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Role of Nature in Shelley's poems
William wordsworth the preface
The prologue to william wordsworth
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Percy Shelley’s “Mont Blanc” (1816) and William Wordsworth’s “The Prelude” (1805), both tell the story of the individuals meetings with an impressively, beautiful mountain landscape. In Mont Blanc, Shelley describes the icy glacial capped peaks of the Swiss Alp’s, whereas in The Prelude, Wordsworth describes his meetings with nature and his interactions with the landscape. Both these poems focus on the beauty of the landscape, and thrive off their own personal experiences which they have had with nature. These poems however have a strong representation of the sublime and the effects this theory has on them personally and sensually. Beauty is also present in these poems; however there is a difference as beauty indulges in the aesthetic experience of equilibrium and synchronization, whereas the sublime focuses on the senses such as your mind and imagination. Leighton (1984) believes you can see the difference as, ‘the picturesque world would be exemplified by variety, the beautiful by smoothness and the sublime by magnitude’, showing just how differentiated they are. Both these poems both have different meanings and morals, and both authors have different beliefs …show more content…
Infinity plays a role of provoking a sense of the sublime, in the case of Burke’s theory, and remains a prominent factor within the eighteenth and nineteenth century. The sublime therefore occurs at the threshold between the sensible and the super sensible, where the senses fault and the imagination is used to escape the usual means of understanding. This allows the reader to open up their mind to different aspects of the sublime, and not just focus on the beautiful. Philip Shaw writes, ‘it is the moment when the ability to apprehend, to know, and to express a thought or sensation is
“The power of imagination makes us infinite.” (John Muir). Both John Muir and William Wordsworth demonstrate this through their use of language as they describe nature scenes. John Muir studies nature and in his essay about locating the Calypso Borealis he uses scientific descriptions to grab his reader’s attention and to portray his excitement at finding the rare flower. William Wordsworth on the other hand shows his appreciation for the beauty of nature and its effect on a person’s emotions in the vivid visual descriptions that he gives of the daffodils in his poem ‘I wandered lonely as a cloud.’ Wordsworth with his appreciation of beauty and Muir through scientific descriptions provide an indication of the influence that nature has had on them as they capture their reader’s attention both emotionally and visually through their personal and unique use of tone, diction, syntax and vocabulary.
On reading Book VI of Wordsworth's thirteen-part version of The Prelude, I was particularly struck by the passage in which, following his crossing of the Alps, the poet describes "the sick sight / And giddy prospect of the raging stream" (VI. 564-565) of the Arve Ravine as both an apocalyptic foreboding and an expression of millennial unity in his theory of the One Mind:
While Romantics did seek inspiration in solitude and the grandeur of nature, it is difficult to say whether there is only one Romantic notion of the sublime. It is doubtful that the sublime we encounter in Shelley’s ‘Ode to the West Wind’ is the same as the sublime of ‘Tintern Abbey’. Wordsworth tells us how “… in lonely rooms, and ’mid the din / Of towns and cities” he has received “tranquil restoration” from the memory of nature, and how this has sometimes led to the realization of a gift of “aspect more sublime”, which is a trance-like state, a “classical religious meditation” (Wlecke, 158) in which he can “see into the life of things” (lines 36-49). This seems to be a notion of the sublime that gradually reveals itself through the interaction between the human mind and the objects of its contemplation. Moreover, this philosophical gift is “abundant recompense” (line 89) for something that he has lost – the ability to be moved at a level below that of thought, by the sublime aspect of nature. At the time of his visit five years before, he had been “more like a man ...
Though these literary works were created a long time ago, the many messages they reveal are still relevant in today's day and age. Although with all the advancements made in technology today, people do not often have the same connection authors like Longfellow and Emerson hold with nature. These authors both make use of components in their writing like figurative language, repetition, and imagery as they work to express the universal truth of the power nature holds over people, an insight that varies far beyond the use of science and reason. Romanticism was in fact a very unique period of writing, however to this day it is not seen as commonly within author’s
What can be said about the sublime? Class discussion led to the definition of sublime as the element found in travel literature that is unexplainable. It is that part of travel literature where the writer is in awe of his or her surroundings, where nature can be dangerous or where nature reminds a human being of their mortality. The term "sublime" has been applied to travel texts studied in class and it is hard not to compare the sublime from texts earlier in the term to the texts in the later part of the term. Two texts that can be compared in terms of the sublime are A Tour in Switzerland by Helen Williams and History of a Six Weeks' Tour by Mary Shelley and Percy Bysshe Shelley. There are similarities and differences found in both texts concerning individual perspectives of travel and the sublime. The main focus of this commentary will be comparing and contrasting the perspectives of Williams and Shelley within their respective texts, the language of the sublime and the descriptions of the sublime.
Kroeber, Karl. Romantic Landscape Vision: Constable and Wordsworth. Madison, WI: University of Wisconsin Press, 1975.
