Knowledge

1275:. His analysis broke down the ode as a poem disconnected from its biographical implications and focused on the paradoxes and ironies contained within the language. In introducing his analysis, he claimed that it "may be surmised from what has already been remarked, the 'Ode' for all its fine passages, is not entirely successful as a poem. Yet, we shall be able to make our best defense of it in proportion as we recognize and value its use of ambiguous symbol and paradoxical statement. Indeed, it might be maintained that, failing to do this, we shall miss much of its power as poetry and even some of its accuracy of statement." After breaking down the use of paradox and irony in language, he analyses the statements about the childhood perception of glory in Stanza VI and argued, "This stanza, though not one of the celebrated stanzas of the poem, is one of the most finely ironical. Its structural significance too is of first importance, and has perhaps in the past been given too little weight." After analysing more of the poem, Brooks points out that the lines in Stanza IX contains lines that "are great poetry. They are great poetry because ... the children are not terrified... The children exemplify the attitude toward eternity which the other philosopher, the mature philosopher, wins to with difficulty, if he wins to it at all." In his conclusion about the poem, he argues, "The greatness of the 'Ode' lies in the fact that Wordsworth is about the poet's business here, and is not trying to inculcate anything. Instead, he is trying to dramatize the changing interrelations which determine the major imagery." Following Brooks in 1949, C. M. Bowra stated, "There is no need to dispute the honour in which by common consent it is held" but he adds "There are passages in the 'Immortal Ode' which have less than his usual command of rhythm and ability to make a line stand by itself... But these are unimportant. The whole has a capacious sweep, and the form suits the majestic subject... There are moments when we suspect Wordsworth of trying to say more than he means. Similarly, George Mallarby also revealed some flaws in the poem in his 1950 analysis: "In spite of the doubtful philosophical truth of the doctrine of pre-existence borrowed from Platon, in spite of the curiously placed emphasis and an exuberance of feeling somewhat artificially introduced, in spite of the frustrating and unsatisfying conclusion, this poem will remain, so long as the English language remains, one of its chief and unquestionable glories. It lends itself, more than most English odes, to recitation in the grand manner." 1069:(1817), Coleridge described what he considered as both the positives and the defects of the ode. In his argument, he both defended his technique and explained: "Though the instances of this defect in Mr. Wordsworth's poems are so few, that for themselves it would have been scarce just to attract the reader's attention toward them; yet I have dwelt on it, and perhaps the more for this very reason. For being so very few, they cannot sensibly detract from the reputation of an author, who is even characterized by the number of profound truths in his writings, which will stand the severest analysis; and yet few as they are, they are exactly those passages which his blind admirers would be most likely, and best able, to imitate." Of the positives that Coleridge identified within the poem, he placed emphasis on Wordsworth's choice of grammar and language that established a verbal purity in which the words chosen could not be substituted without destroying the beauty of the poem. Another aspect Coleridge favoured was the poem's originality of thought and how it contained Wordsworth's understanding of nature and his own experience. Coleridge also praised the lack of a rigorous structure within the poem and claimed that Wordsworth was able to truly capture the imagination. However, part of Coleridge's analysis of the poem and of the poet tend to describe his idealised version of positives and negative than an actual concrete object. In the same year, it was claimed by Benjamin Bailey, in a 7 May 1849 letter to R. M. Milnes, that John Keats, one of the second-generation Romantic poets, discussed the poem with him. In his recollection, Bailey said, "The following passage from Wordsworth's ode on Immortality was deeply felt by Keats, who however at this time seemed to me to value this great Poet rather in particular passages than in the full length portrait, as it were, of the great imaginative & philosophic Christian Poet, which he really is, & which Keats obviously, not long afterwards, felt him to be." 714:, the ode discusses Wordsworth's understanding of his own psychological development, but it is not a scientific study of the subject. He believed that it is difficult to understand the soul and emphasises the psychological basis of his visionary abilities, an idea found in the ode but in the form of a lamentation for the loss of vision. To Wordsworth, vision is found in childhood but is lost later, and there are three types of people that lose their vision. The first are men corrupted through either an apathetic view of the visions or through meanness of mind. The second are the "common" people who lose their vision as a natural part of ageing. The last, the gifted, lose parts of their vision, and all three retain at least a limited ability to experience visions. Wordsworth sets up multiple stages, infancy, childhood, adolescence, and maturity as times of development but there is no real boundary between each stage. To Wordsworth, infancy is when the "poetic spirit", the ability to experience visions, is first developed and is based on the infant learning about the world and bonding to nature. As the child goes through adolescence, he continues to bond with nature and this is slowly replaced by a love for humanity, a concept known as "One Life". This leads to the individual despairing and only being able to resist despair through imagination. When describing the stages of human life, one of the images Wordsworth relies on to describe the negative aspects of development is a theatre stage, the 1284: 1246:, is its author's greatest product, but not his best piece of work." When speaking of Grasmere and Wordsworth, Elias Sneath wrote in 1912: "It witnessed the composition of a large number of poems, many of which may be regarded among the finest products of his imagination. Most of them have already been considered. However, one remains which, in the judgment of some critics, more than any other poem of the numerous creations of his genius, entitles him to a seat among the Immortals. This is the celebrated ... It is, in some respects, one of his most important works, whether viewed from the stand point of mere art, or from that of poetic insight." George Harper, following Sneath in 1916, described the poem in positive terms and said, "Its radiance comes and goes through a shimmering veil. Yet, when we look close, we find nothing unreal or unfinished. This beauty, though supernal, is not evanescent. It bides our return, and whoever comes to seek it as a little child will find it. The imagery, though changing at every turn, is fresh and simple. The language, though connected with thoughts so serious that they impart to it a classic dignity, is natural and for the most part plain.... Nevertheless, a peculiar glamour surrounds the poem. It is the supreme example of what I may venture to term the romance of philosophic thought." 