Thoughts on William Wordsworth a Commemorative Essay
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Lyrical Ballads
LYRICAL BALLADS Also available from Routledge: A SHORT HISTORY OF ENGLISH LITERATURE Second Edition Harry Blamires ELEVEN BRITISH POETS* An Anthology Edited by Michael Schmidt WILLIAM WORDSWORTH Selected Poetry and Prose Edited by Jennifer Breen SHELLEY Selected Poetry and Prose Edited by Alasdair Macrae * Not available from Routledge in the USA Lyrical Ballads WORDSWORTH AND COLERIDGE The text of the 1798 edition with the additional 1800 poems and the Prefaces edited with introduction, notes and appendices by R.L.BRETT and A.R.JONES LONDON and NEW YORK First published as a University Paperback 1968 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Second edition published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Introduction and Notes © 1963, 1991 R.L.Brett and A.R.Jones All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Wordsworth, William 1770–1850 Lyrical ballads: the text of the 1978 edition with the additional 1800 poems and the prefaces. -
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 ....................................................................................................... -
The River Duddon (End Underline)
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2007-11-29 Wordsworth's Evolving Project: Nature, the Satanic School, and (underline) The River Duddon (end underline) Kimberly Jones May Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the English Language and Literature Commons BYU ScholarsArchive Citation May, Kimberly Jones, "Wordsworth's Evolving Project: Nature, the Satanic School, and (underline) The River Duddon (end underline)" (2007). Theses and Dissertations. 1247. https://scholarsarchive.byu.edu/etd/1247 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. WORDSWORTH’S EVOLVING PROJECT: NATURE, THE “SATANIC SCHOOL,” AND THE RIVER DUDDON by Kimberly Jones May A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Department of English Brigham Young University December 2007 BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL of a thesis submitted by Kimberly Jones May This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. November 16, 2007 Date Nicholas Mason, Chair November 16, 2007 Date Dan Muhlestein, Reader November 16, 2007 Date Matthew Wickman, Reader -
Sparrow Records Discography
Sparrow Discography by Mike Callahan, David Edwards & Patrice Eyries © 2018 by Mike Callahan Sparrow Records Discography Sparrow is a Contemporary Christian label founded in 1976 by Billy Ray Hearn. Hearn was the A&R Director for Word Records’ Myrrh label, founded a few years earlier also as a Contemporary Christian label. Sparrow also released records under their Birdwing subsidiary. Hearn’s Sparrow label was in competition with Hearn’s old boss, Word Records, and was quite successful. Even today, Sparrow is among the top Christian labels. Hearn sold the label to EMI in 1992, and it was placed under the Capitol Christian Music Group. Sparrow signed a distribution agreement with MCA in April, 1981 to release their product in the secular market while the regular Sparrow issues were distributed to Christian stores and Christian radio stations. The arrangement with MCA lasted until October, 1986, when Sparrow switched distribution to Capitol. Sparrow SPR-1001 Main Series: SPR-1001 - Through a Child’s Eyes - Annie Herring [1976] Learn A Curtsey/Where Is The Time/Wild Child/Death After Life/Grinding Stone/Hand On Me//Dance With You/Love Drops/Days Like These/First Love/Some Days/Liberty Bird/Fly Away Burden SPR-1002 - SPR-1003 - John Michael Talbot - John Michael Talbot [1976] He Is Risen/Jerusalem/How Long/Would You Crucify Him//Woman/Greewood Suite/Hallelu SPR-1004 - Firewind - Various Artists [1976] Artists include Anne Herring, Barry McGuire, John Talbot, Keith Green, Matthew Ward, Nelly Ward, and Terry Talbot (In other words, Barry McGuire, The Talbot Brothers, Keith Green, and The 2nd Chapter of Acts). -
Abbreviations Used in the Notes
