Midterm Exam

A slumber did my spirit seal; I had no human fears: She seemed a thing that could not feel The touch of earthly years. No motion has she now, no force; She neither hears nor sees; Rolled round in earth's diurnal course, With rocks, and stones, and trees.

A Slumber did my spirit seal; Wordsworth - stanza 1: past (her being alive) - stanza 2: present (her dead)- classic expression of mourning; innocent, naive, indenial (state of primitive bliss) - diurnal course: deep process of decay - subject-object both in past and present

I have a boy of five years old, His face is fair and fresh to see; His limbs are cast in beauty's mould, And dearly he loves me. One morn we stroll'd on our dry walk, Our quiet house all full in view, And held such intermitted talk As we are wont to do. My thoughts on former pleasures ran; I thought of Kilve's delightful shore, My pleasant home, when Spring began, A long, long year before. A day it was when I could bear To think, and think, and think again; With so much happiness to spare, I could not feel a pain. My boy was by my side, so slim And graceful in his rustic dress! And oftentimes I talked to him In very idleness. The young lambs ran a pretty race; The morning sun shone bright and warm; "Kilve," said I, "was a pleasant place, And so is Liswyn farm." "My little boy, which like you more," I said and took him by the arm-- "Our home by Kilve's delightful shore, Or here at Liswyn farm?" "And tell me, had you rather be," I said and held-him by the arm, "At Kilve's smooth shore by the green sea, Or here at Liswyn farm?" In careless mood he looked at me, While still I held him by the arm, And said, "At Kilve I'd rather be Than here at Liswyn farm." "Now, little Edward, say why so; My little Edward, tell me why;" "I cannot tell, I do not know." "Why this is strange," said I. "For, here are woods and green hills warm: There surely must some reason be Why you would change sweet Liswyn farm, For Kilve by the green sea." At this, my boy hung down his head, He blush'd with shame, nor made reply; And five times to the child I said, "Why, Edward, tell me, why?" His head he raised--there was in sight, It caught his eye, he saw it plain-- Upon the house-top, glittering bright, A broad and gilded vane. Then did the boy his tongue unlock, And thus to me he made reply; "At Kilve there was no weather-cock, And that's the reason why." Oh dearest, dearest boy! my heart For better lore would seldom yearn Could I but teach the hundredth part Of what from thee I learn.

- Anecdote for Father's (Wordsworth_ - starts off innocent: speaker is not happy (struggling) - 1st-4th stanzas: speaker is in distress (wants to amplify Kilve- asking his son) - lines 27-33: trying to have kid help him decide to reside in Liswyn farm- asking his son to reconcile that Liswyn is a good place to be at - father needs his son to say Liswyn- son understands his father needs help - children can be children and imaginatively resourceful - speaker is learning from his son: his son is trying to protect his father -> asking his son to do a lot of work - lying can be a way to work through things -achieve blissful state

O Lady! we receive but what we give, And in our life alone does Nature live: Ours is her wedding garment, ours her shroud! And would we aught behold, of higher worth, Than that inanimate cold world allowed To the poor loveless ever-anxious crowd, Ah! from the soul itself must issue forth A light, a glory, a fair luminous cloud Enveloping the Earth— And from the soul itself must there be sent A sweet and potent voice, of its own birth, Of all sweet sounds the life and element!

- Dejection: An Ode; Coleridge - be own active agent in creating happiness - happiness creates a beautiful aspect of nature - trapped in his own head- own form of imagination - Coleridge states that although some things are inevitable in life, a person must still be an active agent in creating his or her own happiness

Christabel (Coleridge)

- Geraldine: symbol of evil & chastity- discourse of demonizing women is foregrounded - Geraldine and Christabel: some sort of attraction toward each other- virtuous girl who gets seduced and violated by a sinister satanic force- exports a spell on Christabel - being outside of castle: outside of dominance of her father; cut off mutually of anyone of same sex - male v. female dissonance (basis of solidarity): based on a fundamental need - speaker is a religious hypocrite- fascinated by character's sexuality - line 190: narrator needs to twist direction of poem- gets wrenched in a direction that takes away from other possibilities - line 239: tale is being fractured (misogynistic and a woman without a mother looking for solidarity) - Geraldine's father: the baron was friends with Christabel's father (male bond that guarantees asymmetrical power structure) - Geraldine is trouble b/c trouble was there to be made- Christabel can finally push back

Book 11- The Prelude- line 318- Wordsworth

- Wordsworth feels power / empowerment on the basis of mental capacity - depth of mind and imagination- even if you are lost, you have access to some depth of self - extract some sense of power: when you cannot control environment, control perception of it - power of being overwhelmed from without- all about him within [about being overwhelmed, not about controlling] -"her"= alluding to minds of feminization that has been overwhelmed- shifts from discourse of masculine authority to being feminized - literally depicted of women being overwhelmed with the environment - consumed by something larger than him - empowerment is about being overpowered.

The Prelude Book 5- Drowned Man (Wordsworth)

- argument: to say when corpse came out of water, he was not afraid

Simon Lee (Wordsworth)

- horsemen: running to keep up with horses - servants, dogs and horses = equality - speaker's tone: anti-aristocratic, radical [old man is a victim of aristocratic responsibility- angry poem/ outrage and sensitivity] - line 70: reader is on the assumption that they operate with aristocrats of Simon Lee - line 81: the speaker is now watching Simon Lee like the reader- highly and calculated manipulative - speaker: fictional character: for all of his outrage, he can watch Simon do something futile - line 89: speaker is taking action- help Simon Lee work; he is showing off b/c he wants the reader to think highly of him [shift attention to himself (rage driving radicalism] - last stanza: entire poem is about the speaker; uses Simon Lee as a divert, not appearing too victimized [speaker is completely bankrupt- right side politically, but part of the problem at same time, progressive forces eliminating progress, gratitude of men-> Simon's gratitude and lack of gratitude for the aristocrats] - concerned, politically person he is a radical hero, he is at all time- last few stanzas reveal about himself [self regard and display = using Simon Lee to show off- same sense Simon Lee was used by aristocrats

Lines written a few miles above tintern abbey (wordsworth)

