a time of great change. They were dominated by the French Revolution and both Wordsworth and Coleridge felt great impact from this. There was disruption all over with the American War of Independence and other wars worldwide. Britain itself was changing rapidly due to colonial expansion, which brought new wealth, ideas and fashion, and there was much disturbance to both the people and the land with the act of enclosure, which may have meant more effective farming but less work. The introduction of the Poor Laws meant that landowners paid their remaining staff very little knowing that they would be supplemented by poor relief. However the conditions stated by the Laws before aid would be given were very similar to ?The Last Of The Flock? with people having to give up every means of self support and therefore reduce the chance of them ever living independently again. The Industrial Revolution introduced the new ?middle? class for which many of these poems were written for. They use simple language to allow them to understand and self educate, which many of them were very interested in doing and bettering themselves, much like Wordsworth himself and his sister as shown in ?Tintern Abbey?. Here he talks of her being at the stage of education that he was five years before when he last visited.
Fragment poems were an increasingly popular genre in the early nineteenth century, and attempts to mimic the structure were often poorly done: the construction of the 'fragment ' was heavily relied upon to create meaning in otherwise lacklustre poetry. Yet there are examples of it done well, and none more emblematic of how evocative and powerful the form can be than Coleridge 's Christabel collection. Coleridge 's poetry captures
In “Lines Written a Few Miles Above Tintern Abbey,” we find the purest expression of Wordsworth’s fascination with friendship.
Magnuson, Paul. "The Gang: Coleridge, the Hutchinsons & The Wordsworths in 1802." Criticism 4(2001):451. eLibrary. Web. 11 Mar. 2014.
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In "Lines Composed a Few Miles Above Tintern Abbey," William Wordsworth explains the impact of Nature from Tintern Abbey in his every day life. "Tintern Abbey" shows the great importance of nature to Wordsworth in his writings, love for life, and religion. The memories he has of Tintern Abbey make even the darkest days full of light.
Ocean Thermal Energy Conversion (OTEC) is the process of converting the ocean waters temperature difference at different depths into usable energy. From the solar heated upper depths of the ocean to the cooler depths below 2,000 feet a 40 degree temperature difference must be maintained to generate electricity. This is a relatively new and unheard of source of energy. Many people are not aware of the many benefits of OTEC and the impact it will have in the future as the use of fossil fuel conversion declines. Heightened environmental concerns in today's world makes OTEC an attractive alternative for energy conversion. The ocean offers a natural and renewable resource which will make it possible for converting energy this way to last for a very long, long time. OTEC is a very cost effective method of using the oceans waters for energy conversion but its use and benefits to society have been obscure to the general public. In the coming years OTEC will probably be at the forefront of new energy resources and a good understanding of it know will prove invaluable to power engineers of the future.
Comparing Coleridge and Wordsworth's Views on People's Relationship to Nature. Although Wordsworth and Coleridge are both romantic poets, they are both a pious describe nature in different ways. Coleridge underlines the tragedy. supernatural and sublime aspect of nature, while Wordsworth uses.
Aristotle also believed that the use of simple language in the poetry will keep the ultimate meaning from becoming blurred by complicated figures of speech. Wordsworth basically rejects the ideas of “personification of abstract ideas (652)” and “poetic diction (653)” in The Preface to Lyrical Ballads, because his main goal is to imitate the language that the common men speak everyday. Wordsworth’s Tintern Abbey is written in journal style, which is not known for loftiness in speech or complicated language, but for an easy flowing style which employs common everyday language and description. This allows the audience to understand and develop a picture of the image in their mind.
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Since then, a further distinction has been made between first and second generation Romantic writers. But even within these sub-divisions, there exist points of divergence. As first generation Romantics, Coleridge and Wordsworth enjoyed an intimate friendship and collaborated to produce the seminal Romantic work, Lyrical Ballads (1798). But in his Biographia Literaria (1817) Coleridge cast a critical eye over the 'Preface to the Lyrical Ballads' (1800) and took issue with much of Wordsworth's poetical theory. Such discrepancies frustrate attempts to classify Romanticism as a monolithic movement and make establishing a workable set of key concerns problematic.
While Coleridge describes the process of creating Romantic poetry and encourages poets to use the combination of nature and imagination in this process, Keats is more focused on reality and is well aware of the limitations of the Grecian urn. With the poets’ admiration of nature present in both poems …… to be completed.
"The Poetry of William Wordsworth." SIRS Renaissance 20 May 2004: n.p. SIRS Renaissance. Web. 06 February 2010.
William Wordsworth and Samuel Taylor Coleridge spearheaded a philosophical writing movement in England in the late 18th and early 19th century. Although Wordsworth and S.T. Coleridge are often considered the fathers of the English Romantic movement, their collective theologies and philosophies were often criticized but rarely taken serious by the pair of writers due to their illustrious prestige as poets. The combined effort in the Lyrical Ballads catapulted their names into the mainstream of writers in 1798 and with this work; they solidified their place in English literature. Although, most people fail to note that the majority of Coleridge's and Wordsworth's work was him simply bending and breaking particular rules of poetry that were in place during his time and in order to fully understand his work, one must fully understand his views of poetry itself.
Wordsworth and Coleridge emphasise similar aspects of Burke’s sublime in their use of natural imagery. Coleridge focuses on the element of infinity through his depiction of the ocean (Twitchell 90). This can be equated to the use of the daffodils by Wordsworth (Brennan 141), which presents nature as the source of the sublime effect. This does not appear to be comparable with the supernatural imagery present within ‘Mariner’, as Coleridge relies on the fantastic rather than the real. As a result, it is argued that Wordsworth portrays an “authentic moment in nature”, whereas Coleridge’s sublime is “radically fictive” (Sandner 59).