Where One Can Find the Lake District!
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Wordsworth's Lyrical Ballads, 1800
Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2015 Wordsworth's Lyrical Ballads, 1800 Jason N. Goldsmith Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/facsch_papers Part of the Comparative Literature Commons, Literature in English, British Isles Commons, and the Poetry Commons Recommended Citation Goldsmith, Jason N., "Wordsworth's Lyrical Ballads, 1800" The Oxford Handbook of William Wordsworth / (2015): 204-220. Available at https://digitalcommons.butler.edu/facsch_papers/876 This Book Chapter is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. LYRICAL BALLADS, 1800 205 [tha]n in studying German' (CL, r. 459). Stranded by the weather, short on cash, and C H A P TER 11 unable to communicate with the locals, the poet turned inward, writing a series of auto biographical blank verse fragments meditating on his childhood that would become part one of the 1799 Prelude, as well as nearly a dozen poems that would appear in the second volume of the 1800 edition of Lyrical Ballads. WORDSWORTH'S L YRICAL Completed over the eighteen months following his return to England in May 1799, the 1800 Lyrical Ballads is the fruit of that long winter abroad. It marks both a literal and BALLADS, 1800 a literary homecoming. Living in Germany made clear to Wordsworth that you do not ....................................................................................................... -
Grasmere & the Central Lake District
© Lonely Planet Publications 84 Grasmere & the Central Lake District The broad green bowl of Grasmere acts as a kind of geographical junction for the Lake District, sandwiched between the rumpled peaks of the Langdale Pikes to the west and the gentle hummocks and open dales of the eastern fells. But Grasmere is more than just a geological centre – it’s a literary one too thanks to the poetic efforts of William Wordsworth and chums, who collectively set up home in Grasmere during the late 18th century and transformed the valley into the spiritual hub of the Romantic movement. It’s not too hard to see what drew so many poets, painters and thinkers to this idyllic corner LAKE DISTRICT LAKE DISTRICT of England. Grasmere is one of the most naturally alluring of the Lakeland valleys, studded with oak woods and glittering lakes, carpeted with flower-filled meadows, and ringed by a GRASMERE & THE CENTRAL GRASMERE & THE CENTRAL stunning circlet of fells including Loughrigg, Silver Howe and the sculptured summit of Helm Crag. Wordsworth spent countless hours wandering the hills and trails around the valley, and the area is dotted with literary landmarks connected to the poet and his contemporaries, as well as boasting the nation’s foremost museum devoted to the Romantic movement. But it’s not solely a place for bookworms: Grasmere is also the gateway to the hallowed hiking valleys of Great and Little Langdale, home to some of the cut-and-dried classics of Lakeland walking as well as one of the country’s most historic hiking inns. -
The English Lake District
La Salle University La Salle University Digital Commons Art Museum Exhibition Catalogues La Salle University Art Museum 10-1980 The nE glish Lake District La Salle University Art Museum James A. Butler Paul F. Betz Follow this and additional works at: http://digitalcommons.lasalle.edu/exhibition_catalogues Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation La Salle University Art Museum; Butler, James A.; and Betz, Paul F., "The nE glish Lake District" (1980). Art Museum Exhibition Catalogues. 90. http://digitalcommons.lasalle.edu/exhibition_catalogues/90 This Book is brought to you for free and open access by the La Salle University Art Museum at La Salle University Digital Commons. It has been accepted for inclusion in Art Museum Exhibition Catalogues by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. T/ie CEnglisti ^ake district ROMANTIC ART AND LITERATURE OF THE ENGLISH LAKE DISTRICT La Salle College Art Gallery 21 October - 26 November 1380 Preface This exhibition presents the art and literature of the English Lake District, a place--once the counties of Westmorland and Cumber land, now merged into one county, Cumbria— on the west coast about two hundred fifty miles north of London. Special emphasis has been placed on providing a visual record of Derwentwater (where Coleridge lived) and of Grasmere (the home of Wordsworth). In addition, four display cases house exhibits on Wordsworth, on Lake District writers and painters, on early Lake District tourism, and on The Cornell Wordsworth Series. The exhibition has been planned and assembled by James A. -
Saving Sarah Fricker: Accurately Representing the Realities of the Coleridges’ Marriage