ABBREVIATIONS USED IN THE NOTES The following list is for use in connection with the short-form citations in Notes to the Introduction (beginning at p. 148 below) and Notes to the Poems (beginning at p. 150 below). BL S. T. Coleridge, Biographia Literaria, 2 vols (London, 1817); ed. J. Shawcross, 2 vols (Oxford, 1907). EY The Letters of William and Dorothy Wordsworth: The Early Years, 1787-1805, ed. Ernest de Selincourt (Oxford, 1935); 2nd edn rev. Chester L. Shaver (Oxford, 1967). See also LY and MY, below. HD William Wordsworth, Poems in Two Volumes, ed. Helen Darbishire (Oxford, 1914; 2nd edn, 1952). Hutchinson William Wordsworth, Poems in Two Volumes, ed. Thomas Hutchinson, 2 vols (London, 1897). IF Notes dictated by Wordsworth to Isabella Fenwick. JDW Journals of Dorothy Wordsworth, ed. Mary Moorman (Oxford, 1971) - notably the Alfoxden and Grasmere Journals. LSTC Collected Letters of Samuel Taylor Coleridge, ed. E. L. Griggs, 6 vols (Oxford, 1956-71). LY I, II The Letters of William and Dorothy Wordsworth: The Later Years, 1821-1834, ed. Ernest de Selincourt (Oxford, 1938-9); 2nd edn rev. Alan G. Hill (Oxford, 1978-9). See also EY above, and MY below. MS.L. Longman MS, British Library Add. MS. 47864. [Cf. A Description of the Wordsworth and Coleridge Manuscripts in the Possession of Mr T. Norton Longman, ed. W. Hale White (London, 1897).] MYI The Letters of William and Dorothy Wordsworth: The Middle Years, Part I, 1806-1811, ed. Ernest de Selincourt (Oxford, 1936); 2nd edn rev. Mary Moorman (Oxford, 1969). MY II The Letters of William and Dorothy Wordsworth: The Middle Years, Part II, 1812-1820, ed. -
Issue 130 (April 200
26 The 2005 Elian Birthday Toast By DICK WATSON The 2005 Elian Birthday Toast was held on Saturday, 19 February at the Royal College of General Practitioners, South Kensington, London ON AN OCCASION SUCH AS A BIRTHDAY LUNCH, it is natural to think of anniversaries. It is this which was in my mind when I reflected that exactly two hundred years ago, to the day, on 19 February 1805, Charles Lamb was writing to William Wordsworth. It was the second letter in two days, referring to the death of Wordsworth’s brother John in the shipwreck of the Earl of Abergavenny off Portland. It was an event which affected the poet, and indeed the whole family, very deeply, and which was only partially resolved in the ‘Elegiac Stanzas’ which Wordsworth wrote after seeing Sir George Beaumont’s picture of Peele Castle in a Storm. As Richard E. Matlak has shown in Deep Distresses, John Wordsworth had, by dint of hard work and good conduct, risen to become the captain of an East Indiaman. A captain in such a position stood to gain much from a voyage, and John had hoped to get enough money to set the family up in comfort. He required capital from the venture, and both William and Dorothy invested money in it. The ship set sail from Portsmouth on 1 February, and ran into bad weather. The pilot tried to run for shelter, but the ship struck a rock at four o’clock in the afternoon of 5 February. According to one account, John Wordsworth is supposed to have said, ‘Oh Pilot! Pilot! You have ruined me!’ Some of the crew and passengers got ashore in boats, but of the 402 passengers on board only 100 were saved. -
An Ecocritical Reading of William Wordsworth's Selected Poems
English Language and Literature Studies; Vol. 4, No. 1; 2014 ISSN 1925-4768 E-ISSN 1925-4776 Published by Canadian Center of Science and Education An Ecocritical Reading of William Wordsworth’s Selected Poems Abolfazl Ramazani1 & Elmira Bazregarzadeh1 1 English Department, Azarbaijan Shahid Madani University, Tabriz, Iran Correspondence: Elmira Bazregarzadeh, Tamine Ejtemaiee Alley, Enghelab Avenue, Marvdasht 73716-48977, Fars, Iran. Tel: 98-728-333-5565. E-mail: [email protected] Received: November 8, 2013 Accepted: December 12, 2013 Online Published: February 20, 2014 doi:10.5539/ells.v4n1p1 URL: http://dx.doi.org/10.5539/ells.v4n1p1 Abstract With the publication of Lawrence Buell’s The Environmental Imagination (1995) and Cheryll Glotfelty and Harold Fromm’s joint collection, The Ecocriticism Reader (1996), Ecocriticism emerged in the 1990s and the critics changed their angles of vision and