Throughout life, we have all experienced the loneliness of being excluded at some point or another. In “This Lime-Tree Bower My Prison,” Samuel Taylor Coleridge shows how his experience with this resentful jealousy matured into a selfless brotherly love and the acceptance of the beneficial effects some amount of denial can have. Each of the poem’s three stanzas demonstrates a separate step in this transition, showing Coleridge’s gradual progression from envy to appreciation. The pervading theme of Nature and the fluctuating diction are used to convey these, while the colloquial tone parallels the message’s universal applications. The poem culminates to show the reader that being deprived of something in life is not always to be regretted, but rather to be welcomed as an opportunity to “smell the roses,” so to speak, and appreciate the blessings we often take for granted. To fully understand this poem, the reader would find it helpful to know what led Coleridge to write it. Coleridge grew up with English essayist Charles Lamb in school and the two were close friends (Merriman.) In their later years, however, the two rarely saw each other as Coleridge lived in the country side and Lamb lived in the city, where he cared for his mentally ill sister (Merriman.) On one of the rare days Lamb went to visit him, Coleridge planed to go on a walk through the scenic area surrounding his house with Lamb and some other friends, but before they left, Coleridge’s wife accidentally dropped boiling milk on his foot and he was unable to participate in the walk (Benzon.) While the others gallivanted across the countryside, Coleridge sat in his garden and wrote this poem. This poem is written from Coleridge’s point of view, as he awaits his friends... ... middle of paper ... ...experience, but rather was able to create a unique and equally admirable one of his own. Works Cited Benzon, William. Talking with Nature in "This Lime-Tree Bower My Prison" PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 042011. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/2004_benzon03.shtml. March 12, 2010 Merriman, C.D. "Charles Lamb." The Literature Netwrok. Jalic Inc., 2008. Web. 12 Mar 2010. . Gray, Jessica H. . "Creating Nature." English 610- British Romanticism. Professor J. Jennifer Jones, 25 10 2005. Web. 12 Mar 2010. . Shmoop Editorial Team. "This Lime-Tree Bower My Prison Rhyme, Form & Meter." Shmoop.com. Shmoop University, Inc., 11 Nov. 2008. Web. 12 Mar 2010.
...f the natural” (Abbey 6) then proceeds to personify everything around him from ravens that “croak harsh clanking sounds of smug satisfaction” (Abbey 16), to a Juniper tree that might be mad, or simply suffering “an internal effort at liberation” (Abbey 27). While Abbey explores the contradiction of man and nature merged, yet separate, McCandless frequently re-shapes his paradigm to incorporate discovery. Non-adherence to predetermined configurations allows both men to have the relationships they seek with wilderness and industrial society. We see on close inspection that what at first appears to be a contradiction is actually a purposeful non-conformity that allows each man to tailor his experience.
Nature Writing is born out of love, appreciation, and wonder. It discovers its voice in the connection between man and the natural world (Harton). Conceivably the most American style of writing, it rejoices in America’s wilderness while it grieves America’s greed and exploitation of the environment (Johnson-Sheehan and Stewart). Nature Writing beckons us, with the intention of awakening our spirits. It stirs our souls, touches our hearts, and inspires our minds.
Though this poem is only a small snapshot of what I personally thought Douglass was going through, I could never adequately understand the frustration he must have had. My hope in writing this poem was not to provide a psychoanalysis or theoretical idea structure to any audience, but rather to show that even today, a modern audience member like me, can appreciate the struggle of a fellow human and speak against injustices, specifically in Douglass’s time.
Throughout the Romanticism period, human’s connection with nature was explored as writers strove to find the benefits that humans receive through such interactions. Without such relationships, these authors found that certain aspects of life were missing or completely different. For example, certain authors found death a very frightening idea, but through the incorporation of man’s relationship with the natural world, readers find the immense utility that nature can potentially provide. Whether it’d be as solace, in the case of death, or as a place where one can find oneself in their own truest form, nature will nevertheless be a place where they themselves were derived from. Nature is where all humans originated,
As we look back on intellectual movements throughout history, it can be seen that the perceptions of nature changed drastically. The Enlightenment and Romantic movements are not separate from this observation; in fact they are prime examples, seeing as that in both eras nature is a major theme and exploration point for the people of the time. This interest in nature, however, is where the majority of similarities end between the two movements. In order to fully understand the differences in ideals between the two movements, we must focus on the disciplines they study most, the themes created when they are studied, and the way humanity is compared to nature.
Furthermore, Wordsworth’s assertion of feelings as the effects of an action or a situation, which means that actions should influence the emotions of the character and not the other way around, is dissimilar to The Raven’s character’s feeling of desperation in which he succumbed to his distress. However, the lesson derived from the bizarre workings of the human mind in preferring more devotion to the pain for the sake of “preserving the memory,” as “The Raven” illustrates, exposes to us how a particular person behaves towards grief. The statement thus proves in relation to Coleridge’s statement of the readers’ elicitation of the poem is more significant than the poem itself (in reference to his emphasis on the importance of the “Return”). Another variation between Wordsworth and Coleridge is that the former claims that the writer must bring the language near to the language of men, whilst the latter believes that the language of poetry should beautiful and elevated. “The Raven” in this case
Ferguson, Margaret W., Salter, Mary J., and Stallworthy, Jon. The Norton Anthology of Poetry. fifth ed. N.p.: W.W. Norton, 2005. 2120-2121. 2 Print.