Saving Sarah Fricker: Accurately Representing the Realities of the Coleridges’ Marriage Saving Sarah Fricker: Accurately Representing the Realities of the Coleridges’ Marriage Cori Mathis Abstract The Lake Poets circle was prolific; they wrote letters to each other constantly, leaving a clear picture of the beginning and eventual decline of the marriage between Samuel Taylor Coleridge and Sarah Fricker Coleridge. Coleridge also was fond of chronicling his personal life in his work. Coleridge’s poetry and prose clearly show that, though he may have come to regret it, he originally married Sarah Fricker for love and was very happy in the beginning of their relationship. The problem with their marriage was that they were just fundamentally incompatible, something that was not Sarah Fricker’s fault—she was a product of her society and simply unprepared to be a wife to someone like Coleridge. Unfortunately, scholars have taken Coleridge’s letters as pure truth and seem to have forgotten that every marriage has two partners, both with their own perspectives. This reflects a deliberate ignorance of Coleridge’s tendency to see situations quite differently from how they actually were. Because of this tradition, Sarah Fricker Coleridge is often portrayed as difficult at best and a harridan at worst. It does not help that she attempted to help her husband’s reputation by the majority of their letters that she possessed—one cannot see her side as clearly. In this essay, I hope to prove that she was simply an unhappy wife, married to a poetic genius who had decided she was the impediment to his happiness while she only wanted to keep their family together and safe. -
Introduction: Professionalism and the Lake School of Poetry
Cambridge University Press 978-0-521-15279-2 - The Lake Poets and Professional Identity Brian Goldberg Excerpt More information Introduction: Professionalism and the Lake School of Poetry When William Wordsworth, Robert Southey, and Samuel Taylor Coleridge – the Lake school – formulated their earliest descrip- tions of the role of the poet, two models of vocational identity exerted special pressure on their thinking. One was the idea of the professional gentleman. In their association of literary composi- tion with socially useful action, their conviction that the judgment of the poet should control the literary marketplace, and their efforts to correlate personal status with the poet’s special training, the Lake writers modified a progressive version of intellectual labor that was linked, if sometimes problematically, to develop- ments in the established professions of medicine, church, and law. In short, they attempted to write poetry as though writing poetry could duplicate the functions of the professions. The other model, and it is related to the first, is literary. Like the Lake poets, earlier eighteenth-century authors had been stimulated, if occasionally frustrated, by the puzzle of how to write poetry in the face of changing conceptions of intellectual work. While ideals of medi- cal, legal, and theological effectiveness that measured ‘‘techni- que’’ were competing with those that emphasized ‘‘character,’’ literary production was moving (more slowly and less completely than is sometimes thought) from a patronage- to a market-based 1 model. Eighteenth-century writers developed a body of figural resources such as the poetic wanderer that responded to new constructions of experience, merit, and evaluation, and the Lake writers seized on these resources in order to describe their own professional situation. -
ABSURDNÍ DRAMA (Překlad „Theatre of the Absurd“; Z Lat
STRUČNÝ ABECENDNÍ PŘEHLED LITERÁRNÍCH SMĚRŮ, HNUTÍ A SKUPIN Uvedený přehled by měl studentům románských literatur (ale nejen jim) usnadnit orientaci ve vybraných literárněvědných pojmech. Nečiní si nároky na úplnost a jeho autor bude vděčný za jakékoli doplňky a upřesnění, ale také za opravy nepřesností, kterých se nevěda či mimoděk dopustil. Předem za ně děkuje Petr Kyloušek ([email protected]). ABSURDNÍ DRAMA (překlad „theatre of the absurd“; z lat. „absurdus“ = „sluchu nelibý“, „nemístný“, „nesmyslný“) je označení, kterým Martin Esslin charakterizoval typ dramatické tvorby, jež se rozvinula v 50. a 60. letech 20. stol. Ve franc. kontextu se vedle toho užívaly termíny „antidivadlo“ a „nové divadlo“ („antithéâtre“; „nouveau théâtre“), navozující paralelu s novým románem. V obou případech se totiž jedná o analogický projev týchž modernistických tendencí pramenících z týchž ontologických a noetických předpokladů – ze zpochybnění esencialistického modelu uchopení skutečnosti a tím i tradiční mimeze. Termín nadto odráží dobový vliv literárního existencialismu zesílený poválečnou citlivostí k mezním situacím, existenciálním otázkám, metafyzické úzkosti. V širším smyslu se hovoří o absurdní literatuře, tedy o přítomnosti absurdity v próze (groteska, černý humor) a poezii (nonsens). Poetika absurdního dramatu rozrušuje tradiční pojetí výstavby – charakterologii postav, motivaci jednání, ztvárnění časoprostoru, realistické ukotvení, strukturu dialogu, ba zpochybňuje komunikativní funkci řeči vůbec. Chybí nejen tradiční členění dramatické -
William Wordsworth and the Invention of Tourism, 1820–1900
