Wordsworth

View Crossmark data even structure can create new ways of considering human-animal interaction and how we dwell" (90). This new sense of becoming continues in chapter 6 through close readings of Edwin Landseer's paintings, which attempt to represent a nature beyond human assimilation.

This article contends that Wordsworth’s treatment of the Discharged Soldier is influenced by a scandal that followed the publication of William Cobbett’s pamphlet The Soldier’s Friend (1792). Cobbett publicized the mistreatment of soldiers in the secretive British army, calling particular attention to the embezzlement of troops’ salaries by senior officers. The Soldier’s Friend influenced both texts and protests that addressed military conditions in the 1790s. Wordsworth read contemporary pamphlets and knew the circle of Cobbett’s publisher, Ridgway. The behavior of Wordsworth’s Discharged Soldier evokes the demoralized soldiery Cobbett depicts: malnourished, poorly clothed, but unwilling to reveal details of his hardship for fear of recrimination under the Mutiny Act. Wordsworth explores these ideas further in The Borderers, in which Rivers has been corrupted by mistreatment in service and poses a threat to society on his return home, where he replicates the abuse he endured.

During the 1700s throughout the 1870s, the European society experienced the emergence of two different artistic, literary and ideological movementsthe Neoclassicism and the Romanticism. Both of them with opposite characteristics and fundaments, they raised up among society and they established patterns for which they are recognized now; reason and imagination. Although they did not conveyed simultaneously, one's power of thought overlapped the other, they managed to affect each other. Passion, imagination, supernatural stories and the thought of something beyond the self were exaggerated elements in the second movement. Furthermore, the poet's view of the external world (nature), society, and the view of the self and the poet were the four main principles for what Romanticism was and still is famous for. These four principles were adapted in three specifically fields: Painting, literature and philosophy. Painters such as Johann Füssli the Nightmare, Eugène Delacroix Liberty leading the people drew and painted evoking imagination and peculiar styles. In philosophy Kant and Hegel, both Germans, executed Romantic notions and thinking. They agreed on how the mind is not simple a passive absorber of the external world but actively organize it, and they went deeper to come with the term Geist, to refer to mind, spirit, and soul. In literature, Romanticism and its four principles became a notion for the poet and the mankind and they played such a significant role that a wide and deep analysis needs to be made.

William Wordsworth was perhaps one of the most prominent authors of English romanticism. His pensive poetry and life, engulfed with the tragedies of his day, show us a man that yearned for the stars yet could never quite reach them. He found comfort and hope in his close relationship with nature, yet, for a long time, was anguished to find happiness unsatisfying unless shared. It is here that memory plays a central role, that of constructing and maintaining connections, to both past selves and others. Memory enables Wordsworth’s speakers to alleviate the weight of the contemporary world. “Recollecting their childhoods gives adults a chance to reconnect with the visionary power and intense relationship they had with nature as children. In turn, these memories encourage adults to re-cultivate as close a relationship with nature as possible as an antidote to sadness, loneliness and despair” (SparkNotes Editors). But memory is also an active agent that gathers experiences and, by storing and re-working them, builds the subject’s identity. Wordsworth, by contemplating mortality, found solace in the realization that he would live on in the memory of his family and friends. It is impossible to overstate the importance of memory to Wordsworth. In the preface to Lyrical Ballads he even gave it a crucial role in his creative process and by doing so forever bound his life with the verses of his works. Therefore, to sum up, if today we ask of William Wordsworth, we ask of a man who was able:
To see a world in a grain of sand
And a heaven in a wild flower,
Hold infinity in the palm of [his] hand
And eternity in an hour.
(Blake 1-4)

Nature is the best teacher for mankind. Nature took an important role in this age, because in making literary work the poet should refer to nature. Wordsworth argued that feeling becomes source of imagination. In Romantic period, the relation between nature and feeling could not be separated. Different with the poet in Neo-Classical period which emphasized the rationality, in Romantic period, the poet emphasized the importance of feeling for making his work. Wordsworth also argued that a good poetry is spontaneous overflow of powerful feelings. The source of literary work is from the poet himself. Poetry is expression of the poet's mind, feeling, and imagination. Feeling determines action and situation. It can be seen on page 169 "The feeling therein development give importance to the action and situation, and not the action and situation to the feeling".

