Knowledge (XXG)

1286:. His analysis broke down the ode as a poem disconnected from its biographical implications and focused on the paradoxes and ironies contained within the language. In introducing his analysis, he claimed that it "may be surmised from what has already been remarked, the 'Ode' for all its fine passages, is not entirely successful as a poem. Yet, we shall be able to make our best defense of it in proportion as we recognize and value its use of ambiguous symbol and paradoxical statement. Indeed, it might be maintained that, failing to do this, we shall miss much of its power as poetry and even some of its accuracy of statement." After breaking down the use of paradox and irony in language, he analyses the statements about the childhood perception of glory in Stanza VI and argued, "This stanza, though not one of the celebrated stanzas of the poem, is one of the most finely ironical. Its structural significance too is of first importance, and has perhaps in the past been given too little weight." After analysing more of the poem, Brooks points out that the lines in Stanza IX contains lines that "are great poetry. They are great poetry because ... the children are not terrified... The children exemplify the attitude toward eternity which the other philosopher, the mature philosopher, wins to with difficulty, if he wins to it at all." In his conclusion about the poem, he argues, "The greatness of the 'Ode' lies in the fact that Wordsworth is about the poet's business here, and is not trying to inculcate anything. Instead, he is trying to dramatize the changing interrelations which determine the major imagery." Following Brooks in 1949, C. M. Bowra stated, "There is no need to dispute the honour in which by common consent it is held" but he adds "There are passages in the 'Immortal Ode' which have less than his usual command of rhythm and ability to make a line stand by itself... But these are unimportant. The whole has a capacious sweep, and the form suits the majestic subject... There are moments when we suspect Wordsworth of trying to say more than he means. Similarly, George Mallarby also revealed some flaws in the poem in his 1950 analysis: "In spite of the doubtful philosophical truth of the doctrine of pre-existence borrowed from Platon, in spite of the curiously placed emphasis and an exuberance of feeling somewhat artificially introduced, in spite of the frustrating and unsatisfying conclusion, this poem will remain, so long as the English language remains, one of its chief and unquestionable glories. It lends itself, more than most English odes, to recitation in the grand manner." 1080:(1817), Coleridge described what he considered as both the positives and the defects of the ode. In his argument, he both defended his technique and explained: "Though the instances of this defect in Mr. Wordsworth's poems are so few, that for themselves it would have been scarce just to attract the reader's attention toward them; yet I have dwelt on it, and perhaps the more for this very reason. For being so very few, they cannot sensibly detract from the reputation of an author, who is even characterized by the number of profound truths in his writings, which will stand the severest analysis; and yet few as they are, they are exactly those passages which his blind admirers would be most likely, and best able, to imitate." Of the positives that Coleridge identified within the poem, he placed emphasis on Wordsworth's choice of grammar and language that established a verbal purity in which the words chosen could not be substituted without destroying the beauty of the poem. Another aspect Coleridge favoured was the poem's originality of thought and how it contained Wordsworth's understanding of nature and his own experience. Coleridge also praised the lack of a rigorous structure within the poem and claimed that Wordsworth was able to truly capture the imagination. However, part of Coleridge's analysis of the poem and of the poet tend to describe his idealised version of positives and negative than an actual concrete object. In the same year, it was claimed by Benjamin Bailey, in a 7 May 1849 letter to R. M. Milnes, that John Keats, one of the second-generation Romantic poets, discussed the poem with him. In his recollection, Bailey said, "The following passage from Wordsworth's ode on Immortality was deeply felt by Keats, who however at this time seemed to me to value this great Poet rather in particular passages than in the full length portrait, as it were, of the great imaginative & philosophic Christian Poet, which he really is, & which Keats obviously, not long afterwards, felt him to be." 725:, the ode discusses Wordsworth's understanding of his own psychological development, but it is not a scientific study of the subject. He believed that it is difficult to understand the soul and emphasises the psychological basis of his visionary abilities, an idea found in the ode but in the form of a lamentation for the loss of vision. To Wordsworth, vision is found in childhood but is lost later, and there are three types of people that lose their vision. The first are men corrupted through either an apathetic view of the visions or through meanness of mind. The second are the "common" people who lose their vision as a natural part of ageing. The last, the gifted, lose parts of their vision, and all three retain at least a limited ability to experience visions. Wordsworth sets up multiple stages, infancy, childhood, adolescence, and maturity as times of development but there is no real boundary between each stage. To Wordsworth, infancy is when the "poetic spirit", the ability to experience visions, is first developed and is based on the infant learning about the world and bonding to nature. As the child goes through adolescence, he continues to bond with nature and this is slowly replaced by a love for humanity, a concept known as "One Life". This leads to the individual despairing and only being able to resist despair through imagination. When describing the stages of human life, one of the images Wordsworth relies on to describe the negative aspects of development is a theatre stage, the 1295: 1257:, is its author's greatest product, but not his best piece of work." When speaking of Grasmere and Wordsworth, Elias Sneath wrote in 1912: "It witnessed the composition of a large number of poems, many of which may be regarded among the finest products of his imagination. Most of them have already been considered. However, one remains which, in the judgment of some critics, more than any other poem of the numerous creations of his genius, entitles him to a seat among the Immortals. This is the celebrated ... It is, in some respects, one of his most important works, whether viewed from the stand point of mere art, or from that of poetic insight." George Harper, following Sneath in 1916, described the poem in positive terms and said, "Its radiance comes and goes through a shimmering veil. Yet, when we look close, we find nothing unreal or unfinished. This beauty, though supernal, is not evanescent. It bides our return, and whoever comes to seek it as a little child will find it. The imagery, though changing at every turn, is fresh and simple. The language, though connected with thoughts so serious that they impart to it a classic dignity, is natural and for the most part plain.... Nevertheless, a peculiar glamour surrounds the poem. It is the supreme example of what I may venture to term the romance of philosophic thought." 