212 Book Reviews 最後に、何はともあれ、ワーズワスに関するミニ百科事典とも言うべき 『ワーズワス評伝』は一読に値する大著であることに間違いはない。 （安田女子大学教授） Saeko Yoshikawa William Wordsworth and the Invention of Tourism, 1820–1900 (Farnham: Ashgate, 2014. 156 × 234mm. xii + 268 pp. £65) Ichiro Koguchi Tourism is not just an embodiment of the natural human desire for move- ment and fresh experience. As Saeko Yoshikawa’s William Wordsworth and the Invention of Tourism, 1820–1900 has demonstrated, it is a set of culturally charged practices, mediated in particular by the act of reading. Grounded in this conviction, this study has explored — by referring to an impressive range of primary sources — how William Wordsworth’s poetry helped to invent a new form of tourism, and, through this process, how the notion of “Wordsworth’s Lake District” came into existence. The book also suggests that the emergence of such tourism was related to the critical re-evaluation of Wordsworth’s work in the late nineteenth century. Tourism has expanded throughout modern times. The grand tour fl our- ished from the mid-seventeenth century, and in the next century, picturesque travel came into vogue. With the development of the mail coach system, fol- lowed by the advent of the railway, tourism became universalised in the nine- teenth century, becoming available to almost any class and social group. Historically situated amid these periods, Romanticism was closely related to tourism, both domestic and across national borders. A number of schol- ars have turned to travelogues and other travel literature written in the Ro- mantic age, delving into the cultural-literary implications of journeys made by writers. Curiously however, literary tourism, i.e. -
3685 William Wordsworth
#3682 WILLIAM WORDSWORTH Grade Levels: 10-13+ 24 minutes BENCHMARK MEDIA 1998 DESCRIPTION Poet Tobias Hill examines the poetry of William Wordsworth as he treks in the Lake District of England, Wordsworth's home. Hill dialogs with others about what influenced Wordsworth and what kind of poet he was. Notes his poetry is concerned with nature, humans, and society. Excerpts from "The Rainbow," "The Prelude," "Lucy Gray," and others illustrate some of his themes. Addresses Wordsworth's poetry, not his life. INSTRUCTIONAL GOALS 1. To understand how closely the poetry of Wordsworth is derived from his own life experiences, and the natural landscape of his native Lake District in northwest England. 2. To appreciate how his creative imagination interprets what he has experienced. 3. To enjoy how the rhythms and language of his poetry are suitable to amplify and transform the subjects of his poetry. BACKGROUND INFORMATION Born in 1770, William Wordsworth remembered his childhood as a happy one, particularly his school days at Hawkshead. However, with the death of his parents while a teenager, he felt a loss of innocence, and an awareness of hardship and unhappiness. During his undergraduate days at St. John’s College, Cambridge, he took strenuous walking tours through France, Switzerland, and later, Germany. The ideals of liberty and brotherhood of the French Revolution, then in progress when he was there, became his. Consequently, he came to hate inherited rank and wealth. At a critical time in his youth, Samuel Taylor Coleridge became his neighbor, friend, and supporter. Apart from some tours abroad, Wordsworth remained in the Lake District of northwest England, which he dearly loved, from age 43 until his death at 80. -
THE UNIVERSITY of HULL Four Literary Protegees of the Lake
THE UNIVERSITY OF HULL Four Literary Protegees of the Lake Poets: Caroline Bowles, Maria Gowen Brooks, Sara Coleridge and Maria Jane Jewsbury being a Thesis submitted for the Degree of Doctor of Philosophy in the University of Hull by Dennis Jun-Yu Low, SA (Oxon) March 2003 Therefore, although it be a history Homely and rude, I will relate the same For the delight of a few natural hearts: And, with yet fonder feeling, for the sake Of youthful Poets, who among these hills Will be my second self when I am gone. Wordsworth Contents Contents ......................................................................................................................................... 1 Acknowledgements ........................................................................................................................ 2 List of Abbreviations ....................................................................................................................... 4 Preface ........................................................................................................................................... 5 Chapter 1: The Lake Poets and 'The Era of Accomplished Women' ............................................ 13 Chapter 2: Caroline Bowles .......................................................................................................... 51 Chapter 3: Maria Gowen Brooks ................................................................................................ 100 Chapter 4: Sara Coleridge ......................................................................................................... -
