Professional Documents
Culture Documents
Wordsworth As Poet of Nature
Wordsworth As Poet of Nature
:
(1)
Class:
BS-ENG-VI
Subject:
Romantic and Victorian Poetry
Topic:
“William Wordsworth as “Poet of Nature” ”
Submitted to:
Prof. Sardar Hafeez sb
Submitted by:
Asad Mahmood
Roll No. 05
2
emotions and psychological disturbances affect external scenes in such a way that
Nature seems to nurture “by beauty and by fear”.
In Tintern Abbey, Wordsworth traces the development of his love for Nature. In his
boyhood Nature was simply a playground for him. At the second stage he began to love
and seek Nature but he was attracted purely by its sensuous or aesthetic appeal. Finally
his love for Nature acquired a spiritual and intellectual character, and he realized
Nature’s role as a teacher and educator.
In the Immortality Ode he tells us that as a boy his love for Nature was a
thoughtless passion but that when he grew up, the objects of Nature took a sober
colouring from his eyes and gave rise to profound thoughts in his mind because he had
witnessed the sufferings of humanity:
To me the meanest flower that blows can give
Thoughts that do often lie too deep for tears.
Spiritual Meaning in Natural Objects
Compton Rickett rightly observes that Wordsworth is far less concerned with the
sensuous manifestations than with the spiritual significance that he finds underlying
these manifestations. To him the primrose and the daffodil are symbols to him of
Nature’s message to man. A sunrise for him is not a pageant of colour; it is a moment of
spiritual consecration:
My heart was full; I made no vows, but vows
Were then made for me; bound unknown to me
Was given, that I should be, else sinning greatly,
A dedicated Spirit.
To combine his spiritual ecstasy with a poetic presentment of Nature is the constant
aim of Wordsworth. It is the source of some of his greatest pieces, grand rhapsodies
such as Tintern Abbey.
Nature Descriptions
Wordsworth is sensitive to every subtle change in the world about him. He can give
delicate and subtle expression to the sheer sensuous delight of the world of Nature. He
can feel the elemental joy of Spring:
It was an April morning, fresh and clear
The rivulet, delighting in its strength,
Ran with a young man’s speed, and yet the voice
Of waters which the river had supplied
Was softened down into a vernal tone.
He can take an equally keen pleasure in the tranquil lake:
The calm
And dead still water lay upon my mind
Even with a weight of pleasure
A brief study of his pictures of Nature reveals his peculiar power in actualising
sound and its converse, silence.
Being the poet of the ear and of the eye, he is exquisitely felicitious. No other poet
could have written:
3
A voice so thrilling ne’er was heard
In springtime from the cuckoo-bird,
Breaking the silence of the seas
Among the farthest Hebrides.
Unlike most descriptive poets who are satisfied if they achieve a static pictorial
effect, Wordsworth can direct his eye and ear and touch to conveying a sense of the
energy and movement behind the workings of the natural world. “Goings on” was a
favourite word he applied to Nature. But he is not interested in mere Nature description.
Wordsworth records his own feelings with reference to the objects which stimulate
him and call forth the description. His unique apprehension of Nature was determined
by his peculiar sense-endowment. His eye was at once far-reaching and penetrating.
He looked through the visible scene to what he calls its “ideal truth”. He pored over
objects till he fastened their images on his brain and brooded on these in memory till
they acquired the liveliness of dreams. He had a keen ear too for all natural sounds, the
calls of beasts and birds, and the sounds of winds and waters; and he composed
thousands of lines wandering by the side of a stream. But he was not richly endowed in
the less intellectual senses of touch, taste and temperature.
Conclusion:
Wordsworth’s attitude to Nature can be clearly differentiated from that of the other
great poets of Nature. He did not prefer the wild and stormy aspects of Nature like
Byron, or the shifting and changeful aspects of Nature and the scenery of the sea and
sky like Shelley, or the purely sensuous in Nature like Keats. It was his special
characteristic to concern himself, not with the strange and remote aspects of the earth,
and sky, but Nature in her ordinary, familiar, everyday moods. He did not recognize the
ugly side of Nature ‘red in tooth and claw’ as Tennyson did. Wordsworth stressed upon
the moral influence of Nature and the need of man’s spiritual discourse with her.