examined the works of art by focusing on the relationship between man and Nature. Hence, Romantic poetry, in general, and William Wordsworth, in particular, became the key icons of ecocritical studies. Wordsworth was a major English Romantic poet who has been considered as a forerunner of English Romanticism. His views towards Nature and man’s treatment of Nature have supported his position as an important icon of ecocritical studies. His fame lies in the general belief that he has been viewed as a Nature poet who viewed Nature superior to humans. In other words, his views about Nature and his poems seek to heal the long-forgotten wounds of Nature in the hope of reaching unification between man and Nature. Therefore, this study is an attempt to focus on Wordsworth’s selected poems in the light of Ecocriticism in order to shed light on the poet’s cautious views about the interdependence of man and Nature and purge Wordsworth of the unjust labels tagged to him as a self-centered poet. -
William Wordsworth (7 A;뼈 1770 - 23 Ap벼 1850)
William Wordsworth (7 A;뼈 1770 - 23 Ap벼 1850) Judith W. Page Millsaps College BOOKS: AnEv’e1’↑따r Peter Bell, A Tale in Verse (London: Printed by dressed to a young Lady, [rom the Lakes o[ the Strahan & Spottiswoode for Longman, North o[ Englaηd (London: Printed for J. Hurst, Rees, Orme & Brown, 1819); johnson, 1793); The Waggoner, A Poem. To Which are added, Sonnets Descriptive Sketches. ln Verse. Take'ft 4t띠ng a Pedes (London: Printed by Strahan & Spot trian Tour in the ltalian, G:매:son, Swi:ss, and Sa tiswoode for Longman, Hurst, Rees, Orme voyard Aφ's (London: Printed for J. johnson, & Brown, 1819); 1793); M강cellaη eous Poems o[ William Word:sworth, 4 vol Lyrical Ballad:s, with a [ew other Poems (Bristol: umes (London: Printed for Longman, Printed by Biggs & Cottle for T. N. Long Hurst, Rees, Orme & Brown, 1820); man, London, 1798; London: Printed for J. The River Dμddoη, A se얘es o[ Sonnets: Vaudracmιr & A. Arch 1798; enlarged edition 2 vol , , q,nd Jμ lia: and Other Poems. To which 강 aη umes, London: Printed for T. N. Longman nexed, A Topographical Desc얘 tioη o[ the Coun & Rees by Biggs &. Co., Bristol, 1800; Phil o. tη, o[ the Lakes, in the North o[ Eη.glaηd (Lon adelphia: Printed & s이d by james Hum don: Printed for Longman, Hursì:, Rees, phreys, 1802); Orme & Brown, 1820); Poems, in two Volumes (London: Printed for Long ADαcπÖ:þ tioη o[ the Sceη ery o[ the Lakes in The N orth man, Hurst, Rees & Orm~ , 1807); o[ Eη.glaηd. Third Editioη, (Now [irst publi:shed Concerning the Convention o[ Cintra (London: separately) (London: Printed for Longman, Printed for Longman, Hurst, Rees & Orme Hurst, Rees, Orme & Brown, 1822; revised 1809); and enlarged, 1823); revised and enlarged TheEχ:cursion, being a portion o[ The Recluse, a Poem again as A Gμide through the Di:strict o[ the (London: Printed for Longman, Hurst, Lakes in The N orth o[ Eηgland (Kendal: Pub Rees, Orme & Brown, 1814; New York: C. -
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. -
1 Essay Title: Romantic Poetry and Victorian
Essay title: Romantic Poetry and Victorian Nonsense Poetry: Some Directions of Travel Name: Peter Swaab Email: [email protected] Postal address: Dept of English, UCL, Gower Street, London WC1E 6BT Abstract: This essay explores links between Victorian nonsense poetry and poetry of the Romantic period, with a focus on narratives of quest, voyaging and escape. It discusses brief instances from various writers of the two periods and moves on to a more developed comparison between Wordsworth and Edward Lear, centring on ‘The Blind Highland Boy’. The comparison between periods leads to an argument that self- critique and scepticism were quite robustly in place from the start in the romantic period, and that obstacles to sense could at times be experienced not just as perplexity but as enjoyment shared with an audience. It also points to a further appreciation of some of the less canonical works by the most canonical writers, and suggests a tradition in which romantic aspiration was often coolly linked to a sense of absurdity. Keywords: romanticism, nonsense