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Thread: wordsworth and his poetry

  1. #1
    caitlin caitlin123's Avatar
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    Mar 2008
    australia: perth

    wordsworth and his poetry

    Hi all
    i was just wondering if you were able to give me some tips on how William Wordsworth's context has influenced his choice of poetic devices in his works, mainly tintern abbey, daffodils and early spring
    Be who you are and say what you feel, because those who mind don't matter and those who matter don't mind!

  2. #2
    Bibliophile JBI's Avatar
    Join Date
    Feb 2007
    Try William Hazlitt's book The Spirit of the Age. Also, there is quite a bit of biography written about him, from contemporary to present. The Intro to Lyrical Ballads is also a great place to start.

  3. #3
    Registered User Dipen Guha's Avatar
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    May 2009
    Wordsworth's own comment on the composition of "Tintern Abbey" tells us that he had planned an elaborate literary form "I have not ventured to call this a poem ; but it was written with a hope in the transitions and the impassioned music of the versification, in which would be found the principal requisite of that species of composition." The instrument he used for this poem was a kind of blank verse familiar yet impassioned :it could rise with spontaneous case from simple personal narrative to exalted meditation.
    The "Tintern Abbey" poem contains one of the earliest definations of Wordsworthian philosophy, and seen in the context of subsequent utterences, it can be judged the best defination. Wordsworth has discussed in this poem, the three different ways in which Nature had affected the three various stages of his growth and life. When a boy, Nature had just consisted of glad animal movements. Nature was something on which feasted the external or physical passions of Wordsworth. This kind of physical indulgence in the joys provid4ed by Nature satisfied his animal spirit in childhood. In the second stage, as a youth, Nature's appeal had fulfilled certain passionate cravings in him; but the relationship between Wordsworth and Nature was yet to be spiritualized. It still reminded the passion of the body and the lower senses, not having been linked or fused itself with thoughts of the rest of humanity. But the third stage in the evolution of the poet was reached when Nature seemed to appeal not to his external eye but to the mind's eye and there was a harmonious blending of Nature with all that was glorious in human existence. In this final stage, gone were the wild ecstatic pleasures of childhood and youth, the relationship had become more intimate, at the same time, sedate and profound capable of affecting the poet all through his life He heard blended with the sounds of Nature, "The still sad music of humanity".

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