973:, attacked the 1807 collection of poems for depicting low subjects. When it came to the ode, Montgomery attacked the poem for depicting pre-existence. After quoting the poem with extracts from the whole collection, he claimed, "We need insist no more on the necessity of using, in poetry, a language different from and superior to 'the real language of men,' since Mr. Wordsworth himself is so frequently compelled to employ it, for the expression of thoughts which without it would be incommunicable. These volumes are distinguished by the same blemishes and beauties as were found in their predecessors, but in an inverse proportion: the defects of the poet, in this performance, being as much greater than his merits, as they were less in his former publication." In his conclusion, Montgomery returned to the ode and claimed, that "the reader is turned loose into a wilderness of sublimity, tenderness, bombast, and absurdity, to find out the subject as well as he can... After our preliminary remarks on Mr. Wordsworth's theory of poetical language, and the quotations which we have given from these and his earlier compositions, it will be unnecessary to offer any further estimate or character of his genius. We shall only add one remark.... Of the pieces now published he has said nothing: most of them seem to have been written 663: 1030:, John Taylor Coleridge attacked the poem again for a heretical view found in the notion of pre-existence and how it reappeared in Wordsworth's poem "On an Extraordinary Evening of Splendour and Beauty". However, he does claim that the passage of the ode containing the idea is "a passage of exquisite poetry" and that "A more poetical theory of human nature cannot well be devised, and if the subject were one, upon which error was safe, we should forbear to examine it closely, and yield to the delight we have often received from it in the ode from which the last extract is made." He was to continue: "If, therefore, we had met the doctrine in any poet but Mr. Wordsworth, we should have said nothing; but we believe him to be one not willing to promulgate error, even in poetry, indeed it is manifest that he makes his poetry subservient to his philosophy; and this particular notion is so mixed up by him with others, in which it is impossible to suppose him otherwise than serious; that we are constrained to take it for his real and sober belief." 913:, he dismissed the poem as Wordsworth's "innocent odes" without providing any in-depth response, stating only: "On the whole, however, with the exception of the above, and other innocent odes of the same cast, we think these volumes display a genius worthy of higher pursuits, and regret that Mr. W. confines his muse to such trifling subjects... Many, with inferior abilities, have acquired a loftier seat on Parnassus, merely by attempting strains in which Mr. W. is more qualified to excel." The poem was received negatively but for a different reason from Wordsworth's and Coleridge's friend Robert Southey, also a Romantic poet. Southey, in an 8 December 1807 letter to Walter Scott, wrote, "There are certainly some pieces there which are good for nothing... and very many which it was highly injudicious to publish.... The Ode upon Pre-existence is a dark subject darkly handled. Coleridge is the only man who could make such a subject luminous." 1126: 1228:. The article, "Mr. Ruskin on Wordsworth", stated, "We should hardly have expected Mr. Ruskin—a great master of irony though he be—to lay his finger so unerringly as he does on the weak point of Wordsworth's sublime ode on the 'Intimations of Immortality,' when he speaks of him—quite falsely, by the way—as 'content with intimations of immortality'". The article continued with praise of Wordsworth and condemns Ruskin further: "But then, though he shows how little he understands the ode, in speaking of Wordsworth as content with such intimations, he undoubtedly does touch the weak chord in what, but for that weak chord, would be one of the greatest of all monuments of human genius... But any one to whom Wordsworth's great ode is the very core of that body of poetry which makes up the best part of his imaginative life, will be as much astonished to find Mr. Ruskin speaking of it so blindly and unmeaningly as he does". 1219:, towards the end of the 19th century, provided short analyses of various writers in his "Nature and Literature" essays collected in "Art and Life: a Ruskin Anthology". In speaking of Wordsworth, Ruskin claimed, "Wordsworth is simply a Westmoreland peasant, with considerably less shrewdness than most border Englishmen or Scotsmen inherit; and no sense of humor; but gifted... with vivid sense of natural beauty, and a pretty turn for reflection, not always acute, but, as far as they reach, medicinal to the fever of the restless and corrupted life around him." After mocking the self-reflective nature of Wordsworth's poetry, he then declared that the poetry was "Tuneful nevertheless at heart, and of the heavenly choir, I gladly and frankly acknowledge him; and our English literature enriched with a new and singular virtue in the aerial purity and healthful rightness of his quiet song;—but 1113:. When discussing the poem, Talfourd declared that the ode "is, to our feelings, the noblest piece of lyric poetry in the world. It was the first poem of its author which we read, and never shall we forget the sensations which it excited within us. We had heard the cold sneers attached to his name... and here – in the works of this derided poet – we found a new vein of imaginative sentiment open to us – sacred recollections brought back to our hearts with all the freshness of novelty, and all the venerableness of far-off time". When analysing the relationship between infants and the divine within the poem, the article continued: "What a gift did we then inherit! To have the best and most imperishable of intellectual treasures – the mighty world of reminiscences of the days of infancy – set before us in a new and holier light". 948: 1057:, those that "Wordsworth has beautifully told us, that to him '--the meanest flow'r that blows can give/ Thoughts that do often lie too deep for tears", Hunt claims, "I have no doubt of it; and far be it from me to cast stones into the well in which they lie,-- to disturb those reposing waters,-- that freshness at the bottom of warm hearts,-- those thoughts, which if they are too deep for tears, are also, in their best mood, too tranquil even for smiles. Far be it also from me to hinder the communication of such thoughts to mankind, when they are not sunk beyond their proper depth, so as to make one dizzy in looking down to them." Following Hunt, William Hazlitt, a critic and Romantic writer, wrote a series of essays called "Character of Mr. Wordsworth's New Poems" in three parts, starting in the 21 August 1814 1061:. Although Hazlitt treated Wordsworth's poetry fairly, he was critical of Wordsworth himself and he removed any positive statements about Wordsworth's person from a reprint of the essays. The 2 October 1814 essay examined poetry as either of imagination or of sentiment, and quotes the final lines of the poem as an example of "The extreme simplicity which some persons have objected to in Mr. Wordsworth's poetry is to be found only in the subject and style: the sentiments are subtle and profound. In the latter respect, his poetry is as much above the common standard or capacity, as in the other it is below it... We go along with him, while he is the subject of his own narrative, but we take leave of him when he makes pedlars and ploughmen his heroes and the interpreters of his sentiments." 679:. What is missing in Origen's platonic system is Wordsworth's emphasis on childhood, which could be found in the beliefs of the Cambridge Platonists and their works, including Henry Vaughan's "The Retreate". Even if the idea is not Christian, it still cannot be said that the poem lacks a theological component because the poem incorporates spiritual images of natural scenes found in childhood. Among those natural scenes, the narrator includes a Hebrew prayer-like praise of God for the restoration of the soul to the body in the morning and the attributing of God's blessing to the various animals he sees. What concerns the narrator is that he is not being renewed like the animals and he is fearful over what he is missing. This is similar to a fear that is provided at the beginning of 1319:, are "incontestably among the poet's greatest works". Susan Wolfson, in the same year, claimed that "the force of the last lines arises from the way the language in which the poet expresses a resolution of grief at the same time renders a metaphor that implies that grief has not been resolved so much as repressed and buried. And this ambiguity involves another, for Wordsworth makes it impossible to decide whether the tension between resolution and