962:, attacked the 1807 collection of poems for depicting low subjects. When it came to the ode, Montgomery attacked the poem for depicting pre-existence. After quoting the poem with extracts from the whole collection, he claimed, "We need insist no more on the necessity of using, in poetry, a language different from and superior to 'the real language of men,' since Mr. Wordsworth himself is so frequently compelled to employ it, for the expression of thoughts which without it would be incommunicable. These volumes are distinguished by the same blemishes and beauties as were found in their predecessors, but in an inverse proportion: the defects of the poet, in this performance, being as much greater than his merits, as they were less in his former publication." In his conclusion, Montgomery returned to the ode and claimed, that "the reader is turned loose into a wilderness of sublimity, tenderness, bombast, and absurdity, to find out the subject as well as he can... After our preliminary remarks on Mr. Wordsworth's theory of poetical language, and the quotations which we have given from these and his earlier compositions, it will be unnecessary to offer any further estimate or character of his genius. We shall only add one remark.... Of the pieces now published he has said nothing: most of them seem to have been written 652: 1019:, John Taylor Coleridge attacked the poem again for a heretical view found in the notion of pre-existence and how it reappeared in Wordsworth's poem "On an Extraordinary Evening of Splendour and Beauty". However, he does claim that the passage of the ode containing the idea is "a passage of exquisite poetry" and that "A more poetical theory of human nature cannot well be devised, and if the subject were one, upon which error was safe, we should forbear to examine it closely, and yield to the delight we have often received from it in the ode from which the last extract is made." He was to continue: "If, therefore, we had met the doctrine in any poet but Mr. Wordsworth, we should have said nothing; but we believe him to be one not willing to promulgate error, even in poetry, indeed it is manifest that he makes his poetry subservient to his philosophy; and this particular notion is so mixed up by him with others, in which it is impossible to suppose him otherwise than serious; that we are constrained to take it for his real and sober belief." 902:, he dismissed the poem as Wordsworth's "innocent odes" without providing any in-depth response, stating only: "On the whole, however, with the exception of the above, and other innocent odes of the same cast, we think these volumes display a genius worthy of higher pursuits, and regret that Mr. W. confines his muse to such trifling subjects... Many, with inferior abilities, have acquired a loftier seat on Parnassus, merely by attempting strains in which Mr. W. is more qualified to excel." The poem was received negatively but for a different reason from Wordsworth's and Coleridge's friend Robert Southey, also a Romantic poet. Southey, in an 8 December 1807 letter to Walter Scott, wrote, "There are certainly some pieces there which are good for nothing... and very many which it was highly injudicious to publish.... The Ode upon Pre-existence is a dark subject darkly handled. Coleridge is the only man who could make such a subject luminous." 1115: 1217:. The article, "Mr. Ruskin on Wordsworth", stated, "We should hardly have expected Mr. Ruskin—a great master of irony though he be—to lay his finger so unerringly as he does on the weak point of Wordsworth's sublime ode on the 'Intimations of Immortality,' when he speaks of him—quite falsely, by the way—as 'content with intimations of immortality'". The article continued with praise of Wordsworth and condemns Ruskin further: "But then, though he shows how little he understands the ode, in speaking of Wordsworth as content with such intimations, he undoubtedly does touch the weak chord in what, but for that weak chord, would be one of the greatest of all monuments of human genius... But any one to whom Wordsworth's great ode is the very core of that body of poetry which makes up the best part of his imaginative life, will be as much astonished to find Mr. Ruskin speaking of it so blindly and unmeaningly as he does". 1208:, towards the end of the 19th century, provided short analyses of various writers in his "Nature and Literature" essays collected in "Art and Life: a Ruskin Anthology". In speaking of Wordsworth, Ruskin claimed, "Wordsworth is simply a Westmoreland peasant, with considerably less shrewdness than most border Englishmen or Scotsmen inherit; and no sense of humor; but gifted... with vivid sense of natural beauty, and a pretty turn for reflection, not always acute, but, as far as they reach, medicinal to the fever of the restless and corrupted life around him." After mocking the self-reflective nature of Wordsworth's poetry, he then declared that the poetry was "Tuneful nevertheless at heart, and of the heavenly choir, I gladly and frankly acknowledge him; and our English literature enriched with a new and singular virtue in the aerial purity and healthful rightness of his quiet song;—but 1102:. When discussing the poem, Talfourd declared that the ode "is, to our feelings, the noblest piece of lyric poetry in the world. It was the first poem of its author which we read, and never shall we forget the sensations which it excited within us. We had heard the cold sneers attached to his name... and here – in the works of this derided poet – we found a new vein of imaginative sentiment open to us – sacred recollections brought back to our hearts with all the freshness of novelty, and all the venerableness of far-off time". When analysing the relationship between infants and the divine within the poem, the article continued: "What a gift did we then inherit! To have the best and most imperishable of intellectual treasures – the mighty world of reminiscences of the days of infancy – set before us in a new and holier light". 937: 1046:, those that "Wordsworth has beautifully told us, that to him '--the meanest flow'r that blows can give/ Thoughts that do often lie too deep for tears", Hunt claims, "I have no doubt of it; and far be it from me to cast stones into the well in which they lie,-- to disturb those reposing waters,-- that freshness at the bottom of warm hearts,-- those thoughts, which if they are too deep for tears, are also, in their best mood, too tranquil even for smiles. Far be it also from me to hinder the communication of such thoughts to mankind, when they are not sunk beyond their proper depth, so as to make one dizzy in looking down to them." Following Hunt, William Hazlitt, a critic and Romantic writer, wrote a series of essays called "Character of Mr. Wordsworth's New Poems" in three parts, starting in the 21 August 1814 1050:. Although Hazlitt treated Wordsworth's poetry fairly, he was critical of Wordsworth himself and he removed any positive statements about Wordsworth's person from a reprint of the essays. The 2 October 1814 essay examined poetry as either of imagination or of sentiment, and quotes the final lines of the poem as an example of "The extreme simplicity which some persons have objected to in Mr. Wordsworth's poetry is to be found only in the subject and style: the sentiments are subtle and profound. In the latter respect, his poetry is as much above the common standard or capacity, as in the other it is below it... We go along with him, while he is the subject of his own narrative, but we take leave of him when he makes pedlars and ploughmen his heroes and the interpreters of his sentiments." 668:. What is missing in Origen's platonic system is Wordsworth's emphasis on childhood, which could be found in the beliefs of the Cambridge Platonists and their works, including Henry Vaughan's "The Retreate". Even if the idea is not Christian, it still cannot be said that the poem lacks a theological component because the poem incorporates spiritual images of natural scenes found in childhood. Among those natural scenes, the narrator includes a Hebrew prayer-like praise of God for the restoration of the soul to the body in the morning and the attributing of God's blessing to the various animals he sees. What concerns the narrator is that he is not being renewed like the animals and he is fearful over what he is missing. This is similar to a fear that is provided at the beginning of 1308:, are "incontestably among the poet's greatest works". Susan Wolfson, in the same year, claimed that "the force of the last lines arises from the way the language in which the poet expresses a resolution of grief at the same time renders a metaphor that implies that grief has not been resolved so much as repressed and buried. And this ambiguity involves another, for Wordsworth makes it impossible to decide whether the tension between resolution and repression... is his indirect confession of a failure to achieve transcendence or a knowing evasion of an imperative to do so." After performing a Freudian-based analysis of the ode, William Galperin, in 1989, argues that "Criticism, in short, cannot accept responsibility for 851: 644: 1257:... belongs to the transition at its critical phase, and contains decided elements of the living." He continued, "But these do not lessen the dissatisfaction that one feels with the movement—the movement that makes the piece an ode in the Grand Style; for, as one reads, it is in terms of the movement that the strain, the falsity, first asserts itself. The manipulations by which the change of mood are indicated have, by the end of the third stanza, produced an effect that, in protest, one described as rhythmic vulgarity..., and the strain revealed in technique has an obvious significance". In 1939, Basil Willey argued that the poem was "greatly superior, as poetry, to its psychological counterpart in 