THE THREE SCHOOLS OF ENGLISH ROMANTICS AND THE POEMS REFLECTED OF THE TIME
TIGA KELOMPOK PENULIS SEPAHAM DALAM PERIODE ROMANTIK INGGRIS DAN PUISI YANG TERCERMIN DARI PERIODE TERSEBUT
NUR FAIZAL
POSTGRADUATE PROGRAM HASANUDDIN UNIVERSITY
MAKASSAR
2013
THESIS
THE THREE SCHOOLS OF ENGLISH ROMANTICS AND THE POEMS REFLECTED OF THE TIME
Written and Submitted by
NUR FAIZAL
Registered Number P0600211014
Has been defended in front of the thesis examination committee on August 19th2013 and has fulfilled the requirements
Approved by
Head of Supervisory committee Member of Supervisory Committee
Prof. H. Burhanuddin Arafah, M.Hum, Ph.D. Dr. H. Mustafa Makka, M.S.
Head of
English Language Study Program
Prof. Dr. Abdul Hakim Yassi, Dipl.TESL.,MA
Director of PostgraduateProgram Hasanuddin University
Prof.Dr.Ir. Mursalim, M.Sc.
ACKNOWLEDGEMENTS
Bismillahirrahmanirrahim
First of all the writer would like to express his great praise to the Almighty Allah the most gracious and the most merciful Who has given spirit, chance and health to him in completing this thesis and encouragement during the period of his study. Peace and Blessing of the Almighty Allah be upon the noblest of the Prophets and Messengers, Prophet Muhammad SAW.
In writing this thesis, a lot of people have provided motivation, advice, support, and even remark that had helped the researcher. In this valuable chance, the researcher would like to express his gratitude and appreciation to all of them. First, the researcher’s deepest appreciation goes to his beloved parents, his mother Hj. Lience for the endless love, pray, and support, and his father, Lamba who has become a motivated person.
The researcher’s indebted to the Director of Post Graduate Program, Prof. Dr. Ir. Mursalim, and the staff; the Dean of Faculty of Letters, Prof. Drs. H. Burhanuddin Arafah, M.Hum, Ph.D and the staff; and the Head of English Language Studies program of Post Graduate Program Hasanuddin University, Prof. Dr. Abdul Hakim Yassi, Dipl.TESL., M.A. and the staff.
The researcher presents his sincere appreciation to his first supervisor Prof. Drs. H. Burhanuddin Arafah, M.Hum,Ph.D who has given advice, suggestion and motivation and taught him about carefulness, and to his second supervisor Dr. H. Mustafa Makkah, M.S who has helped him patiently completing this thesis by giving suggestions, guidances, and corrections from the beginning until the completion of this thesis.
The researcher’s greatest thanks go to his examiners Prof.Dr. Noer Jihad Saleh,M.A., Drs. Stanislaus Sandarupa, M.A, Ph.D, and Dr. H.
Sudarmin Harun, M.Hum for their valuable corrections and suggestions, His special thanks to his beloved wife Doris Noviani, S.ST and beautiful daughter Nur Ainisa Putri Zahra who have given him spirit and motivation to do the best for their better future. His sincere thanks go to her siblings Nur Lina, S.Pd, M.Pd, Nur Ilham, SIP, and Nur Akhmad Kurniawan for their advice, kindness, and even critique to encourage him to be a better person, and also to all Sweet Zone’s crew who have colored his life to be more patient and alive in solidarity.
His thankfulness to all his friends of English Language Studies 2011, Adimawati, Dahlia, Sudirman, Ela Martisa, Maemanah, Widiastuti, Nurlianti, Tsamratul’aeni, Reski and Asriwianti for cheerful days and togetherness.
The last but not least, may Allah always bless us. Amin
Makassar, August
The Researcher
ABSTRACT
NUR FAIZAL. The Three Schools of English Romantics and The Poems Reflected of The Time (Under the supervision of Burhanuddin Arafah and Mustafa Makkah).
The research is aimed to present prominent ideas of three schools – Lake school, Cockney school and Satanic school – in revealing the natural beauty and human dignity represented from the ideas. These all signify the English Romantic works of the time.
