'Lyrical Ballads' and Other Poems, 1797-1800 by William Wordsworth

1995 ◽  
Vol 25 ◽  
pp. 302
Author(s):  
Jonathan Bate ◽  
James Butler ◽  
Karen Green ◽  
William Wordsworth
2021 ◽  
Vol 9 (5) ◽  
pp. 66-74
Author(s):  
Mr Amit

This paper examines about Romanticism or Romantic era, themes and some famous writers, poets and poems of romantic era. Romanticism is one of the repetitive topics that are connected to either creative mind, vision, motivation, instinct, or independence. The subject frequently condemns the past, worries upon reasonableness, disconnection of the essayist and pays tribute to nature. Gone before by Enlightenment, Romanticism brought crisp verse as well as extraordinary books in English Literature. Begun from England and spread all through Europe including the United States, the Romantic development incorporates well known journalists, for example, William Wordsworth, Coleridge, Keats, Lord Byron, Shelley, Chatterton, and Hawthorne. ‘Romantic’ has been adjusted from the French word romaunt that implies a story of Chivalry. After two German scholars Schlegel siblings utilized this word for verse, it changed into a development like an epidemic and spread all through Europe. Romanticism in English writing started during the 1790s with the distribution of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge. Wordsworth's "Preface" to the subsequent version (1800) of Lyrical Ballads, in which he portrayed verse as the spontaneous overflow of powerful feelings", turned into the statement of the English Romantic development in verse. The first phase of the Romantic movement in Germany was set apart by advancements in both substance and artistic style and by a distraction with the mysterious, the intuitive and the heavenly. An abundance of abilities, including Friedrich Hölderlin, the early Johann Wolfgang von Goethe, Jean Paul, Novalis, Ludwig Tieck, A.W. what's more, Friedrich Schlegel, Wilhelm Heinrich Wackenroder, and Friedrich Schelling, have a place with this first phase. The second phase of Romanticism, involving the period from around 1805 to the 1830s, was set apart by a reviving of social patriotism and another regard for national roots, as bore witness to by the accumulation and impersonation of local old stories, people songs and verse, society move and music, and even recently disregarded medieval and Renaissance works. The resuscitated recorded  appreciation was converted into creative composition by Sir Walter Scott, who is frequently considered to have imagined the verifiable novel. At about this equivalent time English Romantic verse had arrived at its peak in progress of John Keats, Lord Byron, and Percy Bysshe Shelley.


2021 ◽  
Vol 28 (1) ◽  
pp. 43-56
Author(s):  
Diego Alegria

In this essay, I argue that Spanish American modernismo (1880-1917) constitutes an affirmation and negation of Romanticism: it is a manifestation of Romanticism’s critical reason and self-definition as literature in the Spanish American sphere, and it is a denial of Romanticism as a European cultural period and as a metropolitan literary model. To explore this contradiction, I contrast the allegories of literature in William Wordsworth’s “Preface” to Lyrical Ballads (1802) and José Martí’s “Prólogo al Poema del Niágara de Juan A. Pérez Bonalde” (1882). Both texts have been considered as pivotal literary manifestos of Romanticism and modernismo, respectively. Through this essay, its theoretical background, and rhetorical reading, I rethink the transatlantic relationship between both cultural movements and their self-definitions as literature.


PMLA ◽  
2019 ◽  
Vol 134 (3) ◽  
pp. 572-578
Author(s):  
Stephanie Burt

Why comics? “All that it is Necessary to say … upon this subject, may be effected by affirming, what few persons will deny, that, of two descriptions, either of passions, manners, or characters, each of them equally well executed, the one in prose and the other in comics, the comics will be read a hundred times where the prose is read once.” That's not exactly what William Wordsworth wrote in his Preface to Lyrical Ballads, of course—he had “verse” where I have “comics” (112). Nor did Wordsworth say that the pleasure of seeing expressive, hand-drawn characters could produce a complex feeling of delight, which is of the most important use in tempering the painful feeling always found intermingled with powerful descriptions of the deeper passions … while, in lighter compositions, the ease and gracefulness with which artists manage their lines are themselves confessedly a principal source of the gratification of the Reader.


2017 ◽  
Vol 7 (2) ◽  
pp. 132
Author(s):  
Shuting Sun

In several places in the Lyrical Ballads William Wordsworth challenges the capitalist ideology of labor. In Wordsworth’s view one of the key weaknesses the way this ideology manifests itself in economic thought is the way it generalizes about different people and their situations. The result of such generalizations is that they miss out the different meanings people give to their economic activity and applies to them a crude classification of either rational or irrational. Wordsworth believed that this erroneous economic thinking had infected moral theory. In the Lyrical Ballads Wordsworth investigates specific instances of people for whom capitalist economic imperatives no longer make sense. The implication of these instances is that these people are being marginalized by their failure to be assimilated to alienated labor. They either fail to adapt to alienated labor or adapt to it for motives other than those prescribed by the capitalist ideology of labor. This article will show how “The Last of the Flock” gives an instance of the former kind and “Simon Lee” gives an instance of the latter. In the Lyrical Ballads morality critiques economic thought. Wordsworth uses poetry to reaffirm the authority of moral thought to inform economic thought. This is an act of rebellion against the tendency he saw in his times of economic thought to stand above moral thought.


Romanticism ◽  
2018 ◽  
Vol 24 (1) ◽  
pp. 36-52
Author(s):  
Arden Hegele

This essay traces how William Wordsworth engages with both Romantic medical discourse and aesthetic theory by insisting that the mind is physically embodied, and finds his most complex and compelling treatment of this subject in his long poem of 1814, The Excursion. Adapting the formal model of poesis as a hydraulic process that he had theorized in the ‘Preface’ to Lyrical Ballads, the Wordsworth of 1814 considers minds as embodied brains governed by the influx of both liquid and language: the discovery of a waterlogged Voltaire corresponds to the shape of the Solitary's psychology through the formal mechanisms of intake, excess, and outflow. In this poem, however, Wordsworth's well-established hydraulics take on a newly pathological function, as his characters employ the imagery of the dropsy of the brain, or hydrocephalus, as they investigate and attempt to treat the Solitary's morbid state of being. What emerges throughout The Excursion – and, in turn, in ‘Simon Lee’ – is that the physical register of disease stands in for the characters' emotional states as a sylleptic structure of feeling. Ultimately, Wordsworth's dropsical brains bring into focus the Romantic idea of poetry as organic form, to ask how mechanistic and organic models might be reconciled in his notion of the hydraulic mind.


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