1. Chapter 5 Reading the Prelude, P:127-153 The Prelude recounts memories of the 1790s. Theme: imagination and memory Narrative: social dimensions/public issues Lyrics: private experience, individual issues The Prelude is a lyric and a narrative at the same time, an autobiography that does not however abide by autobiographical conventions, such as the disorder of events, and the missing on some parts, like Wordsworth’s courtship and marriage. Flashback from a mature present point of view The prelude posthumously published. The 1805 version will be considered because of its stylistic quality and tone that is different from that of the 1850 version.

2. Wordsworth’s Poetic Career Best remembered for Lyrical Ballads (1798) 1843: Appointed poet laureate 1850: Prelude published posthumously— epic story of growth of poet’s mind Late poetry no longer seriously studied Poetics based on remembrance—past of intense experiences Image borrowed from: http://www.bartleby.com/145/

3. Wordsworth’s Myth of Nature Growth of human mind through individual’s relation to natural world Verges of pantheistic beliefs at times Later becomes quite conservative Dorothy’s Journals and Coleridge’s collaboration instrumental in his myth of nature

4. Dorothy and Dove Cottage Dorothy Wordworth Image borrowed from: http://www.wordsworth.org.uk/dovecottage/dot2.asphttp://www.wordsworth.org.uk/dovecottage/dot2.asp Dove Cottage, 1802 Image borrowed from: http://www.wordsworth.org.uk/dovecottage/index.htm

5. The Pastoral Originated with Greek poet Theocritus—wrote poems representing life of shepherds Deliberately conventional poem expressing an urban poet’s nostalgic image of the peace and simplicity of the life of shepherds and other rural folk in an idealized natural setting Develop pastoral elegy

6. “Lines Composed Above Tintern Abbey” (1798) I Wordsworth had visited in 1793—now comes back in 1798 Claims written spontaneously Good example of dramatic lyric—dramatic poems in which the focus of interest is primarily on the speaker’s elaborately ingenious arguments; poet is often the speaker

7. “Lines Composed Above Tintern Abbey” (1798) II 236: Scene provides sublime sensations— becomes living scene After five years he is still connected with this spot

8. “Lines Composed Above Tintern Abbey” (1798) III 236: Turns to this memory when world gets too busy—moments of half-extinguished thought Recalls youthful days and animal movements 237: Now has more mature appreciation of nature Scene still affects him

9. “Lines Composed Above Tintern Abbey” (1798) IV 237: Turns to Dorothy—has wish for her 238: Wish for Dorothy Landscape and memory more dear because of her presence

10. Chapter 5 Reading the Prelude, P:127-153 The Prelude is a philosophical poem on man, nature, and society. It is an epic poem that can be compared to Milton’s Paradise Lost, in its political and poetic power. It is about a revolution that failed, “the Common Wealth, England, 1660.” An epic is a poem of great length and scope. It is concerned with great events, wars, the rise and fall of nations and civilizations, with heroic actions. Although the Prelude deals with the French revolution and its aftermath, thus no wars or battles are stated in it. It can therefore be considered a psychological epic. The Prelude is about 9000 lines, however, we are going to look into the Tintern Abbey and a few other stanzas.

11. Chapter 5 Reading the Prelude, P:127-153 Read Tintern Abbey, P: 64-68 of Romantic Writing: an anthology, Volume 1. Form "Tintern Abbey" is composed in blank verse, which is a name used to describe unrhymed lines in iambic pentameter. Its style is therefore very fluid and natural; it reads as easily as if it were a prose piece. "Tintern Abbey" is a monologue, imaginatively spoken by a single speaker to himself, referencing the specific objects of its imaginary scene, and occasionally addressing others-- once the spirit of nature, occasionally his sister Dorothy. The language of the poem is striking for its simplicity and forthrightness; the young poet is in no way concerned with ostentation. He is instead concerned with speaking from the heart in a plainspoken manner. The poem's imagery is largely confined to the natural world in which he moves, though there are some castings-out for metaphors ranging from the nautical (the memory is "the anchor" of the poet's "purest thought") to the architectural (the mind is a "mansion" of memory).

12. Chapter 5 Reading the Prelude, P:127-153 Read Tintern Abbey, P: 64-68 of Romantic Writing: an anthology, Volume 1 The language of the poem is striking for its simplicity and forthrightness; the young poet is in no way concerned with affectation. He is instead concerned with speaking from the heart in a plainspoken manner. The poem's imagery is largely confined to the natural world in which he moves, though there are some castings-out for metaphors ranging from the nautical (the memory is "the anchor" of the poet's "purest thought") to the architectural (the mind is a "mansion" of memory).