The writer carried out language based approach and used descriptive qualitative method in his analysis of the selected works of the three schools. This research was written based on primary and secondary data. Primary data were collected from the poem of the three schools;
Tintern Abbey, La Belle Dame sans Merci, and Ozymandias. The secondary data were taken from various books, articles, website on internet, and PDF. Then, the data were analyzed by using structural approach through intrinsic and extrinsic elements.
The result shows that romantic human dignity and beauty of nature of Romantic period greatly influence the Romantic works at that time. The three schools of English Romantics were known as the pioneer of such significant ideas. They introduced the terms of human dignity and beauty of nature from their literary works mostly in poems. The poems then emerged in Romantic period as the product of these new terms or newly innovative poetic system in poetry.
ABSTRAK
NUR FAIZAL. Tiga Kelompok Penulis Sepaham pada Periode Romantis Inggris dan Puisi Mereka Tercermin dari Periode Tersebut (dibimbing oleh Burhanuddin Arafah and Mustafa Makka)
Tujuan penelitian adalah mempresentasikan ide-ide yang menonjol dari tiga kelompok penulis – Lake, Cockney dan Satanic – dalam mengungkap keindahan alam dan martabat manusia yang mewakili ide tersebut. Semua hal ini menandakan karya-karya Romantis Inggris pada periode tersebut.
Penulis melakukan pendekatan berbasis bahasa dan menggunakan metode kualitatif deskriptif dalam analisisnya pada karya- karya yang dipilih dari ketiga kelompok penulis tersebut. Penelitian ini ditulis berdasarkan data primer dan sekunder. Data primer diambil dari puisi dari ketiga kelompok; Tintern Abbey, La Belle Dame sans Merci, dan Ozymandias. Data sekunder diambil dari buku-buku, artikel website dari internet dan PDF. Lalu, data dianalisis menggunakan pendekatan struktural melalui unsur intrinsik dan ekstrinsik.
Hasil menunjukkan bahwa martabat manusia dan keindahan alam pada periode Romantis berpengaruh sangat besar terhadap karya Romantis pada periode tersebut. Tiga kelompok penulis Romantis Inggris dianggap sebagai pelopor ide yang signifikan tersebut. Ketiga kelompok penulis tersebut memperkenalkan istilah martabat manusia dan keindahan alam dari karya-karya sastra mereka yang sebagian besarnya dalam bentuk puisi. Puisi-puisi tersebut kemudian muncul dalam periode Romantis sebagai hasil dari istilah-istilah baru tersebut atau sistem baru yang inovatif dalam puisi.
TABLE OF CONTENTS
TITLE ... i
APPROVAL ... ii
ACKNOWLEDGEMENTS ... iii
ABSTRACT ... v
ABSTRAK ... vi
TABLE OF CONTENTS ... vii
CHAPTER I INTRODUCTION A. Background ... 1
B. Research Questions ... 4
C. Objectives of the Research ... 4
D. Significance of the Research ... 5
E. Sequence of the Chapter ... 5
CHAPTER II REVIEW OF RELATED LITERATURE A. Previous Studies ... 7
B. Theoretical Framework... 8
1. Language Based Approach … … … . 8
2. The Extrinsic ... 9
3. The Intrinsic ... 10
C. Lake School … ..… … … 11
1. William Wordsworth ... 12
2. S. Taylor Coleridge ... 13
3. Robert Southey ... 15
D. Cockney School … … … .... 16
1. Leigh Hunt ... 17
2. William Hazlitt ... 18
3. John Keats ... 19
E. Satanic School … … … ... 20
1. Byron ... 22
2. Percy B. Shelley ... 22
F. Overview … … … . 23
G. The Works of Three schools … … … ... 24
1. Lake School’s work ...… … … ... 24
2. Cockney School’s work ...… … … ... 30
3. Satanic School’s work ....… … … . 32
H. Conceptual Framework ... 33
CHAPTER III RESEARCH DESIGN AND METHODOLOGY A. Method of Collecting Data … … … . 34
B. Method of Data Analysis … … … 34
C. Steps in Data Analysis … … … .. 36
D. Population … … … 37
E. Sample … … … .. 37
CHAPTER IV FINDINGS AND DISCUSSION A. Findings ... 39
1. Tintern Abbey ... 39
2. La Belle dame sans Merci ... 60
3. Ozymandias ... 66
B. Discussion ... 68
1. Tintern Abbey ... 68
2. La Belle dame san Merci ... 70
3. Ozymandias ... 72
C. Romantic Human Dignity and Beauty of Nature ... 74
CHAPTER V. CONCLUSION AND SUGGESTION A. Conclusion ... 80
B. Suggestion ... 81
BIBLIOGRAPHY … … … … 82
CHAPTER I INTRODUCTION
A. Background
