Analysis Of Wordsworths Resolution And Independence English Literature Essay

Analysis Of Wordsworths Resolution And Independence slope Literature EssayThe poet establishes in the first two stanzas the mood of nature when he traveled on the moor. The tense green goddess be confusing. Wordsworth begins in the simple past, but the past serves here(predicate) the uses of the pre direct in the sense of active recollection of emotion in present tranquility. The BUT at the beginning of stanza iv introduces the contrast that exists surrounded by the joy of nature and the dejection of the poet. The succession that he recalls was superstar of a come up sun, calm and bright, singing birds in the distant woods, the pleasant noise of waters in the air, the world lavish with all things that love the sun, the grass jeweled with rain-drops, the hare running is his glee. merely the poets morning is virtuoso subjectiveness of dejection on this morning did fears and fancies come upon him profusely. In the midst of the sky-lark warbling in the sky, he likens him self unto the playful hare even such a happy electric shaver of earth am I / even as these blissful creatures do I furthermoste / far from the world I walk, and from all care. This is the sprightly side of his emotional state. But, in the midst of the joy, he thinks of that other kind of daytime that might come to him, that day of solitude, pain of heart, distress, and poverty. In stanza 6 he recalls how his life has been as a summer, mood, how the sustenance of life in all its nourishing variations has come to him so gratuitously. But, then he thinks to a fault of the possibility that it lead not continue so for one who takes no practical thought for his bear care and keep. The question is, how enormous will nature continue to give freely to one who does not with diligent responsibility harvest-festival grain for the garner of future days but how give the gate He in this case the poet himself stock that others should / Blind for him, sow for him, and at his call / L ove him who for himself will take no heed at all? the poet thinks of himself as poet, one endowed with his own privileged, joyous place in life, there comes to his beware the names of Thomas Chatteron and Robert Burns, poets in the English tradition that Wordsworth would admire. The association that he makes of himself with them is at one and the homogeneous time joyous and imminent we poets in our use begin in gladness/ but so come in the end despondency and madness. The universal joy of the poets life is contemplated in range of potential drop sorrow.The beginning of stanza 8 marks a turning point in the poem. From this juncture to the end, the poet will give notice (of) how he learned what we generate in the title, resolution and independence, and he learns significantly from a wanderer, a military personnelity who has subsisted on the throng of parazoanes, a musical composition who is now a beggar. As the poet thinks his untoward thoughts about life and struggles with all their depressing suggestions, he meets in a lovely place beside a pool dim to the eye of heaven, a lone(a) man, the poet says the oldest man he detectmed that ever wore grey hairs. The poet interprets his meeting with him to be verily a gift of Devine Grace. Stanza nine is Wordsworths long simile for the old solitary. The purpose of the simile is to describe the leech gatherer as alive but almost not alive. Wordsworth analyzes him to a huge scar/ couched on the bald top of an eminence, and to a sea- beast crawled forth through using the sea beast as simile for the stone. The old man is virtually one with the scene amidst which he sits he has very nigh become one with nature motionless as a cloud the old man s alsod, / that abode not the loud winds when they call. The encounter reveals to the poet a man of great age, bent grass double, feet and head / feeler together in lifes pilgrimage. He looks as if he might be made miserly in his bent posture by the tight stra in of some past suffering, rage, or sickness. The poet is project him as very nearly supernatural, at least somehow beyond the usual scope of mankind experience he take careed to bear a more than tender-hearted weight.In stanzas 12- 15, the old man finally moves. The poet sees him stir the waters by which he stands and then looks with fixed scrutiny into the pond, which he conned , / as if he had been reading in a book. The poet greets him, and the old man makes a gentle answer, in courteous speech which forth he slowly drew. Wordsworth uses the whole of stanza fourteen to describe his speech, raised(a) utterance, stately speech. In specifys 88 and 89, the poet asks him what his occupation is, and suggests that the place in which he dwells may be too lone(prenominal) for such a person as he. The old man identifies his scarper as leech- gathering this is why he is in such a lonely place. He mustiness, being old and poor, finds his subsistence here, though the work may be hazardous and wearisome. He depends on Gods Providence to help him find lodging. But in all, he can be sure that he gains an honest maintenance, however some(prenominal) he may have to roam from pond to pond from moor to moor.In lines106-119, the poets responses to the old leech-gatherer are told. mend the old man had been answering his question about employment and placement in so lonely a setting, the poet becomes absorbed in the strange aspects of him who speaks. He loses the detail of answer the leech-gatherer is making he cannot divorce his words one from another. Lines 109-112 contain the essence of the poets articulation of his feelings. They should be read carefully and compared to other passages in Wordsworths poetry where he attempts to give voice to experience that is very close to mystical absorption. Observe here that the poet finds himself absorbed in the being of the solitaryAnd the whole body of the man did seemLike one whom I had met with in a dreamOr like a man from some far region sent,To give me human stance, by apt admonishment.But the poets dejection returns. He thinks again the profound thoughts of fear, of resistant, recalcitrant, cold, pain, and labour, and all fleshly ills, and of those poets who have been mighty, but who have died in misery. He yearns to find some marrow of strength and hope in the leech-gathers words, so he asks again, how is it that you live, and what is it you do? In lines120-126, the leech-gatherer repeats the nature of his work, but he adds that whereas he once could gather the object of his industry easily, he now because of the growing scarcity of leeches must travel more extensively- still he perseveres.In lines127-133, the poet relates more of his private, unspoken response to the old Man. Against it happens that his object wanders, as in stanza 16, while the leech-gatherer is answering his question. The poet pictures him as even more a solitary than he is in his present state the poets imag ination working on the figure before him makes of the wandering solitary very nearly a transcendent being, silent and eternal In my minds eye (the poet affirms) I seemed to see