- humanism -> religion of the human, worship the individual - line 23: negative way to say something positive [descriptive ability getting ahead of him psychologically, trying to convince himself what he says is true- Wordsworth is talking to his sister in the poem; he views her as a primitive structure, speaking with authenticity- trying to convince himself he is anything but restored - 2nd stanza: he is having a restored experience ; unremembered pleasure (cannot remember pleasure; creating fiction of the past; power of imagination to restore him- pleasure he felt 5 years ago is different pleasure he feels now; he is alienated- find kindred spirit) - image of speaker pent in lonely rooms- cannot feel anything good or the past - line 40: images of nature (heavy, weary weight of unintelligible world vs. induce a hallucinogenic experience that is mystically, happy) - 3rd stanza: undermines what he previously stated- speaker is alienated because it is all in his head- cut off from nature and society - line 65-75: describing childhood- seems actually traumatized - lines 74-76: fluidity between subject and object; keeps falling back into a state of depression- all thought stops at subject - he loves nature because he creates it according to his own world (103-108) - self reliant, creating a false narrative - about self expression and self representation of the poet - trying to thank nature but can only thank himself - last stanza: he sees himself arguing through lens of his sister [speaker is arguing that he loves nature, yet he has not yet been betrayed, betrayal takes place when he imagines he can reconnect, instead of disconnect, for those who loved sister, he lists capabilities of nature, he is not giving his sister agency to imagine- only way poem will resolve is by projecting everything in future of sister

The Prelude Book 11 (Wordsworth) - line 258

- mind is lord and master- obedient servant of mind's will - colonizing reality through mind and colonizing reality i act of perceiving it- doing it with biographical experience in mind and talking about all of us [intentional or traumatic] - EX) separated from companion while writing horse at 6 years old- writing is about murder-> violent power and other powerlessness -spots of time: speaker visions a murderous scene: terrified by woman he sees- woman takes over his mind and thoughts - internal capacity- misrecognized as triumph- trying to say growth of mind was triumph of his mind - every moment of imagination involves traumatic and frightening experience - lord v. master. v. woman = destructive toward other human beings

We are Seven (Wordsworth)

- poem staging argument between adult speaker (lacks imagination) and little girl (uses imagination) - speaker is being materialist- more religious person - young girl- imagination is linked to happiness-> vital and functional imagination - brothers are fully present according to little girl - church was sort of like a profession - impossible for adult readers to relate to little girl - she is capable of seeing things no longer available to us

Nutting (Wordsworth)

- really at home in the world- embodied experience - physical moment of bliss in nature- enjoying environment in primitive way - nature is being personified - cautionary tale: having a great time in the environment - objectifies himself after destroying everything - "spirit in the woods"- he felt bad afterwards "vacant air"- nature is almost like a human being then becomes an indifferent thing - moment of luxury of nature (close to being human)- inhumane- spiritualize - trying to achieve distant from civilization - power: depriving a human being (empowerment stripped from mental power)

The Rime of the Ancient Mariner (Coleridge)

- what the ancient mariner is telling the wedding guest- have to assume it did not happen - imagination and relationship of imagination and belief = building blocks of poem; imagination emancipated from religion - Speaker playing 3 different roles (oral transmission and language): wedding guest would rather hear the tale than go to the wedding -> wedding symbolizes bond between God and Man - commentary on religion = keep readers alongside toward traditional orientation grounded in religion - embracing sinful behavior or commentary on religion in a broader sense - line 40: imagination and fear = religion [suggesting if you take fear out of equation, you lose religion] - albatross= help from God; evidence of divine and existence - imagination is reaching beyond nature for a sense of divine authority - engages object world to conjure a super nature Line 440: mariner is having religious experiences but finding it difficult to pray (imagination is the exit door for the poem) - line 440-460: spirit mingling in his fears -> belief takes over you ( ask hermit to absolve of his sins) - relief he tells telling tale is only temporary - significance of wedding guest (line 600): mariner does not believe god exists; testimony to mariner's doubt- Mariner is looking for another person who can be alone with him

O pure of heart! thou need'st not ask of me What this strong music in the soul may be! What, and wherein it doth exist, This light, this glory, this fair luminous mist, This beautiful and beauty-making power. Joy, virtuous Lady! Joy that ne'er was given, Save to the pure, and in their purest hour, Life, and Life's effluence, cloud at once and shower, Joy, Lady! is the spirit and the power, Which wedding Nature to us gives in dower A new Earth and new Heaven, Undreamt of by the sensual and the proud— Joy is the sweet voice, Joy the luminous cloud— We in ourselves rejoice! And thence flows all that charms or ear or sight, All melodies the echoes of that voice, All colours a suffusion from that light.

Coleridge; Dejection: An Ode - speaker describes characteristics of the feeling of joy to his lady; he extols power of joy, which can create beauty as well as create a new heaven and earth

Well! If the Bard was weather-wise, who made The grand old ballad of Sir Patrick Spence, This night, so tranquil now, will not go hence Unroused by winds, that ply a busier trade Than those which mould yon cloud in lazy flakes, Or the dull sobbing draft, that moans and rakes Upon the strings of this Æolian lute, Which better far were mute. For lo! the New-moon winter-bright! And overspread with phantom light, (With swimming phantom light o'erspread But rimmed and circled by a silver thread) I see the old Moon in her lap, foretelling The coming-on of rain and squally blast. And oh! that even now the gust were swelling, And the slant night-shower driving loud and fast! Those sounds which oft have raised me, whilst they awed, And sent my soul abroad, Might now perhaps their wonted impulse give, Might startle this dull pain, and make it move and live!

Coleridge; Dejection: An Ode - taking in the world in an agitated way- wants nature to make him feel better; he wishes for a storm to occur because he needs something to stir his emotions

The frost performs its secret ministry, Unhelped by any wind. The owlet's cry Came loud—and hark, again! loud as before. The inmates of my cottage, all at rest, Have left me to that solitude, which suits Abstruser musings: save that at my side My cradled infant slumbers peacefully. 'Tis calm indeed! so calm, that it disturbs And vexes meditation with its strange And extreme silentness. Sea, hill, and wood, This populous village! Sea, and hill, and wood, With all the numberless goings-on of life, Inaudible as dreams! the thin blue flame Lies on my low-burnt fire, and quivers not; Only that film, which fluttered on the grate, Still flutters there, the sole unquiet thing. Methinks, its motion in this hush of nature Gives it dim sympathies with me who live, Making it a companionable form, Whose puny flaps and freaks the idling Spirit By its own moods interprets, everywhere Echo or mirror seeking of itself, And makes a toy of Thought.