Romantic age is a term used to describe life and literature in England in the late eighteenth 1780 until early nineteenth centuries. Many writers in this period turned away from the values and ideas characteristic in the previous period became more honest, daring, individual, and imaginative to literature and life. In general, the Romantic writers placed the individual rather than society and emphasized a love of nature. They believed in the possibilities of progress and improvement, for humanity as well as for individuals. They also emphasized on the frankness, revealing what it is as they saw, heard, and felt. These new attitudes and approaches were closely linked to a political event - the French Revolution, which began in 1789.
Romanticism in literature was the reaction of the society not only to the French Revolution of 1789 but also to the Enlightenment connected with it. The common people did not get what they had expected: neither freedom nor equality. The bourgeoisie was disappointed as well, because the capitalist way of development had not been prepared by the revolution yet. The feudal suffered from the Revolution that had made them much weaker. Everybody was dissatisfied with the result. In such a situation the Romantic writers decided to solve the social problems by writing.
In England, the Romantic authors were individuals with many contradictory views. All of them were against immoral luxuries of the world, against injustice and inequality of the society, and suffering and human selfishness. The French Revolution gave life and breath to the dreams of some Romantic writers for a society in which there would be liberty, equality and fraternity for all. (McDonnell, 1983: 300)
Critics and reviewers contemporary with these writers treated them as independent individuals, or else grouped them (often invidiously, but with some basis in literary fact) into a number of separate Schools: (1) the Lake School of Wordsworth, Coleridge and Robert Southey, (2) the Cockney school of Leigh Hunt, Hazlitt and John Keats and (3) the Satanic School of Byron, Shelley, and their followers. (Abrams et al, 1968:1197)
Many of the major writers felt that there was something distinctive about their time which was not at all a share doctrine or a literary quality but a pervasive intellectual climate. Some of them called such a climate as
“the spirit of age”: Keats said “Great spirits now on earth are sojourning”
which due to their experimental boldness and creative power mark a literary renaissance (Abram et al, 1968: 1197). It is such massive achievements of the period that this study tries to explore and present the significance of the reflected works that the three schools had produced.
William Wordsworth, Coleridge, John Keats, Percy Shelley, and Lord Byron were popular poets in England romantic period. Wordsworth
(1770 – 1850) and Coleridge (1772 - 1834) were the first generation of romantic poet while John Keats, Percy Shelley and Lord Byron were the second generation of this period. They all together with another writers in romantic period owned the romanticism spirit producing great works.
These were approved in 1802 when Wordsworth published Preface to Lyrical Ballads, Coleridge with his Biographia Literaria (1817), Shelley wrote A Defence of Poetry in 1821, it was published in 1840, John Keat’s with his Poem La Belle das Siem Merci,William Blake’sSongs of Innocence (1789) and Songs of Experience (1794).
They were all from different schools – Lake School, Cockney School and Satanic School. Lake school was located in Northern England, in Lake District, Westmorland and Cumberland Counties. The Lake School greatly influenced the younger generation of English romantic poets, including Byron, Shelley, and Keats, who were, nevertheless, resolute critics of the political views of the Lake Poets.
The rationale of this study is to bring simultaneously the works of the three school scholars and to signify their own concerns with the life of the period. Wordsworth’s Tintern Abbey has successfully promoted the roofless church, though it does not have any relationship to the abbey itself. Circumstances of the abbey in which natural beauty is amazingly and delightly colored the site are portrayed in Abbey’s early lines of the poem.