repression... is his indirect confession of a failure to achieve transcendence or a knowing evasion of an imperative to do so." After performing a Freudian-based analysis of the ode, William Galperin, in 1989, argues that "Criticism, in short, cannot accept responsibility for 655: 1268:... belongs to the transition at its critical phase, and contains decided elements of the living." He continued, "But these do not lessen the dissatisfaction that one feels with the movement—the movement that makes the piece an ode in the Grand Style; for, as one reads, it is in terms of the movement that the strain, the falsity, first asserts itself. The manipulations by which the change of mood are indicated have, by the end of the third stanza, produced an effect that, in protest, one described as rhythmic vulgarity..., and the strain revealed in technique has an obvious significance". In 1939, Basil Willey argued that the poem was "greatly superior, as poetry, to its psychological counterpart in 287: 862: 1327: 1173: 1205: 1103:"Of the genius of Mr Wordsworth, in short, it is now in the hands of every man to judge freely and fully, and for himself. Our own opinion, ever since this Journal commenced, has been clearly and entirely before them; and if there be any one person, on whose mind what we have quoted now, is not enough to make an impression similar to that which our own judgment had long before received – we have nothing more to say to that person in regard to the subject of poetry." In discussing the ode in particular, the review characterised the poem as "one of the grandest of his early pieces". In December 1820 came an article in the 1243:, is the full, the perfect Wordsworth, with his half-pantheistic worship of nature, informed and chastened by an intense sense of human conduct, of reverence and almost of humbleness, displayed in the utmost poetic felicity. And these two are accordingly among the great poems of the world. No unfavorable criticism on either – and there has been some, new and old, from persons in whom it is surprising, as well as from persons in whom it is natural – has hurt them, though it may have hurt the critics. They are, if not in every smallest detail, yet as wholes, invulnerable and imperishable. They could not be better done." 326:, and others, focus on individuals that protect themselves from a sense of loss by turning to nature or time. He also rejects any kind of fantasy that would take him away from reality while accepting both death and the loss of his own abilities to time while mourning over the loss. However, the elegy is traditionally a private poem while Wordsworth's ode is more public in nature. The poem is also related to the genre of apocalyptic writing in that it focuses on what is seen or the lack of sight. Such poems emphasise the optical sense and were common to many poems written by the Romantic poets, including his own poem 710:. Of his childhood, Wordsworth told Catherine Clarkson in an 1815 letter that the poem "rests entirely upon two recollections of childhood, one that of a splendour in the objects of sense which is passed away, and the other an indisposition to bend to the law of death as applying to our particular case.... A Reader who has not a vivid recollection of these feelings having existed in his mind in childhood cannot understand the poem." Childhood, therefore, becomes a means to exploring memory, and the imagination, as Wordsworth claims in the letter, is connected to man's understanding of immortality. In a letter to 687:. As for the understanding of the soul contained within the poem, Wordsworth is more than Platonic in that he holds an Augustinian concept of mercy that leads to the progress of the soul. Wordsworth differs from Augustine in that Wordsworth seeks in the poem to separate himself from the theory of solipsism, the belief that nothing exists outside of the mind. The soul, over time, exists in a world filled with the sublime before moving to the natural world, and the man moves from an egocentric world to a world with nature and then to a world with mankind. This system links nature with a renewal of the self. 619:. Coleridge's answer was to claim that the glory was the soul and it is a subjective answer to the question. Wordsworth took a different path as he sought to answer the poem, which was to declare that childhood contained the remnants of a beatific state and that being able to experience the beauty that remained later was something to be thankful for. The difference between the two could be attributed to the differences in the poets' childhood experiences; Coleridge suffered from various pain in his youth whereas Wordsworth's was far more pleasant. It is possible that Coleridge's earlier poem, 3204: 917: 849: 435: 357: 150: 642:, but he lacks the generous treatment of the narrator as found in Coleridge's poems. As a whole, Wordsworth's technique is impersonal and more logical, and the narrator is placed in the same position as the object of the conversation. The narrator of Wordsworth is more self-interested and any object beyond the narrator is kept without a possible voice and is turned into a second self of the poet. As such, the conversation has one of the participants lose his identity for the sake of the other and that individual represents loss and mortality. 1022:. In the review, he partially condemns Wordsworth's emphasis in the ode on children being connected to the divine: "His occasional lapses into childish and trivial allusion may be accounted for, from the same tendency. He is obscure, when he leaves out links in the chain of association, which the reader cannot easily supply... In his descriptions of children this is particularly the case, because of his firm belief in a doctrine, more poetical perhaps, than either philosophical or christian, that 'Heaven lies about us in our infancy.'" 1034: 659:, the reincarnation of the soul from person to person, and Wordsworth later explained that the poem was not meant to be regarded as a complete philosophical view: "In my Ode... I do not profess to give a literal representation of the state of the affections and of the moral being in childhood. I record my feelings at that time,--my absolute spirituality, my 'all-soulness,' if I may so speak. At that time I could not believe that I should lie down quietly in the grave, and that my body would moulder into dust." 1184:, the spring-like hope and confidence which enables a man to advance joyously towards new discovery of truth. But the poet of 'Tintern Abbey' and the 'Ode on Intimations of Immortality' and the 'Prelude' is Wordsworth in his period of highest energy and imaginative light". Matthew Arnold, in his preface to an 1879 edition of Wordsworth's poetry, explains that he was a great lover of the poems. However, he explains why he believed that the ode was not one of the best: "I have a warm admiration for 1142:, claimed that the poem "There are torpid places in his mind, there is something hard and sterile in his poetry, want of grace and variety, want of due catholicity and cosmopolitan scope: he had conformities to English politics and tradition; he had egotistic puerilities in the choice and treatment of his subjects; but let us say of him, that, alone in his time he treated the human mind well, and with an absolute trust. His adherence to his poetic creed rested on real inspirations." The editor of 634:. The poems were not real conversations as there is no response to the narrator of the poem, but they are written as if there would be a response. The poems seek to have a response, though it never comes, and the possibility of such a voice though absence is a type of prosopopoeia. In general, Coleridge's poems discuss the cosmic as they long for a response, and it is this aspect, not a possible object of the conversation, that forms the power of the poem. Wordsworth took up the form in both 811: 841:: or even to a ship, or to the wind and waves that propel it? The omnipresent Spirit works equally in them, as in the child; and the child is equally unconscious of it as they." The knowledge of nature that Wordsworth thinks is wonderful in children, Coleridge feels is absurd in Wordsworth since a poet couldn't know how to make sense of a child's ability to sense the divine any more than the child with a limited understanding could know of the world. I. A. Richards, in his work 1201: 1065: 714:, he explained his particular feelings about immortality that he held when young: "I was often unable to think of external things as having external existence, and I communed with all that I saw as something not apart from, but inherent in, my own immaterial nature." These feelings were influenced by Wordsworth's own experience of loss, including the death of his parents, and may have isolated him from society if the feelings did not ease as he matured. 