Picturesque as Rhetorical Mode in "Tintern Abbey"
Presentation Outline:
I. Brief definition and discussion of the picturesque
II. Discussion of Wordsworth's repudiation of the picturesque
III. Pinpointing elements of the picturesque in "Tintern Abbey"
IV. Discussion of Wordsworth's use of the picturesque as a rhetorical device
I. Define and Discuss Picturesque
The concept of the picturesque came out of a need for a label for that gray area between the sublime (founded on pain and terror) and the beautiful (founded on feelings of pleasure). The only common definition of the term is, as Gilpin writes, "that kind of beauty which would look well in a picture" (Watson 11). As a travel movement, it was a search for "stations" from which the viewer might experience landscape similar to that which was depicted in the souvenir paintings being brought home from the grand tour.
In equating landscape with painting, Gilpin divides the stationary field into foreground, middle ground and background. In his Observations on the River Wye, he further divides the field of the river into the "area" or the river itself, the "side-screens," or opposing banks, and the "front screen," defined as "what points out the winding of the river" (8). These divisions allow him to describe the field in motion as he floats down stream, and the reader is given descriptions of the "areas" such as, "At Cold-well, the front-screen first appears as a woody hill, swelling to a point. In a few minutes, it changes its shape, and the woody hill becomes a side-screen, on the right; while the front unfolds itself into a majestic piece of rock-scenery" (23). This last phrase brings us to his further di...
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...ating Wordsworth: 'Tintern Abbey' and the Community with Nature" Romanticism on the Net 20 (November 2000) 4.
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We have spent a good deal of this semester concentrating on the sublime. We have asked what (in nature) is sublime, how is the sublime described and how do different writers interpret the sublime. A sublime experience is recognizable by key words such as 'awe', 'astonishment' and 'terror', feelings of insignificance, fractured syntax and the general inability to describe what is being experienced. Perception and interpretation of the sublime are directly linked to personal circumstance and suffering, to spiritual beliefs and even expectation (consider Wordsworth's disappointment at Mont Blanc). It has become evident that there is a transition space between what a traveler experiences and what he writes; a place wherein words often fail but the experience is intensified, even understood by the traveler. This space, as I have understood it, is the imagination. In his quest for spiritual identity Thomas Merton offers the above quotation to illustrate what he calls 'interpenetration' between the self and the world. As travel writers engage nature through their imagination, Merton's description of the 'inner ground' is an appropriate one for the Romantic conception of the imagination. ...
Horan, Thomas. "Revolutions from the Waist Downwards: Desire as Rebellion in Yevgeny Zamyatin's We, George Orwell's 1984, and Aldous Huxley's Brave New World." Gale Cengage Learning. Literature Resource Center, 2007. Web. 11 Apr. 2014.
(ll. 19-24) Wordsworth’s famous and simple poem, “I wandered lonely as a cloud,” expresses the Romantic Age’s appreciation for the beauty and truth that can be found in a setting as ordinary as a field of daffodils. With this final stanza, Wordsworth writes of the mind’s ability to carry those memories of nature’s beauty into any setting, whether city or country. His belief in the power of the imagination and the effect it can have on nature, and vice a versa, is evident in most of his work. This small
There is beauty and there is beauty. The two are not mutually exclusive, but rather represent two poles on a continuum. At one pole is the beauty that is associated with a sense of lightness and balanced order. It has a faintly decorative quality to it. At the other extreme is the much darker form of beauty that we associate with profundity and truth. This latter form of beauty I will analyze in terms of the containment of the sublime. The distinction between these two extremes of beauty has less to do with the objects under consideration, whether a flower, a sunset, a poem, a painting, or a piece of music, than it does with the attitude of the considerer of the object. That is, anything that possesses beauty of the first kind can also be viewed as possessing beauty of the second kind, if the attention of the viewer is directed appropriately. The differential across the continuum is constituted by the degree of awareness of the element of the sublime in the beautiful.
In “Lines Written a Few Miles Above Tintern Abbey,” we find the purest expression of Wordsworth’s fascination with friendship.
Although I think Goethe's relationship to nature is undeniable, perhaps his "appropriation" of nature is less clear. I think the term "appropriation" is the cause of the problem in identifying his true relationship to nature. In our presentation we presented examples of the appropriation of nature through Romantic literature. The most direct example of this was in Anne's detailed description of English landscape gardening where nature was physically appropriated to create the picturesque. Here we can see the distinction between any concept of Goethe's appropriation of nature and the real and physical appropriation by English landscapers.
Primarily in Lines composed a Few Miles above Tintern Abbey the mortality of creativeness and imagination is expressed by Wordsworth. This is a poem about the beauty of an old cathedral called Tintern Abbey. He hasn’t been there in five years and he brought his sister along. Even though imagination isn’t immortal, there is a way to reclaim it, “That time is past, / and all its aching joys are ...
Henry David Thoreau implies that simplicity and nature are valuable to a person’s happiness in “Why I Went to the Woods”. An overall theme used in his work was the connection to one’s spiritual self. Thoreau believed that by being secluded in nature and away from society would allow one to connect with their inner self. Wordsworth and Thoreau imply the same idea that the simple pleasures in life are easily overlooked or ignored. Seeing the true beauty of nature allows oneself to rejuvenate their mentality and desires. When one allows, they can become closer to their spiritual selves. One of William Wordsworth’s popular pieces, “Tintern Abbey”, discusses the beauty and tranquility of nature. Wordsworth believed that when people
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.
Tintern Abbey is just an old ruin (William). However, throughout Wordsworth’s poetry Tintern Abbey becomes something slightly more than a ruin. His poem recognizes the ordinary and turns it into a spectacular recollection, whose ordinary characteristics are his principal models for Nature. As Geoffryy H. Hartman notes in his “Wordsworth’s poetry 1787-1814”, “Anything in nature stirs [Wordsworth] and renews in turn his sense for nature” (Hartman 29). “The Poetry of William Wordsworth” recalls a quote from the Prelude to Wordsworth’s 1802 edition of Lyrical ballads where they said “[he] believed his fellow poets should "choose incidents and situations from common life and to relate or describe them...in a selection of language really used by men” (Poetry). In the shallowest sense, Wordsworth is using his view of the Tintern Abbey as a platform or recollection, however, this ordinary act of recollection stirs within him a deeper understanding. In his elaboration in “Tintern Abbey”, he says “For I have learned to look on nature, not as in the hour of thoughtless youth, but hearing oftentimes the still, s...
Jones, John. The Egotistical Sublime, A History of Wordsworth’s Imagination. London: Chatto & Windus, 1960.
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.