him pace / most the weary moors continually, / wandering about alone and silently. The poet is troubled by his own grotesque responses to the Man before him, but not troubled in a bad sense. This is the ministry of fear that we find so often in Wordsworths work.In lines 134-140, the leech-gatherers resolution and independence is obvious to the poet in the way he moves from economically precarious condition to more cheerful utterances. The old Man before the poet is obviously a person of firm mind, however decrepit he might in appearance seem. He trunk in the midst of whatever misfortune the society of man or isolation with the bare elements pram him, a person of kind demeanor and stately bearing. The poet compares himself to the leech-gatherer and scorns himself for his dejection. He takes the old Man in to his memory as an another point for future days and asks that God will help him to preserve what he has learnt God, verbalize I, be my help and stay secure Ill think of the leech-gatherer on the lonely moor As suggested in other places in this study, most of Wordsworths solitaries live as a part of the nature in which they move. thither is the effect in this poem of the leech-gatherer going in and out of nature the poet is for a time aware of him as a person confronting him face-to-face, but then he loses touch with him, as if he had blended back into the nature out of which he had momentarily stepped. One might profitably compare stanza sixteen, where Wordsworth speaks of the leech-gatherer as coming to him as if out of dream, which the Simplon Pass episode in allow Sixth of The Prelude. About line 600 of that book Wordsworth speaks of an imaginative experience in the following termsin such strengthof usurpation, when the cloudless of senseGoes out, but with a flash that has revealedThe invisible world, doth greatness make abode,There harbours .Wordsworths light of sense near to going out at least twice while he is talk of the town to the leech-gatherer. One may also interestingly compare Wordsworths responses to the vision on Mount Snowdon in Book Fourteenth of The Prelude with his experiences while talking to the old Man he met on the moors. He certainly intends for the reader to be impressed with the leech-gatherers insistence on survival, survival that comes to him, we feel, to great degree because of a continent act of will. Again, as with many of Wordsworths solitaries, courage is presented as with many of Wordsworths solitaries, courage is presented as the capacity to endure. There is a notable difference, however, between the courage of Michael and the courage of the leech-gatherer never being sure he will find them, as she has been to Michael, who, though his farm is eventually lost after his death to owners outside his family, can live the t otal of his years on land that has been made his been own. Michael draws continual sustenance more from his own deep wells of unyielding fortitude. There is an obvious contrast also in this regard between the leech-gatherer and the Old Cumberland Beggar. The leech-gatherer accepts housing from those who will help him, but he does not have the regularity of rawness and acts of kindness that the persons in the community of the Old Cumberland Beggar an area of nature in which he can live and die, in which he can make his home, Those who care for him are almost neighbors to him. The leech-gatherer is much more thrown on his own resources. It is in this that the poet learns his greatest lesson from him.There is in the encounter between the poet and the leech-gatherer the work of Providence. Wordsworth seems to say in the poem (and in the letter he wrote about the poet) that this old Man was sent to him for his own rehabilitation. This may seem in some ears to be very close to blasphemin g the preciously human, that one human being would be so sacrified fro the instruction and welfare of another. But the rediscovery of stability and hope in the midst of dejection for the poet who writes the poem is certainly the direction of things from the early stanza of the poem, where the glory of the natural surroundings seem to be functioning expressly for the poets interesting. The hare that leaps joyfully through the first five stanza of the poem (mentioned iii times in the five stanzas, in the second, third, and fifth) becomes in a way emblematic of the poets life. The hare is also a servant of the benignant Grace of God, bringing to the poet reminders that he is such a happy child of earth . There may be in the background the biblical records of Gods directly expressed forgiveness for man, even as incursions that cut with the particularity of biographical facts. But the leach- gatherer comes not so much in the mood and manner of historical encounter as he comes in the fo rm of natures acknowledgment of herself, ministering through an agency that is close to being more a natural agency than a human one.With regard to the language of the poem, Wordsworth is working with a seven- line stanza or rhyme royal. The longer last line has the effect of slowing down the muniment and giving more time to the reader for consideration. Wordsworths highly advised artistry can be seen in his careful use of similes that describe the old man of the poem. The stone and the sea- beast of stanza nine, and the cloud in stanza xi convey a sense of life that is highly becoming of the word.On the subject of the language of the poem, one may question whether the diction that the poet attributes to the leach- gatherer is a cream of language really used by men. In stanza fourteen, the old mans speech is described as choice words and measured phrase, above the reach / of ordinary men.Wordsworth as a narrative poet has most of his reputations as active, persons committed to action. He consistently draws his characters so that they are easily recognizable as human beings. They are usually three- dimensional characters that have definite features. For all of his shared identity with nature_ which is to a very great degree_ we still meet the leach- gatherer as man, not as thing. Stanza ten and eleven are examples of Wordsworths ability to create character in a relatively few lines in this he shares a fame that is owned by only a few artists. The leach- gatherer is easily visualized, with his body bent double, propped, limbs, body, and pale face. / upon a long grey stuff of shaven wood . such vivid character drawing is necessary to give the old man the action of personality that he has, an action substantial to his being for the poet a model of resolution and independence. Wordsworths characters are real because we can think of them as human beings. However heroic the leach- gatherer may be, his heroism does not take him beyond the limits of the human . We have in him no Achilles. His heroism is the kind that can be attained by human beings we know and meet. mainly Wordsworths characters are real because we can think of them as human beings. The leach- gatherer shares much more with Abraham than with Achilles.Sources Barashc, F. The quixotic Poets. Monarch press. New York 1991.Hough, G. The Romantic Poets. 1964.