1146:, George William Curtis, praised the ode in his December 1859 column "Editor's Easy Chair" and claimed that "it was Wordsworth who has written one of the greatest English poets... For sustained splendor of imagination, deep, solemn, and progressive thought, and exquisite variety of music, that poem is unsurpassed. Since Milton's 'Ode upon the Nativity' there is nothing so fine, not forgetting Dryden, Pope, Collins, and the rest, who have written odes." 40: 995: 956: 1084: 1331:--all overlie a streaming infrashape, but Wordsworth, like the other Romantics, seemed virtually hypnotized by the idea of running water." After analysing the Wordsworth's incorporation of childhood memories into the ode, G. Kim Blank, in 1995, argued, "It is the recognition and finally the acceptance of his difficult feelings that stand behind and in the greatness and power of the 1150: 608:, a poem that describes the qualities needed to become a great poet. The poem argued that a poet should not be excessive or irresponsible in behaviour and contains a sense of assurance that is not found within the original four stanzas. Instead, there is a search for such a feeling but the poem ends without certainty, which relates the ode to Coleridge's poem 1117: 594:, and the ode contains feelings of regret that the experience must end. This regret is joined with feelings of uneasiness that he no longer feels the same way he did as a boy. The ode reflects Wordsworth's darker feelings that he could no longer return to a peaceful state with nature. This gloomy feeling is also present in 1299: 982: 793:, describes a reality that would be the best that could be developed but always has the suffering, death, and change. John Keats developed an idea called "the Burden of the Mystery" that emphasizes the importance of suffering in the development of man and necessary for maturation. However, Coleridge's 1298: 1223: 1102: 1017: 524: 367: 1172: 612:. When read together, Coleridge's and Wordsworth's poem form a dialogue with an emphasis on the poet's relationship with nature and humanity. However, Wordsworth's original four stanzas describing a loss is made darker in Coleridge and, to Coleridge, only humanity and love are able to help the poet. 394: 262: 99: 1339: 1200: 1052: 1025: 981: 947: 654: 413: 286: 848: 662: 589: 1326: 1294: 480: 1343: 1125: 880: 547: 213:". In early 1804, Wordsworth was able to return his attention to working on the ode. It was a busy beginning of the year with Wordsworth having to help Dorothy recover from an illness in addition to writing his poems. The exact time of composition is unknown, but it probably followed his work on 1289: 184: 175: 670: 79: 797: 1116: 627:, describes the pain and suffering of life as able to dull the memory of early joy from nature but it is unable to completely destroy it. The suffering leads Wordsworth to recognise what is soothing in nature, and he credits the pain as leading to a philosophical understanding of the world. 108: 781:, Wordsworth concluded that he gives thanks that was able to gain even though he lost his vision of the joy in the world, but in the later work he tones down his emphasis on the gain and provides only a muted thanks for what remains of his ability to see the glory in the world. 825:, that Wordsworth was trying to be a prophet in an area that he could have no claim to prophecy. In his analysis of the poem, Coleridge breaks down many aspects of Wordsworth's claims and asks, "In what sense can the magnificent attributes, above quoted, be appropriated to a 1348:(not the depth of 'Tintern Abbey'), and for that reason the metaphor comes easily when one speaks of the Intimations Ode as a high point in Wordsworth's career, to be highlighted in any new addition as a pinnacle of accomplishment, a poem of the transcendental imagination 744: 765:, Wordsworth argued that people have intimations that there is an immortal aspect of their life and that without such feelings that joy could not be felt in the world. The argument and the ideas are similar to many of the statements in the ode along with those in 706:, places an emphasis on how an adult develops from a child and how being absorbed in nature inspires a deeper connection to humanity. The ode focuses not on Dorothy or on Wordsworth's love, Mary Hutchinson, but on himself and is part of what is called his 309: 623:(1800) influenced the opening of the ode and that discussions between Dorothy and Wordsworth about Coleridge's childhood and painful life were influences on the crafting of the opening stanza of the poem. However, the message in the ode, as with 509: 124: 1272:" but also said that "the semi-Platonic machinery of pre-existence... seems intrusive, and foreign to Wordsworth" before concluding that the poem was the "final and definitive expression to the most poignant experience of his poetic life". 1026: 1264:(1936), argued that "Criticism of Stanza VIII ... has been permissible, even correct, since Coleridge's time. But the empty grandiosity apparent there is merely the local manifestation of a general strain, a general factitiousness. The 209:, 3 April 1802, Wordsworth recited the four stanzas of the ode that were completed. The poem impressed Coleridge, and, while with Wordsworth, he was able to provide his response to the ode's question within an early draft of his poem, " 1075: 733:. The idea allows the narrator to claim that people are weighed down by the roles they play over time. The narrator is also able to claim through the metaphor that people are disconnected from reality and see life as if in a dream. 368: 740:, completed at the same time in 1804. The poems describe Wordsworth's assessment of his poetry and contains reflections on conversations held between Wordsworth and Coleridge on poetry and philosophy. The basis of the 197: 230:, under the title "Ode". It was the last poem of the second volume of the work, and it had its own title page separating it from the rest of the poems, including the previous poem "Peele Castle". Wordsworth added an 1335:, both as a personal utterance and a universal statement. It is no accident that Wordsworth is here most eloquent. Becoming a whole person is the most powerful statement any of us can ever made. Wordsworth in the 784: 1168:(1873), he credited Wordsworth's poetry as being able to relieve his mind and overcome a sense of apathy towards life. Of the poems, he particularly emphasised both Wordsworth's 1815 collection of poetry and the 1323:'s failings any more than it is likely to attribute the success of the 'Intimations Ode' to the satisfaction it offers in seeing a sense of entitlement, or self-worth, defended rather than challenged." 141: 1344: 242: 1307: 1180:, discussed the Transcendental Movement and the nature of the Romantic poets. when referring to Wordsworth and the ode, he claimed: "Wordsworth in his later years lost, as he expresses it, 67: 1134: 845:(1934), responds to Coleridge's claims by asking, "Why should Wordsworth deny that, in a much less degree, these attributes are equally suitable to a bee, or a dog, or a field of corn?" 1303:, by contrast, rich in phrases that have entered the language and provided titles for other people's books, is Wordsworth's greatest achievement in rhythm and cadence. Together with 821: 789:, which means that "life is growth" but it implies that there is also loss within life. To Wordsworth, the loss brought about enough to make up for what was taken. Shelley, in his 3352: 1391: 129:, dismissing the work without analysis. The critics felt that Wordsworth's subject matter was too "low" and some felt that the emphasis on childhood was misplaced. Among the 952:, that praised Wordsworth when he was least Romantic in his poetry. He believed that Wordsworth's greatest weakness was portraying the low aspects of life in a lofty tone. 1018: 943: 3299: 736: 3156: 1251: 3415: 1311: 161: 201: 525: 3278: 3608: 615: 121:. Wordsworth's praise of the child as the "best philosopher" was criticised by Coleridge and became the source of later critical discussion. 