276: 1194: 1316: 1162: 3193: 1092:"Of the genius of Mr Wordsworth, in short, it is now in the hands of every man to judge freely and fully, and for himself. Our own opinion, ever since this Journal commenced, has been clearly and entirely before them; and if there be any one person, on whose mind what we have quoted now, is not enough to make an impression similar to that which our own judgment had long before received – we have nothing more to say to that person in regard to the subject of poetry." In discussing the ode in particular, the review characterised the poem as "one of the grandest of his early pieces". In December 1820 came an article in the 906: 1232:, is the full, the perfect Wordsworth, with his half-pantheistic worship of nature, informed and chastened by an intense sense of human conduct, of reverence and almost of humbleness, displayed in the utmost poetic felicity. And these two are accordingly among the great poems of the world. No unfavorable criticism on either – and there has been some, new and old, from persons in whom it is surprising, as well as from persons in whom it is natural – has hurt them, though it may have hurt the critics. They are, if not in every smallest detail, yet as wholes, invulnerable and imperishable. They could not be better done." 315:, and others, focus on individuals that protect themselves from a sense of loss by turning to nature or time. He also rejects any kind of fantasy that would take him away from reality while accepting both death and the loss of his own abilities to time while mourning over the loss. However, the elegy is traditionally a private poem while Wordsworth's ode is more public in nature. The poem is also related to the genre of apocalyptic writing in that it focuses on what is seen or the lack of sight. Such poems emphasise the optical sense and were common to many poems written by the Romantic poets, including his own poem 699:. Of his childhood, Wordsworth told Catherine Clarkson in an 1815 letter that the poem "rests entirely upon two recollections of childhood, one that of a splendour in the objects of sense which is passed away, and the other an indisposition to bend to the law of death as applying to our particular case.... A Reader who has not a vivid recollection of these feelings having existed in his mind in childhood cannot understand the poem." Childhood, therefore, becomes a means to exploring memory, and the imagination, as Wordsworth claims in the letter, is connected to man's understanding of immortality. In a letter to 676:. As for the understanding of the soul contained within the poem, Wordsworth is more than Platonic in that he holds an Augustinian concept of mercy that leads to the progress of the soul. Wordsworth differs from Augustine in that Wordsworth seeks in the poem to separate himself from the theory of solipsism, the belief that nothing exists outside of the mind. The soul, over time, exists in a world filled with the sublime before moving to the natural world, and the man moves from an egocentric world to a world with nature and then to a world with mankind. This system links nature with a renewal of the self. 424: 346: 608:. Coleridge's answer was to claim that the glory was the soul and it is a subjective answer to the question. Wordsworth took a different path as he sought to answer the poem, which was to declare that childhood contained the remnants of a beatific state and that being able to experience the beauty that remained later was something to be thankful for. The difference between the two could be attributed to the differences in the poets' childhood experiences; Coleridge suffered from various pain in his youth whereas Wordsworth's was far more pleasant. It is possible that Coleridge's earlier poem, 139: 1023: 838: 631:, but he lacks the generous treatment of the narrator as found in Coleridge's poems. As a whole, Wordsworth's technique is impersonal and more logical, and the narrator is placed in the same position as the object of the conversation. The narrator of Wordsworth is more self-interested and any object beyond the narrator is kept without a possible voice and is turned into a second self of the poet. As such, the conversation has one of the participants lose his identity for the sake of the other and that individual represents loss and mortality. 1011:. In the review, he partially condemns Wordsworth's emphasis in the ode on children being connected to the divine: "His occasional lapses into childish and trivial allusion may be accounted for, from the same tendency. He is obscure, when he leaves out links in the chain of association, which the reader cannot easily supply... In his descriptions of children this is particularly the case, because of his firm belief in a doctrine, more poetical perhaps, than either philosophical or christian, that 'Heaven lies about us in our infancy.'" 800: 648:, the reincarnation of the soul from person to person, and Wordsworth later explained that the poem was not meant to be regarded as a complete philosophical view: "In my Ode... I do not profess to give a literal representation of the state of the affections and of the moral being in childhood. I record my feelings at that time,--my absolute spirituality, my 'all-soulness,' if I may so speak. At that time I could not believe that I should lie down quietly in the grave, and that my body would moulder into dust." 1054: 1173:, the spring-like hope and confidence which enables a man to advance joyously towards new discovery of truth. But the poet of 'Tintern Abbey' and the 'Ode on Intimations of Immortality' and the 'Prelude' is Wordsworth in his period of highest energy and imaginative light". Matthew Arnold, in his preface to an 1879 edition of Wordsworth's poetry, explains that he was a great lover of the poems. However, he explains why he believed that the ode was not one of the best: "I have a warm admiration for 1131:, claimed that the poem "There are torpid places in his mind, there is something hard and sterile in his poetry, want of grace and variety, want of due catholicity and cosmopolitan scope: he had conformities to English politics and tradition; he had egotistic puerilities in the choice and treatment of his subjects; but let us say of him, that, alone in his time he treated the human mind well, and with an absolute trust. His adherence to his poetic creed rested on real inspirations." The editor of 623:. The poems were not real conversations as there is no response to the narrator of the poem, but they are written as if there would be a response. The poems seek to have a response, though it never comes, and the possibility of such a voice though absence is a type of prosopopoeia. In general, Coleridge's poems discuss the cosmic as they long for a response, and it is this aspect, not a possible object of the conversation, that forms the power of the poem. Wordsworth took up the form in both 29: 830:: or even to a ship, or to the wind and waves that propel it? The omnipresent Spirit works equally in them, as in the child; and the child is equally unconscious of it as they." The knowledge of nature that Wordsworth thinks is wonderful in children, Coleridge feels is absurd in Wordsworth since a poet couldn't know how to make sense of a child's ability to sense the divine any more than the child with a limited understanding could know of the world. I. A. Richards, in his work 984: 945: 1190: 703:, he explained his particular feelings about immortality that he held when young: "I was often unable to think of external things as having external existence, and I communed with all that I saw as something not apart from, but inherent in, my own immaterial nature." These feelings were influenced by Wordsworth's own experience of loss, including the death of his parents, and may have isolated him from society if the feelings did not ease as he matured. 