Coleridge; Frost at Midnight Stanza 1 - in his cottage where his infant son is sleeping by his side - speaker's thoughts are interrupted by presence of his child - we are all fundamentally alone (thoughts govern by presence of his son) - speaker's environment: dreamlike entity, inaudible - significance of the fire: using imagination to create a friend; sympathetic friend [purely imagined / realizes he is by himself and it is simply an imagination // line 23: self deprecating]

But O! how oft, How oft, at school, with most believing mind, Presageful, have I gazed upon the bars, To watch that fluttering stranger! and as oft With unclosed lids, already had I dreamt Of my sweet birthplace, and the old church-tower, Whose bells, the poor man's only music, rang From morn to evening, all the hot Fair-day, So sweetly, that they stirred and haunted me With a wild pleasure, falling on mine ear Most like articulate sounds of things to come! So gazed I, till the soothing things I dreamt Lulled me to sleep, and sleep prolonged my dreams! And so I brooded all the following morn, Awed by the stern preceptor's face, mine eye Fixed with mock study on my swimming book: Save if the door half opened, and I snatched A hasty glance, and still my heart leaped up, For still I hoped to see the stranger's face, Townsman, or aunt, or sister more beloved, My playmate when we both were clothed alike!

Coleridge; Frost at Midnight Stanza 2 - talking about similar experience when he was sent away to school- thought fire was a real thing (interchangeable with real people in his life) - notion of other minds: son is too primitive to have another mind

Dear babe, that sleepest cradled by my side, Whose gentle breathings, heard in this deep calm, Fill up the interspersed vacancies And momentary pauses of the thought! My babe so beautiful! it thrills my heart With tender gladness, thus to look at thee, And think that thou shalt learn far other lore And in far other scenes! For I was reared In the great city, pent 'mid cloisters dim, And saw nought lovely but the sky and stars. But thou, my babe! shalt wander like a breeze By lakes and sandy shores, beneath the crags Of ancient mountain, and beneath the clouds, Which image in their bulk both lakes and shores And mountain crags: so shalt thou see and hear The lovely shapes and sounds intelligible Of that eternal language, which thy God Utters, who fro eternity doth teach Himself in all, and all things in himself. Great universal Teacher! he shall mould They spirit, and by giving make it ask.

Coleridge; Frost at Midnight stanza 3 - wants his son to have experiences- look at nature as book of God - does not want his son to have the life that he had (stemmed from his childhood imaginations)

Dear native brook! wild streamlet of the West! How many various-fated years have passed, What happy and what mournful hours, since last I skimmed the smooth thin stone along thy breast, Numbering its light leaps! Yet so deep impressed Sink the sweet scenes of childhood, that mine eyes I never shut amid the sunny ray, But straight with all their tints thy waters rise, Thy crossing plank, thy marge with willows grey, And bedded sand that, veined with various dyes, Gleamed through thy bright transparence! On my way, Visions of childhood! oft have ye beguiled Lone manhood's cares, yet waking fondest sighs: Ah! that once more I were a careless child!

Coleridge; Sonnet to the River Otter • Imagination->memory (entire poem is about Coleridge's memories/emotions) • Line 1: addressing natural entity - Subject -> object: subject is the individual (perceives object) • Lines 2-5: gap between subject and object (spatially and temporally) • By closing his eyes, speaker is trying to communicate how imagination functions - Actual image of the river is reinvented • Speaker wishes to be a child again-> innocence; adulthood involves responsibility • Adult-> disconnected from world/mental capacity to recreate things

My pensive Sara! thy soft cheek reclined Thus on mine arm, most soothing sweet it is To sit beside our Cot, our Cot o'ergrown With white-flowered Jasmin, and the broad-leaved Myrtle, (Meet emblems they of Innocence and Love!) And watch the clouds, that late were rich with light, Slow saddening round, and mark the star of eve Serenely brilliant (such would Wisdom be) Shine opposite! How exquisite the scents Snatched from yon bean-field! and the world so hushed! The stilly murmur of the distant Sea Tells us of silence.

Coleridge; The Eolian Harp Stanza 1 - the speaker is talking to his wife (not really) - reporting to her what is going on in his mind - overwhelmed by his own perception of things

And that simplest Lute, Placed length-ways in the clasping casement, hark! How by the desultory breeze caressed, Like some coy maid half yielding to her lover, It pours such sweet upbraiding, as must needs Tempt to repeat the wrong! And now, its strings Boldlier swept, the long sequacious notes Over delicious surges sink and rise, Such a soft floating witchery of sound As twilight Elfins make, when they at eve Voyage on gentle gales from Fairy-Land, Where Melodies round honey-dropping flowers, Footless and wild, like birds of Paradise, Nor pause, nor perch, hovering on untamed wing! O! the one Life within us and abroad, Which meets all motion and becomes its soul, A light in sound, a sound-like power in light, Rhythm in all thought, and joyance everywhere— Methinks, it should have been impossible Not to love all things in a world so filled; Where the breeze warbles, and the mute still air Is Music slumbering on her instrument.

Coleridge; The Eolian Harp stanza 2 - instrument in window is analogous to an erotic scenario to the maid and her lover- lover is trying to seduce her - pipeline to what is animating him psychologically - lines 20-25 (Such a soft floating witchery of sound...Nor pause, nor perch, hovering on untamed wing): frivolous, self consciously silly - lines 26-33: alluding to pantheism (universal god) - connection between us and universal god - Coleridge is in a wrong of his own

But thy more serious eye a mild reproof Darts, O beloved Woman! nor such thoughts Dim and unhallowed dost thou not reject, And biddest me walk humbly with my God. Meek Daughter in the family of Christ! Well hast thou said and holily dispraised These shapings of the unregenerate mind; Bubbles that glitter as they rise and break On vain Philosophy's aye-babbling spring. For never guiltless may I speak of him, The Incomprehensible! save when with awe I praise him, and with Faith that inly feels; Who with his saving mercies healèd me, A sinful and most miserable man, Wildered and dark, and gave me to possess Peace, and this Cot, and thee, heart-honored Maid!

Coleridge; The eolian harp stanza 5 - projecting himself into his wife's mind- God is the incomprehensible- reinforces his position she is shutting him down - Coleridge is stating his wife is a miserable person - writing to the reader while speaking to his wife

Well, they are gone, and here must I remain, This lime-tree bower my prison! I have lost Beauties and feelings, such as would have been Most sweet to my remembrance even when age Had dimm'd mine eyes to blindness! They, meanwhile, Friends, whom I never more may meet again, On springy heath, along the hill-top edge, Wander in gladness, and wind down, perchance, To that still roaring dell, of which I told; The roaring dell, o'erwooded, narrow, deep, And only speckled by the mid-day sun; Where its slim trunk the ash from rock to rock Flings arching like a bridge;—that branchless ash, Unsunn'd and damp, whose few poor yellow leaves Ne'er tremble in the gale, yet tremble still, Fann'd by the water-fall! and there my friends Behold the dark green file of long lank weeds, That all at once (a most fantastic sight!) Still nod and drip beneath the dripping edge Of the blue clay-stone.

