William Wordsworth Romanticism Essays

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It is nature's seclusion that enables him to provide stark contrast between the chaos of the city and the country, and move toward the realm of the ideal.Essays collected here dealing with the influence of aesthetic traditions are Carl Woodring’s placement of “Lines Composed a Few Miles Above Tintern Abbey” in the context of Wordsworth’s understanding of the theory of the sublime; Stephen J.Spector’s study of the poet’s use of mirror images drawn from the tradition of the picturesque; and my own look at the analogy between Wordsworth’s way of seeing Nature and his ideas on landscape and the English garden.It is noticeable that all of her poems are written in letter format such as; "Oh! Best Bram Stoker's Dracula as a Romantic Myth In this paper, I will present my reflections and thoughts on the myth of Dracula in particular, and the vampyre in general, as a love story and show the deeply rooted links between the two myths and Christianity, as refracted through the prism of Francis Ford Coppola's film Bram Stoker's Dracula (1992).One of the most well known aspects of a vampyre is that it must feed upon the blood of the Poet as Prophet When I spoke last, I ended with the image of Wordsworth as a monk or priest-like figure zealously converting Dorothy and, by extension, the reader into a position within his vision of the world.During this period people sought the ideal through immersion in nature.In Tintern Abbey it was the natural landscape of the Wye Valley, while in 'I Wander Lonely As A Cloud' it was a lake shore lined with daffodils that took him to a meditation on aspects of his inner self compared to external forces - from the real to the ideal.Such arguments touch on a crucial development in scholarship today:the rise of critics who ascribe an “ideology” to an artist or his defenders, or, conversely argue rigidly from the point of view of a particular ideology, rather than give real consideration to the creative work.In selecting essays, I have sought to avoid this neoclassical Modernism, which continues under the auspices of “postmodern” claims for the authority of method; rather, I present a gathering of scholars with diverse approaches who are committed first and foremost to their subject of study, Wordsworth and his poems.His poems in Lyrical Ballads (1798) and his defense of them in the Preface added to the second edition (1800) proclaimed what should represent English taste and style at the beginning of the nineteenth century and articulated issues by defining the ideal characteristics of the poet and poetry. Abrams published a collection of critical essay from the flowering of Wordsworth scholarship in the postwar in England, where the “simple Wordsworth” of emotion and feeling was newly appreciated in the light of the wartime experience and in reaction to Modernist values; and the other in America, where a “problematic” seed sprouted in a fertile soil of fascination with literary psychology and took form is explorations of what Abrams called “consciousness.”Since Abrams published his collection of essays, examination of Wordsworth and “consciousness” has continued to be an attractive pursuit to scholars, and my collection includes an excerpt from his magisterial study, Natural Supernaturalism: Less formal essays that relate the poet’s life to his art are Donald Reiman’s judicious description of Wordsworth’s “heroism” in struggling to channel the passions of intimate family relationships into his creativity, and Jean H.Wordsworth found in the old pastoral themes of the importance of nature and the joys of a simple life a basis for renewal of the human spirit in an age marked by the uncertainty of European war and revolution. Hagstrum’s not so tame portrait of the poet obsessed with a sexuality that lurks just under the surface of his poetry.


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