Keat’s La Belle Dame sans Merci recount and readorne the nostalgic medieval worrier time and the knights. Words and phrases of old are suitably fill the lines that illustrate the events when supernatural situation accompanied by natural or real one. Meanwhile Shelley’s Ozymandias proclaims the mighty and despair – nothing remains, decay, bondless and bare; grand ideas of his own power and the kings in relation to Greek names of Ramses II of Egypt.
There all are essential quality of Romanticism in which distinguished works has risen from the previous period to the existing one compatible to the sensibility of the great period.
B. Research Questions
1. What distinguished ideas in terms of natural beauty and human dignity do the three schools – Lake school, Cockney school and Satanic school–
have in relation to the works they have produced?
2. How do such distinguished ideas signify English Romantic literary works of the time?
C. Objectives of the research
1. To reveal the prominent ideas the three schools – Lake school, Cockney school and Satanic school –have in relation to the works they have produced.
2. To present the significant ideas that signify the English Romantic works of the time.
D. Significance of the Research
The study offers an attempt to reveal that the English Romantic period has not been matched by almost all ages of English literature in the range and diversity of its achievements. The existence of the three schools – Lake school, Cockney school and Satanic school with their ideas and their works have proved their individual share in contributing an essential literary quality of the period. It is, therefore this research to a certain extent informative on English Romantic literature in which its spirit is marked by a certain kind of literary renaissance or it was a time of promise, a renewal of the world and of letters as Keats and Hazlitt state. (Abrams et.al:1968)
E. Sequence of the Chapter
The content of the writing can be found in the sequence of chapter.
Therefore, the structure of the writing including the skeletons of ideas will be explained in the writing. Hopefully it could help the readers before they read the content of this writing. The sequence of chapters in this writing divided into five chapters.
Chapter I is Introduction consists of eight sub chapters, namely Background, Scope of the Research, Research Questions, Objective of the Research, Rationale of the Research, Significance of the Research, Expected Outcome, and Sequence of the Chapter.
Chapter II is Review of Related Literature, consists of four sub chapters, namely Previous Studying, Theoretical Framework and Conceptual Framework.
Chapter III is Research Design and Methodology, consist of four sub chapters, namely Methodology, Data Collection and Data Analysis, Population and Sample.
Chapter IV is Findings and Discussion, consist of the interpretation of the three poems of each schools, the term of human dignity and beauty of nature in each poems and how the ideas signify the Romantic period.
Chapter V is Conclusion and Suggestion, consist of sum up significant ideas of the previous chapters and offer suggestions. The last is Bibliography
CHAPTER II
REVIEW OF RELATED LITERATURE
A. Previous Studies
This thesis is not the first research that analyzes about Romantics works.There are some theses about Romantics works that have been done before.
The previous researcher is Christina Resnitriwati with the title Romanticism in Ode toThe West Wind by Shelley in 2005. This thesis attempted to analyze and explored its meaning through its intrinsic components, revealing its romantic aspects in the poem accordingly.
The second previous researcher is Alexandra Paterson with the title Keats as a Reader in 2010. This research aimed to examine the poetry of John Keats through an exploration of Keats’attitude toward reading.
The third previous researcher is Charles Ngiewih Teke’s Towards a Poetic of Becoming: Coleridge’s and Keats’s Aesthetic between Idealism and Deconstruction in 2004. This research tried to deal with a new aspect in reading and interpreting Romantic, evident in both writers’works.
The next previous researcher is Poon Lai-King with the title Metaphor and Romantic Poetry with reference to the poem of Keats and Wordsworth in 1990. The analysis was to identify how the selected poets’ self- definitions, consciousness of time, and death and history are subtly
inscribed in their tropes so that metaphor is not so much a form of deviation as it was a process of mediation.