Coleridge; This Lime Tree Bower my Prison; stanza 1 - lines 1-6: speaker is losing memory; won't have any experience that he can remember- imagine what his friends are viewing; speaker has a prior memory and drawing upon it - external world is accessory to internal world- trying too hard to project himself imaginatively to a place he is not

Now, my friends emerge Beneath the wide wide Heaven—and view again The many-steepled tract magnificent Of hilly fields and meadows, and the sea, With some fair bark, perhaps, whose sails light up The slip of smooth clear blue betwixt two Isles Of purple shadow! Yes! they wander on In gladness all; but thou, methinks, most glad, My gentle-hearted Charles! for thou hast pined And hunger'd after Nature, many a year, In the great City pent, winning thy way With sad yet patient soul, through evil and pain And strange calamity! Ah! slowly sink Behind the western ridge, thou glorious Sun! Shine in the slant beams of the sinking orb, Ye purple heath-flowers! richlier burn, ye clouds! Live in the yellow light, ye distant groves! And kindle, thou blue Ocean! So my friend Struck with deep joy may stand, as I have stood, Silent with swimming sense; yea, gazing round On the wide landscape, gaze till all doth seem Less gross than bodily; and of such hues As veil the Almighty Spirit, when yet he makes Spirits perceive his presence.

Coleridge; This Lime Tree Bower my Prison; stanza 2 - getting in his friend's memory- wants Charles to have a good time- god like activity being theoretically performed - nature is obeying the speaker (performing a specific way)- imaginative scenario

A delight Comes sudden on my heart, and I am glad As I myself were there! Nor in this bower, This little lime-tree bower, have I not mark'd Much that has sooth'd me. Pale beneath the blaze Hung the transparent foliage; and I watch'd Some broad and sunny leaf, and lov'd to see The shadow of the leaf and stem above Dappling its sunshine! And that walnut-tree Was richly ting'd, and a deep radiance lay Full on the ancient ivy, which usurps Those fronting elms, and now, with blackest mass Makes their dark branches gleam a lighter hue Through the late twilight: and though now the bat Wheels silent by, and not a swallow twitters, Yet still the solitary humble-bee Sings in the bean-flower! Henceforth I shall know That Nature ne'er deserts the wise and pure; No plot so narrow, be but Nature there, No waste so vacant, but may well employ Each faculty of sense, and keep the heart Awake to Love and Beauty! and sometimes 'Tis well to be bereft of promis'd good, That we may lift the soul, and contemplate With lively joy the joys we cannot share. My gentle-hearted Charles! when the last rook Beat its straight path along the dusky air Homewards, I blest it! deeming its black wing (Now a dim speck, now vanishing in light) Had cross'd the mighty Orb's dilated glory, While thou stood'st gazing; or, when all was still, Flew creeking o'er thy head, and had a charm For thee, my gentle-hearted Charles, to whom No sound is dissonant which tells of Life.

Coleridge; This lime tree bower my prison; stanza 3 - speaker is feeling good about himself- speaker jumps back to the real world; experience with a real object before him - Coleridge- thinking about a time and a place (memory and imagination) - attributed to him; suggest its nature doing all of this

Therefore all seasons shall be sweet to thee, Whether the summer clothe the general earth With greenness, or the redbreast sit and sing Betwixt the tufts of snow on the bare branch Of mossy apple-tree, while the nigh thatch Smokes in the sunthaw; whether the eve-drops fall Heard only in the trances of the blast, Or if the secret ministry of frost Shall hang them up in silent icicles, Quietly shining to the quiet Moon.

Coleridge; frost at midnight stanza 4 - shifts back to the present- > acute sensitivity / there is no escape from reality

And thus, my Love! as on the midway slope Of yonder hill I stretch my limbs at noon, Whilst through my half-closed eyelids I behold The sunbeams dance, like diamonds, on the main, And tranquil muse upon tranquility: Full many a thought uncalled and undetained, And many idle flitting phantasies, Traverse my indolent and passive brain, As wild and various as the random gales That swell and flutter on this subject Lute!

Coleridge; the Eolian Harp Stanza 3 - speaker is talking to his wife; he is stretched out on the ground day dreaming

And what if all of animated nature Be but organic Harps diversely framed, That tremble into thought, as o'er them sweeps Plastic and vast, one intellectual breeze, At once the Soul of each, and God of all?

Coleridge; the Eolian Harp stanza 4 - every aspect of nature: identity (soul) and god (divine)

My genial spirits fail; And what can these avail To lift the smothering weight from off my breast? It were a vain endeavour, Though I should gaze for ever On that green light that lingers in the west: I may not hope from outward forms to win The passion and the life, whose fountains are within.

Dejection: An Ode, Coleridge - only he has the power to change his emotional state- perceiving age is the only way nature is beautiful- admits that gazing at beauty of skies is a vain and futile attempt to ease his pain

There was a time when, though my path was rough, This joy within me dallied with distress, And all misfortunes were but as the stuff Whence Fancy made me dreams of happiness: For hope grew round me, like the twining vine, And fruits, and foliage, not my own, seemed mine. But now afflictions bow me down to earth: Nor care I that they rob me of my mirth; But oh! each visitation Suspends what nature gave me at my birth, My shaping spirit of Imagination. For not to think of what I needs must feel, But to be still and patient, all I can; And haply by abstruse research to steal From my own nature all the natural man— This was my sole resource, my only plan: Till that which suits a part infects the whole, And now is almost grown the habit of my soul.

Dejection: An Ode; Coleridge - no longer cares that his happiness is gone; each small visitation of sadness robs him of his power of imagination

Hence, viper thoughts, that coil around my mind, Reality's dark dream! I turn from you, and listen to the wind, Which long has raved unnoticed. What a scream Of agony by torture lengthened out That lute sent forth! Thou Wind, that rav'st without, Bare crag, or mountain-tairn, or blasted tree, Or pine-grove whither woodman never clomb, Or lonely house, long held the witches' home, Methinks were fitter instruments for thee, Mad Lutanist! who in this month of showers, Of dark-brown gardens, and of peeping flowers, Mak'st Devils' yule, with worse than wintry song, The blossoms, buds, and timorous leaves among. Thou Actor, perfect in all tragic sounds! Thou mighty Poet, e'en to frenzy bold! What tell'st thou now about? 'Tis of the rushing of an host in rout, With groans, of trampled men, with smarting wounds— At once they groan with pain, and shudder with the cold! But hush! there is a pause of deepest silence! And all that noise, as of a rushing crowd, With groans, and tremulous shudderings—all is over— It tells another tale, with sounds less deep and loud! A tale of less affright, And tempered with delight, As Otway's self had framed the tender lay,— 'Tis of a little child Upon a lonesome wild, Nor far from home, but she hath lost her way: And now moans low in bitter grief and fear, And now screams loud, and hopes to make her mother hear.