1260: 3271: 802:, and Keats relies on Wordsworth's interrogative technique in many of his poems, but he discards the egocentric aspects of the questions. 3174: 861: 757:, but the light in the latter poem is seen as an illusion and stands in opposition to the ode's ideas. In an 1809 essay as part of his 3257: 31: 17: 1176: 777: 1204: 3188: 3149: 3520: 698: 3443: 3222: 932: 564: 314: 258: 3203: 3429: 3378: 920: 217:, which consumed much of February and was finished on 17 March. Many of the lines of the ode are similar to the lines of 446: 3366: 3264: 916: 3408: 3142: 434: 414: 356: 345: 707: 149: 3449: 3345: 1224: 1033: 91: 853:, we learn not only Wordsworth's strong and weak points but also the qualities that most interest Coleridge." 3525: 3338: 3041: 970: 959: 814: 68: 1005: 1118: 1045: 1037: 202: 194: 3331: 1383: 998: 328: 231: 193: 59: 39: 221: 810: 3231: 1110: 1105: 1099: 1087: 361: 341: 247: 226: 117: 282:. The lengths of the lines and of the stanzas vary throughout the text, and the poem begins with an 3613: 3422: 1135: 894: 865: 585: 3515: 3493: 3165: 296: 153: 54: 1064: 3394: 3286: 1378: 442: 333: 251: 210: 72: 1164: 3587: 3546: 1161: 1153: 711: 3510: 3359: 3213: 300: 92: 3552: 3530: 3436: 3372: 3292: 3251: 1361: 1275: 994: 955: 656: 319: 291: 3602: 3468: 3238: 600: 288: 134: 101: 1083: 3558: 3387: 3313: 1231: 3078: 1235:(1898), declared the importance and greatness of the ode: "Perhaps twice only, in 650: 1013:, he connects the intention and imagery found within Coleridge's poem to that in 3570: 3475: 3128: 1216: 1208: 924: 773:, and "We Are Seven". He would also return directly to the ode in his 1817 poem 283: 138: 130: 111: 3564: 3306: 3193: 1068: 630: 224: 190: 189: 177: 126: 96: 965: 3245: 2837:, Vol. XX (December 1859 – May 1860). New York: Harper & Brothers, 1860. 2728:"15. Mrs. Benjamin Pantier. Masters, Edgar Lee. 1916. Spoon River Anthology" 1253: 1149: 897:, a fellow Romantic poet but not an associate of Wordsworth's, responded to 443: 246:(1815). The reprinted version also contained an epigraph that, according to 84: 676: 272: 1094: 939:, originally favoured Wordsworth's poetry following the publication of 279: 206: 181: 88: 51:"Ode: Intimations of Immortality from Recollections of Early Childhood" 3087: 2727: 3134: 905: 753:. In terms of use of light as a central image, the ode is related to 672: 303: 292: 186: 64: 53:(also known as "Ode", "Immortality Ode" or "Great Ode") is a poem by 18: 1121: 1044: 675: 2858:, Vol. XXX (June–November 1877). London: Strahan and Company, 1877. 1203: 1148: 1082: 1063: 1032: 993: 954: 915: 860: 809: 726: 433: 355: 311: 259: 148: 38: 559: 63:(1807). The poem was completed in two parts, with the first four 389: 133: 105: 3138: 575: 3054: 2854: 318: 275: 76: 2893:. Ed. Harold Bloom. New York: Chelsea House Publishers, 1985. 1109: 1048:, a second-generation Romantic poet, added notes to his poem 775: 542: 504: 408: 548: 250:, was added at Crabb's suggestion. The epigraph was from " 1196: 604:. Of the other 1802 poems, the ode is different from his 519: 205:. Close to the time Wordsworth and Coleridge climbed the 429: 2900:. Philadelphia: University of Pennsylvania Press, 1989. 100: 2788:. Madison: Fairleigh Dickinson University Press, 1995. 876: 438: 1792: 1790: 1649: 1647: 1424: 1422: 1282: 3580: 3539: 3503: 3485: 3458: 3323: 3211: 3181: 2338: 2336: 2334: 1387:, the character Mrs. Benjamin Pantier mentions the 1436: 1434: 829:, which would not make them equally suitable to a 515:Full soon thy Soul shall have her earthly freight, 137:, most reviews of the ode were positive with only 3082:. Vol 26 (July–December). London: T. Cadel, 1829. 2488: 2486: 2413: 2411: 2106: 2104: 2102: 1696: 1694: 1672: 1670: 1668: 1412: 1410: 1408: 406:The cataracts blow their trumpets from the steep; 1867: 1865: 494:That, deaf and silent, read'st the eternal deep, 373:There was a time when meadow, grove, and stream, 3033:. New Brunswick, Rutgers University Press, 1989 3017:Wordsworth and the Formation of English Studies 3005:Vol. II. Oxford: Oxford University Press, 1968. 2886:. New Haven : Yale University Press, 2008. 2833:Curtis, George William. "Editor's Easy Chair", 2767:. Columbia: University of Missouri Press, 2003. 1708: 1706: 1684: 1682: 817:, friend of Wordsworth and fellow Romantic poet 159: 2970:. Princeton: Princeton University Press, 1998. 2956:. Cambridge: Cambridge University Press, 1986. 2889:Ferguson, Frances. "The 'Immortality Ode'" in 2865:. Cambridge: Cambridge University Press, 1970. 2823:. New York: Harcourt, Brace & World, 1947. 2216: 2214: 2195: 2193: 2147: 2145: 2143: 1502: 1500: 1001:, nephew of Samuel Taylor Coleridge and lawyer 571:Thanks to its tenderness, its joys, and fears, 473:But He beholds the light, and whence it flows, 299:, and the ode contains what is reminiscent of 3300:Lines Written a Few Miles above Tintern Abbey 3150: 2975:William Wordsworth: Intensity and Achievement 2942:. New York: W. W. Norton & Company, 2001. 2931:Hutton, Richard. "Mr. Ruskin on Wordsworth", 2760:. New York: W. W. Norton & Company, 1973. 1192:; but if I am to tell the very truth, I find 453:The Soul that rises with us, our life's Star, 421:Both of them speak of something that is gone: 256:The Miscellaneous Poems of William Wordsworth 8: 3051:. Cambridge: Harvard University Press, 1986. 2989:Wordsworth, Shelley, Keats, and Other Essays 2954:Wordsworth's Great Period Poems: Four Essays 2914:II. New York: Charles Scribner's Sons, 1916. 2781:. New York: Columbia University Press, 1978. 573:To me the meanest flower that blows can give 553:The Clouds that gather round the setting sun 402:A timely utterance gave that thought relief, 569:Thanks to the human heart by which we live, 502:Which we are toiling all our lives to find, 3416:On the Extinction of the Venetian Republic 3157: 3143: 3135: 3073:Wordsworth: Poet of Nature and Poet of Man 2935:, Volume 32. New York: E. R. Pelton, 1880. 557:That hath kept watch o'er man's mortality; 540:And see the Children sport upon the shore, 451:Our birth is but a sleep and a forgetting: 400:To me alone there came a thought of grief: 43:Poem's title page from 1815 collection of 30:For the musical work by Gerald Finzi, see 3107:William Wordsworth: The Critical Heritage 3102:. Ithaca: Cornell University Press, 1986. 2921:. New Haven: Yale University Press, 1964. 2816:. New Haven: Yale University Press, 1975. 2795:. Ithaca: Cornell University Press, 1993. 534:Our Souls have sight of that immortal sea 486:Thou, whose exterior semblance doth belie 469:Shades of the prison-house begin to close 3061:. New York: The Macmillan Company, 1898. 2998:. Oxford: Oxford University Press, 1968. 2907:. Oxford: Oxford University Press, 1989. 2884:Wordsworth and the Poetry of What We Are 2872:. Oxford: Oxford University Press, 1992. 2802:. Oxford: Oxford University Press, 1949. 1009:. Though it was a review of his uncle's 490:Thou best Philosopher, who yet dost keep 419:A single Field which I have looked upon, 3112:Wordsworth, Dorothy (ed. Pamela Woof). 1404: 517:And custom lie upon thee with a weight, 496:Haunted for ever by the eternal mind, — 492:Thy heritage, thou Eye among the blind, 463:But trailing clouds of glory do we come 383:It is not now as it hath been of yore;— 381:The glory and the freshness of a dream. 360:1804 holograph copy of Stanza I–III by 271:The poem uses an irregular form of the 3279:Three years she grew in sun and shower 2926:William Wordsworth and the Mind of Man 1290:stated, "Wordsworth once spoke of the 75:", in April. The fourth stanza of the 3059:A Short History of English Literature 3026:. London: Routledge & Paul, 1962. 