The differences between this research and the previous studies above can be seen from the aim of the study. In this research the writer aims to find out the distinguished ideas of three schools members in relation to the works they have produced and to show their significant ideas contributed to the English Romantic period. The study will bring out what prominent role that the three schools have had to distinguish them from the work of other writers in Romantic period. To this end, the study will link various different ideas or concepts that almost spontaneously rose and occupied the period of English Romantics. The reflection of the works produced by the three schools becomes the quality essence of the study that it pursues.
B. Theoretical Framework 1. Language Based Approach
According to Moody in Brumfit (1983: 23), the approach recommend to recognize that every text is a complex entity, and capable of analysis and commentary from a variety of different points of view. He took Wellek and Warren’s clear-minded exposition about the distinction between the extrinsic and intrinsic.
2. The Extrinsic
In various ways any text can be seen as determined by external factors which account for its existence or its special features. The principal ones would be such as follows (Moody in Brumfit, 1983: 23-24):
a. The biographical
Writer who produces literary work, lives in particular place at certain time and point in his life. It is important to know these facts at specific stage and to be aware how the writer’s life influences the content and form of a particular text.
b. The historical
Literary text has been created at a certain time and may reveal the evidence of historical processes, whether economic, social, political, or ideologicalright up to the moment of a text’s creation. This approach can be taken also to include the sociological, in which the text is seen to reflect various aspects of the social context in which it has been produced.
c. The aesthetic
Text can be seen to reflect various theoretical or practical movements, related to the processes of artistic creation, general problems of form, structure, uses of language, prosody, genres, etc.
d. The philosophical
At this level, we realize that texts can be shown to illustrate topics typically belonging to other disciplines such as, for example, ethics, metaphysics, psychology, theology, perhaps even science or mathematics.
3. The Intrinsic
Text cannot be used any means until the text has been read and reviewed, and the intrinsic approach consists of all the processes which are carried out, in their various sequences and at their various levels, in the course of a complete reading. Broadly, the main levels are (Moody in Brumfit, 1983: 24-25):
a. The grammatical. The relations of units of expression both within the sentence, and between sentences.
b. The lexical. This includes the denotations and connotations of words, and lexical groups, but also questions of register, style, and figurative language.
c. The structural. The unity of complete texts of whatever kind, whether expository, narrative, argumentative or symbolic.
d. The cultural. Here, we are concerned with the content, the message, what is presented, or stated, or implied, and its value in relation to the cultural context.
All in the extrinsic and the intrinsic approaches, we could state quite simply that the extrinsic approach is concerned with how the reader interprets the text, the intrinsic approach releases the fresh information he finds in it. The extrinsic approach involves what is implicit in a text, the intrinsic with what is made explicit. All texts sometimes may be encountered necessarily exhibit all the potential components.
C. Lake School
Lake School was the group of English romantic poets of the late 18th and early 19th centuries who lived in northern England, in the Lake District (Westmorland and Cumberland counties). The Lake Poets, William Wordsworth, Samuel Taylor Coleridge, and Robert Southey, in opposing the classicist and Enlightenment traditions of the 18th century, began the Romantic movement in English poetry. They warmly welcomed the French Revolution but later renounced it, rejecting the Jacobin terror. With time, the political views of the Lake Poets became increasingly reactionary;
having rejected the rationalist ideals of the Enlightenment, they espoused belief in the irrational, in traditional Christian values, and in an idealized medieval past. The quality of their poetry also declined. However, their early, and best, works are to this day the pride of English poetry. One of their famous work was the Lyrical Ballads of 1798.
The Lake School greatly influenced the younger generation of English romantic poets, including Byron, Shelley, and Keats, who were, nevertheless, resolute critics of the political views of the Lake Poets. The Lake Poets influenced the development of all English poetry of the 19th and 20th centuries.
1. William Wordsworth
Wordsworth studied at St. John's College in Cambridge and before his final semester, he set out on a walking tour of Europe, an experience that influenced both his poetry and his political sensibilities. While touring Europe, Wordsworth came into contact with the French Revolution. This experience as well as a subsequent period living in France, brought about Wordsworth's interest and sympathy for the life, troubles and speech of the common man. These issues proved to be of the utmost importance to Wordsworth's work. Wordsworth's earliest poetry was published in 1793 in the collections An Evening Walk and Descriptive Sketches..
