Shelley, on the other hand, expresses the boundless life of nature and its ability of uninhibited expression. Samuel Coleridge, the true believer in the mind's versatility, focuses on the flexibility of one's imagination in the presence of nature. Because of these poets and their poetry, the rest of the world is tempted to take a step into the imagination.
In his book English Poetry of the Romantic Period, critic J.R. Watson claims “the finest of Wordsworth’s nature poetry explores the relationship between [man and the world seen in the spirit of love], in the attempt to demonstrate the power of nature in the rescuing of the individual mind from degradation, materialism, selfishness, and despair” (114). Crediting nature with the answer to life, Wordsworth’s philosophy reveals that there can be no greater truth than that found in the simplicity of nature. He pulls from ... ... middle of paper ... ...ompany, Inc., 2000. 422-38. Coleridge, Samuel Taylor.
Although both “Kubla Khan,” by Samuel Coleridge and “Ode on Grecian Urn,” by John Keats are poems originating from the poets’ inspiration from historical figure, the two poems convey different messages through their respective metaphors. While Coleridge emphasizes on the process of creating a Romantic poem, Keats expresses his opinion about art by carefully examining the details of the Grecian urn. In “Kubla Khan,” Coleridge expresses his desire to use the inspirations from nature to create his own “Paradise” of poetry (54, p.1634). In the first stanza, Coleridge creates an exotic oriental garden, where the trees, gardens, hills, and the “Alph” river, together present the beauty of Mother Nature (3, p.1633). Here, the poet carefully observes his surroundings, as the nature will serve as the source of inspiration for his poetry.
Frost usually starts with an observation in nature, contemplates it and then connects it to some psychological concern (quoted in Thompson). According to Thompson, “His poetic impulse starts with some psychological concern and finds its way to a material embodiment which usually includes a natural scene” (quoted in Thompson). According to John F. Lynen, “Frost sees in nature a symbol of man’s relation to the world. Though he writes about a forest or a wildflower, his real subject is humanity…his concept of nature…is a paradox and it points toward the greater paradox in man himself” (4,5). Lynen also states that “the struggle between the human imagination and the meaningless void man confronts is the subject of poem after poem” (6).
CHAPTER ONE WILLIAM WORDSWORTH AS A POET OF NATURE English Romanticism turns to external nature for inspiration and renewal. Whereas from the classical ages of Greece and Rome through the eighteenth century, the term nature generally referred to some universal system of order found throughout man and the universe, during the time of the Romantics, Nature increasingly meant external nature, scenery, particularly that characterized by wildness and ruggedness: mountains, oceans, deserts, virgin forests. ‘Nature’ could be defined in an array of ways as according to the Romantics. It was frequently presented as a work of art, created by a heavenly imagination, in exemplary language. While exacting viewpoint concerning nature varied considerably--nature as a healing power, nature as a foundation of subject and image, nature as a sanctuary from the artificial constructs of civilization, including artificial language--the customary views accorded nature the status of an organically unified whole.
This belief forced Thomas to "stride on two levels"(Treece ix). It was not possible for him to discuss the beauty of nature without discussing its ugliness as well. As a result of this view of reality and the world around him, Thomas’ poetry is "an unconducted tour of Bedlam"(Treece ix). Works Cited Ellmann, Richard and Robert O’Clair. Modern Poems.
Wordsworth is a split and exiled, yet transcendent and visionary poet who creates community by inserting the idealized Romantic poet into the ideological center interpellating those around him into similar subject positions. But, how can Wordsworth, a separated individual, reveal his heightened awareness to the rest of humanity? He answers in his "Preface to Lyrical Ballads" when he asserts that poets like himself can communicate their alternate awareness "[u]ndoubtably with our moral sentiments and animal sensations, and with the causes which excite these; with the operations of the elements and the appearances of the visible universe [. . .]"
For instance, in “Mutability” and “The World is Too Much for Us”, two of Wordsworth most noteworthy sonnets, use nature as the main focus to create an analogy between the changes in humanity in accordance with time and the effects of this changes when it comes to the treatment of nature. In “The World is Too Much with Us” and “Mutability”, William Wordsworth treats time as the fundamental cause of change that occurs in humanity, and uses nature as a focus to reflect upon the different ways this change may arise; however, he uses these ideologies in each poem with different perspectives. In “Mutability” the author uses nature as an expression of time and tries to explain that all elements in nature are subject to change. This alteration is caused by the progression of time which can be also regarded as the “progression of nature” since nature is being used as an expression of time. On the other hand, in the “The World is Too Much with Us” the author individualizes time and nature by treating nature as a living personality and explaining how humans with the progress of time have lost their interest in nature.
Because writing and the grafting of plants ultimately produce strikingly different results, the poet introduces a dichotomous conception of what exactly he intends for the subject of his sonnet. As a gardener to his plants, the poet may mean to “ingraft” the man with the sonnet such that he is infused with new life and thus “blooms,” or returns to a state of heightened beauty. Alternatively the poet “ingrafts” by writing about or “engraving” the man into verse, thus crafting a permanent and unchanging representation of his much admired graces. The practices of the gardener who causes flowers to bloom and plants to produce fruit may appear to produce an object of greater vitality than those of the poet who “ingrafts” by setting words upon a page. However, if the poet strives for similar results in his craft as the gardener, it is possible that with verse, the subject of poem may be given new energy and life, much like a plant that has been grafted.
Rejecting nature -since early ages. Good evening, welcome to the progress of poetry. Following from last weeks program ‘the eternal songs- of William Blake- tonight’s show Wordsworth’s mind on nature will interpret how: William Wordsworth represented the cultural assumptions, attitudes and ideas, through two of his most beautiful pieces daffodils and the world is too much with us, within the romantic era. The Romantics believed that the centre of change was through the ‘common man’; as to begin, begin – the Romantic revolution unfolded. The Romantic revolution began in the early 17th century and was unveiled by the idealists who began freethinking; otherwise known as the romantic poets.