1135:, George William Curtis, praised the ode in his December 1859 column "Editor's Easy Chair" and claimed that "it was Wordsworth who has written one of the greatest English poets... For sustained splendor of imagination, deep, solemn, and progressive thought, and exquisite variety of music, that poem is unsurpassed. Since Milton's 'Ode upon the Nativity' there is nothing so fine, not forgetting Dryden, Pope, Collins, and the rest, who have written odes." 1073: 1139: 1320:--all overlie a streaming infrashape, but Wordsworth, like the other Romantics, seemed virtually hypnotized by the idea of running water." After analysing the Wordsworth's incorporation of childhood memories into the ode, G. Kim Blank, in 1995, argued, "It is the recognition and finally the acceptance of his difficult feelings that stand behind and in the greatness and power of the 597:, a poem that describes the qualities needed to become a great poet. The poem argued that a poet should not be excessive or irresponsible in behaviour and contains a sense of assurance that is not found within the original four stanzas. Instead, there is a search for such a feeling but the poem ends without certainty, which relates the ode to Coleridge's poem 1106: 583:, and the ode contains feelings of regret that the experience must end. This regret is joined with feelings of uneasiness that he no longer feels the same way he did as a boy. The ode reflects Wordsworth's darker feelings that he could no longer return to a peaceful state with nature. This gloomy feeling is also present in 1288: 971: 782:, describes a reality that would be the best that could be developed but always has the suffering, death, and change. John Keats developed an idea called "the Burden of the Mystery" that emphasizes the importance of suffering in the development of man and necessary for maturation. However, Coleridge's 1287: 1212: 1091: 1006: 513: 356: 1161: 601:. When read together, Coleridge's and Wordsworth's poem form a dialogue with an emphasis on the poet's relationship with nature and humanity. However, Wordsworth's original four stanzas describing a loss is made darker in Coleridge and, to Coleridge, only humanity and love are able to help the poet. 383: 251: 88: 1328: 1189: 1041: 1014: 970: 936: 643: 402: 275: 837: 651: 578: 1315: 1283: 469: 1332: 1114: 869: 536: 202:". In early 1804, Wordsworth was able to return his attention to working on the ode. It was a busy beginning of the year with Wordsworth having to help Dorothy recover from an illness in addition to writing his poems. The exact time of composition is unknown, but it probably followed his work on 1278: 173: 164: 659: 68: 786: 1105: 616:, describes the pain and suffering of life as able to dull the memory of early joy from nature but it is unable to completely destroy it. The suffering leads Wordsworth to recognise what is soothing in nature, and he credits the pain as leading to a philosophical understanding of the world. 97: 770:, Wordsworth concluded that he gives thanks that was able to gain even though he lost his vision of the joy in the world, but in the later work he tones down his emphasis on the gain and provides only a muted thanks for what remains of his ability to see the glory in the world. 814:, that Wordsworth was trying to be a prophet in an area that he could have no claim to prophecy. In his analysis of the poem, Coleridge breaks down many aspects of Wordsworth's claims and asks, "In what sense can the magnificent attributes, above quoted, be appropriated to a 1337:(not the depth of 'Tintern Abbey'), and for that reason the metaphor comes easily when one speaks of the Intimations Ode as a high point in Wordsworth's career, to be highlighted in any new addition as a pinnacle of accomplishment, a poem of the transcendental imagination 733: 754:, Wordsworth argued that people have intimations that there is an immortal aspect of their life and that without such feelings that joy could not be felt in the world. The argument and the ideas are similar to many of the statements in the ode along with those in 695:, places an emphasis on how an adult develops from a child and how being absorbed in nature inspires a deeper connection to humanity. The ode focuses not on Dorothy or on Wordsworth's love, Mary Hutchinson, but on himself and is part of what is called his 298: 612:(1800) influenced the opening of the ode and that discussions between Dorothy and Wordsworth about Coleridge's childhood and painful life were influences on the crafting of the opening stanza of the poem. However, the message in the ode, as with 498: 113: 1261:" but also said that "the semi-Platonic machinery of pre-existence... seems intrusive, and foreign to Wordsworth" before concluding that the poem was the "final and definitive expression to the most poignant experience of his poetic life". 1015: 1253:(1936), argued that "Criticism of Stanza VIII ... has been permissible, even correct, since Coleridge's time. But the empty grandiosity apparent there is merely the local manifestation of a general strain, a general factitiousness. The 198:, 3 April 1802, Wordsworth recited the four stanzas of the ode that were completed. The poem impressed Coleridge, and, while with Wordsworth, he was able to provide his response to the ode's question within an early draft of his poem, " 1064: 722:. The idea allows the narrator to claim that people are weighed down by the roles they play over time. The narrator is also able to claim through the metaphor that people are disconnected from reality and see life as if in a dream. 357: 729:, completed at the same time in 1804. The poems describe Wordsworth's assessment of his poetry and contains reflections on conversations held between Wordsworth and Coleridge on poetry and philosophy. The basis of the 186: 219:, under the title "Ode". It was the last poem of the second volume of the work, and it had its own title page separating it from the rest of the poems, including the previous poem "Peele Castle". Wordsworth added an 1324:, both as a personal utterance and a universal statement. It is no accident that Wordsworth is here most eloquent. Becoming a whole person is the most powerful statement any of us can ever made. Wordsworth in the 773: 1157:(1873), he credited Wordsworth's poetry as being able to relieve his mind and overcome a sense of apathy towards life. Of the poems, he particularly emphasised both Wordsworth's 1815 collection of poetry and the 1312:'s failings any more than it is likely to attribute the success of the 'Intimations Ode' to the satisfaction it offers in seeing a sense of entitlement, or self-worth, defended rather than challenged." 130: 1333: 231: 1296: 1169:, discussed the Transcendental Movement and the nature of the Romantic poets. when referring to Wordsworth and the ode, he claimed: "Wordsworth in his later years lost, as he expresses it, 56: 1123: 834:(1934), responds to Coleridge's claims by asking, "Why should Wordsworth deny that, in a much less degree, these attributes are equally suitable to a bee, or a dog, or a field of corn?" 1292:, by contrast, rich in phrases that have entered the language and provided titles for other people's books, is Wordsworth's greatest achievement in rhythm and cadence. Together with 810: 778:, which means that "life is growth" but it implies that there is also loss within life. To Wordsworth, the loss brought about enough to make up for what was taken. Shelley, in his 696: 1380: 118:, dismissing the work without analysis. The critics felt that Wordsworth's subject matter was too "low" and some felt that the emphasis on childhood was misplaced. Among the 941:, that praised Wordsworth when he was least Romantic in his poetry. He believed that Wordsworth's greatest weakness was portraying the low aspects of life in a lofty tone. 1007: 932: 3030: 725: 317: 1240: 3341: 1300: 350: 150: 190: 514: 3288: 604: 110:. Wordsworth's praise of the child as the "best philosopher" was criticised by Coleridge and became the source of later critical discussion. 1249: 3145: 791:, and Keats relies on Wordsworth's interrogative technique in many of his poems, but he discards the egocentric aspects of the questions. 3404: 746:, but the light in the latter poem is seen as an illusion and stands in opposition to the ode's ideas. In an 1809 essay as part of his 1165: 766: 3267: 687: 3597: 553: 303: 247: 3260: 206:, which consumed much of February and was finished on 17 March. Many of the lines of the ode are similar to the lines of 3163: 435: 3246: 20: 403: 3177: 3138: 3509: 1213: 80: 3432: 3211: 921: 850: 842:, we learn not only Wordsworth's strong and weak points but also the qualities that most interest Coleridge." 3418: 3367: 909: 3355: 3253: 994: 3397: 3131: 1193: 334: 182: 210: 3438: 3334: 3192: 271:. The lengths of the lines and of the stanzas vary throughout the text, and the poem begins with an 574: 3514: 3327: 959: 948: 905: 803: 57: 423: 345: 1107: 1034: 1026: 191: 183: 431: 138: 3320: 1372: 1153: 987: 220: 48: 1022: 3220: 1099: 1094: 1088: 1076: 330: 236: 215: 106: 8: 3602: 3411: 1124: 883: 854: 3504: 3482: 3154: 285: 142: 43: 280: 28: 3383: 3275: 1367: 322: 240: 199: 61: 799: 3576: 3535: 1220: 1150: 1142: 700: 3067: 1224:(1898), declared the importance and greatness of the ode: "Perhaps twice only, in 639: 3499: 3348: 3202: 1002:, he connects the intention and imagery found within Coleridge's poem to that in 289: 81: 3117: 762:, and "We Are Seven". He would also return directly to the ode in his 1817 poem 3541: 3519: 3425: 3361: 3281: 3240: 1350: 1264: 1053: 645: 308: 619: 213: 178: 3591: 3457: 3227: 954: 589: 277: 123: 90: 2826:, Vol. XX (December 1859 – May 1860). New York: Harper & Brothers, 1860. 