1241:Ode on the Intimations of Immortality 1233:A Short History of English Literature 555:Do take a sober colouring from an eye 475:He sees it in his joy; (lines 58–70) 238:". The Latin phrase is from Virgil's 57:, completed in 1804 and published in 7: 3272:Strange fits of passion have I known 2898:Revision and Authority in Wordsworth 467:Heaven lies about us in our infancy! 427:Whither is fled the visionary gleam? 71:, who responded with his own poem, " 3114:The Grasmere and Alfoxden Journals. 3258:She dwelt among the untrodden ways 2991:. London: Macmillan and Co., 1875. 2949:. London: Chatto and Windus, 1936. 1449:Wordsworth ed. Woof (2002) p. 82-3 375:The earth, and every common sight, 263:the removal of lines 140 and 141. 32:Intimations of Immortality (Finzi) 25: 3109:Vol I. New York: Routledge, 2001. 3075:. Boston: Ginn and Company, 1912. 3008:Noyes, Russell and Hayden, John. 2982:William Wordsworth: A Poetic Life 1071:, second-generation Romantic poet 1040:, second-generation Romantic poet 977:no purpose at all, and certainly 868:, second-generation Romantic poet 530:Hence in a season of calm weather 95:, and aspects of the elegiac and 3521:Christopher Wordsworth (brother) 3353:Composed upon Westminster Bridge 3202: 3038:Art and Life: A Ruskin Anthology 2928:. New York: Bibli O'Phile, 1992. 2814:Wordsworth's "Natural Methodism" 176:Wordsworth's recalling both the 3549:(birthplace and childhood home) 3402:Ode: Intimations of Immortality 2879:. New York: Viking Press, 1983. 2863:Wordsworth and the Great System 2842:William Wordsworth: A Biography 2772:Wordsworth: A Re-Interpretation 1170:Ode: Intimations of Immortality 1090:, writer, biographer and critic 1055:Ode: Intimations of Immortality 1053:quoting the final lines of the 911:Ode: Intimations of Immortality 874:Ode: Intimations of Immortality 779:Ode: Intimations of Immortality 751:Ode: Intimations of Immortality 696:Ode: Intimations of Immortality 640:Ode: Intimations of Immortality 538:Can in a moment travel thither, 455:Hath had elsewhere its setting, 3444:Character of the Happy Warrior 3080:Blackwood's Edinburgh Magazine 3044:). New York: John Alden, 1886. 2830:II. London: Rest Renner, 1817. 2779:Wordsworth and the Human Heart 1280:Ode: Intimation of Immortality 1123:Blackwood's Edinburgh Magazine 1096:Blackwood's Edinburgh Magazine 1015:Ode: Intimation of Immortality 379:Apparelled in celestial light, 254:". In 1820, Wordsworth issued 1: 3430:The World Is Too Much with Us 3379:I travelled among unknown men 3095:. Denver: Alan Swallow, 1967. 2919:Wordsworth's Poetry 1787–1814 2835:Harper's New Monthly Magazine 2765:Romanticism and Transcendence 1144:Harper's New Monthly Magazine 500:On whom those truths do rest, 3609:Poetry by William Wordsworth 3367:I Wandered Lonely as a Cloud 3265:A slumber did my spirit seal 3116:Oxford University Press 2002 2663:Noyes and Hayden 1991 p. 115 2654:Noyes and Hayden 1991 p. 110 1841:Calvert 1878 qtd pp. 202–203 1340:Wordsworthian valediction." 903:Monthly Literary Recreations 459:Not in entire forgetfulness, 3516:Dorothy Wordsworth (sister) 3409:Resolution and Independence 3019:. Aldershot: Ashgate, 2004. 2851:. New York: Columbia, 1984. 2849:The Rhetoric of Romanticism 2844:. New York: Atheneum, 1980. 2292:Woof 2001 qtd. pp. 757, 758 606:Resolution and Independence 498:Mighty Prophet! Seer blest! 461:And not in utter nakedness, 346:Hymn to Intellectual Beauty 338:Rime of the Ancient Mariner 3630: 3511:Dora Wordsworth (daughter) 2984:. New York: Fordham, 1997. 2977:. Oxford: Clarendon, 1992. 2968:Reading Public Romanticism 2963:. London: Blackwell, 1950. 2905:William Wordsworth: A Life 2826:Coleridge, Samuel Taylor. 2809:. London: Macmillan, 1909. 2758:Naturalism Supernaturalism 2310:Woof 2001 qtd. pp. 869–870 2274:Eilenberg 1992 pp. 179–182 2119:Woof 2001 qtd. pp. 169–170 2042:Eilenberg 1992 pp. 178–179 2006:Gill 1989 pp. 279, 324–325 881:reviews were found in the 717:Like the two other poems, 465:From God, who is our home: 425:Doth the same tale repeat: 234:just before publication, " 29: 27:Poem by William Wordsworth 3346:The White Doe of Rylstone 3200: 3172: 3068:. New York: Viking, 2007. 2807:Oxford Lectures on Poetry 2690:Mahoney 1997 pp. 197, 202 2096:Mahoney 1997 pp. 167, 197 1859:Ferguson 1985 pp. 137–138 1850:Moorman II 1968 pp. 21–22 1814:Moorman II 1968 pp. 20–21 1757:Johnston 2001 pp. 558–559 1494:Moorman II 1968 pp. 19–20 935:lawyer and editor of the 761:for Coleridge's journal, 185:immortal presence within 83:The poem is an irregular 3100:The Questioning Presence 3031:Wordsworth and Coleridge 3024:Coleridge on Imagination 2800:The Romantic Imagination 2774:. London: Longman, 1965. 2636:Wolfson 1986 pp. 172–173 2033:Wolfson 1986 pp. 198–203 1907:Hartman 1964 pp. 274–277 1880:Brantley 1975 qtd p. 125 1805:Eilenberg 1992 pp. 22–25 1775:Moorman 1968 pp. 528–530 1748:Moorman 1968 pp. 530–532 1569:Eilenberg 1992 pp. 22–24 1560:Mahoney 1997 pp. 197–202 1485:Moorman 1968 pp. 528–529 1458:Moorman 1968 pp. 525–528 891:Literary Annual Register 843:Coleridge on Imagination 805: 590:same event found in his 536:Which brought us hither, 532:Though inland far we be, 170:, Saturday 27 March 1802 3526:Samuel Taylor Coleridge 3012:. Boston: Twayne, 1991. 2870:Strange Power of Speech 2555:Mallarby 1960 pp. 64–65 2528:Brooks 1947 pp. 143–144 2501:Willey, 1939 p. 288-289 2369:Abrams 1973 qtd. p. 136 2328:Harper 1916 qtd. p. 341 2078:Brooks 1945 pp. 142–143 2015:Abrams 1973 pp. 444–445 1934:Mahoney 1997 qtd p. 198 1823:Moorman 1968 qtd. p. 21 1614:Magnuson 1998 pp. 33–35 1524:Magnuson 1998 pp. 32–33 1476:Sisman 2007 pp. 344–345 960:James Montgomery (poet) 815:Samuel Taylor Coleridge 385:Turn wheresoe'er I may, 69:Samuel Taylor Coleridge 3042:William Sloane Kennedy 2875:Emerson, Ralph Waldo. 2786:Wordsworth and Feeling 2453:Saintsbury 1898 p. 660 1889:Ruoff 1989 pp. 253–257 1796:Blank 1995 pp. 212–213 1721:Bloom 1993 pp. 176–177 1653:Bloom 1993 pp. 171–172 1623:Sacks 1987 pp. 144–145 1578:Bloom 1993 pp. 170–171 1395:runs in your ears..." 1212: 1157: 1119:Chauncy Hare Townshend 1091: 1072: 1041: 1002: 962: 928: 869: 818: 578: 562: 545: 522: 507: 478: 439: 432: 411: 404:And I again am strong: 392: 364: 173: 157: 47: 3332:Poems, in Two Volumes 2961:Wordsworth, A Tribute 2940:The Hidden Wordsworth 2877:Essays & Lectures 2793:The Visionary Company 2627:Levinson 1986 pp. 4–5 2618:Gill 1989 pp. 226–227 2564:Moorman II 1968 p. 23 2444:Anonymous 1880 p. 597 2342:Townshend 1829 p. 778 2319:Woof 2001 qtd. p. 870 2283:Woof 2001 qtd. p. 974 2265:Coleridge 1817 p. 114 2220:Woof 2001 qtd. p. 807 2208:Woof 2001 pp. 794–795 2187:Woof 2001 qtd. p. 241 2178:Woof 2001 pp. 421–422 2169:Woof 2001 qtd. p. 213 2160:Woof 2001 qtd. p. 210 2151:Woof 2001 qtd. p. 199 2087:Eilenberg 1992 p. 181 2060:Eilenberg 1992 p. 179 2051:Coleridge 1817 p. 113 1988:Gill 1989 pp. 227–229 1979:Rzepka 1986 pp. 40–41 1970:Hayden 1992 pp. 41–44 1961:Beer 1978 pp. 107–108 1943:Beer 1978 pp. 105–107 1784:Moorman 1968 II p. 24 1384:Spoon River Anthology 1215:The Victorian critic 1207: 1152: 1098:, possible by either 1086: 1067: 1036: 999:John Taylor Coleridge 997: 958: 919: 864: 813: 708:"egotistical sublime" 566: 550: 527: 512: 488:Thy Soul's immensity; 483: 471:Upon the growing Boy, 457:And cometh from afar: 448: 437: 416: 397: 370: 359: 227:Poems, in Two Volumes 152: 60:Poems, in Two Volumes 42: 3232:Anecdote for Fathers 3057:Saintsbury, George. 2952:Levinson, Marjorie. 2828:Biographia Literaria 2821:The Well Wrought Urn 2672:McFarland 1992 p. 40 2546:Bowra 1949 pp. 76–77 2238:Woof2001 pp. 367–368 2229:Woof 2001 qtd p. 336 2069:Richards 1962 p. 135 1952:Beer 1978 qtd p. 107 1898:Brantley 1975 p. 151 1766:Barth 2003 pp. 82–87 1416:Brantley 1975 p. 109 1284:The Well Wrought Urn 1111:Thomas Noon Talfourd 1106:New Monthly Magazine 1078:Biographia Literaria 909:. When referring to 899:Poems in Two Volumes 878:Poems in Two Volumes 823:Biographia Literaria 806:Coleridge's analysis 759:Essays upon Epitaphs 691:Childhood and growth 423:The Pansy at my feet 342:Percy Bysshe Shelley 248:Henry Crabb Robinson 236:paulò majora canamus 168:The Grasmere Journal 166:Dorothy Wordsworth, 104:, the idea that the 3423:The Solitary Reaper 3293:Michael, a Pastoral 2973:McFarland, Thomas. 2938:Johnston, Kenneth. 2917:Hartman, Geoffrey. 2896:Galperin, William. 2861:Durrant, Geoffrey. 