William Wordsworth William Wordsworth (1770-1850), British poet, credited with ushering in the English Romantic Movement with

the publication of Lyrical Ballads(1798) in collaboration with Samuel Taylor Coleridge. William Wordsworth was born in Cockermouth, Cumbria, England. Wordsworth's mother died when he was eight--this experience shapes much of his later work. The publication of Lyrical Ballads represents a landmark moment for English poetry; it was unlike anything that had come before, and paved the way for everything that has come after. According to the theory that poetry resulted from the spontaneous overflow of emotions, as Wordsworth wrote in the preface, Wordsworth and Coleridge made it their task to write in the simple language of common people, telling concrete stories of their lives. According to this theory, poetry originated in emotion recollected in a state of tranquility; the poet then surrendered to the emotion, so that the tranquility dissolved, and the emotion remained in the poem. This explicit emphasis on feeling, simplicity, and the pleasure of beauty over rhetoric, ornament, and formality changed the course of English poetry, replacing the elaborate classical forms of Pope and Dryden with a new Romantic sensibility. Wordsworths most important legacy, besides his lovely, timeless poems, is his launching of the Romantic era, opening the gates for later writers such as John Keats, Percy Bysshe Shelley, and Lord Byron in England, and Emerson and Thoreau in America. Wordsworths monumental poetic legacy rests on a large number of important poems, varying in length and weight from the short, simple lyrics of the 1790s to the vast expanses of The Prelude, thirteen books long in its 1808 edition. But the themes that run through Wordsworths poetry, and the language and imagery he uses to embody those themes, remain remarkably consistent throughout the Wordsworth canon, adhering largely to the tenets Wordsworth set out for himself in the 1802 preface to Lyrical Ballads. Here, Wordsworth argues that poetry should be written in the natural language of common speech, rather than in the lofty and elaborate dictions that were then considered poetic. He argues that poetry should offer access to the emotions contained in memory. And he argues that the first principle of poetry should be pleasure, that the chief duty of poetry is to provide pleasure through a rhythmic and beautiful expression of feelingfor all human sympathy, he claims, is based on a subtle pleasure principle that is the naked and native dignity of man. Many of Wordsworths poems (including masterpieces such as Tintern Abbey and the Intimations of Immortality ode) deal with the subjects of childhood and the memory of childhood in the mind of the adult in particular, childhoods lost connection with nature, which can be preserved only in memory. Wordsworths images and metaphors mix natural scenery, religious symbolism (as in the sonnet It is a beauteous evening, calm and free, in which the evening is described as being quiet as a nun), and the relics of the poets rustic childhoodcottages, hedgerows, orchards, and other places where humanity intersects gently and easily with nature. Wordsworths poems initiated the Romantic era by emphasizing feeling, instinct, and pleasure above formality and mannerism. More than any poet before him, Wordsworth gave expression to inchoate human emotion; his lyric Strange fits of passion have I known, in which the speaker describes an inexplicable fantasy he once had that his lover was dead, could not have been written by any previous poet. Curiously for a poet whose work points so directly toward the future, many of Wordsworths important works are preoccupied with the lost glory of the pastnot only of the lost dreams of childhood but also of the historical past, as in the powerful sonnet London, 1802, in which the speaker exhorts the spirit of the centuries-dead poet John Milton to teach the modern world a better way to live. Themes The Beneficial Influence of Nature Throughout Wordsworths work, nature provides the ultimate good influence on the human mind. All manifestations of the natural worldfrom the highest mountain to the simplest flowerelicit noble, elevated thoughts and passionate emotions in the people who observe these manifestations. Wordsworth repeatedly emphasizes the importance of nature to an individuals intellectual and spiritual development. A