2717:"15. Mrs. Benjamin Pantier. Masters, Edgar Lee. 1916. Spoon River Anthology" 886:, a fellow Romantic poet but not an associate of Wordsworth's, responded to 235:(1815). The reprinted version also contained an epigraph that, according to 3547: 3376: 3302: 3559: 3464: 1205: 1197: 983: 944: 913: 272: 127: 119: 100: 3553: 3295: 3182: 1083: 1072: 1057: 928:, originally favoured Wordsworth's poetry following the publication of 179: 166: 115: 85: 40:"Ode: Intimations of Immortality from Recollections of Early Childhood" 3076: 2716: 3234: 3123: 1242: 894: 742:. In terms of use of light as a central image, the ode is related to 432: 73: 42:(also known as "Ode", "Immortality Ode" or "Great Ode") is a poem by 1110: 1033: 664: 2847:, Vol. XXX (June–November 1877). London: Strahan and Company, 1877. 665: 261: 1138: 548: 268: 195: 170: 77: 52:(1807). The poem was completed in two parts, with the first four 378: 122: 661: 564: 292: 281: 175: 53: 3043: 2843: 307: 2882:. Ed. Harold Bloom. New York: Chelsea House Publishers, 1985. 1098: 1037:, a second-generation Romantic poet, added notes to his poem 764: 715: 531: 493: 300: 248: 397: 537: 94: 239:, was added at Crabb's suggestion. The epigraph was from " 1185: 593:. Of the other 1802 poems, the ode is different from his 508: 264: 194:. Close to the time Wordsworth and Coleridge climbed the 65: 418: 2889:. Philadelphia: University of Pennsylvania Press, 1989. 89: 2777:. Madison: Fairleigh Dickinson University Press, 1995. 865: 427: 1781: 1779: 1638: 1636: 1413: 1411: 1271: 2327: 2325: 2323: 1376:, the character Mrs. Benjamin Pantier mentions the 1425: 1423: 818:, which would not make them equally suitable to a 504:Full soon thy Soul shall have her earthly freight, 126:, most reviews of the ode were positive with only 3071:. Vol 26 (July–December). London: T. Cadel, 1829. 2477: 2475: 2402: 2400: 2095: 2093: 2091: 1776: 1685: 1683: 1661: 1659: 1657: 1633: 1408: 1401: 1399: 1397: 395:The cataracts blow their trumpets from the steep; 3589: 2320: 1856: 1854: 483:That, deaf and silent, read'st the eternal deep, 362:There was a time when meadow, grove, and stream, 3022:. New Brunswick, Rutgers University Press, 1989 3006:Wordsworth and the Formation of English Studies 2994:Vol. II. Oxford: Oxford University Press, 1968. 2875:. New Haven : Yale University Press, 2008. 2822:Curtis, George William. "Editor's Easy Chair", 2756:. Columbia: University of Missouri Press, 2003. 2427: 1697: 1695: 1673: 1671: 1420: 806:, friend of Wordsworth and fellow Romantic poet 2959:. Princeton: Princeton University Press, 1998. 2945:. Cambridge: Cambridge University Press, 1986. 2878:Ferguson, Frances. "The 'Immortality Ode'" in 2854:. Cambridge: Cambridge University Press, 1970. 2812:. New York: Harcourt, Brace & World, 1947. 2472: 2418: 2397: 2205: 2203: 2184: 2182: 2136: 2134: 2132: 2088: 1680: 1654: 1491: 1489: 1394: 990:, nephew of Samuel Taylor Coleridge and lawyer 560:Thanks to its tenderness, its joys, and fears, 462:But He beholds the light, and whence it flows, 288:, and the ode contains what is reminiscent of 3289:Lines Written a Few Miles above Tintern Abbey 3139: 2964:William Wordsworth: Intensity and Achievement 2931:. New York: W. W. Norton & Company, 2001. 2920:Hutton, Richard. "Mr. Ruskin on Wordsworth", 2749:. New York: W. W. Norton & Company, 1973. 1851: 1181:; but if I am to tell the very truth, I find 442:The Soul that rises with us, our life's Star, 410:Both of them speak of something that is gone: 245:The Miscellaneous Poems of William Wordsworth 3040:. Cambridge: Harvard University Press, 1986. 2978:Wordsworth, Shelley, Keats, and Other Essays 2943:Wordsworth's Great Period Poems: Four Essays 2903:II. New York: Charles Scribner's Sons, 1916. 2770:. New York: Columbia University Press, 1978. 1692: 1668: 562:To me the meanest flower that blows can give 542:The Clouds that gather round the setting sun 391:A timely utterance gave that thought relief, 2200: 2179: 2129: 1486: 558:Thanks to the human heart by which we live, 491:Which we are toiling all our lives to find, 3405:On the Extinction of the Venetian Republic 3146: 3132: 3062:Wordsworth: Poet of Nature and Poet of Man 2924:, Volume 32. New York: E. R. Pelton, 1880. 546:That hath kept watch o'er man's mortality; 529:And see the Children sport upon the shore, 440:Our birth is but a sleep and a forgetting: 389:To me alone there came a thought of grief: 32:Poem's title page from 1815 collection of 19:For the musical work by Gerald Finzi, see 3096:William Wordsworth: The Critical Heritage 3091:. Ithaca: Cornell University Press, 1986. 2910:. New Haven: Yale University Press, 1964. 2805:. New Haven: Yale University Press, 1975. 2784:. Ithaca: Cornell University Press, 1993. 523:Our Souls have sight of that immortal sea 475:Thou, whose exterior semblance doth belie 458:Shades of the prison-house begin to close 3050:. New York: The Macmillan Company, 1898. 2987:. Oxford: Oxford University Press, 1968. 2896:. Oxford: Oxford University Press, 1989. 2873:Wordsworth and the Poetry of What We Are 2861:. Oxford: Oxford University Press, 1992. 2791:. Oxford: Oxford University Press, 1949. 1192: 1137: 1071: 1052: 1021: 998:. Though it was a review of his uncle's 982: 943: 904: 849: 798: 479:Thou best Philosopher, who yet dost keep 422: 408:A single Field which I have looked upon, 344: 137: 27: 3101:Wordsworth, Dorothy (ed. Pamela Woof). 794: 679: 506:And custom lie upon thee with a weight, 485:Haunted for ever by the eternal mind, — 481:Thy heritage, thou Eye among the blind, 452:But trailing clouds of glory do we come 372:It is not now as it hath been of yore;— 370:The glory and the freshness of a dream. 349:1804 holograph copy of Stanza I–III by 260:The poem uses an irregular form of the 3590: 3268:Three years she grew in sun and shower 3153: 2915:William Wordsworth and the Mind of Man 1279:stated, "Wordsworth once spoke of the 1118: 64:", in April. The fourth stanza of the 3127: 3048:A Short History of English Literature 3015:. London: Routledge & Paul, 1962. 1230:Ode on the Intimations of Immortality 1222:A Short History of English Literature 845: 544:Do take a sober colouring from an eye 464:He sees it in his joy; (lines 58–70) 227:". The Latin phrase is from Virgil's 46:, completed in 1804 and published in 3261:Strange fits of passion have I known 2887:Revision and Authority in Wordsworth 456:Heaven lies about us in our infancy! 416:Whither is fled the visionary gleam? 60:, who responded with his own poem, " 3103:The Grasmere and Alfoxden Journals. 1235: 13: 3247:She dwelt among the untrodden ways 2980:. London: Macmillan and Co., 1875. 2938:. London: Chatto and Windus, 1936. 1438:Wordsworth ed. Woof (2002) p. 82-3 978: 364:The earth, and every common sight, 252:the removal of lines 140 and 141. 21:Intimations of Immortality (Finzi) 14: 3614: 3110: 3098:Vol I. New York: Routledge, 2001. 3064:. Boston: Ginn and Company, 1912. 2997:Noyes, Russell and Hayden, John. 2971:William Wordsworth: A Poetic Life 1356: 1060:, second-generation Romantic poet 1029:, second-generation Romantic poet 966:no purpose at all, and certainly 857:, second-generation Romantic poet 519:Hence in a season of calm weather 84:, and aspects of the elegiac and 3510:Christopher Wordsworth (brother) 3342:Composed upon Westminster Bridge 3191: 3027:Art and Life: A Ruskin Anthology 2917:. New York: Bibli O'Phile, 1992. 2803:Wordsworth's "Natural Methodism" 2709: 2700: 2691: 2682: 2673: 2664: 2655: 2646: 2637: 2628: 2619: 2610: 2601: 2592: 2583: 2574: 2565: 2556: 2547: 2538: 2529: 2520: 2511: 2502: 2493: 2484: 2463: 2454: 2445: 2436: 2409: 2388: 2379: 2370: 2361: 2352: 2343: 634: 165:Wordsworth's recalling both the 3538:(birthplace and childhood home) 3391:Ode: Intimations of Immortality 2868:. New York: Viking Press, 1983. 2852:Wordsworth and the Great System 2831:William Wordsworth: A Biography 2761:Wordsworth: A Re-Interpretation 2334: 2311: 2302: 2293: 2284: 2275: 2266: 2257: 2248: 2239: 2230: 2221: 2212: 2191: 2170: 2161: 2152: 2143: 2120: 2111: 2102: 2079: 2070: 2061: 2052: 2043: 2034: 2025: 2016: 2007: 1998: 1989: 1980: 1971: 1962: 1953: 1944: 1935: 1926: 1917: 1908: 1899: 1890: 1881: 1872: 1863: 1842: 1833: 1824: 1815: 1806: 1797: 1788: 1767: 1758: 1749: 1740: 1731: 1722: 1713: 1704: 1645: 1624: 1615: 1606: 1597: 1588: 1579: 1570: 1561: 1552: 1543: 1534: 1525: 1516: 1507: 1498: 1159:Ode: Intimations of Immortality 1079:, writer, biographer and critic 1044:Ode: Intimations of Immortality 1042:quoting the final lines of the 900:Ode: Intimations of Immortality 863:Ode: Intimations of Immortality 768:Ode: Intimations of Immortality 740:Ode: Intimations of Immortality 685:Ode: Intimations of Immortality 629:Ode: Intimations of Immortality 527:Can in a moment travel thither, 444:Hath had elsewhere its setting, 3433:Character of the Happy Warrior 3069:Blackwood's Edinburgh Magazine 3033:). New York: John Alden, 1886. 