poetry, quests, voyages, romantic Victorianism 1 Romantic Poetry and Victorian Nonsense Poetry: Some Directions of Travel Peter Swaab We are used to asking what was Victorian about nonsense writing, but this essay takes the slightly different approach of asking what was Romantic about it. Various thematic and generic links suggest themselves as possible approaches. First, we might say that nonsense brings a cooling comic self-consciousness to many of the dramas of romanticism – for instance those involving childhood, isolation, utopian dreams, travel and imperialism. In exploring sublimity, nonsense always grounds it in absurdity, chiefly the absurdity of love in Edward Lear, and of meaning in Lewis Carroll. -
And Lyrical Ballads
John Stoddart, 'Michael' and Lyrical Ballads R. S. WOOF wo YEARS before his death in 1854 Stoddart assured a certain L Richardson, that he did not believe that Words- A worth had given Coleridge any substantial aid in the translation of Wallenstein. Richardson had obviously appealed to Stoddart as a friend of both poets and as himself an early trans• lator of Schiller. (With the help of G. H. Noehden, Stoddart had published Fiesco in 1796 and Don Carlos in 1798.) This was the reply Stoddart gave him: I have every reason to remember my walk from Edinburgh to London in 1800, with my dear friend James Moncrieff; for it was then that I first confided to him my attachment to a sister of his, with whom I afterwards passed 42 years of married life. And the communication gave him much pleasure as coming from so intimate a college friend. We deviated several times from the direct route, and I took him to my friend Wordsworth who then inhabited a Cottage near the Church, besides Grasmere Lake. Hence we found Coleridge; and I have the general impression of having been much gratified by their poetical communications; but of the translation of Wallenstein I can speak with no degree of certainty. I have no doubt that I entered with great interest into such parts, as were shown to me, of what you justly call an excellent translation. But I am fairly convinced that its merit was substantially Coleridge's; though he may have willingly received an expression or even a thought, from Wordsworth, to whom he at this time looked upon [sic] with great deference. -
Wordsworth's Subliminal Lyric
Haunted Metre: Wordsworth’s Subliminal Lyric by Adrian Harding (Université de Provence & American University in Paris) Given Wordsworth’s condemnation, in the 1800 Preface to the Lyrical Ballads, of the “frantic novels, sickly and stupid German tragedies, and deluges of idle and extravagant stories in verse,” exciting the reading public’s “degrading thirst after outrageous stimulation” (LB 249), it has been customary to approach his relations to the Gothic in terms of readerships, grounded on or eventually grounding a sociology of reception. In this paper I am assuming the transference of the Gothic charge more intimately upon Coleridge, despite the latter’s own disparagement of the seductions of Gothic literature, as in the (perhaps strategic) letter of 27 December 1802 to Mary Robinson: “My head turns giddy, my heart sickens at the very thought of seeing such books in the hands of a child of mine” (Griggs, 94). The terms of Coleridge's condemnation of the Gothic provide a counterpart to Wordsworth's lyric phenomenology: “combinations of the highest sensation, wonder produced by supernatural power, without the means—thus gratifying our instinct of free-will that would fain be emancipated from the thraldom of ordinary nature—& and would indeed annihilate both space & time” (Notebooks 3449). What interests me here are the ways in which Wordsworth works with familiar, not unfamiliar, spirits, in a bringing up of language from what Hegel in The Philosophy of Spirit calls the “night-like mine” or “unconscious pit” (Hegel §453) from which signs emerge, to “the light of things” (“The Tables Turned”), the emancipations and annihilations operating from within “metrical language” to motivate any possible incursion or excursion through “ordinary nature”, any possible space and time of writing, any signs of a presence.