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good relationship with nature helps individuals connect to both the spiritual and the social worlds. As Wordsworth explains inThe Prelude, a love of nature can lead to a love of humankind. In such poems as The World Is Too Much with Us (1807) and London, 1802 (1807) people become selfish and immoral when they distance themselves from nature by living in cities. Humanitys innate empathy and nobility of spirit becomes corrupted by artificial social conventions as well as by the squalor of city life. In contrast, people who spend a lot of time in nature, such as laborers and farmers, retain the purity and nobility of their souls. The Power of the Human Mind Wordsworth praised the power of the human mind. Using memory and imagination, individuals could overcome difficulty and pain. For instance, thespeaker in Lines Composed a Few Miles Above Tintern Abbey (1798) relieves his loneliness with memories of nature, while the leech gatherer in Resolution and Independence (1807) perseveres cheerfully in the face of poverty by the exertion of his own will. The transformative powers of the mind are available to all, regardless of an individuals class or background. This democratic view emphasizes individuality and uniqueness. Throughout his work, Wordsworth showed strong support for the political, religious, and artistic rights of the individual, including the power of his or her mind. In the 1802 preface to Lyrical Ballads, Wordsworth explained the relationship between the mind and poetry. Poetry is emotion recollected in tranquilitythat is, the mind transforms the raw emotion of experience into poetry capable of giving pleasure. Later poems, such as Ode: Intimations of Immortality (1807), imagine nature as the source of the inspiring material that nourishes the active, creative mind. The Splendor of Childhood In Wordsworths poetry, childhood is a magical, magnificent time of innocence. Children form an intense bond with nature, so much so that they appear to be a part of the natural world, rather than a part of the human, social world. Their relationship to nature is passionate and extreme: children feel joy at seeing a rainbow but great terror at seeing desolation or decay. In 1799, Wordsworth wrote several poems about a girl named Lucy who died at a young age. In death, Lucy retains the innocence and splendor of childhood, unlike the children who grow up, lose their connection to nature, and lead unfulfilling lives. The speaker in Ode: Intimations of Immortality believes that children delight in nature because they have access to a divine, immortal world. As children age and reach maturity, they lose this connection but gain an ability to feel emotions, both good and bad. Through the power of the human mind, particularly memory, adults can recollect the devoted connection to nature of their youth. Motifs Wandering and Wanderers The speakers of Wordsworths poems are inveterate wanderers: they roam solitarily, they travel over the moors, they take private walks through the highlands of Scotland. Active wandering allows the characters to experience and participate in the vastness and beauty of the natural world. Moving from place to place also allows the wanderer to make discoveries about himself. While wandering, speakers uncover the visionary powers of the mind and understand the influence of nature, as in I wandered lonely as a cloud (1807). The speaker of this poem takes comfort in a walk he once took after he has returned to the grit and desolation of city life. Wordsworths poetry itself often wanders, roaming from one subject or experience to another, as in The Prelude. In this long poem, the speaker moves from idea to idea through digressions and distractions that mimic the natural progression of thought within the mind. Memory Memory allows Wordsworths speakers to overcome the harshness 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. The act of remembering also allows the poet to write: Wordsworth argued in the 1802 preface to Lyrical Ballads that poetry sprang from the calm remembrance of passionate emotional experiences. Poems cannot be composed at the moment when emotion is first experienced. Instead, the initial emotion must be combined with other thoughts and feelings from the poets past experiences using memory and imagination. The
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poem produced by this time-consuming process will allow the poet to convey the essence of his emotional memory to his readers and will permit the readers to remember similar emotional experiences of their own. Vision and Sight Throughout his poems, Wordsworth fixates on vision and sight as the vehicles through which individuals are transformed. As speakers move through the world, they see visions of great natural loveliness, which they capture in their memories. Later, in moments of darkness, the speakers recollect these visions, as in I wandered lonely as a cloud. Here, the speaker daydreams of former jaunts through nature, which flash upon that inward eye / which is the bliss of solitude (2122). The power of sight captured by our minds eye enables us to find comfort even in our darkest, loneliest moments. Elsewhere, Wordsworth describes the connection between seeing and experiencing emotion, as in My heart leaps up (1807), in which the speaker feels joy as a result of spying a rainbow across the sky. Detailed images of natural beauty abound in Wordsworths poems, including descriptions of daffodils and clouds, which focus on what can be seen, rather than touched, heard, or felt. In Book Fourteenth ofThe Prelude, climbing to the top of a mountain in Wales allows the speaker to have a prophetic vision of the workings of the mind as it thinks, reasons, and feels.

