Wordsworth in His Major Lyrics: The Art and Psychology of Self-representationUniversity of Missouri Press, 2001 - 180 pages |
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Page 1
... character of the speaker. In their introduction to the Romantic period in The Norton Anthology of English Literature, the editors write that "in the Romantic lyric the 'I' often is not a conventionally typical lyric speaker, such as the ...
... character of the speaker. In their introduction to the Romantic period in The Norton Anthology of English Literature, the editors write that "in the Romantic lyric the 'I' often is not a conventionally typical lyric speaker, such as the ...
Page 2
... character of the lyric speaker, they do not equate him with the poet; his experiences and states of mind "accord closely" but not exactly with those of the poet. As careful as this answer is, however, it is not intended to address some ...
... character of the lyric speaker, they do not equate him with the poet; his experiences and states of mind "accord closely" but not exactly with those of the poet. As careful as this answer is, however, it is not intended to address some ...
Page 9
... character of each speaker's utterance calls for a critical approach that will not only focus. 13. In Revolutionary “I,” Nichols also uses the term self-dramatizing. His use is similar in its concern with Wordsworth's “dramatized ...
... character of each speaker's utterance calls for a critical approach that will not only focus. 13. In Revolutionary “I,” Nichols also uses the term self-dramatizing. His use is similar in its concern with Wordsworth's “dramatized ...
Page 10
... character of the speaker distinguish it from narrative poems such as " Michael " and " The Ruined Cottage " and mark it , for my purposes , as 14. For example , Geoffrey Hartman , in a chapter entitled " 1801-1807 : The Major Lyrics ...
... character of the speaker distinguish it from narrative poems such as " Michael " and " The Ruined Cottage " and mark it , for my purposes , as 14. For example , Geoffrey Hartman , in a chapter entitled " 1801-1807 : The Major Lyrics ...
Page 12
... character , and that this poem , like other lyrical ballads , " is , in effect , a dramatic monologue . " 17 Other critics , among them Paul Sheats in The Making of Wordsworth's Poetry , 1785-1798 ( 1973 ) , Don Bialostosky in Making ...
... character , and that this poem , like other lyrical ballads , " is , in effect , a dramatic monologue . " 17 Other critics , among them Paul Sheats in The Making of Wordsworth's Poetry , 1785-1798 ( 1973 ) , Don Bialostosky in Making ...
Contents
15 | |
The Dramatics of SelfRepresentation in Tintern | 47 |
Resolution | 77 |
Public Performance Subjective | 103 |
The Poet in His Letters | 130 |
The Prelude as a Major Lyric | 152 |
Works Cited | 165 |
Other editions - View all
Wordsworth in His Major Lyrics: The Art and Psychology of Self-representation Leon Waldoff No preview available - 2001 |
Common terms and phrases
achieved act of self-representation anxiety apostrophe appears autobiographical awareness Beaumont character climactic Coleridge Coleridge's conception consciousness critical death dejection Dorothy Wordsworth dramatic earlier Elegiac Stanzas emphasizes encounter Ernest de Selincourt Essays expressivist father feelings Fenwick Notes fictional Freud human ideal identifies imagination important Intimations Ode Isabella Fenwick John John Keats Keats language Leech-gatherer letters lines lyric speaker Lyrical Ballads M. H. Abrams major lyrics memory mind moments mood Mount Snowdon narration narrative Nature notion person phrase poem poet speaking poet's poetic Prelude presence Prose psychological questions reading recognition reenactment relationship repetition representation represents Resolution and Independence Romantic lyric Romantic poetry Romanticism says scene self-dramatizing self-transformation sense of loss soul speaker of Tintern speaker's thoughts speaker's utterance splitting strategies structure subjectivity sublime suggest things Tintern Abbey tradition transformation transitional traumatic understanding University Press verse paragraph voice William Wordsworth words Wordsworth's poetry Wye valley
Popular passages
Page 91 - So, oft it chances in particular men, That for some vicious mole of nature in them, As, in their birth,— wherein they are not guilty, Since nature cannot choose his origin,— By the o'ergrowth of some complexion, Oft breaking down the pales and forts of reason...
Page 132 - Then sing, ye Birds, sing, sing a joyous song! And let the young Lambs bound As to the tabor's sound! We in thought will join your throng, Ye that pipe and ye that play, Ye that through your hearts today Feel the gladness of the May!
Page 72 - For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still, sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue.
Page 91 - Oft breaking down the pales and forts of reason, Or by some habit that too much o'er-leavens The form of plausive manners ; that these men, Carrying, I say, the stamp of one defect, Being nature's livery, or fortune's star, Their virtues else, be they as pure as grace, As infinite as man may undergo, Shall in the general censure take corruption From that particular fault : the dram of eale Doth all the noble substance of a doubt To his own scandal.
Page 87 - THERE was a roaring in the wind all night ; The rain came heavily and fell in floods; But now the sun is rising calm and bright ; The birds are singing in the distant woods ; Over his own sweet voice the Stock-dove broods ; The Jay makes answer as the Magpie chatters ; And all the air is filled with pleasant noise of waters.
Page 124 - ... art; A wedding or a festival, A mourning or a funeral; And this hath now his heart, And unto this he frames his song: Then will he fit his tongue To dialogues of business, love, or strife; But it will not be long Ere this be thrown aside, And with new joy and pride The little Actor cons another part; Filling from time to time his 'humourous stage' With all the Persons, down to palsied Age, That Life brings with her in her equipage; As if his whole vocation Were endless imitation.
Page 149 - I WAS thy neighbour once, thou rugged Pile ! Four summer weeks I dwelt in sight of thee : I saw thee every day ; and all the while Thy Form was sleeping on a glassy sea. So pure the sky, so quiet was the air ! So like, so very like, was day to day ! Whene'er I looked, thy Image still was there ; It trembled, but it never passed away.
Page 155 - I love to see the look with which it braves, Cased in the unfeeling armour of old time, The lightning, the fierce wind, and trampling waves. Farewell, farewell the heart that lives alone, Housed in a dream, at distance from the Kind! Such happiness, wherever it be known, Is to be pitied; for 'tis surely blind.
Page 68 - Is lightened ; that serene and blessed mood In which the affections gently lead us on, Until the breath of this corporeal frame, And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul : While with an eye made quiet by the power Of harmony and the deep power of joy, We see into the life of things.
Page 150 - Ah ! THEN, if mine had been the Painter's hand, To express what then I saw; and add the gleam, The light that never was, on sea or land, The consecration, and the Poet's dream; I would have planted thee, thou hoary Pile, Amid a world how different from this ! Beside a sea that could not cease to smile; On tranquil land, beneath a sky of bliss.