Throughout Wordsworth’s work, nature provides the ultimate good influence on the human mind. 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. Wordsworth repeatedly emphasizes the importance of nature to an individual’s intellectual and spiritual development. 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 such poems as “The World Is Too Much with Us” (1807) and “London, 1802” (1807) people become selfish and immoral when they distance themselves from nature by living in cities. Humanity’s innate empathy and nobility of spirit becomes corrupted by artificial social conventions as well as by the squalor of city life. In contrast, people who spend a lot of time in nature, such as laborers and farmers, retain the purity and nobility of their souls.
Wordsworth praised the power of the human mind. Using memory and imagination, individuals could overcome difficulty and pain. For instance, the speaker in “Lines Composed a Few Miles Above Tintern Abbey” (1798) relieves his loneliness with memories of nature, while the leech gatherer in “Resolution and Independence” (1807) perseveres cheerfully in the face of poverty by the exertion of his own will. The transformative powers of the mind are available to all, regardless of an individual’s class or background. 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 1802 preface to Lyrical Ballads, Wordsworth explained the relationship between the mind and poetry. Poetry is “emotion recollected in tranquility”—that is, the mind transforms the raw emotion of experience into poetry capable of giving pleasure. Later poems, such as “Ode: Intimations of Immortality” (1807), imagine nature as the source of the inspiring material that nourishes the active, creative mind.
In Wordsworth’s poetry, childhood is a magical, magnificent time of innocence. 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: children feel joy at seeing a rainbow but great terror at seeing desolation or decay. In 1799, Wordsworth wrote several poems about a girl named Lucy who died at a young age. These poems, including “She dwelt among the untrodden ways” (1800) and “Strange fits of passion have I known” (1800), praise her beauty and lament her untimely death. 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. The speaker in “Ode: Intimations of Immortality” believes that children delight in nature because they have access to a divine, immortal world. 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.
The speakers of Wordsworth’s poems are inveterate wanderers: they roam solitarily, they travel over the moors, they take private walks through the highlands of Scotland. 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. In “I travelled among unknown men” (1807), the speaker discovers his patriotism only after he has traveled far from England. While wandering, speakers uncover the visionary powers of the mind and understand the influence of nature, as in “I wandered lonely as a cloud” (1807). 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. Wordsworth’s poetry itself often wanders, roaming from one subject or experience to another, as in The Prelude. 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.
Memory allows Wordsworth’s speakers to overcome the harshness of the contemporary world. 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 1802 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. Instead, the initial emotion must be combined with other thoughts and feelings from the poet’s past experiences using memory and imagination. 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.
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. Later, in moments of darkness, the speakers recollect these visions, as in “I wandered lonely as a cloud.” Here, the speaker daydreams of former jaunts through nature, which “flash upon that inward eye / which is the bliss of solitude” (21–22). The power of sight captured by our mind’s eye enables us to find comfort even in our darkest, loneliest moments. Elsewhere, Wordsworth describes the connection between seeing and experiencing emotion, as in “My heart leaps up” (1807), in which the speaker feels joy as a result of spying a rainbow across the sky. Detailed images of natural beauty abound in Wordsworth’s poems, including descriptions of daffodils and clouds, which focus on what can be seen, rather than touched, heard, or felt. 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.
Light often symbolizes truth and knowledge. In “The Tables Turned” (1798), Wordsworth contrasts the barren light of reason available in books with the “sweet” (11) and “freshening” (6) light of the knowledge nature brings. Sunlight literally helps people see, and sunlight also helps speakers and characters begin to glimpse the wonders of the world. In “Expostulation and Reply” (1798), the presence of light, or knowledge, within an individual prevents dullness and helps the individual to see, or experience. Generally, the light in Wordsworth’s poems represents immortal truths that can’t be entirely grasped by human reason. In “Ode: Imitations of Immortality,” the speaker remembers looking at a meadow as a child and imagining it gleaming in “celestial light” (4). As the speaker grows and matures, the light of his youth fades into the “light of common day” (78) of adulthood. But the speaker also imagines his remembrances of the past as a kind of light, which illuminate his soul and give him the strength to live.
In “Resolution and Independence,” the ancient leech gatherer who spends his days wandering the moors looking for leeches represents the strong-minded poet who perseveres in the face of poverty, obscurity, and solitude. As the poem begins, a wanderer travels along a moor, feeling elated and taking great pleasure in the sights of nature around him but also remembering that despair is the twin of happiness. Eventually he comes upon an old man looking for leeches, even though the work is dangerous and the leeches have become increasingly hard to find. As the speaker chats with the old man, he realizes the similarities between leech gathering and writing poetry. Like a leech gather, a poet continues to search his or her mind and the landscape of the natural world for poems, even though such intense emotions can damage one’s psyche, the work pays poorly and poverty is dangerous to one’s health, and inspiration sometimes seems increasingly hard to find. The speaker resolves to think of the leech gatherer whenever his enthusiasm for poetry or belief in himself begins to wane.
The following lines are omitted here -
Nor heed nor see what things they be,
But from these create he can,
Forms more real than living man,
Nurslings of immortality!
This is the poem of nineteen lines.
the world is Too Much with Us , means the people of this world are engrossed in the futile pleasures of this material world.
late and soon _ all the time, throughout their entire life,
they earn and spend money over futile pleasures of this mortal world.
We lay waste our pow... Read more→
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…ON BASIS OF REFERENCE TO -‘Composed A Few Miles Above Tintern Abbey, on Revisiting The Banks of the Wye During A Tour July 13, 1798’.
The scene is in the narrow gorge of the river, Wye, somewhere between Tintern and Monmouth. Wordsworth had visited it in the summer 1793. In July, 1798, he again visited it with his sister, after five years of absence. Many reminiscences of the earlier visit were recalled. “The peaceful charm of the scene prompted him to retrospect of the long, debt which he owed to Nature;” and he reviewed t... Read more→
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Tintern Abbey Notes
He’s returning in 1798 after 5 years—in that time he’s left England, been moved by the French Revolution, fallen in love, married and been forced to leave and return. He no longer feels the same way about home. The sycamore tree—not native to England, also tough and adaptible.
The scene: Wye river valley, border between England and Wales (between home and a wilder, foreign place). It’s spring—the seasons like clothing, “clad” in green that erases human boundaries (seasons are human inventions... Read more→
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