2856:Contemporary Review 2812:Brantley, Richard. 2645:Galperin 1989 p. 29 2582:Durrant 1970 p. 107 2573:Winters 1967 p. 172 2462:Bradley 1909 p. 117 2396:Arnold 1917 p. xxiv 2351:Emerson 1983 p. 928 2110:Mahoney 1997 p. 167 1997:Magnuson 1998 p. 32 1925:Bateson 1965 p. 160 1739:Mahoney 1997 p. 202 1700:Mahoney 1997 p. 201 1676:Mahoney 1997 p. 200 1662:Mahoney 1997 p. 199 1632:Magnuson 1998 p. 35 1596:Hartman 1964 p. 275 1587:Hartman 1964 p. 274 1533:Wolfson 1986 p. 173 1467:Moorman 1968 p. 528 1178:Contemporary Review 1138:, in his 1856 work 1136:Ralph Waldo Emerson 1130:Victorian responses 931:Francis Jeffrey, a 901:, in a 3 July 1807 895:George Gordon Byron 866:George Gordon Byron 800:The Triumph of Life 665:The Triumph of Life 348:" and "The Zucca". 3494:Guide to the Lakes 3166:William Wordsworth 3093:Forms of Discovery 3010:William Wordsworth 3003:William Wordsworth 2996:William Wordsworth 2959:Mallarby, George. 2912:William Wordsworth 2891:William Wordsworth 2868:Eilenberg, Susan. 2763:Barth, J. Robert. 2699:Sisman 2007 p. 342 2600:Davies 1980 p. 128 2537:Brooks 1947 p. 147 2519:Brooks 1947 p. 139 2510:Brooks 1947 p. 125 2492:Leavis 1936 p. 184 2480:Harper 1916 p. 127 2471:Sneath 1912 p. 204 2435:Hutton 1880 p. 597 2417:Ruskin 1886 p. 509 2387:Dowden 1877 p. 308 2360:Curtis 1860 p. 127 2256:Sisman 2007 p. 345 2024:Sisman 2007 p. 352 1871:De Man 1984 p. 104 1832:Abrams 1973 p. 525 1641:Abrams 1973 p. 376 1605:Abrams 1973 p. 383 1515:Davies 1980 p. 188 1428:Davies 1980 p. 176 1213: 1211:, Victorian critic 1188:and for the great 1158: 1092: 1073: 1050:Feast of the Poets 1042: 1003: 963: 929: 870: 857:Critical reception 819: 791:Prometheus Unbound 596:The Ruined Cottage 440: 365: 329:The Ruined Cottage 322:" poems, parts of 158: 55:William Wordsworth 48: 3596: 3595: 3395:My Heart Leaps Up 3287:The Matthew poems 3047:Rzepka, Charles. 2933:Eclectic Magazine 2819:Brooks, Cleanth. 2805:Bradley, Andrew. 2681:Blank 1995 p. 213 2405:Arnold 1917 p. xx 2137:Woof 2001 pp. 3–4 1730:Bloom 1993 p. 177 1712:Ruoff 1989 p. 249 1688:Bloom 1993 p. 171 1379:Edgar Lee Masters 1346:achieving heights 795:Dejection: An Ode 632:Dejection: An Ode 617:Dejection: an Ode 610:Dejection: An Ode 334:Dejection: An Ode 295:and the works of 252:My Heart Leaps Up 211:Dejection: An Ode 73:Dejection: An Ode 16:(Redirected from 3621: 3588:Wordsworth Trust 3547:Wordsworth House 3450:The Yarrow poems 3206: 3159: 3152: 3145: 3136: 3098:Wolfson, Susan. 3049:The Self as Mind 3022:Richards, I. A. 2966:Magnuson, Paul. 2910:Harper, George. 2840:Davies, Hunter. 2743: 2742: 2740: 2738: 2724: 2718: 2715: 2709: 2706: 2700: 2697: 2691: 2688: 2682: 2679: 2673: 2670: 2664: 2661: 2655: 2652: 2646: 2643: 2637: 2634: 2628: 2625: 2619: 2616: 2610: 2609:Gill 1989 p. 196 2607: 2601: 2598: 2592: 2591:Beer 1978 p. 165 2589: 2583: 2580: 2574: 2571: 2565: 2562: 2556: 2553: 2547: 2544: 2538: 2535: 2529: 2526: 2520: 2517: 2511: 2508: 2502: 2499: 2493: 2490: 2481: 2478: 2472: 2469: 2463: 2460: 2454: 2451: 2445: 2442: 2436: 2433: 2427: 2424: 2418: 2415: 2406: 2403: 2397: 2394: 2388: 2385: 2379: 2378:Mason 1875 p. 39 2376: 2370: 2367: 2361: 2358: 2352: 2349: 2343: 2340: 2329: 2326: 2320: 2317: 2311: 2308: 2302: 2301:Woof 2001 p. 758 2299: 2293: 2290: 2284: 2281: 2275: 2272: 2266: 2263: 2257: 2254: 2248: 2247:Woof 2001 p. 377 2245: 2239: 2236: 2230: 2227: 2221: 2218: 2209: 2206: 2200: 2199:Woof 2001 p. 455 2197: 2188: 2185: 2179: 2176: 2170: 2167: 2161: 2158: 2152: 2149: 2138: 2135: 2129: 2128:Woof 2001 p. 237 2126: 2120: 2117: 2111: 2108: 2097: 2094: 2088: 2085: 2079: 2076: 2070: 2067: 2061: 2058: 2052: 2049: 2043: 2040: 2034: 2031: 2025: 2022: 2016: 2013: 2007: 2004: 1998: 1995: 1989: 1986: 1980: 1977: 1971: 1968: 1962: 1959: 1953: 1950: 1944: 1941: 1935: 1932: 1926: 1923: 1917: 1914: 1908: 1905: 1899: 1896: 1890: 1887: 1881: 1878: 1872: 1869: 1860: 1857: 1851: 1848: 1842: 1839: 1833: 1830: 1824: 1821: 1815: 1812: 1806: 1803: 1797: 1794: 1785: 1782: 1776: 1773: 1767: 1764: 1758: 1755: 1749: 1746: 1740: 1737: 1731: 1728: 1722: 1719: 1713: 1710: 1701: 1698: 1689: 1686: 1677: 1674: 1663: 1660: 1654: 1651: 1642: 1639: 1633: 1630: 1624: 1621: 1615: 1612: 1606: 1603: 1597: 1594: 1588: 1585: 1579: 1576: 1570: 1567: 1561: 1558: 1552: 1551:Gill 1989 p. 477 1549: 1543: 1542:Gill 1989 p. 336 1540: 1534: 1531: 1525: 1522: 1516: 1513: 1507: 1506:Gill 1989 p. 460 1504: 1495: 1492: 1486: 1483: 1477: 1474: 1468: 1465: 1459: 1456: 1450: 1447: 1441: 1440:Beer 1978 p. 105 1438: 1429: 1426: 1417: 1414: 1301:Ode: Intimations 1247:Modern responses 1162:John Stuart Mill 1160:The philosopher 1154:John Stuart Mill 1007:Quarterly Review 971:James Montgomery 950:Edinburgh Review 945:Edinburgh Review 937:Edinburgh Review 923:, critic of the 712:Isabella Fenwick 387:By night or day, 207:Skiddaw mountain 171: 156:at the age of 28 135:Victorian period 21: 3629: 3628: 3624: 3623: 3622: 3620: 3619: 3618: 3599: 3598: 3597: 3592: 3576: 3535: 3499: 3481: 3454: 3360:Elegiac Stanzas 3319: 3225:Lyrical Ballads 3223:Preface to the 3214:Lyrical Ballads 3207: 3198: 3177: 3168: 3163: 3129:audio recording 3124: 3119: 3091:Winters, Yvor. 3085:Willey, Basil. 3071:Sneath, Elias. 3001:Moorman, Mary. 2994:Moorman, Mary. 2980:Mahoney, John. 2903:Gill, Stephen. 2791:Bloom, Harold. 2784:Blank, G. Kim. 2770:Bateson, F. W. 2752: 2747: 2746: 2736: 2734: 2726: 2725: 2721: 2717:Fry 2008 p. 185 2716: 2712: 2708:Fry 2008 p. 184 2707: 2703: 2698: 2694: 2689: 2685: 2680: 2676: 2671: 2667: 2662: 2658: 2653: 2649: 2644: 2640: 2635: 2631: 2626: 2622: 2617: 2613: 2608: 2604: 2599: 2595: 2590: 2586: 2581: 2577: 2572: 2568: 2563: 2559: 2554: 2550: 2545: 2541: 2536: 2532: 2527: 2523: 2518: 2514: 2509: 2505: 2500: 2496: 2491: 2484: 2479: 2475: 2470: 2466: 2461: 2457: 2452: 2448: 2443: 2439: 2434: 2430: 2426:Reid 2004 p. 78 2425: 2421: 2416: 2409: 2404: 2400: 2395: 2391: 2386: 2382: 2377: 2373: 2368: 2364: 2359: 2355: 2350: 2346: 2341: 2332: 2327: 2323: 2318: 2314: 2309: 2305: 2300: 2296: 2291: 2287: 2282: 2278: 2273: 2269: 2264: 2260: 2255: 2251: 2246: 2242: 2237: 2233: 2228: 2224: 2219: 2212: 2207: 2203: 2198: 2191: 2186: 2182: 2177: 2173: 2168: 2164: 2159: 2155: 2150: 2141: 2136: 2132: 2127: 2123: 2118: 2114: 2109: 2100: 2095: 2091: 2086: 2082: 2077: 2073: 2068: 2064: 2059: 2055: 2050: 2046: 2041: 2037: 2032: 2028: 2023: 2019: 2014: 2010: 2005: 2001: 1996: 1992: 1987: 1983: 1978: 1974: 1969: 1965: 1960: 1956: 1951: 1947: 1942: 1938: 1933: 1929: 1924: 1920: 1916:Gill 1989 p. 10 1915: 1911: 1906: 1902: 1897: 1893: 1888: 1884: 1879: 1875: 1870: 1863: 1858: 1854: 1849: 1845: 1840: 1836: 1831: 1827: 1822: 1818: 1813: 1809: 1804: 1800: 1795: 1788: 1783: 1779: 1774: 1770: 1765: 1761: 1756: 1752: 1747: 1743: 1738: 1734: 1729: 1725: 1720: 1716: 1711: 1704: 1699: 1692: 1687: 1680: 1675: 1666: 1661: 1657: 1652: 1645: 1640: 1636: 1631: 1627: 1622: 1618: 1613: 1609: 1604: 1600: 1595: 1591: 1586: 1582: 1577: 1573: 1568: 1564: 1559: 1555: 1550: 1546: 1541: 1537: 1532: 1528: 1523: 1519: 1514: 1510: 1505: 1498: 1493: 1489: 1484: 1480: 1475: 1471: 1466: 1462: 1457: 1453: 1448: 1444: 1439: 1432: 1427: 1420: 1415: 1406: 1401: 1375: 1370: 1358: 1249: 1132: 992: 990:Later responses 967:Eclectic Review 941:Lyrical Ballads 925:Romantic poetry 921:Francis Jeffrey 907:Lyrical Ballads 883:Critical Review 859: 808: 749:as he was with 693: 648: 583: 577: 574: 572: 570: 561: 558: 556: 554: 544: 541: 539: 537: 535: 533: 531: 521: 518: 516: 506: 503: 501: 499: 497: 495: 493: 491: 489: 487: 477: 474: 472: 470: 468: 466: 464: 462: 460: 458: 456: 454: 452: 431: 428: 426: 424: 422: 420: 410: 407: 405: 403: 401: 391: 388: 386: 384: 382: 380: 378: 376: 374: 362:Mary Wordsworth 354: 332:, Coleridge's " 297:Saint Augustine 269: 172: 165: 147: 93:Saint Augustine 35: 28: 23: 22: 15: 12: 11: 5: 3627: 3625: 3617: 3616: 3611: 3601: 3600: 3594: 3593: 3591: 3590: 3584: 3582: 3578: 3577: 3575: 3574: 3568: 3562: 3556: 3553:Alfoxton House 3550: 3543: 3541: 3537: 3536: 3534: 3533: 3531:Robert Southey 3528: 3523: 3518: 3513: 3507: 3505: 3501: 3500: 3498: 3497: 3489: 3487: 3483: 3482: 3480: 3479: 3472: 3464: 3462: 3456: 3455: 3453: 3452: 3447: 3440: 3437:To a Butterfly 3433: 3426: 3419: 3412: 3405: 3398: 3391: 3384: 3383: 3382: 3373:The Lucy poems 3370: 3363: 3356: 3349: 3342: 3335: 3327: 3325: 3321: 3320: 3318: 3317: 3310: 3303: 3296: 3289: 3284: 3283: 3282: 3275: 3268: 3261: 3252:The Lucy poems 3249: 3242: 3235: 3228: 3219: 3217: 3209: 3208: 3201: 3199: 3197: 3196: 3191: 3185: 3183: 3179: 3178: 3173: 3170: 3169: 3164: 3162: 3161: 3154: 3147: 3139: 3133: 3132: 3123: 3122:External links 3120: 3118: 3117: 3110: 3105:Woof, Robert. 