In 1795 he met Samuel Taylor Coleridge with whom Wordsworth published the famous Lyrical Ballads in 1798. While the poems themselves are some of the most influential in Western literature, it is the preface to the second edition that remains one of the most important testaments to a poet's views on both his craft and his place in the world. In the preface Wordsworth writes on the need for common speech within
poems and argues against the hierarchy of the period which valued epic poetry above the lyric.
Wordsworth's most famous work, The Prelude (1850), is considered by many to be the crowning achievement of English romanticism. The poem, revised numerous times, chronicles the spiritual life of the poet and marks the birth of a new genre of poetry. Although Wordsworth worked on The Prelude throughout his life, the poem was published posthumously.
Wordsworth spent his final years settled at Rydal Mount in England, travelling and continuing his outdoor excursions. Devastated by the death of his daughter Dora in 1847, Wordsworth seemingly lost his will to compose poems. William Wordsworth died at Rydal Mount on April 23, 1850, leaving his wife Mary to publish The Prelude three months later.
(Hunter: 2009)
2. Samuel Taylor Coleridge
In 1799 Coleridge joined the Wordsworth, who was staying at the Hutchinson farm in Durham. Wordsworth was waiting for an inheritance to be settled so he could wed Mary Hutchinson; and Coleridge fell in love with her sister Sara, who appears in his journals and poems as "Asra."
From the time of his marriage on, Coleridge was searching for a vocation that would pay the rent, although the annuity of £150 from the Wedgwoods eased these concerns after 1798 and meant that he did not
need to take up a career as a Unitarian minister. It is interesting to speculate if he would have later returned to the Church of England without that timely annuity.
Perhaps because he conceived such grand projects, he had difficulty carrying them through to completion, and he berated himself for his indolence. It is unclear whether his growing use of opium was a symptom or a cause of his growing depression. Dejection: An Ode, written in 1802, expresses his despair at the loss of his creative powers. In 1804 he travelled to Sicily and Malta, working for a time as Acting Public Secretary of Malta under the Commissioner, Alexander Ball. He gave this up and returned to England in 1806; Dorothy Wordsworth was shocked at his condition upon his return. His opium addiction (he was using as much as two quarts of laudanum a week) now began to take over his life: he separated from his wife in 1808, quarreled with Wordsworth in 1810, lost part of his annuity in 1811, put himself under the care of Dr. Daniel in 1814, and finally moved in with Dr. Gilman in London where the doctor and his family managed for the next 18 years to keep his demon under control.
At this same time he was establishing himself as the most intellectual of the English Romantics, delivering an influential series of lectures on Shakespeare in the winter of 1811-12 and bringing out his Biographia Literaria in 1817. Among his contemporaries, he was best
known as a talker, in the tradition of Samuel Johnson: his Highgate Thursdays became famous. Coleridge's most important contribution was The Rime of the Ancient Mariner in Lyrical Ballad which he made with Wordsworth. (Glenn Everett: 2000)
3. Robert Southey
Robert Southey, the son of a linen draper, was born in Bristol in 1774. After his father's death an uncle sent him to Westminster School but he was expelled in 1792 after denouncing flogging in the school magazine.
In 1794 Southey met Samuel Taylor Coleridge in Bristol and the two men became close friends. They developed radical political and religious views and began making plans to emigrate to Pennsylvania where they intended to set up a commune based on communistic values.
Southey and Coleridge eventually abandoned this plan and instead stayed in England where they concentrated on communicating their radical ideas.
This included the play they wrote together, The Fall of Robespierre.
Southey also wrote the republican play, Wat Tyler.
In 1795, he published his book Poems and the epic poem, Joan of Arc. Between 1796 and 1798 he wrote many ballads, including The Inchcape Rock and The Battle of Blenheim. Southey's poetry sold poorly and had to rely on the £160 a year allowance paid to him by his friend Charles Wynn.