During the Romantic Era drastic events changed the way people lived. One major change came with the Industrial Revolution, many job opportunities began to arise and people started to change their living lifestyle. Many people went to live in the cities and left behind the breathtaking countryside. The British Culture became better because they had more resources and its economy increased rapidly, however people lost the tranquility of nature with their movement into the emerging cities. Another important event that had a significant effect on the British culture and Literature was the French revolution; poets like William Wordsworth were devastated to see the horrible changes the revolution had caused. The revolution was one of the major reasons why poets focused more on the theme of nature. The poem “Lines Written a Few Miles above Tintern Abbey” written by William Wordsworth expresses the power of nature. The author uses his memories from past experiences to illustrate the importance of nature in a person’s life. In the poem he describes nature’s strong healing power. Wordsworth communicate...
Literature is filled with the rise and fall of heroes, of civilizations, of men in general. The Romantic Era in England turned out works that dealt specifically with the rise and fall of the human spirit. Writers examined what makes us thrive as humans, and similarly what makes us fail. Such works commonly contain the theme of spiritual or social atrophy, and because the Industrial Revolution was in full swing at the time, these works often address the modern human break with the natural world. The question posed is this: Have we as humans sold out, and can we be saved from our own destruction? Works by Mary Shelley, William Wordsworth and Lord Byron demonstrate the atrophy of humanity, but all three works present a solution for redemption.
To begin, he illustrates the notion of the sublime and writes, “Whatever is fitted in any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible . . . is a source of the sublime” (459). To further delineate the sublime, he states that it is antithetical to the beautiful similar to how black is antithetical to white; just as with black and white, the sublime and the beautiful may be intermingled, but each is most potent when it is pure. Moreover, Burke clarifies that the sublime tends to be large and unpolished whereas the beautiful tends to be small and refined. Additionally, he contends that one may derive pleasure from the sublime through aesthetic distance, which is accomplished through artistic representation; for instance, one can approximate firsthand experience with the sublime by viewing a realistic painting of a ship in a violent storm instead of actually sailing a vessel into a
A study of William Butler Yeats is not complete without a study of William Blake, just as a study of Blake is greatly aided by a study of Yeats. The two poets are inexorably tied together. Yeats, aided by his study of Blake, was able to find a clearer poetic voice. Yeats had a respect for and an understanding of Blake's work that was in Yeats' time without parallel. Yeats first read Blake at the age of 15 or 16 when his father gave him Blake to read. Yeats writes in his essay "William Blake and the Imagination" that "...when one reads Blake, it is as though the spray of an inexhaustible fountain of beauty was blown into our faces (Yeats, Essays xxx)." Yeats believed Blake to be a genius and he never wavered in his opinion. It is his respect for Blake that caused him to study and emulate Blake. He tried to tie Blake closer to himself by stressing Blake's rumored Irish ancestry. He strove to understand Blake more clearly than anyone had before him, and he succeeded. As with other pursuits Yeats held nothing back. He immersed himself fully in Blake's writings. As with many of his mental pursuits he deepened his understanding of the subject by writing about it.
In the first stanza, the poet seems to be offering a conventional romanticized view of Nature:
By reading Wordsworth, one can gain a better grasp of Whitman through this similarity, which D.J. Moores argues. He states, “Although both poets had an intense distrust of language...they nevertheless believed language, particularly their own poetic language, could be a stimulus of consciousness expansion”(“Gangs” 96). In this way as well as in their mutual use of common language, the influence of Wordsworth on Whitman can be seen in the Romantic influence on the American poet. This idea of expanded consciousness is also much like the sublime, as Wordsworth says in his essay “The Sublime and the Beautiful” that the sublime is when the mind attempts“ to grasp at something towards which it can make approaches but which it is incapable of attaining” (Waldoff 124). Through the language both Whitman and Wordsworth utilize, the sublime is reachable and the consciousness of the reader expands because of it. Thus, one can further see the influence of Wordsworth on
Refering to great philosophers of the 18th century and earlier, we must say that Edmund Burke at his book ”Α philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful” (1757) defines the sublime as “whatever is fitted in any sort to excite the ideas of pain and danger… Whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror”. By provoking great emotions such as terror and excitement to the audience, the sublime according to Burke was a great, infinite or
beauty. Until now a meadow or a tree in a forest to me, was little
William Wordsworth has respect and has great admiration for nature. This is quite evident in all three of his poems; the Resolution and Independence, Tintern Abbey and Michael in that, his philosophy on the divinity, immortality and innocence of humans are elucidated in his connection with nature. For Wordsworth, himself, nature has a spirit, a soul of its own, and to know is to experience nature with all of your senses. In all three of his poems there are many references to seeing, hearing and feeling his surroundings. He speaks of hills, the woods, the rivers and streams, and the fields. Wordsworth comprehends, in each of us, that there is a natural resemblance to ourselves and the background of nature.