3103: 3096: 3089: 3083: 3076: 3069: 3066:The Friendship 3064:Sisman, Adam. 3062: 3055: 3052: 3045: 3036:Ruskin, John. 3034: 3027: 3020: 3013: 3006: 2999: 2992: 2987:Mason, David. 2985: 2978: 2971: 2964: 2957: 2950: 2945:Leavis, F. R. 2943: 2936: 2929: 2924:Hayden, John. 2922: 2915: 2908: 2901: 2894: 2887: 2880: 2873: 2866: 2859: 2852: 2847:De Man, Paul. 2845: 2838: 2831: 2824: 2817: 2810: 2803: 2796: 2789: 2782: 2775: 2768: 2761: 2756:Abrams, M. H. 2753: 2751: 2748: 2745: 2744: 2719: 2710: 2701: 2692: 2683: 2674: 2665: 2656: 2647: 2638: 2629: 2620: 2611: 2602: 2593: 2584: 2575: 2566: 2557: 2548: 2539: 2530: 2521: 2512: 2503: 2494: 2482: 2473: 2464: 2455: 2446: 2437: 2428: 2419: 2407: 2398: 2389: 2380: 2371: 2362: 2353: 2344: 2330: 2321: 2312: 2303: 2294: 2285: 2276: 2267: 2258: 2249: 2240: 2231: 2222: 2210: 2201: 2189: 2180: 2171: 2162: 2153: 2139: 2130: 2121: 2112: 2098: 2089: 2080: 2071: 2062: 2053: 2044: 2035: 2026: 2017: 2008: 1999: 1990: 1981: 1972: 1963: 1954: 1945: 1936: 1927: 1918: 1909: 1900: 1891: 1882: 1873: 1861: 1852: 1843: 1834: 1825: 1816: 1807: 1798: 1786: 1777: 1768: 1759: 1750: 1741: 1732: 1723: 1714: 1702: 1690: 1678: 1664: 1655: 1643: 1634: 1625: 1616: 1607: 1598: 1589: 1580: 1571: 1562: 1553: 1544: 1535: 1526: 1517: 1508: 1496: 1487: 1478: 1469: 1460: 1451: 1442: 1430: 1418: 1403: 1402: 1400: 1397: 1374: 1371: 1369: 1368:In other works 1366: 1365: 1364: 1362:1807 in poetry 1357: 1354: 1350:par excellence 1276:Cleanth Brooks 1248: 1245: 1140:English Traits 1131: 1128: 1028:British Critic 1020:British Critic 991: 988: 969:. The writer, 858: 855: 807: 804: 787:lacrimae rerum 731:theatrum mundi 692: 689: 657:metempsychosis 647: 644: 582: 579: 567: 551: 528: 513: 484: 449: 417: 398: 377:To me did seem 371: 353: 350: 268: 265: 163: 146: 143: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 3626: 3615: 3612: 3610: 3607: 3606: 3604: 3589: 3586: 3585: 3583: 3579: 3572: 3569: 3566: 3563: 3560: 3557: 3554: 3551: 3548: 3545: 3544: 3542: 3538: 3532: 3529: 3527: 3524: 3522: 3519: 3517: 3514: 3512: 3509: 3508: 3506: 3502: 3496: 3495: 3491: 3490: 3488: 3484: 3478: 3477: 3473: 3471: 3470: 3469:The Excursion 3466: 3465: 3463: 3461: 3457: 3451: 3448: 3445: 3441: 3438: 3434: 3431: 3427: 3424: 3420: 3417: 3413: 3410: 3406: 3403: 3399: 3396: 3392: 3389: 3385: 3380: 3376: 3375: 3374: 3371: 3368: 3364: 3361: 3357: 3354: 3350: 3348: 3347: 3343: 3341: 3340: 3336: 3334: 3333: 3329: 3328: 3326: 3322: 3315: 3311: 3308: 3304: 3302: 3301: 3297: 3294: 3290: 3288: 3285: 3280: 3276: 3273: 3269: 3266: 3262: 3259: 3255: 3254: 3253: 3250: 3247: 3243: 3240: 3239:The Idiot Boy 3236: 3233: 3229: 3227: 3226: 3221: 3220: 3218: 3216: 3215: 3210: 3205: 3195: 3192: 3190: 3187: 3186: 3184: 3180: 3176: 3175:List of poems 3171: 3167: 3160: 3155: 3153: 3148: 3146: 3141: 3140: 3137: 3130: 3126: 3125: 3121: 3115: 3111: 3108: 3104: 3101: 3097: 3094: 3090: 3088: 3084: 3081: 3077: 3074: 3070: 3067: 3063: 3060: 3056: 3053: 3050: 3046: 3043: 3040:(compiled by 3039: 3035: 3032: 3029:Ruoff, Gene. 3028: 3025: 3021: 3018: 3014: 3011: 3007: 3004: 3000: 2997: 2993: 2990: 2986: 2983: 2979: 2976: 2972: 2969: 2965: 2962: 2958: 2955: 2951: 2948: 2944: 2941: 2937: 2934: 2930: 2927: 2923: 2920: 2916: 2913: 2909: 2906: 2902: 2899: 2895: 2892: 2888: 2885: 2881: 2878: 2874: 2871: 2867: 2864: 2860: 2857: 2853: 2850: 2846: 2843: 2839: 2836: 2832: 2829: 2825: 2822: 2818: 2815: 2811: 2808: 2804: 2801: 2798:Bowra, C. M. 2797: 2794: 2790: 2787: 2783: 2780: 2776: 2773: 2769: 2766: 2762: 2759: 2755: 2754: 2749: 2733: 2729: 2723: 2720: 2714: 2711: 2705: 2702: 2696: 2693: 2687: 2684: 2678: 2675: 2669: 2666: 2660: 2657: 2651: 2648: 2642: 2639: 2633: 2630: 2624: 2621: 2615: 2612: 2606: 2603: 2597: 2594: 2588: 2585: 2579: 2576: 2570: 2567: 2561: 2558: 2552: 2549: 2543: 2540: 2534: 2531: 2525: 2522: 2516: 2513: 2507: 2504: 2498: 2495: 2489: 2487: 2483: 2477: 2474: 2468: 2465: 2459: 2456: 2450: 2447: 2441: 2438: 2432: 2429: 2423: 2420: 2414: 2412: 2408: 2402: 2399: 2393: 2390: 2384: 2381: 2375: 2372: 2366: 2363: 2357: 2354: 2348: 2345: 2339: 2337: 2335: 2331: 2325: 2322: 2316: 2313: 2307: 2304: 2298: 2295: 2289: 2286: 2280: 2277: 2271: 2268: 2262: 2259: 2253: 2250: 2244: 2241: 2235: 2232: 2226: 2223: 2217: 2215: 2211: 2205: 2202: 2196: 2194: 2190: 2184: 2181: 2175: 2172: 2166: 2163: 2157: 2154: 2148: 2146: 2144: 2140: 2134: 2131: 2125: 2122: 2116: 2113: 2107: 2105: 2103: 2099: 2093: 2090: 2084: 2081: 2075: 2072: 2066: 2063: 2057: 2054: 2048: 2045: 2039: 2036: 2030: 2027: 2021: 2018: 2012: 2009: 2003: 2000: 1994: 1991: 1985: 1982: 1976: 1973: 1967: 1964: 1958: 1955: 1949: 1946: 1940: 1937: 1931: 1928: 1922: 1919: 1913: 1910: 1904: 1901: 1895: 1892: 1886: 1883: 1877: 1874: 1868: 1866: 1862: 1856: 1853: 1847: 1844: 1838: 1835: 1829: 1826: 1820: 1817: 1811: 1808: 1802: 1799: 1793: 1791: 1787: 1781: 1778: 1772: 1769: 1763: 1760: 1754: 1751: 1745: 1742: 1736: 1733: 1727: 1724: 1718: 1715: 1709: 1707: 1703: 1697: 1695: 1691: 1685: 1683: 1679: 1673: 1671: 1669: 1665: 1659: 1656: 1650: 1648: 1644: 1638: 1635: 1629: 1626: 1620: 1617: 1611: 1608: 1602: 1599: 1593: 1590: 1584: 1581: 1575: 1572: 1566: 1563: 1557: 1554: 1548: 1545: 1539: 1536: 1530: 1527: 1521: 1518: 1512: 1509: 1503: 1501: 1497: 1491: 1488: 1482: 1479: 1473: 1470: 1464: 1461: 1455: 1452: 1446: 1443: 1437: 1435: 1431: 1425: 1423: 1419: 1413: 1411: 1409: 1405: 1398: 1396: 1394: 1390: 1386: 1385: 1380: 1372: 1367: 1363: 1360: 1359: 1355: 1353: 1351: 1347: 1341: 1338: 1334: 1330: 1324: 1322: 1321:The Excursion 1318: 1317:Tintern Abbey 1314: 1310: 1306: 1305:Tintern Abbey 1302: 1296: 1293: 1287: 1285: 1281: 1277: 1273: 1271: 1267: 1263: 1258: 1256: 1255: 1246: 1244: 1242: 1238: 1237:Tintern Abbey 1234: 1229: 1227: 1222: 1218: 1210: 1206: 1202: 1199: 1195: 1191: 1187: 1183: 1179: 1174: 1171: 1167: 1166:Autobiography 1163: 1156:, philosopher 1155: 1151: 1147: 1145: 1141: 1137: 1129: 1127: 1124: 1120: 1114: 1112: 1108: 1107: 1101: 1100:John Lockhart 1097: 1089: 1088:John Lockhart 1085: 1081: 1079: 1070: 1066: 1062: 1060: 1056: 1051: 1047: 1039: 1035: 1031: 1029: 1023: 1021: 1016: 1012: 1008: 1000: 996: 989: 987: 985: 980: 976: 972: 968: 961: 957: 953: 951: 946: 942: 938: 934: 926: 922: 918: 914: 912: 908: 904: 900: 896: 892: 888: 887:Le Beau Monde 884: 879: 875: 867: 863: 856: 854: 852: 846: 844: 840: 839:field of corn 836: 832: 828: 824: 816: 812: 803: 801: 796: 792: 788: 782: 780: 776: 772: 771:Tintern Abbey 768: 764: 760: 756: 752: 748: 743: 739: 734: 732: 728: 724: 723:Tintern Abbey 720: 715: 713: 709: 705: 704:Tintern Abbey 701: 697: 690: 688: 686: 685:Tintern Abbey 682: 678: 674: 668: 666: 660: 658: 653: 646:Pre-existence 645: 643: 641: 637: 636:Tintern Abbey 633: 628: 626: 625:Tintern Abbey 622: 618: 613: 611: 607: 603: 602: 601:Tintern Abbey 597: 593: 588: 587:To the Cuckoo 580: 576: 565: 560: 549: 543: 526: 520: 511: 505: 482: 476: 447: 445: 436: 430: 415: 409: 396: 390: 369: 363: 358: 351: 349: 347: 343: 339: 335: 331: 330: 325: 324:The Excursion 321: 317: 313: 307: 305: 302: 298: 294: 290: 289:Old Testament 285: 281: 277: 274: 266: 264: 261: 257: 253: 249: 245: 241: 237: 233: 229: 228: 222: 220: 216: 212: 208: 204: 199: 196: 192: 188: 183: 179: 169: 162: 155: 151: 144: 142: 140: 136: 132: 128: 122: 120: 119: 118:Tintern Abbey 114: 113: 107: 103: 102:pre-existence 98: 94: 90: 86: 81: 78: 74: 70: 66: 62: 61: 56: 52: 46: 41: 37: 33: 19: 3559:Dove Cottage 3492: 3474: 3467: 3459: 3401: 3388:London, 1802 3344: 3337: 3330: 3324:Later poetry 3314:We Are Seven 3298: 3224: 3212: 3131:of the poem. 3113: 3106: 3099: 3092: 3086: 3079: 3072: 3065: 3058: 3048: 3037: 3030: 3023: 3016: 3009: 3002: 2995: 2988: 2981: 2974: 2967: 2960: 2953: 2946: 2939: 2932: 2925: 2918: 2911: 2904: 2897: 2890: 2883: 2876: 2869: 2862: 2855: 2848: 2841: 2834: 2827: 2820: 2813: 2806: 2799: 2792: 2785: 2778: 2777:Beer, John. 2771: 2764: 2757: 2735:. 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