The Concept of Nature in the Poetry of William Wordsworth and Robert Frost:
A Comparative Study


Muthanna Z. Almiqdady
Department of English Language and Literature, Ajloun National University
Jordan

Abdel-Rahman H. Abu-Melhim
Department of English Language and Literature, Al-Balqa’ Applied University,
Jordan

Mahmoud A. Al-Sobh
Department of English Language and Literature, Ajloun National University,
Jordan


Abstract
This research aims to investigate the different meanings for the term “nature”. Moreover, it seeks to identify the major similarities and differences in the use of nature in the poetry of William Wordsworth and Robert Frost. Since this research is theoretical in nature, it depends primarily on reviewing already published works on the topic. The researchers consulted a significant number of published references on the topic as well as specialized literary dictionaries, encyclopaedias, and the internet. The research concludes that the term “nature” has not always had the same meaning or carries the same level of significance.  Also, the concept of nature in British literature should be studied, not only as it was employed by English romantic poets, but also as it was used by authors before and after the English Romantic Movement in order to see if nature was used in the same way.  Moreover, scholars and literary critics should also research the concept of nature as used in the United States of America before and after Robert frost. Finally, the use of nature in poetry that reflects meditation under the influence of the bible should be explored especially that composed by early colonial poets.

Keywords: Frost, nature, romanticism, transcendentalism, Wordsworth.

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.

The discovery of a previously unknown pun in Wordsworth's popular poem "My heart leaps up when I behold" (also called 'The Rainbow') explains his known anxiety during its composition. The pun provides an entirely new way of approaching the Rainbow poem and the related Ode, and of understanding his poetic motives in composition. The evidence presented here means that his use of the word 'piety' can never again be interpreted as it has been in the past.

In Wordsworth’s Salisbury Plain (1793–94) and Adventures on Salisbury Plain (1795–99) the poet’s sense of the congruence of human mind and nature is aligned to the relationship between affect and history.1 This interest in the emotional binding or severing of people and their environments speaks to the comfort asserted by the dwelling space’s pastoral antecedents, particularly bringing into relief social inequity and the displaced working class.

Paper in the 'pastoral' edition of Australian Literary Studies 30.2, 2015

This is the first book to examine how Romantic writers revised and transformed poetic collections to reach new audiences. Exploding the myth of Romantic poets as naive, unworldly, and unconcerned with the practical aspects of literary production, it instead shows them to be intensely social authors: fully engaged in packaging their works, in shaping their literary reputations, and in working closely with publishers and booksellers rather than in opposition to them. Through a series of sharply focused case studies on copyright and self-collected works, newspaper poetry and anthologies, subscription publication, second editions, laureate verse, and posthumous volumes, Professor Gamer surveys the full range of self-canonizing publications he calls "re-collections." At the same time, he offers a fresh and insistently material perspective on how we think about poetic revision, locating it at a nexus between aesthetic and economic registers and foregrounding on the importance of published collections rather than individual poems to the construction of careers.

Reviewed in: The Times Literary Supplement (10 July 2018): <https://www.the-tls.co.uk/articles/private/sweeter-songs-to-sing/>; European Romantic Review 29 (2018): 499-503; The Wordsworth Circle 49 (2018), 214-16; Modern Philology (Summer 2018): <https://doi.org/10.1086/697675>; Studies in English Literature, 1500-1900 57 (Autumn 2017), 891; Studies in Romanticism 56:2 (Summer 2017), 285-8; Romantic Circles Book Chat, September 2017, URL: https://www.rc.umd.edu/reviews-blog/romantic-circles-bookchat-michael-gamers-romanticism-self-canonization-and-business.