Dejection: An Ode; Coleridge - within the storm, he is able to hear less frightful sounds of a child looking for his mother

A grief without a pang, void, dark, and drear, A stifled, drowsy, unimpassioned grief, Which finds no natural outlet, no relief, In word, or sigh, or tear— O Lady! in this wan and heartless mood, To other thoughts by yonder throstle woo'd, All this long eve, so balmy and serene, Have I been gazing on the western sky, And its peculiar tint of yellow green: And still I gaze—and with how blank an eye! And those thin clouds above, in flakes and bars, That give away their motion to the stars; Those stars, that glide behind them or between, Now sparkling, now bedimmed, but always seen: Yon crescent Moon, as fixed as if it grew In its own cloudless, starless lake of blue; I see them all so excellently fair, I see, not feel, how beautiful they are!

Dejection: An Ode; Coleridge - no feeling connecting him to the environment; operate if he looks long enough at nature; his feelings catch up - Pain is a result of a broken heart- he is so overwhelmed with sadness, he can only see the beauty of nature

'Tis midnight, but small thoughts have I of sleep: Full seldom may my friend such vigils keep! Visit her, gentle Sleep! with wings of healing, And may this storm be but a mountain-birth, May all the stars hang bright above her dwelling, Silent as though they watched the sleeping Earth! With light heart may she rise, Gay fancy, cheerful eyes, Joy lift her spirit, joy attune her voice; To her may all things live, from pole to pole, Their life the eddying of her living soul! O simple spirit, guided from above, Dear Lady! friend devoutest of my choice, Thus mayest thou ever, evermore rejoice.

Dejection: An Ode; Coleridge - wishes the lady eternal joy by "sleep"

Harmonious Powers with Nature work On sky, earth, river, lake, and sea: Sunshine and storm, whirlwind and breeze All in one duteous task agree. Once did I see a slip of earth, By throbbing waves long undermined, Loosed from its hold; — how no one knew But all might see it float, obedient to the wind. Might see it, from the mossy shore Dissevered float upon the Lake, Float, with its crest of trees adorned On which the warbling birds their pastime take. Food, shelter, safety there they find There berries ripen, flowerets bloom; There insects live their lives — and die: A peopled world it is; in size a tiny room. And thus through many seasons' space This little Island may survive But Nature, though we mark her not, Will take away — may cease to give. Perchance when you are wandering forth Upon some vacant sunny day Without an object, hope, or fear, Thither your eyes may turn — the Isle is passed away. Buried beneath the glittering Lake! Its place no longer to be found, Yet the lost fragments shall remain, To fertilize some other ground.

Floating Island- Dorothy Wordsworth - 1st stanza: natural elements working together in a system - circularity of nature - childhood v. adulthood- consciousness for death - pushing back against inevitable - speaker can appear to ecosystem- is it enough - trying to become a little girl again

I wandered lonely as a cloud That floats on high o'er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze. Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance. The waves beside them danced; but they Out-did the sparkling waves in glee: A poet could not but be gay, In such a jocund company: I gazed—and gazed—but little thought What wealth the show to me had brought: For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils.

I Wandered Lonely as a Cloud; Wordsworth - stanza 1: "I" lonely; depressed [Cloud and I - looking down at happiness, unleveled with society, disconnect in society-social organization, speaker is detached from society] - stanza 2: flowers are happy and he is not- establishes a distance - stanza 3: the speaker is not happy- gazing adds to the distance - stanza 4: happy ending- not physically present- join crowd when not there- detached from scene -> feels happy - line 21-22: happy when he is alone- 2 fantasies - fantasizes being there when not with them - in a state of depression- join community imaginatively - bliss: finds happiness in being alone; empowering -> trapped in ourselves - emphasize degree: all cut off from the world; only pleasure be experienced in total isolation - cut off from rest of the world- sense of loneliness is nailed down effectively - basic psychology: appreciate things after the fact - only condition I can be in bliss and be apart of community - subjects removed from objects and subjects

I heard a thousand blended notes, While in a grove I sate reclined, In that sweet mood when pleasant thoughts Bring sad thoughts to the mind. To her fair works did Nature link The human soul that through me ran; And much it grieved my heart to think What man has made of man. Through primrose tufts, in that green bower, The periwinkle trailed its wreaths; And 'tis my faith that every flower Enjoys the air it breathes. The birds around me hopped and played, Their thoughts I cannot measure:— But the least motion which they made It seemed a thrill of pleasure. The budding twigs spread out their fan, To catch the breezy air; And I must think, do all I can, That there was pleasure there. If this belief from heaven be sent, If such be Nature's holy plan, Have I not reason to lament What man has made of man?

Lines written in early spring (Wordsworth) - the speaker is inclined to see things negatively -depression (moment of reflection) - 2nd stanza: connected to nature; nature gets along just fine (nature is a mystified status); higher up ethically rather than humanity - describe nature in human terms: personify nature (pleasure, thinking, enjoyment) - last stanza: nature is a paradine / model for human solidarity [nature is more harmonious than humanity - speaker has made nature a version of man; melancholy is also a fabrication, speaker realizes he is screwing up- wants to believe nature is superior to humans] - poem ends on a movement of doubt, of his disenchantment (springs from a psychological condition)- wants nature to be the best version of humanity; elevated source of harmony

THERE was a time when meadow, grove, and stream, The earth, and every common sight, To me did seem Apparell'd in celestial light, The glory and the freshness of a dream. It is not now as it hath been of yore;— Turn wheresoe'er I may, By night or day, The things which I have seen I now can see no more. The rainbow comes and goes, And lovely is the rose; The moon doth with delight Look round her when the heavens are bare; Waters on a starry night Are beautiful and fair; The sunshine is a glorious birth; But yet I know, where'er I go, That there hath pass'd away a glory from the earth. Now, while the birds thus sing a joyous song, And while the young lambs bound As to the tabor's sound, To me alone there came a thought of grief: A timely utterance gave that thought relief, And I again am strong: The cataracts blow their trumpets from the steep; No more shall grief of mine the season wrong; I hear the echoes through the mountains throng, The winds come to me from the fields of sleep, And all the earth is gay; Land and sea Give themselves up to jollity, And with the heart of May Doth every beast keep holiday;— Thou Child of Joy, Shout round me, let me hear thy shouts, thou happy Shepherd-boy! Ye blessèd creatures, I have heard the call Ye to each other make; I see The heavens laugh with you in your jubilee; My heart is at your festival, My head hath its coronal, The fulness of your bliss, I feel—I feel it all. O evil day! if I were sullen While Earth herself is adorning, This sweet May-morning, And the children are culling On every side, In a thousand valleys far and wide, Fresh flowers; while the sun shines warm, And the babe leaps up on his mother's arm:— I hear, I hear, with joy I hear! —But there's a tree, of many, one, A single field which I have look'd upon, Both of them speak of something that is gone: The pansy at my feet Doth the same tale repeat: Whither is fled the visionary gleam? Where is it now, the glory and the dream?