2819:II. London: Rest Renner, 1817. 2768:Wordsworth and the Human Heart 1477: 1468: 1459: 1450: 1441: 1432: 1269:Ode: Intimation of Immortality 1112:Blackwood's Edinburgh Magazine 1085:Blackwood's Edinburgh Magazine 1004:Ode: Intimation of Immortality 368:Apparelled in celestial light, 243:". In 1820, Wordsworth issued 1: 3419:The World Is Too Much with Us 3368:I travelled among unknown men 3084:. Denver: Alan Swallow, 1967. 2908:Wordsworth's Poetry 1787–1814 2824:Harper's New Monthly Magazine 2754:Romanticism and Transcendence 2738: 1361: 1133:Harper's New Monthly Magazine 489:On whom those truths do rest, 133: 3598:Poetry by William Wordsworth 3356:I Wandered Lonely as a Cloud 3254:A slumber did my spirit seal 3105:Oxford University Press 2002 2652:Noyes and Hayden 1991 p. 115 2643:Noyes and Hayden 1991 p. 110 1830:Calvert 1878 qtd pp. 202–203 1329:Wordsworthian valediction." 892:Monthly Literary Recreations 448:Not in entire forgetfulness, 7: 3505:Dorothy Wordsworth (sister) 3398:Resolution and Independence 3008:. Aldershot: Ashgate, 2004. 2840:. New York: Columbia, 1984. 2838:The Rhetoric of Romanticism 2833:. New York: Atheneum, 1980. 2281:Woof 2001 qtd. pp. 757, 758 1344: 595:Resolution and Independence 487:Mighty Prophet! Seer blest! 450:And not in utter nakedness, 335:Hymn to Intellectual Beauty 327:Rime of the Ancient Mariner 10: 3619: 3500:Dora Wordsworth (daughter) 2973:. New York: Fordham, 1997. 2966:. Oxford: Clarendon, 1992. 2957:Reading Public Romanticism 2952:. London: Blackwell, 1950. 2894:William Wordsworth: A Life 2815:Coleridge, Samuel Taylor. 2798:. London: Macmillan, 1909. 2747:Naturalism Supernaturalism 2299:Woof 2001 qtd. pp. 869–870 2263:Eilenberg 1992 pp. 179–182 2108:Woof 2001 qtd. pp. 169–170 2031:Eilenberg 1992 pp. 178–179 1995:Gill 1989 pp. 279, 324–325 870:reviews were found in the 706:Like the two other poems, 454:From God, who is our home: 414:Doth the same tale repeat: 223:just before publication, " 18: 16:Poem by William Wordsworth 3569: 3528: 3492: 3474: 3447: 3335:The White Doe of Rylstone 3312: 3200: 3189: 3170: 3161: 3057:. New York: Viking, 2007. 2796:Oxford Lectures on Poetry 2679:Mahoney 1997 pp. 197, 202 2085:Mahoney 1997 pp. 167, 197 1848:Ferguson 1985 pp. 137–138 1839:Moorman II 1968 pp. 21–22 1803:Moorman II 1968 pp. 20–21 1746:Johnston 2001 pp. 558–559 1483:Moorman II 1968 pp. 19–20 924:lawyer and editor of the 750:for Coleridge's journal, 569: 255: 174:immortal presence within 72:The poem is an irregular 3089:The Questioning Presence 3020:Wordsworth and Coleridge 3013:Coleridge on Imagination 2789:The Romantic Imagination 2763:. London: Longman, 1965. 2625:Wolfson 1986 pp. 172–173 2022:Wolfson 1986 pp. 198–203 1896:Hartman 1964 pp. 274–277 1869:Brantley 1975 qtd p. 125 1794:Eilenberg 1992 pp. 22–25 1764:Moorman 1968 pp. 528–530 1737:Moorman 1968 pp. 530–532 1558:Eilenberg 1992 pp. 22–24 1549:Mahoney 1997 pp. 197–202 1474:Moorman 1968 pp. 528–529 1447:Moorman 1968 pp. 525–528 1387: 880:Literary Annual Register 832:Coleridge on Imagination 579:same event found in his 525:Which brought us hither, 521:Though inland far we be, 159:, Saturday 27 March 1802 3515:Samuel Taylor Coleridge 3001:. Boston: Twayne, 1991. 2859:Strange Power of Speech 2544:Mallarby 1960 pp. 64–65 2517:Brooks 1947 pp. 143–144 2490:Willey, 1939 p. 288-289 2358:Abrams 1973 qtd. p. 136 2317:Harper 1916 qtd. p. 341 2067:Brooks 1945 pp. 142–143 2004:Abrams 1973 pp. 444–445 1923:Mahoney 1997 qtd p. 198 1812:Moorman 1968 qtd. p. 21 1603:Magnuson 1998 pp. 33–35 1513:Magnuson 1998 pp. 32–33 1465:Sisman 2007 pp. 344–345 949:James Montgomery (poet) 804:Samuel Taylor Coleridge 374:Turn wheresoe'er I may, 340: 58:Samuel Taylor Coleridge 3031:William Sloane Kennedy 2864:Emerson, Ralph Waldo. 2775:Wordsworth and Feeling 2442:Saintsbury 1898 p. 660 1878:Ruoff 1989 pp. 253–257 1785:Blank 1995 pp. 212–213 1710:Bloom 1993 pp. 176–177 1642:Bloom 1993 pp. 171–172 1612:Sacks 1987 pp. 144–145 1567:Bloom 1993 pp. 170–171 1384:runs in your ears..." 1201: 1146: 1108:Chauncy Hare Townshend 1080: 1061: 1030: 991: 951: 917: 858: 807: 567: 551: 534: 511: 496: 467: 428: 421: 400: 393:And I again am strong: 381: 353: 162: 146: 36: 3321:Poems, in Two Volumes 2950:Wordsworth, A Tribute 2929:The Hidden Wordsworth 2866:Essays & Lectures 2782:The Visionary Company 2616:Levinson 1986 pp. 4–5 2607:Gill 1989 pp. 226–227 2553:Moorman II 1968 p. 23 2433:Anonymous 1880 p. 597 2331:Townshend 1829 p. 778 2308:Woof 2001 qtd. p. 870 2272:Woof 2001 qtd. p. 974 2254:Coleridge 1817 p. 114 2209:Woof 2001 qtd. p. 807 2197:Woof 2001 pp. 794–795 2176:Woof 2001 qtd. p. 241 2167:Woof 2001 pp. 421–422 2158:Woof 2001 qtd. p. 213 2149:Woof 2001 qtd. p. 210 2140:Woof 2001 qtd. p. 199 2076:Eilenberg 1992 p. 181 2049:Eilenberg 1992 p. 179 2040:Coleridge 1817 p. 113 1977:Gill 1989 pp. 227–229 1968:Rzepka 1986 pp. 40–41 1959:Hayden 1992 pp. 41–44 1950:Beer 1978 pp. 107–108 1932:Beer 1978 pp. 105–107 1773:Moorman 1968 II p. 24 1373:Spoon River Anthology 1204:The Victorian critic 1196: 1141: 1087:, possible by either 1075: 1056: 1025: 988:John Taylor Coleridge 986: 947: 908: 853: 802: 697:"egotistical sublime" 555: 539: 516: 501: 477:Thy Soul's immensity; 472: 460:Upon the growing Boy, 446:And cometh from afar: 437: 426: 405: 386: 359: 348: 216:Poems, in Two Volumes 148: 141: 49:Poems, in Two Volumes 31: 3221:Anecdote for Fathers 3046:Saintsbury, George. 2941:Levinson, Marjorie. 2817:Biographia Literaria 2810:The Well Wrought Urn 2661:McFarland 1992 p. 40 2535:Bowra 1949 pp. 76–77 2227:Woof2001 pp. 367–368 2218:Woof 2001 qtd p. 336 2058:Richards 1962 p. 135 1941:Beer 1978 qtd p. 107 1887:Brantley 1975 p. 151 1755:Barth 2003 pp. 82–87 1405:Brantley 1975 p. 109 1273:The Well Wrought Urn 1100:Thomas Noon Talfourd 1095:New Monthly Magazine 1067:Biographia Literaria 898:. When referring to 888:Poems in Two Volumes 867:Poems in Two Volumes 812:Biographia Literaria 795:Coleridge's analysis 748:Essays upon Epitaphs 680:Childhood and growth 412:The Pansy at my feet 331:Percy Bysshe Shelley 237:Henry Crabb Robinson 225:paulò majora canamus 157:The Grasmere Journal 155:Dorothy Wordsworth, 93:, the idea that the 3412:The Solitary Reaper 3282:Michael, a Pastoral 2962:McFarland, Thomas. 2927:Johnston, Kenneth. 2906:Hartman, Geoffrey. 2885:Galperin, William. 2850:Durrant, Geoffrey. 2845:Contemporary Review 2801:Brantley, Richard. 2634:Galperin 1989 p. 29 2571:Durrant 1970 p. 107 2562:Winters 1967 p. 172 2451:Bradley 1909 p. 117 2385:Arnold 1917 p. xxiv 2340:Emerson 1983 p. 928 2099:Mahoney 1997 p. 167 1986:Magnuson 1998 p. 32 1914:Bateson 1965 p. 160 1728:Mahoney 1997 p. 202 1689:Mahoney 1997 p. 201 1665:Mahoney 1997 p. 200 1651:Mahoney 1997 p. 199 1621:Magnuson 1998 p. 35 1585:Hartman 1964 p. 275 1576:Hartman 1964 p. 274 1522:Wolfson 1986 p. 173 1456:Moorman 1968 p. 528 1167:Contemporary Review 1127:, in his 1856 work 1125:Ralph Waldo Emerson 1119:Victorian responses 920:Francis Jeffrey, a 890:, in a 3 July 1807 884:George Gordon Byron 855:George Gordon Byron 789:The Triumph of Life 654:The Triumph of Life 337:" and "The Zucca". 3483:Guide to the Lakes 3155:William Wordsworth 3082:Forms of Discovery 2999:William Wordsworth 2992:William Wordsworth 2985:William Wordsworth 2948:Mallarby, George. 2901:William Wordsworth 2880:William Wordsworth 2857:Eilenberg, Susan. 2752:Barth, J. Robert. 2688:Sisman 2007 p. 342 2589:Davies 1980 p. 128 2526:Brooks 1947 p. 147 2508:Brooks 1947 p. 139 2499:Brooks 1947 p. 125 2481:Leavis 1936 p. 184 2469:Harper 1916 p. 127 2460:Sneath 1912 p. 204 2424:Hutton 1880 p. 597 2406:Ruskin 1886 p. 509 2376:Dowden 1877 p. 308 2349:Curtis 1860 p. 127 2245:Sisman 2007 p. 345 2013:Sisman 2007 p. 352 1860:De Man 1984 p. 104 1821:Abrams 1973 p. 525 1630:Abrams 1973 p. 376 1594:Abrams 1973 p. 383 1504:Davies 1980 p. 188 1417:Davies 1980 p. 176 1202: 1200:, Victorian critic 1177:and for the great 1147: 1081: 1062: 1039:Feast of the Poets 1031: 992: 952: 918: 859: 846:Critical reception 808: 780:Prometheus Unbound 585:The Ruined Cottage 429: 354: 318:The Ruined Cottage 311:" poems, parts of 147: 44:William Wordsworth 37: 3585: 3584: 3384:My Heart Leaps Up 3276:The Matthew poems 3036:Rzepka, Charles. 2922:Eclectic Magazine 2808:Brooks, Cleanth. 2794:Bradley, Andrew. 