In 1813 Robert Southey was appointed poet laureate. Southey was criticized by Lord Byron and William Hazlitt who accused him of betraying his political principles for money. In 1821 Southey commemorated the death of George III with his poem A Vision of Judgement. This included an attack on Lord Byron who replied with The Vision of Judgement, one of the great satirical parodies of English literature.
Southey wrote several books including: The Book of the Church (1824), Sir Thomas More (1829), Essays Moral and Political (1832) and Lives of British Admirals (1833). In 1835 Sir Robert Peel, the British prime minister, increased Southey's pension to £300 a year. Robert Southey died in 1843. (Carnall: 2004)
D. Cockney School
The Cockney School refers to a group of poets and essayists writing in England in the second and third decades of the 19th century.
They were Hunt, Keats and Hazlitt. Cockney refers to the people who were born in certain area that is covered by sounds of Bow Bells. Cockney also refers to working-class Londoners, particularly in East End. Cockney means accent and form of English spoken by the group. The location of Cockney school is not clearly defined. In cockney school, Leigh Hunt was the original “cockney”, but Keats and Hazlitt could not be called “cockney”.
The term came in the form of hostile reviews in Blackwood's Magazine in 1817. John Scott died after a duel over the controversy. Leigh Hunt the supposed chief offender of the Cockney School.
Each of the writers was derided for a slightly different quality. Keats, for example, was accused of low diction for rhyming "thorns/fawns" in Sleep and Poetry and other rhymes which suggested a working class speech. Hunt and Hazlitt were similarly vilified for their diction, but the criticisms were more ideological with them than with Keats. John Wilson Croker perpetuated the term "Cockney School" beyond the pages of Blackwood's in 1818 when he attacked Keats's Endymion in the Quarterly Review. (Richardson: 1993)
1. Leigh Hunt
Hunt developed an interest in politics and poetry. Leigh Hunt became friends with other young writers who favored political reform including Percy Bysshe Shelley, William Hazlitt, Henry Brougham, Lord Byron,Thomas Barnes and Charles Lamb. Leigh Hunt worked as a drama critics for The News “Examiner”. He has ever been arrested with his brother due to his writings about Prince Regent.
After his release from prison, Leigh Hunt traveled to Italy with Byron and Shelley. The three men published a radical political journal called The Liberal. By publishing the journal in Italy they remained free from the fear
of being prosecuted by the British authorities. The first edition was mainly written by Leigh Hunt but also included work by William Hazlitt, Mary Shelley and Lord Byron's Vision of Judgement and sold 4,000 copies. The venture was abandoned after four editions and in 1823 Leigh Hunt returned to Britain.
In later life, Leigh Hunt's books included Lord Byron and Some of his Contemporaries (1828), Christianism (1832), Poetical Works (1844), Autobiography (1850) and Table Talk (1851). (Holden: 2005)
2. William Hazlitt
William Hazlitt was the son of a Unitarian minister. He went to Paris in his youth with the aim of becoming a painter, but gradually convinced himself that he could not excel in this art. He then turned to journalism and literature, and came into close association with Wordsworth, Coleridge, Lamb, Hunt, and others of the Romantic School.
He was, however, of a sensitive and difficult temperament, and sooner or later quarreled with most of his friends. Though a worshiper of Napoleon, whose life he wrote, he was a strong liberal in politics, and supposed himself persecuted for his opinions.
Of all Hazlitt's voluminous writings, those which retain most value to-day are his literary criticisms and his essays on general topics. His clear and vivacious style arose at times to a rare beauty and when the temper of
his work was not marred by his touchiness and egotism he wrote with great charm and a delicate fancy.
The essay Of Persons One Should Wish to Have Seen shows in a high degree the tact and grace of Hazlitt's best writing, and his power of creating a distinctive atmosphere. It would be difficult to find a paper of this length which conveys so much of the special quality of the literary circle.
(Maclean: 1944)
3. John Keats
Keats met Leigh Hunt, an influential editor of the Examiner, who published his sonnets "On First Looking into Chapman's Homer" and "O Solitude." Hunt also introduced Keats to a circle of literary men, including the poets Percy Bysshe Shelley and William Wordsworth. The group's influence enabled Keats to see his first volume, Poems by John Keats, published in 1817. After that Keats published Endymion, a four-thousand- line erotic/allegorical romance based on the Greek myth of the same name, appeared the following year.