Ode: Intimations of Immortality; Wordsworth (stanzas 1-4) - speaker is trying to recollect his childhood- Wordsworth suggests as children, we have a memory of our divine history -> metaphysical discourse - borderline of consciousness- reality opening up - Wordsworth is trying to use early moment as a baseline to time travel backwards - stanzas 1-4: state problem speaker is encountering as an adult - trying to generate enthusiasm -> manic expressions; in world thrown back on sense of solitude and detachment - problem: back then it was great, no longer can feel excitement and bliss that he felt before - consciousness v. preconsciousness- world is not a sight of wonder -psychologically honest- trying to lift state out of depression - describing nature -> flat description -> "see" but do not "feel" - stanza 3: not an authentic sense of relief - trying to create a happy scenario for himself- manic depression -stanza 4: tree symbolizes his own solitude - connect with environment like he did as a child -> cannot do it

O joy! that in our embers Is something that doth live, 135 That nature yet remembers What was so fugitive! The thought of our past years in me doth breed Perpetual benediction: not indeed For that which is most worthy to be blest— 140 Delight and liberty, the simple creed Of childhood, whether busy or at rest, With new-fledged hope still fluttering in his breast:— Not for these I raise The song of thanks and praise; 145 But for those obstinate questionings Of sense and outward things, Fallings from us, vanishings; Blank misgivings of a Creature Moving about in worlds not realized, 150 High instincts before which our mortal Nature Did tremble like a guilty thing surprised: But for those first affections, Those shadowy recollections, Which, be they what they may, 155 Are yet the fountain-light of all our day, Are yet a master-light of all our seeing; Uphold us, cherish, and have power to make Our noisy years seem moments in the being Of the eternal Silence: truths that wake, 160 To perish never: Which neither listlessness, nor mad endeavour, Nor Man nor Boy, Nor all that is at enmity with joy, Can utterly abolish or destroy! 165 Hence in a season of calm weather Though inland far we be, Our souls have sight of that immortal sea Which brought us hither, Can in a moment travel thither, 170 And see the children sport upon the shore, And hear the mighty waters rolling evermore.

Ode: Intimations of Immortality; Wordsworth stanza 9 - thankful for obstinate questions - not thankful for state of childhood- has immortal nature in higher realms - something familiar looks really defamiliar- odd moment where we are alienated from ourselves in act of seeing something - relive consciousness in the world -> repressing what we are use to and bring deep memories arise in reality - different response/ reaction to what you have seen before - complicated and obscure nature - seeing something first time - seeing things in unprecedented way- gets to where we are - time travelling to a moment before we are born

Then sing, ye birds, sing, sing a joyous song! And let the young lambs bound As to the tabor's sound! 175 We in thought will join your throng, Ye that pipe and ye that play, Ye that through your hearts to-day Feel the gladness of the May! What though the radiance which was once so bright 180 Be now for ever taken from my sight, Though nothing can bring back the hour Of splendour in the grass, of glory in the flower; We will grieve not, rather find Strength in what remains behind; 185 In the primal sympathy Which having been must ever be; In the soothing thoughts that spring Out of human suffering; In the faith that looks through death, 190 In years that bring the philosophic mind. And O ye Fountains, Meadows, Hills, and Groves, Forebode not any severing of our loves! Yet in my heart of hearts I feel your might; I only have relinquish'd one delight 195 To live beneath your more habitual sway. I love the brooks which down their channels fret, Even more than when I tripp'd lightly as they; The innocent brightness of a new-born Day Is lovely yet; 200 The clouds that gather round the setting sun Do take a sober colouring from an eye That hath kept watch o'er man's mortality; Another race hath been, and other palms are won. Thanks to the human heart by which we live, 205 Thanks to its tenderness, its joys, and fears, To me the meanest flower that blows can give Thoughts that do often lie too deep for tears.

Ode: Intimations of Immortality; Wordsworth stanzas 10-11 - stanza 10: "behind" - past and present; philosophic mind= mind much more equated with adult mind - stanza 11: evoke bliss once you hit rock bottom- movement away from depression (never ending depression- repeating a cycle

Our birth is but a sleep and a forgetting: The Soul that rises with us, our life's Star, 60 Hath had elsewhere its setting, And cometh from afar: Not in entire forgetfulness, And not in utter nakedness, But trailing clouds of glory do we come 65 From God, who is our home: Heaven lies about us in our infancy! Shades of the prison-house begin to close Upon the growing Boy, But he beholds the light, and whence it flows, 70 He sees it in his joy; The Youth, who daily farther from the east Must travel, still is Nature's priest, And by the vision splendid Is on his way attended; 75 At length the Man perceives it die away, And fade into the light of common day. Earth fills her lap with pleasures of her own; Yearnings she hath in her own natural kind, And, even with something of a mother's mind, 80 And no unworthy aim, The homely nurse doth all she can To make her foster-child, her Inmate Man, Forget the glories he hath known, And that imperial palace whence he came.

Ode: Intimations of Immortality; Wordsworth stanzas 5-6 - stanza 5: the speaker begins talking generally: when born, leaving previous state (immortality) -> we have some dim memory of being in life; entire narrative of growth (the older you are, the more awareness you are), "one god"-> all humans are derived from that one -> state of absolute being - generalizing 1st 4 stanzas, innocence (in sync with environment) - relatable and more deliberate // work through own problems - general problem we all have to deal with it- suffering mental instability - stanza 6: personifying earth- born in world (world tries to make his at home in world); ease our transition into consciousness (glorious environment)- "foster child"- sign of alienation

Behold the Child among his new-born blisses, A six years' darling of a pigmy size! See, where 'mid work of his own hand he lies, Fretted by sallies of his mother's kisses, With light upon him from his father's eyes! 90 See, at his feet, some little plan or chart, Some fragment from his dream of human life, Shaped by himself with newly-learnèd art; A wedding or a festival, A mourning or a funeral; 95 And this hath now his heart, And unto this he frames his song: Then will he fit his tongue To dialogues of business, love, or strife; But it will not be long 100 Ere this be thrown aside, And with new joy and pride The little actor cons another part; Filling from time to time his 'humorous stage' With all the Persons, down to palsied Age, 105 That Life brings with her in her equipage; As if his whole vocation Were endless imitation. Thou, whose exterior semblance doth belie Thy soul's immensity; 110 Thou best philosopher, who yet dost keep Thy heritage, thou eye among the blind, That, deaf and silent, read'st the eternal deep, Haunted for ever by the eternal mind,— Mighty prophet! Seer blest! 115 On whom those truths do rest, Which we are toiling all our lives to find, In darkness lost, the darkness of the grave; Thou, over whom thy Immortality Broods like the Day, a master o'er a slave, 120 A presence which is not to be put by; To whom the grave Is but a lonely bed without the sense or sight Of day or the warm light, A place of thought where we in waiting lie; 125 Thou little Child, yet glorious in the might Of heaven-born freedom on thy being's height, Why with such earnest pains dost thou provoke The years to bring the inevitable yoke, Thus blindly with thy blessedness at strife? 130 Full soon thy soul shall have her earthly freight, And custom lie upon thee with a weight, Heavy as frost, and deep almost as life!