2670:Blank 1995 p. 213 2394:Arnold 1917 p. xx 2126:Woof 2001 pp. 3–4 1719:Bloom 1993 p. 177 1701:Ruoff 1989 p. 249 1677:Bloom 1993 p. 171 1368:Edgar Lee Masters 1335:achieving heights 784:Dejection: An Ode 621:Dejection: An Ode 606:Dejection: an Ode 599:Dejection: An Ode 323:Dejection: An Ode 284:and the works of 241:My Heart Leaps Up 200:Dejection: An Ode 62:Dejection: An Ode 3610: 3577:Wordsworth Trust 3536:Wordsworth House 3439:The Yarrow poems 3195: 3148: 3141: 3134: 3125: 3124: 3087:Wolfson, Susan. 3038:The Self as Mind 3011:Richards, I. A. 2955:Magnuson, Paul. 2899:Harper, George. 2829:Davies, Hunter. 2732: 2731: 2729: 2727: 2713: 2707: 2704: 2698: 2695: 2689: 2686: 2680: 2677: 2671: 2668: 2662: 2659: 2653: 2650: 2644: 2641: 2635: 2632: 2626: 2623: 2617: 2614: 2608: 2605: 2599: 2598:Gill 1989 p. 196 2596: 2590: 2587: 2581: 2580:Beer 1978 p. 165 2578: 2572: 2569: 2563: 2560: 2554: 2551: 2545: 2542: 2536: 2533: 2527: 2524: 2518: 2515: 2509: 2506: 2500: 2497: 2491: 2488: 2482: 2479: 2470: 2467: 2461: 2458: 2452: 2449: 2443: 2440: 2434: 2431: 2425: 2422: 2416: 2413: 2407: 2404: 2395: 2392: 2386: 2383: 2377: 2374: 2368: 2367:Mason 1875 p. 39 2365: 2359: 2356: 2350: 2347: 2341: 2338: 2332: 2329: 2318: 2315: 2309: 2306: 2300: 2297: 2291: 2290:Woof 2001 p. 758 2288: 2282: 2279: 2273: 2270: 2264: 2261: 2255: 2252: 2246: 2243: 2237: 2236:Woof 2001 p. 377 2234: 2228: 2225: 2219: 2216: 2210: 2207: 2198: 2195: 2189: 2188:Woof 2001 p. 455 2186: 2177: 2174: 2168: 2165: 2159: 2156: 2150: 2147: 2141: 2138: 2127: 2124: 2118: 2117:Woof 2001 p. 237 2115: 2109: 2106: 2100: 2097: 2086: 2083: 2077: 2074: 2068: 2065: 2059: 2056: 2050: 2047: 2041: 2038: 2032: 2029: 2023: 2020: 2014: 2011: 2005: 2002: 1996: 1993: 1987: 1984: 1978: 1975: 1969: 1966: 1960: 1957: 1951: 1948: 1942: 1939: 1933: 1930: 1924: 1921: 1915: 1912: 1906: 1903: 1897: 1894: 1888: 1885: 1879: 1876: 1870: 1867: 1861: 1858: 1849: 1846: 1840: 1837: 1831: 1828: 1822: 1819: 1813: 1810: 1804: 1801: 1795: 1792: 1786: 1783: 1774: 1771: 1765: 1762: 1756: 1753: 1747: 1744: 1738: 1735: 1729: 1726: 1720: 1717: 1711: 1708: 1702: 1699: 1690: 1687: 1678: 1675: 1666: 1663: 1652: 1649: 1643: 1640: 1631: 1628: 1622: 1619: 1613: 1610: 1604: 1601: 1595: 1592: 1586: 1583: 1577: 1574: 1568: 1565: 1559: 1556: 1550: 1547: 1541: 1540:Gill 1989 p. 477 1538: 1532: 1531:Gill 1989 p. 336 1529: 1523: 1520: 1514: 1511: 1505: 1502: 1496: 1495:Gill 1989 p. 460 1493: 1484: 1481: 1475: 1472: 1466: 1463: 1457: 1454: 1448: 1445: 1439: 1436: 1430: 1429:Beer 1978 p. 105 1427: 1418: 1415: 1406: 1403: 1290:Ode: Intimations 1236:Modern responses 1151:John Stuart Mill 1149:The philosopher 1143:John Stuart Mill 996:Quarterly Review 960:James Montgomery 939:Edinburgh Review 934:Edinburgh Review 926:Edinburgh Review 912:, critic of the 701:Isabella Fenwick 376:By night or day, 196:Skiddaw mountain 160: 145:at the age of 28 124:Victorian period 3618: 3617: 3613: 3612: 3611: 3609: 3608: 3607: 3588: 3587: 3586: 3581: 3565: 3524: 3488: 3470: 3443: 3349:Elegiac Stanzas 3308: 3214:Lyrical Ballads 3212:Preface to the 3203:Lyrical Ballads 3196: 3187: 3166: 3157: 3152: 3118:audio recording 3113: 3108: 3080:Winters, Yvor. 3074:Willey, Basil. 3060:Sneath, Elias. 2990:Moorman, Mary. 2983:Moorman, Mary. 2969:Mahoney, John. 2892:Gill, Stephen. 2780:Bloom, Harold. 2773:Blank, G. Kim. 2759:Bateson, F. W. 2741: 2736: 2735: 2725: 2723: 2715: 2714: 2710: 2706:Fry 2008 p. 185 2705: 2701: 2697:Fry 2008 p. 184 2696: 2692: 2687: 2683: 2678: 2674: 2669: 2665: 2660: 2656: 2651: 2647: 2642: 2638: 2633: 2629: 2624: 2620: 2615: 2611: 2606: 2602: 2597: 2593: 2588: 2584: 2579: 2575: 2570: 2566: 2561: 2557: 2552: 2548: 2543: 2539: 2534: 2530: 2525: 2521: 2516: 2512: 2507: 2503: 2498: 2494: 2489: 2485: 2480: 2473: 2468: 2464: 2459: 2455: 2450: 2446: 2441: 2437: 2432: 2428: 2423: 2419: 2415:Reid 2004 p. 78 2414: 2410: 2405: 2398: 2393: 2389: 2384: 2380: 2375: 2371: 2366: 2362: 2357: 2353: 2348: 2344: 2339: 2335: 2330: 2321: 2316: 2312: 2307: 2303: 2298: 2294: 2289: 2285: 2280: 2276: 2271: 2267: 2262: 2258: 2253: 2249: 2244: 2240: 2235: 2231: 2226: 2222: 2217: 2213: 2208: 2201: 2196: 2192: 2187: 2180: 2175: 2171: 2166: 2162: 2157: 2153: 2148: 2144: 2139: 2130: 2125: 2121: 2116: 2112: 2107: 2103: 2098: 2089: 2084: 2080: 2075: 2071: 2066: 2062: 2057: 2053: 2048: 2044: 2039: 2035: 2030: 2026: 2021: 2017: 2012: 2008: 2003: 1999: 1994: 1990: 1985: 1981: 1976: 1972: 1967: 1963: 1958: 1954: 1949: 1945: 1940: 1936: 1931: 1927: 1922: 1918: 1913: 1909: 1905:Gill 1989 p. 10 1904: 1900: 1895: 1891: 1886: 1882: 1877: 1873: 1868: 1864: 1859: 1852: 1847: 1843: 1838: 1834: 1829: 1825: 1820: 1816: 1811: 1807: 1802: 1798: 1793: 1789: 1784: 1777: 1772: 1768: 1763: 1759: 1754: 1750: 1745: 1741: 1736: 1732: 1727: 1723: 1718: 1714: 1709: 1705: 1700: 1693: 1688: 1681: 1676: 1669: 1664: 1655: 1650: 1646: 1641: 1634: 1629: 1625: 1620: 1616: 1611: 1607: 1602: 1598: 1593: 1589: 1584: 1580: 1575: 1571: 1566: 1562: 1557: 1553: 1548: 1544: 1539: 1535: 1530: 1526: 1521: 1517: 1512: 1508: 1503: 1499: 1494: 1487: 1482: 1478: 1473: 1469: 1464: 1460: 1455: 1451: 1446: 1442: 1437: 1433: 1428: 1421: 1416: 1409: 1404: 1395: 1390: 1364: 1359: 1347: 1238: 1121: 981: 979:Later responses 956:Eclectic Review 930:Lyrical Ballads 914:Romantic poetry 910:Francis Jeffrey 896:Lyrical Ballads 872:Critical Review 848: 797: 738:as he was with 682: 637: 572: 566: 563: 561: 559: 550: 547: 545: 543: 533: 530: 528: 526: 524: 522: 520: 510: 507: 505: 495: 492: 490: 488: 486: 484: 482: 480: 478: 476: 466: 463: 461: 459: 457: 455: 453: 451: 449: 447: 445: 443: 441: 420: 417: 415: 413: 411: 409: 399: 396: 394: 392: 390: 380: 377: 375: 373: 371: 369: 367: 365: 363: 351:Mary Wordsworth 343: 321:, Coleridge's " 286:Saint Augustine 258: 161: 154: 136: 82:Saint Augustine 24: 17: 12: 11: 5: 3616: 3606: 3605: 3600: 3583: 3582: 3580: 3579: 3573: 3571: 3567: 3566: 3564: 3563: 3557: 3551: 3545: 3542:Alfoxton House 3539: 3532: 3530: 3526: 3525: 3523: 3522: 3520:Robert Southey 3517: 3512: 3507: 3502: 3496: 3494: 3490: 3489: 3487: 3486: 3478: 3476: 3472: 3471: 3469: 3468: 3461: 3453: 3451: 3445: 3444: 3442: 3441: 3436: 3429: 3426:To a Butterfly 3422: 3415: 3408: 3401: 3394: 3387: 3380: 3373: 3372: 3371: 3362:The Lucy poems 3359: 3352: 3345: 3338: 3331: 3324: 3316: 3314: 3310: 3309: 3307: 3306: 3299: 3292: 3285: 3278: 3273: 3272: 3271: 3264: 3257: 3250: 3241:The Lucy poems 3238: 3231: 3224: 3217: 3208: 3206: 3198: 3197: 3190: 3188: 3186: 3185: 3180: 3174: 3172: 3168: 3167: 3162: 3159: 3158: 3151: 3150: 3143: 3136: 3128: 3122: 3121: 3112: 3111:External links 3109: 3107: 3106: 3099: 3094:Woof, Robert. 3092: 3085: 3078: 3072: 3065: 3058: 3055:The Friendship 3053:Sisman, Adam. 3051: 3044: 3041: 3034: 3025:Ruskin, John. 3023: 3016: 3009: 3002: 2995: 2988: 2981: 2976:Mason, David. 2974: 2967: 2960: 2953: 2946: 2939: 2934:Leavis, F. R. 2932: 2925: 2918: 2913:Hayden, John. 2911: 2904: 2897: 2890: 2883: 2876: 2869: 2862: 2855: 2848: 2841: 2836:De Man, Paul. 2834: 2827: 2820: 2813: 2806: 2799: 2792: 2785: 2778: 2771: 2764: 2757: 2750: 2745:Abrams, M. H. 2742: 2740: 2737: 2734: 2733: 2708: 2699: 2690: 2681: 2672: 2663: 2654: 2645: 2636: 2627: 2618: 2609: 2600: 2591: 2582: 2573: 2564: 2555: 2546: 2537: 2528: 2519: 2510: 2501: 2492: 2483: 2471: 2462: 2453: 2444: 2435: 2426: 2417: 2408: 2396: 2387: 2378: 2369: 2360: 2351: 2342: 2333: 2319: 2310: 2301: 2292: 2283: 2274: 2265: 2256: 2247: 2238: 2229: 2220: 2211: 2199: 2190: 2178: 2169: 2160: 2151: 2142: 2128: 2119: 2110: 2101: 2087: 2078: 2069: 2060: 2051: 2042: 2033: 2024: 2015: 2006: 1997: 1988: 1979: 1970: 1961: 1952: 1943: 1934: 1925: 1916: 1907: 1898: 1889: 1880: 1871: 1862: 1850: 1841: 1832: 1823: 1814: 1805: 1796: 1787: 1775: 1766: 1757: 1748: 1739: 1730: 1721: 1712: 1703: 1691: 1679: 1667: 1653: 1644: 1632: 1623: 1614: 1605: 1596: 1587: 1578: 1569: 1560: 1551: 1542: 1533: 1524: 1515: 1506: 1497: 1485: 1476: 1467: 1458: 1449: 1440: 1431: 1419: 1407: 1392: 1391: 1389: 1386: 1363: 1360: 1358: 1357:In other works 1355: 1354: 1353: 1351:1807 in poetry 1346: 1343: 1339:par excellence 1265:Cleanth Brooks 1237: 1234: 1129:English Traits 1120: 1117: 1017:British Critic 1009:British Critic 980: 977: 958:. The writer, 847: 844: 796: 793: 776:lacrimae rerum 720:theatrum mundi 681: 678: 646:metempsychosis 636: 633: 571: 568: 556: 540: 517: 502: 473: 438: 406: 387: 366:To me did seem 360: 342: 339: 257: 254: 152: 135: 132: 15: 9: 6: 4: 3: 2: 3615: 3604: 3601: 3599: 3596: 3595: 3593: 3578: 3575: 3574: 3572: 3568: 3561: 3558: 3555: 3552: 3549: 3546: 3543: 3540: 3537: 3534: 3533: 3531: 3527: 3521: 3518: 3516: 3513: 3511: 3508: 3506: 3503: 3501: 3498: 3497: 3495: 3491: 3485: 3484: 3480: 3479: 3477: 3473: 3467: 3466: 3462: 3460: 3459: 3458:The Excursion 3455: 3454: 3452: 3450: 3446: 3440: 3437: 3434: 3430: 3427: 3423: 3420: 3416: 3413: 3409: 3406: 3402: 3399: 3395: 3392: 3388: 3385: 3381: 3378: 3374: 