"A slumber did my spirit seal"

"A slumber did my spirit seal" is one of Wordsworth's "Lucy Poems," which focus primarily on the death of a young woman named Lucy (though she remains unnamed in this poem). Many scholars and literary historians have offered theories as to who Lucy was, but her true identity remains a mystery. The poem is comprised of only two four-line stanzas, and yet a great deal happens in this narrow space. We see the speaker's realization not only that this young woman has died, but also that bad things can happen in a beautiful world. In the first stanza the speaker is innocently unaware that age can touch the woman, but he is quickly taught a harsh lesson when she dies between stanzas one and two. The choice to hide the death between the stanzas is interesting, as it seems to imply that the speaker is unable to verbalize the pain that goes along with the sudden loss. On the other hand, the poem may be less about the speaker's innocence than about his belief in the young woman's power. Indeed, he seems to have built her up in his mind into a goddess, untouched by age and mortality. This desire to keep her perpetually young is a testament to the speaker's feelings for the young woman. In the second stanza Wordsworth offers an eerie description of the woman's current situation. She is blind and deaf--wholly incapable of taking in the world around her. This is a particularly painful idea in a Wordsworth poem, because he is generally so focused on experiencing the senses. The speaker also mentions that she is now without motion or force. This, of course, is true of all dead people, but by stating the obvious the speaker helps the reader to imagine the way the young woman once was: full of life and vigor. In the last two lines the speaker describes the young woman trapped beneath the surface of the earth. In fact, she has become a part of the earth, rolling with it as it turns day to day. The very last line of the poem is especially interesting, because the speaker lists both rocks and stones, which are essentially the same. It may be that he intends to reference both gravestones and common rocks. Alternatively, the speaker may intend to emphasize the "dead" things of the earth over living things like trees (which are mentioned only once).
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William Wordsworth's "I wandered lonely as a cloud" epitomizes the Romanticism that flourished in nineteenth century Europe. The lyric movingly exemplifies Wordsworth's abstract definition of poetry as "emotion recollected in tranquility." Imagination is the key that unlocks the innermost depths of the human spirit, and imagination is best awakened by contemplation and celebration of the wonders of nature. 1. Stanza:The poet describes himself as alone and lonely, detached even from nature as, cloudlike, he "floats on high o'er vales and hills." Sadness emerges from the term "lonely," but it is tempered by the superiority of the elevation and the transcendence of "on high." The cloud Wordsworth compares himself to is personified by being given the capabilities to feel lonely and to wander. Stanza two indulges in overstatement. No hillside could contain as many flowers as there are stars in a galaxy; a "never-ending line" on Earth could only exist if there were a globe-circling band uninterrupted by oceans; "a glance that takes in ten thousand flowers (no more and no less) is similarly fanciful. The hyperbole expresses the intensity of the speaker's excitement and joyous imaginings. With stanza three the poet's view expands to include the waves of the bay, whose dance movements are out-done by the sprightly flowers. "A poet could not but be gay" is a reminder of his previous aloofness that had to succumb to the glee of the jocund company. He does not compete in the dance movements but gazes and feels enriched by the experience. The wealth mentioned in the stanza's final line underscores that the earlier use of "golden" imports not only color but riches of an imaginative and intellectual sort. The concluding stanza returns to the solitude of the lonely wandering cloud of line one. However, the poet has been changed by his imaginative experience involving the massed daffodils and the accompanying bay waters. There has been a sizable deposit in his imagination's bank account. Earlier loneliness is now blissful solitude. The bliss comes from what he has imaginatively created and is able to summon to his mind's eye. That creation is his poem in which flowers of only vegetable animation can be jocund, feel glee, dance for his entertainment ,and counteract his melancholy. Such is the power of nature, a company in which humanity should be not merely silent partners but active participants.