Ode: Intimations of Immortality; Wordsworth stanzas 7-8 stanza 7: at 6 years old, kid is drawing aspect of the world -> enter into reality- representing world by drawing; performing as a child - adult activities (rushing into adulthood) stanza 8: values childhood as a philosopher; eternal mind -> the "one god" ; kid is the closest thing to god -> reversing the customary hierarchy (child -> man)

At the corner of Wood Street, when daylight appears, Hangs a Thrush that sings loud, it has sung for three years: Poor Susan has passed by the spot, and has heard In the silence of morning the song of the Bird. 'Tis a note of enchantment; what ails her? She sees A mountain ascending, a vision of trees; Bright volumes of vapour through Lothbury glide, And a river flows on through the vale of Cheapside. Green pastures she views in the midst of the dale, Down which she so often has tripped with her pail; And a single small cottage, a nest like a dove's, The one only dwelling on earth that she loves. She looks, and her heart is in heaven: but they fade, The mist and the river, the hill and the shade: The stream will not flow, and the hill will not rise, And the colours have all passed away from her eyes! Poor Outcast! return-- to receive thee once more The house of thy Father will open its door, And thou once again, in thy plain russet gown, May'st hear the thrush sing from a tree of its own

Poor Susan, Wordsworth - speaker looks at woman -> he begins to enter her mind (she is having hallucinations of the countryside in middle of London- does not know anything about the woman) - 3rd stanza: speaker is describing her as being stuck, cannot escape - speaker is violating her mind; she is completely damaged goods - fantasize her disappointment - through hallucinations that disappear - social sympathy and awareness- about the subject; what it has done for the object - speaker tries to humanize her; ability to sympathize- ability to protect (has no other way than to kill her off) - another kind of exploitation - cannot separate sympathy from a powerful exploitation

STRANGE fits of passion have I known: And I will dare to tell, But in the Lover's ear alone, What once to me befell. When she I loved looked every day Fresh as a rose in June, I to her cottage bent my way, Beneath an evening-moon. Upon the moon I fixed my eye, All over the wide lea; With quickening pace my horse drew nigh Those paths so dear to me. And now we reached the orchard-plot; And, as we climbed the hill, The sinking moon to Lucy's cot Came near, and nearer still. In one of those sweet dreams I slept, Kind Nature's gentlest boon! And all the while my eyes I kept On the descending moon. My horse moved on; hoof after hoof He raised, and never stopped: When down behind the cottage roof, At once, the bright moon dropped. What fond and wayward thoughts will slide Into a Lover's head! "O mercy!" to myself I cried, "If Lucy should be dead!"

Strange Fits of Passion (Wordsworth) - 1st stanza: talking to a reader about a woman (lover-male implied reader)- he is telling a secret -2nd stanza: comparing her to a rose is dehumanizing - downgrade her- unsettling - erotic scenario: moon is doubling as body of his lover; speaker is fixated on the moon, manifested in a lover's scenario, prevents erotic closure - fantasy interrupts arch of sexual desire- attached to someone (fear of death)- afraid of reality (fear of sexual union- reality), not daylight between worried for death and wishing death - result of an unfortunate event- concern for well being- instant desire for them to be killed (destructive tendency, does not allow him to mourn)

Behold her, single in the field, Yon solitary Highland Lass! Reaping and singing by herself; Stop here, or gently pass! Alone she cuts and binds the grain, And sings a melancholy strain; O listen! for the Vale profound Is overflowing with the sound. No Nightingale did ever chaunt More welcome notes to weary bands Of travellers in some shady haunt, Among Arabian sands: A voice so thrilling ne'er was heard In spring-time from the Cuckoo-bird, Breaking the silence of the seas Among the farthest Hebrides. Will no one tell me what she sings?— Perhaps the plaintive numbers flow For old, unhappy, far-off things, And battles long ago: Or is it some more humble lay, Familiar matter of to-day? Some natural sorrow, loss, or pain, That has been, and may be again? Whate'er the theme, the Maiden sang As if her song could have no ending; I saw her singing at her work, And o'er the sickle bending;— I listened, motionless and still; And, as I mounted up the hill, The music in my heart I bore, Long after it was heard no more.

The Solitary Reaper; Wordsworth - stanza 1: Wordsworth walking along with unnamed companion - melancholy sound; she is physically in the field -> speaker is looking at her and making inference based on his world; Wordsworth is caught up in his inner life line 8: hearing what could not be audible- the song is in his head // projecting own sense of solitude - stanza 2: by comparing analogous scenarios (nightingales and birds)- experiences does not exist- same as his experience does not exist- "no" (subjective taking control of his object) - stanza 3: furnishing what he is singing - line 24 (the pain will never go away -> bleeding depression -> takes memory of song with him - in some world of relation -> world of sad and loneliness -> found in double in somebody else - trajectoring her into herself - projected herself onto - everyday life is a sorrowful event - fantasing that someone is there -> feels sad bc no one is there- develops intimacy with woman- speaker is alone because he is depressed- always sees misery and despair

There was a Boy; ye knew him well, ye cliffs And islands of Winander! many a time, At evening, when the earliest stars began To move along the edges of the hills, Rising or setting, would he stand alone, Beneath the trees, or by the glimmering lake; And there, with fingers interwoven, both hands Pressed closely palm to palm and to his mouth Uplifted, he, as through an instrument, Blew mimic hootings to the silent owls That they might answer him.And they would shout Across the watery vale, and shout again, Responsive to his call,with quivering peals, And long halloos, and screams, and echoes loud Redoubled and redoubled; concourse wild Of jocund din! And, when there came a pause Of silence such as baffled his best skill: Then, sometimes, in that silence, while he hung Listening, a gentle shock of mild surprise Has carried far into his heart the voice Of mountain-torrents; or the visible scene Would enter unawares into his mind With all its solemn imagery, its rocks, Its woods, and that uncertain heaven received Into the bosom of the steady lake. Fair are the woods, and beauteous is the spot, The vale where he was born; the Church-yard hangs Upon a slope above the village school; And there along that bank where I have pass'd At evening, I believe, that near his grave A full half-hour together I have stood, Mute--for he died when he was ten years old.