3369: 3365: 3364: 3363: 3360: 3357: 3353: 3350: 3346: 3343: 3339: 3337: 3336: 3332: 3330: 3329: 3325: 3323: 3322: 3318: 3317: 3315: 3311: 3304: 3300: 3297: 3293: 3291: 3290: 3286: 3283: 3279: 3277: 3274: 3269: 3265: 3262: 3258: 3255: 3251: 3248: 3244: 3243: 3242: 3239: 3236: 3232: 3229: 3228:The Idiot Boy 3225: 3222: 3218: 3216: 3215: 3210: 3209: 3207: 3205: 3204: 3199: 3194: 3184: 3181: 3179: 3176: 3175: 3173: 3169: 3165: 3164:List of poems 3160: 3156: 3149: 3144: 3142: 3137: 3135: 3130: 3129: 3126: 3119: 3115: 3114: 3104: 3100: 3097: 3093: 3090: 3086: 3083: 3079: 3077: 3073: 3070: 3066: 3063: 3059: 3056: 3052: 3049: 3045: 3042: 3039: 3035: 3032: 3029:(compiled by 3028: 3024: 3021: 3018:Ruoff, Gene. 3017: 3014: 3010: 3007: 3003: 3000: 2996: 2993: 2989: 2986: 2982: 2979: 2975: 2972: 2968: 2965: 2961: 2958: 2954: 2951: 2947: 2944: 2940: 2937: 2933: 2930: 2926: 2923: 2919: 2916: 2912: 2909: 2905: 2902: 2898: 2895: 2891: 2888: 2884: 2881: 2877: 2874: 2870: 2867: 2863: 2860: 2856: 2853: 2849: 2846: 2842: 2839: 2835: 2832: 2828: 2825: 2821: 2818: 2814: 2811: 2807: 2804: 2800: 2797: 2793: 2790: 2787:Bowra, C. M. 2786: 2783: 2779: 2776: 2772: 2769: 2765: 2762: 2758: 2755: 2751: 2748: 2744: 2743: 2722: 2718: 2712: 2703: 2694: 2685: 2676: 2667: 2658: 2649: 2640: 2631: 2622: 2613: 2604: 2595: 2586: 2577: 2568: 2559: 2550: 2541: 2532: 2523: 2514: 2505: 2496: 2487: 2478: 2476: 2466: 2457: 2448: 2439: 2430: 2421: 2412: 2403: 2401: 2391: 2382: 2373: 2364: 2355: 2346: 2337: 2328: 2326: 2324: 2314: 2305: 2296: 2287: 2278: 2269: 2260: 2251: 2242: 2233: 2224: 2215: 2206: 2204: 2194: 2185: 2183: 2173: 2164: 2155: 2146: 2137: 2135: 2133: 2123: 2114: 2105: 2096: 2094: 2092: 2082: 2073: 2064: 2055: 2046: 2037: 2028: 2019: 2010: 2001: 1992: 1983: 1974: 1965: 1956: 1947: 1938: 1929: 1920: 1911: 1902: 1893: 1884: 1875: 1866: 1857: 1855: 1845: 1836: 1827: 1818: 1809: 1800: 1791: 1782: 1780: 1770: 1761: 1752: 1743: 1734: 1725: 1716: 1707: 1698: 1696: 1686: 1684: 1674: 1672: 1662: 1660: 1658: 1648: 1639: 1637: 1627: 1618: 1609: 1600: 1591: 1582: 1573: 1564: 1555: 1546: 1537: 1528: 1519: 1510: 1501: 1492: 1490: 1480: 1471: 1462: 1453: 1444: 1435: 1426: 1424: 1414: 1412: 1402: 1400: 1398: 1393: 1385: 1383: 1379: 1375: 1374: 1369: 1352: 1349: 1348: 1342: 1340: 1336: 1330: 1327: 1323: 1319: 1313: 1311: 1310:The Excursion 1307: 1306:Tintern Abbey 1303: 1299: 1295: 1294:Tintern Abbey 1291: 1285: 1282: 1276: 1274: 1270: 1266: 1262: 1260: 1256: 1252: 1247: 1245: 1244: 1233: 1231: 1227: 1226:Tintern Abbey 1223: 1218: 1216: 1211: 1207: 1199: 1195: 1191: 1188: 1184: 1180: 1176: 1172: 1168: 1163: 1160: 1156: 1155:Autobiography 1152: 1145:, philosopher 1144: 1140: 1136: 1134: 1130: 1126: 1116: 1113: 1109: 1103: 1101: 1097: 1096: 1090: 1089:John Lockhart 1086: 1078: 1077:John Lockhart 1074: 1070: 1068: 1059: 1055: 1051: 1049: 1045: 1040: 1036: 1028: 1024: 1020: 1018: 1012: 1010: 1005: 1001: 997: 989: 985: 976: 974: 969: 965: 961: 957: 950: 946: 942: 940: 935: 931: 927: 923: 915: 911: 907: 903: 901: 897: 893: 889: 885: 881: 877: 876:Le Beau Monde 873: 868: 864: 856: 852: 843: 841: 835: 833: 829: 828:field of corn 825: 821: 817: 813: 805: 801: 792: 790: 785: 781: 777: 771: 769: 765: 761: 760:Tintern Abbey 757: 753: 749: 745: 741: 737: 732: 728: 723: 721: 717: 713: 712:Tintern Abbey 709: 704: 702: 698: 694: 693:Tintern Abbey 690: 686: 677: 675: 674:Tintern Abbey 671: 667: 663: 657: 655: 649: 647: 642: 635:Pre-existence 632: 630: 626: 625:Tintern Abbey 622: 617: 615: 614:Tintern Abbey 611: 607: 602: 600: 596: 592: 591: 590:Tintern Abbey 586: 582: 577: 576:To the Cuckoo 565: 554: 549: 538: 532: 515: 509: 500: 494: 471: 465: 436: 434: 425: 419: 404: 398: 385: 379: 358: 352: 347: 338: 336: 332: 328: 324: 320: 319: 314: 313:The Excursion 310: 306: 302: 296: 294: 291: 287: 283: 279: 278:Old Testament 274: 270: 266: 263: 253: 250: 246: 242: 238: 234: 230: 226: 222: 218: 217: 211: 209: 205: 201: 197: 193: 188: 185: 181: 177: 172: 168: 158: 151: 144: 140: 131: 129: 125: 121: 117: 111: 109: 108: 107:Tintern Abbey 103: 102: 96: 92: 91:pre-existence 87: 83: 79: 75: 70: 67: 63: 59: 55: 51: 50: 45: 41: 35: 30: 26: 22: 3548:Dove Cottage 3481: 3463: 3456: 3448: 3390: 3377:London, 1802 3333: 3326: 3319: 3313:Later poetry 3303:We Are Seven 3287: 3213: 3201: 3120:of the poem. 3102: 3095: 3088: 3081: 3075: 3068: 3061: 3054: 3047: 3037: 3026: 3019: 3012: 3005: 2998: 2991: 2984: 2977: 2970: 2963: 2956: 2949: 2942: 2935: 2928: 2921: 2914: 2907: 2900: 2893: 2886: 2879: 2872: 2865: 2858: 2851: 2844: 2837: 2830: 2823: 2816: 2809: 2802: 2795: 2788: 2781: 2774: 2767: 2766:Beer, John. 2760: 2753: 2746: 2724:. Retrieved 2721:bartleby.com 2720: 2711: 2702: 2693: 2684: 2675: 2666: 2657: 2648: 2639: 2630: 2621: 2612: 2603: 2594: 2585: 2576: 2567: 2558: 2549: 2540: 2531: 2522: 2513: 2504: 2495: 2486: 2465: 2456: 2447: 2438: 2429: 2420: 2411: 2390: 2381: 2372: 2363: 2354: 2345: 2336: 2313: 2304: 2295: 2286: 2277: 2268: 2259: 2250: 2241: 2232: 2223: 2214: 2193: 2172: 2163: 2154: 2145: 2122: 2113: 2104: 2081: 2072: 2063: 2054: 2045: 2036: 2027: 2018: 2009: 2000: 1991: 1982: 1973: 1964: 1955: 1946: 1937: 1928: 1919: 1910: 1901: 1892: 1883: 1874: 1865: 1844: 1835: 1826: 1817: 1808: 1799: 1790: 1769: 1760: 1751: 1742: 1733: 1724: 1715: 1706: 1647: 1626: 1617: 1608: 1599: 1590: 1581: 1572: 1563: 1554: 1545: 1536: 1527: 1518: 1509: 1500: 1479: 1470: 1461: 1452: 1443: 1434: 1381: 1377: 1371: 1370:' 1915 book 1365: 1338: 1334: 1331: 1325: 1321: 1317: 1314: 1309: 1305: 1302:Peele Castle 1301: 1297: 1293: 1289: 1286: 1280: 1277: 1272: 1268: 1263: 1258: 1254: 1250: 1248: 1241: 1239: 1229: 1225: 1221: 1219: 1214: 1209: 1203: 1186: 1182: 1178: 1174: 1170: 1166: 1164: 1158: 1154: 1148: 1132: 1128: 1122: 1111: 1104: 1093: 1084: 1082: 1066: 1063: 1047: 1043: 1038: 1032: 1016: 1013: 1008: 1003: 999: 995: 993: 972: 967: 963: 955: 953: 938: 933: 929: 925: 919: 899: 895: 891: 887: 879: 875: 871: 866: 862: 860: 839: 836: 831: 827: 823: 819: 815: 811: 809: 788: 783: 779: 775: 772: 767: 763: 759: 755: 751: 747: 744:Peele Castle 743: 739: 735: 730: 726: 724: 719: 711: 707: 705: 692: 688: 684: 683: 673: 669: 658: 653: 650: 640: 638: 628: 624: 620: 618: 613: 610:The Mad Monk 609: 605: 603: 598: 594: 588: 584: 580: 575: 573: 557: 552: 541: 535: 518: 512: 503: 497: 474: 468: 439: 430: 407: 401: 388: 382: 361: 355: 326: 316: 312: 304: 297: 259: 244: 232: 228: 224: 214: 212: 207: 203: 189: 163: 156: 149: 112: 105: 99: 74:Pindaric ode 71: 47: 39: 38: 33: 25: 3562:(1813-1850) 3560:Rydal Mount 3556:(1808-1811) 3550:(1799-1808) 3544:(1797-1798) 3465:The Prelude 3449:The Recluse 3004:Reid, Ian. 2936:Revaluation 2871:Fry, Paul. 1318:The Prelude 1259:The Prelude 1251:Revaluation 1228:and in the 1206:John Ruskin 1198:John Ruskin 756:The Prelude 736:Ode to Duty 731:Ode to Duty 727:Ode to Duty 708:The Prelude 689:The Prelude 670:The Prelude 641:The Prelude 581:The Rainbow 208:The Prelude 204:The Prelude 128:John Ruskin 101:The Prelude 86:apocalyptic 3603:1807 poems 3592:Categories 3554:Allan Bank 3328:Peter Bell 3296:Poor Susan 3183:Lake Poets 3178:Early life 2739:References 1362:Literature 1058:John Keats 1035:Leigh Hunt 1027:Leigh Hunt 840:Biographia 752:The Friend 143:Wordsworth 134:Background 116:Lord Byron 3235:Lucy Gray 2726:1 October 1267:used the 1243:King Lear 1215:Spectator 1183:Laodameia 1175:Laodameia 660:theorist 384:despair: 171:emotional 1345:See also 1048:Examiner 916:movement 718:idea of 666:doctrine 433:Platonic 262:Pindaric 221:epigraph 180:meditate 153:—  120:Romantic 3570:Related 1171:courage 1000:Remorse 826:, or a 822:, or a 672:and in 587:and in 305:Eclogue 269:stanzas 229:Eclogue 192:Keswick 184:compose 167:sensory 78:stanzas 54:stanzas 3493:People 3171:Topics 1304:, and 1210:aerial 662:Origen 570:Themes 325:" and 293:prayer 290:Hebrew 282:Psalms 273:iambic 267:in 11 256:Styles 176:nature 76:in 11 3529:Homes 3475:Prose 1388:Notes 816:child 716:Latin 301:elegy 249:prose 233:Poems 34:Poems 2728:2022 973:Life 922:Whig 878:and 861:The 710:and 691:and 627:and 341:Poem 333:'s " 329:and 309:Lucy 169:and 104:and 95:soul 3116:An 1382:Ode 1378:Ode 1366:In 1341:." 1326:Ode 1322:Ode 1298:Ode 1281:Ode 1255:Ode 1187:Ode 1179:Ode 975:". 964:for 824:dog 265:ode 66:ode 3594:: 2719:. 2474:^ 2399:^ 2322:^ 2202:^ 2181:^ 2131:^ 2090:^ 1853:^ 1778:^ 1694:^ 1682:^ 1670:^ 1656:^ 1635:^ 1488:^ 1422:^ 1410:^ 1396:^ 968:to 882:. 874:, 820:be 758:, 656:. 295:. 3435:" 3431:" 3428:" 3424:" 3421:" 3417:" 3414:" 3410:" 3407:" 3403:" 3400:" 3396:" 3393:" 3389:" 3386:" 3382:" 3379:" 3375:" 3370:" 3366:" 3358:" 3354:" 3351:" 3347:" 3344:" 3340:" 3305:" 3301:" 3298:" 3294:" 3284:" 3280:" 3270:" 3266:" 3263:" 3259:" 3256:" 3252:" 3249:" 3245:" 3237:" 3233:" 3230:" 3226:" 3223:" 3219:" 3147:e 3140:t 3133:v 2730:. 23:.