Book Jacket blurb, for what it's worth: "A sharply focused analysis of how and why romantic writers drew on gothic conventions whilst, at the same time, denying their influence in order to claim critical respectability. He shows how the reception of gothic writing, including its institutional and commercial recognition as a form of literature, played a fundamental role in the development of romanticism as an ideology. In doing so he examines the early history of the romantic movement and its assumptions about literary value, and the politics of reading, writing, and reception at the end of the eighteenth century. As a whole the book makes an original contribution to our understanding of genre, tracing the impact of reception, marketing, and audience on its formation."

A reading of Coleridge's Kubla Khan and the Cave of Yordas episode in Wordsworth's Prelude VIII in terms of the problematic of an infinite seclusion, which , in the case, of Wordsworth's experience of London, helps to unravel the trauma of an indefinable urban expansion.

The full text is available here
http://www.socratesjournal.com/index.php/socrates/article/view/46

http://online.pubhtml5.com/gqct/xbvz/

"Abstract
The impact of Persian literature on world culture and literature is undeniable. Persian poets such as Firdowsi, Sa’di, Hafiz, Rumi and Khayyam who deal with universal themes beyond a particular place and time are among the most widely-known literary figures of the world; their works are translated into different languages. Despite the fact that there are different translations of Persian literature in English, it is still not clear whether Persian literature has gained its appropriate place in the world. We study the reception of Persian literature in general and classical Persian poetry in particular in Britain and The United States to see whether it is rightly introduced to these countries or not. A close study of the reception of Persian poetry in Anglophone world in general and in Britain and The United States in particular reveals that while Persian literature is introduced and taught in these countries, it is still far from being truly known there. Those who have been familiar with Persian literature have mainly known it through translations by western scholars, and this has led to problems and misconceptions. As Edward Said argues in Orientalism, the orient is never truly depicted by the west. The best way would be to have Persian scholars of English literature translate Persian works into English.
Keywords: Classical Persian Poetry, Anglophone World, Translation, Britain, The United States.
"

Between July, 1804, and September, 1805, Coleridge shared the 1802 version of Wordsworth’s Peter Bell with the governor of Malta, Sir Alexander Ball. In the 21st issue of The Friend (January 25, 1810) Coleridge reported that the governor had responded with “warm interest”: “[I]t was evident to me, that it was not so much the poetic merit of the Composition that interested him, as the Truth and psychological insight with which it represented the practicability of reforming the most hardened minds, and the various accidents which may awaken the most brutalized Person to a recognition of his nobler Being” (F, 2: 290). I propose that he showed Sir Alexander Ball Wordsworth’s Peter Bell rather than his own Ancient Mariner because Peter Bell illustrated the political educational theory he shared with Ball while The Ancient Mariner, especially the 1802 version without the glossary, illustrates no political didactic purpose.

The paper deals with the role emotions play in the Romantic and Modernistic approach to art, especially in the work of William Wordsworth and T. S. Eliot. The first part discusses Wordsworth´s famous definition of poetry as a "spontaneous overflow of powerful feelings" as expressed in the Preface to the Second Edition of Lyrical Ballads. Then the attention is paid to the analysis of Wordsworth´s poems-"Lines Composed a Few Miles above Tintern Abbey, On Revisiting the Banks of the Wye during a Tour. July 13, 1798" and The Prelude as examples of the author´s ontological aesthetics in which emotion determines the depth of lyrical subject´s involvement with nature-and with the nature of his own being. The second part of the paper is concerned with the analysis of another crucial critical text regarding the role of emotions in art-T. S. Eliot´s "Tradition and the Individual Talent" in which he stressed the principle of "depersonalisation". His critical principles are discussed through the analysis of his masterwork The Waste Land.