Which among these seem influenced by the period's interest in the picturesque? Do any seem the products of direct observation rather than literary convention? Which, in addition to the pictorial effects, seem to be of serious philosophical or religious interest?
All manifestations of the natural world—from the highest mountain to the simplest flower—elicit noble, elevated thoughts and passionate emotions in the people who observe these manifestations.
A good relationship with nature helps individuals connect to both the spiritual and the social worlds. As Wordsworth explains in The Prelude, a love of nature can lead to a love of humankind.
In contrast, people who Political landscape in tintern abbey a lot of time in nature, such as laborers and farmers, retain the purity and nobility of their souls.
The Power of the Human Mind Wordsworth praised the power of the human mind. Using memory and imagination, individuals could overcome difficulty and pain. This democratic view emphasizes individuality and uniqueness. Throughout his work, Wordsworth showed strong support for the political, religious, and artistic rights of the individual, including the power of his or her mind.
In the preface to Lyrical Ballads, Wordsworth explained the relationship between the mind and poetry. Children form an intense bond with nature, so much so that they appear to be a part of the natural world, rather than a part of the human, social world.
Their relationship to nature is passionate and extreme: InWordsworth wrote several poems about a girl named Lucy who died at a young age.
In death, Lucy retains the innocence and splendor of childhood, unlike the children who grow up, lose their connection to nature, and lead unfulfilling lives. As children age and reach maturity, they lose this connection but gain an ability to feel emotions, both good and bad. Through the power of the human mind, particularly memory, adults can recollect the devoted connection to nature of their youth.
Active wandering allows the characters to experience and participate in the vastness and beauty of the natural world.
Moving from place to place also allows the wanderer to make discoveries about himself. The speaker of this poem takes comfort in a walk he once took after he has returned to the grit and desolation of city life.
Recollecting his wanderings allows him to transcend his present circumstances. In this long poem, the speaker moves from idea to idea through digressions and distractions that mimic the natural progression of thought within the mind.
Recollecting their childhoods gives adults a chance to reconnect with the visionary power and intense relationship they had with nature as children. In turn, these memories encourage adults to re-cultivate as close a relationship with nature as possible as an antidote to sadness, loneliness, and despair.
The act of remembering also allows the poet to write: Wordsworth argued in the preface to Lyrical Ballads that poetry sprang from the calm remembrance of passionate emotional experiences.
Poems cannot be composed at the moment when emotion is first experienced. The poem produced by this time-consuming process will allow the poet to convey the essence of his emotional memory to his readers and will permit the readers to remember similar emotional experiences of their own. Vision and Sight Throughout his poems, Wordsworth fixates on vision and sight as the vehicles through which individuals are transformed.
As speakers move through the world, they see visions of great natural loveliness, which they capture in their memories. In Book Fourteenth of The Prelude, climbing to the top of a mountain in Wales allows the speaker to have a prophetic vision of the workings of the mind as it thinks, reasons, and feels.
Symbols Light Light often symbolizes truth and knowledge.For Further reading see "Unity in the Valley: Transcendence and Contiguity in Wordsworth's 'Tintern Abbey,'" by Roald Kaiser Jr.
and Matthew Brennan's Wordsworth, Turner, and Romantic Landscape: A Study of the Traditions of the Picturesque and the Sublime. the tall rock, × tall rock. Wordsworth, ‘Tintern Abbey’ Five years have passed; five summers, with the length political and social disconnection.
2 is informed by the aesthetics of tourism and by the genre of the landscape poem. But ‘Tintern Abbey’ is distinguished from other writings on this subject written in the late eighteenth. Standing on a promontory overlooking Tintern Abbey and the Wye Valley in , Wordsworth sought to realign old political engagements in terms less nationalist than aesthetic.
2 Consequently, the described landscape of “Tintern Abbey” is permeated by tropes of music and sound. 3 .
Nor am I suggesting that "Tintern Abbey" should somehow be "more" political - that Wordsworth should have more forthrightly included some ruins - human or architectural - in his landscape "a few miles above Tintern Abbey." Rather, I am saying that the poem is already political, that its necessary social fulcrum is everywhere present (if.
Descriptions of landscape may stress topography, but they must also acknowledge the influence of time. How does this tendency affect your reading of a poem like Tintern Abbey, in which, ) in the light of more explicitly political poems like England in (NAEL 8, ) and A Song: Men of England (NAEL 8, ).
How for Shelley. Tintern Abbey (Welsh: Abaty Tyndyrn) was founded by Walter de Clare, Lord of Chepstow, on 9 May It is situated in the village of Tintern, on the Welsh bank of the River Wye in Monmouthshire, which forms the border between Monmouthshire in Wales and Gloucestershire in England.