Thomas De Quinceys Portrait of the Lake Poets
69 Thomas De Quincey’s Portrait of the Lake Poets: Individual Reality and Universal Ideal Akira Fujimaki Introduction: Pictorial versus Literary Portraits As David Piper (120) and Richard Holmes (12) concurrently mention, Washing- ton Allston, the American painter of arguably the best portrait of Samuel Taylor Coleridge (1772-1834) [Figure 1], confessed to feeling incompetent to paint the poet in 1814: So far as I can judge of my own production the likeness of Coleridge is a true one, but it is Coleridge in repose; and, though not unstirred by the perpetual ground-swell of his ever-working intellect, and shadowing forth something of the deep philosopher, it is not Coleridge in his highest mood, the poetic state, when the divine affl atus of the poet possessed him. When in that state, no face I ever saw was like his; it seemed almost spirit made visible without a shadow of the physical upon it. Could I then have fi xed it upon canvas! but it was beyond the reach of my art. (Flagg 104) Morton D. Paley, who has studied the portraits of the poet, suggests one of the 70 reasons why it is not easy to paint him: “it does seem as if Coleridge’s personal appearance could vary dramatically within short periods, and this may have been one of the effects of his opium ad- diction” (45). We have to consider other effects as well. According to Frances Blanshard, who has done thorough research on all the extant portraits of William Words- worth (1770-1850), portrait painters of these Romantic poets, under the re- maining infl uence of Sir Joshua Reyn- olds’s classicist theory of art, usually did not pursue the likeness or singu- Fig. -
Fay, J. (2018). Rhythm and Repetition at Dove Cottage. Philological Quarterly, 97(1), 73-95
Fay, J. (2018). Rhythm and repetition at Dove Cottage. Philological Quarterly, 97(1), 73-95. https://english.uiowa.edu/philological- quarterly/abstracts-971 Peer reviewed version Link to publication record in Explore Bristol Research PDF-document University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ RHYTHM AND REPETITION AT DOVE COTTAGE JESSICA FAY Abstract It is well known that William and Dorothy Wordsworth habitually hummed and murmured lines of poetry to themselves and to each other both indoors and while they paced backwards and forwards outside. While this was a lifelong habit for the poet, there are two specific periods at Dove Cottage—the spring and early summer of 1802 and the months following John Wordsworth’s death in 1805—during which the repetition of verses alongside various types of iterative physical activity may be interpreted as an “extra-liturgical” practice performed to induce and support meditation and consolation. In shaping their own “familiar rhythm[s]”, the Wordsworths are aligned with Jeremy Taylor, whose mid-seventeenth- century writings promoted the cultivation of private, individual repetition and ritual. Although William and Dorothy act independently of corporate worship in 1802 and 1805, their habits—in sympathy with Taylor’s teaching—reveal a craving for the kinds of structures William later celebrated in Ecclesiastical Sonnets. Consequently, the apparent disparity between the high-Romantic poet of Dove Cottage and the high-Anglican Tractarian sympathizer of Rydal Mount is shown to be less severe than is often assumed. -
Thesis Spring 2015 !2
! ! ! ! ! ! ! ! ! ! Alice in Wonderland: Dorothy Wordsworth’s Search for Poetic! Identity in Wordsworthian Nature ! ! ! ! ! ! ! ! ! ! ! ! ! ! Maymay Liu Advised by Susan Meyer and Dan Chiasson, Department of English Wellesley College English Honors Thesis Spring 2015 !2 Table of Contents Acknowledgements 3 Introduction 4 Chapter 1: Daydream in Gold 14 William and Dorothy Wordsworth as Divergent Speakers Chapter 2: Caged Birds 35 William Wordsworth’s Poetic Treatment of Women in Nature Chapter 3: Through the Looking Glass 57 Dorothy Wordsworth’s Conception of Passivity toward Mother Nature Works Cited 82 !3 Acknowledgements! I am deeply grateful to Professor Susan Meyer and Professor Dan Chiasson for acting as my thesis advisors, both of whom were gracious enough to take on my project without being familiar with Dorothy Wordsworth beforehand. I would never have produced more than a page of inspired writing about Dorothy without their guidance and support. I thank Professor Alison Hickey, who first introduced me to Dorothy and William as a junior (I took her class “Romantic Poetry” in the fall, and promptly came back for more with “Sister and Brother Romantics” in the spring). Despite being on sabbatical for the academic year, she has provided encouragement, advice and copious amounts of hot tea when the going got tough. I would like to thank the members of my thesis committee, Professor Yoon Sun Lee, Professor Gurminder Bhogal, Professor Octavio Gonzalez, Professor Joseph Joyce, and Professor Margery Sabin for their time and fresh insights. I thank the Wellesley College Committee on Curriculum and Academic Policy for awarding me a Jerome A. Schiff Fellowship in support of my thesis.