There Was a Boy (Wordsworth) - lines 1-10: little boy is discovering nature -> trying to connect with nature (idealizing some aspect of nature) - lines 10-15: connection to nature- no response from owls - silenced - lines 19-25: control of environment in physical way- regression [taking nature in that is not expressively of nature before him, poem shifts tense wise- imagining nature than looking at nature, no longer controlling environment- early imaginative moment- subjective apprehension of environment- poet is bear witness to it, "shock" -> demonstrate sensitivity- sublime moment, something is descending upon him - lines 26-32: little boy dies -> kid is in a state of mute [speaker mute near his boy's grave and boy mute near nature -> draws a parallelism (speaker is trying to connect with his 10 year old self)- something stripped away from him; draws agency from childhood -> adulthood - wordsworth makes an efffort to get inside of speaker's head

And has the remnant of my life Been pilfered of this sunny Spring? And have its own prelusive sounds Touched in my heart no echoing string? Ah! say not so—the hidden life Couchant within this feeble frame Hath been enriched by kindred gifts, That, undesired, unsought-for, came With joyful heart in youthful days When fresh each season in its Round I welcomed the earliest Celandine Glittering upon the mossy ground; With busy eyes I pierced the lane In quest of known and unknown things, —The primrose a lamp on its fortress rock, The silent butterfly spreading its wings, The violet betrayed by its noiseless breath, The daffodil dancing in the breeze, The caroling thrush, on his naked perch, Towering above the budding trees. Our cottage-hearth no longer our home, Companions of Nature were we, The Stirring, the Still, the Loquacious, the Mute— To all we gave our sympathy. Yet never in those careless days When spring-time in rock, field, or bower Was but a fountain of earthly hope A promise of fruits & the splendid flower. No! then I never felt a bliss That might with that compare Which, piercing to my couch of rest, Came on the vernal air. When loving Friends an offering brought, The first flowers of the year, Culled from the precincts of our home, From nooks to Memory dear. With some sad thoughts the work was done. Unprompted and unbidden, But joy it brought to my hidden life, To consciousness no longer hidden. I felt a power unfelt before, Controlling weakness, languor, pain; It bore me to the Terrace walk I trod the Hills again; — No prisoner in this lonely room, I saw the green Banks of the Wye, Recalling thy prophetic words, Bard, Brother, Friend from infancy! No need of motion, or of strength, Or even the breathing air; —I thought of Nature's loveliest scenes; And with Memory I was there.

Thoughts on my sick bed; Dorothy Wordsworth - Dorothy is sick and indoors- cannot experience spring - first 5 stanzas: experiencing spring when she was a youth- physically connected to the environment- honoring world while taking nature in - more at home when experiencing world - "we"- environment becoming a community she belongs to - "careless days"- continuity of subject/object - line 28: as happy as she was, nothing compares to her feelings - line 32: sitting at home convalescent - sick: experiences of spring in much less involved way is greater experience than her experience in environment as youth - line 39-40: joys that happened were either fictions of unremembered- repressed memory (flowers activate the repressed mind)- she is connected to a deep subjectivity as her brother -line 42: power -> literally takes Dorothy outside (environment) : making a good faith effort- determination not to fetish her tragedy; a strategic decision to put best possible face on a decision-self effacing - ironic and strategic- power to push back against impulses to become an individuated figure- trying to be a counterexample of her brother - project herself out there- sensory experience allows her to imaginatively be there- trying to be optimistic - trying to make best out of every situation

Earth has not anything to show more fair: Dull would he be of soul who could pass by A sight so touching in its majesty: This City now doth, like a garment, wear The beauty of the morning; silent, bare, Ships, towers, domes, theatres, and temples lie Open unto the fields, and to the sky; All bright and glittering in the smokeless air. Never did sun more beautifully steep In his first splendour, valley, rock, or hill; Ne'er saw I, never felt, a calm so deep! The river glideth at his own sweet will: Dear God! the very houses seem asleep; And all that mighty heart is lying still!

Wordsworth; "composed upon Westminster Bridge, Sept. 3, 1802" - intercomposure, labor of writing, and composition of landscape = representation of London/ doing it according to the way he feels internally - importance of the individual: people are passing by, fundamentally cut off from the world (sense of ecstasy and alienation)- reminder of the human being function - poet is cut off from reality; representation of an interior life (psychological moment) - speaker look at things from his own disposition (lines 11)

The Prelude Book 9 - Wordsworth

line 510- general/ political statement: expressing hope for democratic world - important because of individuality and equality - analytical detachment of person -> not relatable - freedom and equality - poet of freedom: autonomy (put subject different than object- felt something politically progressive by writing about him as an individual- continuous to face again and again), - not possible to be equal and freedom at the same time => Wordsworth can relate to isolated individuals - on political scale, imperative of freedom and individuality are the same - convincing point: we can all be the same

The Prelude Book 7 (Beggar scene) - Wordsworth

line 598: Wordsworth cannot relate to other people = information overload - identification -> important for individualization -> too many people/ overwhelming to him - runs into blind beggar: beggar has a life story on his chest [Wordsworth goes into abyss => sees something diminished- feels hollowed out] - Wordsworth cannot relate to the beggar- relation wipes him out - analogous to his interaction with the soldier - overdeveloped ego: getting antithetical version of poem he is writing- cannot relate to it- maybe everything is miniscule to it - line 623: warned or chastened / memorable or imaginative -> isolated individual moments - his imagination is against himself -> a criticism (living with enemy)

The Prelude Book 4- experience with soldier (Wordsworth)

soldier: alone- detail of soldier appears scary, coming out of darkness, traumatized and crazy- relate to solitude - shocking experience for Wordsworth -> we can all end up in this place- did not immediately acknowledge soldier because he exhibits the possibility that humans can go to - projective identification- feeling odd psychological pressure- details edged in his brain

The Prelude Book 1 (Boat scene)- Wordsworth

stole a boat -> juvenile crime (sense of excitement) - attached to something traumatic (forced into consciousness)- rowing on lake-sees horizon and a cliff comes up behind it-> begins to chase him (supernatural force) - follows him around for a few days - tying belief and god -> all in imagination - sublime- anything vast - how you process something overwhelming - psychologically - object of terror (fear of cliff)- contaminated psyche - speaker is terrified of being caught -> cliff is a hallucination -> thinks there is a larger force of having done something wrong -> feels guilty about it