This simple poem, one of the loveliest and most famous in the Wordsworth canon, revisits the familiar subjects of nature and memory, this time with a particularly (simple) spare, musical eloquence. The plot is extremely simple, depicting the poets wandering and his discovery of a field of daffodils by a lake, the memory of whi ch pleases him and comforts him when he is lonely, bored, or restless. The characterization of the sudden occurrence of a memorythe daffodils flash upon the inward eye / Which is the bliss of solitudeis psychologically acute, but the poems main brilliance lies in the reverse personification of its early stanzas. The speaker is metaphorically compared to a natural object, a cloudI wandered lonely as a cloud / That floats on high..., and the daffodils are continually personified as human beings, dancing and tossing their heads in a crowd, a host. This technique implies an inherent unity between man and nature, making it one of Wordsworths most basic and effective methods for instilling in the reader the feeling the poet so often describes himself as experiencing.

The Intimations of Immortality ode is Wortsworths mature masterpiece on the subject. The poem, whose full title is Ode: Intimations of Immortality from Recollections of Early Childhood, makes explicit Wordsworths belief that life on earth is a dim shadow of an earlier, purer existence, dimly recalled in childhood and then forgotten in the process of growing up. (In the fifth stanza, he writes, Our birth is but a sleep and a forgetting.../Not in entire forgetfulness, / And not in utter nakedness, /But trailing clouds of glory do we come / From God, who is our home....) While one might disagree with the poems metaphysical hypotheses, there is no arguing with the genius of language at work in this Ode. Wordsworth consciously sets his speakers mind at odds with the atmosphere
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of joyous nature all around him, a rare move by a poet whose consciousness is so habitually in unity with nature. Understanding that his grief stems from his inability to experience the May morning as he would have in childhood, the speaker attempts to enter willfully into a state of cheerfulness; but he is able to find real happiness only when he realizes that the philosophic mind has given him the ability to understand nature in deeper, more human termsas a source of metaphor and guidance for human life. This is very much the same pattern as Tintern Abbeys, but whereas in the earlier poem Wordsworth made himself joyful, and referred to the music of humanity only briefly, in the later poem he explicitly proposes that this music is the remedy for his mature grief. The structure of the Immortality Ode is also unique in Wordsworths work; unlike his characteristically fluid, naturally spoken monologues, the Ode is written in a lilting, songlike cadence with frequent shifts in rhyme scheme and rhythm. Further, rather than progressively exploring a single idea from start to finish, the Ode jumps from idea to idea, always sticking close to the central scene, but frequently making surprising moves, as when the speaker begins to address the Mighty Prophet in the eighth stanzaonly to reveal midway through his address that the mighty prophet is a six-year-old boy. Wordsworths linguistic strategies are extraordinarily sophisticated and complex in this Ode, as the poems use of metaphor and image shifts from the register of lost childhood to the register of the philosophic mind. When the speaker is grieving, the main tactic of the poem is to offer joyous, pastoral nature images, frequently personifiedthe lambs dancing as to the tabor, the moon looking about her in the sky. But when the poet attains the philosophic mind and his fullest realization about memory and imagination, he begins to employ far more subtle descriptions of nature that, rather than jauntily imposing humanity upon natural objects, simply draw human characteristics out of their natural presences, referring back to human qualities from earlier in the poem. So, in the final stanza, the brooks fret down their channels, just as the childs mother fretted him with kisses earlier in the poem; they trip lightly just as the speaker tripped lightly as a child; the Day is new born, innocent, and bright, just as a child would be; the clouds gather round the setting sun and take a sober coloring, just as mourners at a funeral (recalling the childs playing with some fragment from a mourning or a funeral earlier in the poem) might gather soberly around a grave. The effect is to illustrate how, in the process of imaginative creativity possible to the mature mind, the shapes of humanity can be found in nature and vice-versa. A flower can summon thoughts too deep for tears because a flower can embody the shape of human life, and it is the mind of maturity combined with the memory of childhood that enables the poet to make that vital and moving connection.

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