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In the 1971 preface to Wordsworth’s Poetry, Hartman notes that both “the trauma of industrialization” and an “apocalyptic rate of change and nature-loss” are immanent to poems like those collected in Lyrical Ballads without being parsed or even really described by them. 6 Close To be clear, there is nothing especially new about this idea.
the world’s order. In the *+,* preface to Wordsworth’s Poetry, Hartman notes that both “the trauma of industrialization” and an “apocalyptic rate of change and nature- loss” are immanent to poems like those collected in Lyrical Ballads without being parsed or even really described by them.-
Wordsworth's models of bad and good poetry. In 'allegorical' apocalypse, as in 'bad' poetry, word and feeling are in an arbitrary relationship sustained only by convention; in personal apocalypse, as in 'good' poetry, there is a natural fusion of word and feeling. I conclude by discussing Matthew 25 as a heuristic device to show a biblical ...
"Mutability" is William Wordsworth's reflection on the inevitability (and beauty) of change. Nothing in the world lasts forever, the poem argues, and "dissolution" and decay can be shocking. But those who can accept change also learn to see the universe from a broader perspective, understanding that even mortal and mutable creatures are part of an eternal music.
Wordsworth's recent critics, in other words, have kept alive the poet's own double-edged question: "Is poetry honorable toil?that is, is it honorable and Stephen Gill (New York: Norton, 1979). Further references will be cited in the text, with the relevant Prelude text indicated by date. Recent studies of Wordsworth's ties to the
of analysis: Wordsworth restores us through primitive modes of thought and feeling to a connection with nature. Mr. Haxtman, however, is interested in Wordsworth's conflict with imagination itself-in his; fear of imagination as an apocalyptic force that threatens to overwhelm the external world, to destroy it as a counterpart to imagination. Mr.
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I more or less agree with them too, and yet I want to know why Wordsworth, whose work is so evidently unable to make claims about where we are and how we got here, still seems to believe that he is writing poetry about “the historical milieu”—about “the violence in France,” “the slower trauma of industrialization,” and an “apocalyptic rate of change and nature-loss.” 13 Close