From the lone hiker on the Appalachian Trail to the environmental lobby groups in Washington D.C., nature evokes strong feelings in each and every one of us. We often struggle with and are ultimately shaped by our relationship with nature. The relationship we forge with nature reflects our fundamental beliefs about ourselves and the world around us. The works of timeless authors, including Henry David Thoreau and Annie Dillard, are centered around their relationship to nature.
Since the scientific revolution it has become easier and easier for us to use mathematics and science to decode the environment around us, which to some means a mastery of that environment. In his Discourse on Method, Rene Descartes even refers to us as the “masters and possessors of nature” as we can understand and control many aspects of it (Descartes, 41). Andy Goldsworthy comments on this through his use of nature in the creation of the piece. Although it shows how easily humans can manipulate nature, even something as small as leaves, to create what they want, the effect is temporary. Being that the piece is temporary… doomed to be dismantled by the very nature it is made from, the idea of nature’s supremacy is still preserved. Nature will always return to its own course and eventually no remanence of human intervention will remain. Thus while humans do have this power to manipulate and work with nature, it still remains its own master. This exemplifies a relationship between humans and nature where Goldsworthy recognizes the power of humans as well as the power of nature working simultaneously. Furthermore, Sycamore Leaves also comments on important aspects of nature
It has never been an uncommon thing for one to retreat to nature in an attempt to ‘find one’s self,’ and somewhat cliché these days is the retreat to nature to ‘find God.’ Hundreds of books, essays, seminars, and retreats devote themselves to helping one understand how to find enlightenment and healing through connecting with nature. It is a phenomenon that transcends religious boundaries—everyone, from Buddhists to Christian Mystics to Quakers, seems to think that the key (or, at least, one of the keys) to enlightenment lies in nature. As one may suppose, this is not a new concept. Throughout literary history, there is a distinct trend of authors praising the virtues of nature, singing of the peace that it brings and the enlightening attributes of these places away from the noise and clutter of the cities. Shakespeare tells of finding “tongues in trees, books in the running brooks, [and] sermons in stone”(Shakespeare); William Wordsworth implores us to let nature be our teacher; Goethe claims that there is rest and respite on the mountain top; and George Washington Carver admits that he tries commune with nature everyday. It seems that from Henry David Thoreau right down to contemporary authors, no generation or writing period has been devoid of at least one prolific author who takes to nature in order to find the answers.
Although I think Goethe's relationship to nature is undeniable, perhaps his "appropriation" of nature is less clear. I think the term "appropriation" is the cause of the problem in identifying his true relationship to nature. In our presentation we presented examples of the appropriation of nature through Romantic literature. The most direct example of this was in Anne's detailed description of English landscape gardening where nature was physically appropriated to create the picturesque. Here we can see the distinction between any concept of Goethe's appropriation of nature and the real and physical appropriation by English landscapers.
Nature has long been the focus of many an author's work, whether it is expressed through poetry, short stories, or any other type of literary creation. Authors have been given an endless supply of pictures and descriptions because of nature's infinite splendor that can be vividly reproduced through words. It is because of this fact that often a reader is faced with two different approaches to the way nature is portrayed. Some authors tend to look at nature from a more extensive perspective as in William Wordsworth's "I wandered Lonely as a Cloud." While some authors tend to focus more on individual aspects of nature and are able to captivate the reader with their intimate portrayals of nature that bring us right into their imaginations as shown in John Keats' poem, "To Autumn."
Nature is the basis of everything that is on our own earth and beyond the limits of our universe.. It is through nature that we are able to exist in the first place, and it is through nature that we can continue to live. In “King Lear” by William Shakespeare and “A Thousand Acres” by Jane Smiley, the authors both illustrate just how important nature really is in the world through actions of Goneril and Ginny. Even though “A Thousand Acres” is a modern retelling of the famous “King Lear,” both authors bring out the elements of nature, which in turn echoes the themes of both the play and the novel.
Through the ingenious works of poetry the role of nature has imprinted the 18th and 19th century with a mark of significance. The common terminology ‘nature’ has been reflected by our greatest poets in different meanings and understanding; Alexander Pope believed in reason and moderation, whereas Blake and Wordsworth embraced passion and imagination.
Through alliteration and imagery, Coleridge turns the words of the poem into a system of symbols that become unfixed to the reader. Coleridge uses alliteration throughout the poem, in which the reader “hovers” between imagination and reality. As the reader moves through the poem, they feel as if they are traveling along a river, “five miles meandering with a mazy motion” (25). The words become a symbol of a slow moving river and as the reader travels along the river, they are also traveling through each stanza. This creates a scene that the viewer can turn words into symbols while in reality they are just reading text. Coleridge is also able to illustrate a suspension of the mind through imagery; done so by producing images that are unfixed to the r...