Keats spent the summer of 1818 on a walking tour in Northern England and Scotland, writing some of his finest poetry between 1818 to 1819 Keats mainly worked on Hyperion, a Miltonic blank-verse epic of the Greek creation myth. He stopped writing "Hyperion" upon the death of his brother, after completing only a small portion, but in late 1819 he returned
to the piece and rewrote it as "The Fall of Hyperion" (unpublished until 1856). That same autumn Keats contracted tuberculosis, and by the following February he felt that death was already upon him, referring to the present as his posthumous existence. In July 1820, he published his third and best volume of poetry, Lamia, Isabella, The Eve of St. Agnes, and Other Poems. The three title poems, dealing with mythical and legendary themes of ancient, medieval, and Renaissance times, are rich in imagery and phrasing. The volume also contains the unfinished Hyperion, and three poems considered among the finest in the English language, Ode on a Grecian Urn, Ode on Melancholy, and Ode to a Nightingale. The book received enthusiastic praise from Hunt, Shelley, Charles Lamb, and others, and in August, Frances Jeffrey, influential editor of the Edinburgh Review, wrote a review praising both the new book and Endymion.
(Brown: 1937)
E. Satanic School
The Satanic School was a name applied by Robert Southey to a class of writers headed by Byron and Shelley, because, according to him, their productions were characterized by a Satanic spirit of pride and audacious impiety. The term was, therefore, initially coined in Southey's A Vision of Judgement (1821) as one of opprobrium and moral condemnation. Charles Baudelaire's poëte maudit would emerge from the
Byronic hero. Thomas Carlyle responded to this new anti-hero and accused Byron and Shelley of wasting their breath in a fierce wrangle with the devil, having not the courage to fairly face and honestly fight him.
Byron, in the materials surrounding Manfred, would suggest that these characters are not paragons of bourgeois virtues but are, rather, creatures of fire and spirit. (Metzger: 1993)
According to Peter Mcinerney (1980), among Romantics sympathy for the Devil arose from the impact of his splendid performance as Satan, in Paradise Lost. Blake's and Shelley's notorious expressions of support are famous examples of the allure of his Romanticized agony. In The Marriage of Heaven and Hell -- the title itself a provocation to the pious -- Blake insisted Milton wrote At liberty of the Devils and Hell because he was a true Poet and of the Devil's party without knowing it. In his a Defense of Poetry, Shelley argued that Milton's Devil as a moral being is far superior to his God. Among Romanticists, these oracular sayings have engendered what Shelley elsewhere calls "a pernicious casuistry" - the practice of underestimating the faults of Romantic Satanists, and the tendency to overestimate the wrongs they suffer. Rationalizations of Satan's evil deeds and cant about the divine repression of his supposed virtuea, have sometimes resulted in dangerous critical temporizing about the destructive behavior of Satan's Romantic sons.
1. Byron
Lord Byron, was born 22 January 1788 in London with a clubfoot and was taken to Aberdeen by his mother Catherine Gordon to attend a grammar school. At the age of ten, he inherited the estate and title of his great uncle and moved into the ruins of New stead Abbey with his mother, who hired a doctor to cure his clubfoot.
In the early 19th century, Lord Byron had achieved superstardom through his poetry and lifestyle. He had his first book of poems called 'Hours of Idleness' published in June 1807.Poetry was the rock n roll of the age and Byron had achieved cult status as the archetypal romantic poet.
(McGann: 2002)
According to Abrams (1968:1199), some of Byron’s works were Childe Harold’s Pilgrimage Canto I - IV, Manfred, the Oriental Tales, Don Juan, and Darkness.
2. Percy Bysshe Shelley
Percy Bysshe Shelley was one of the major English Romantic poets and is critically regarded as among the finest lyric poets in the English language. A radical in his poetry as well as his political and social views, Shelley did not achieve fame during his lifetime, but recognition for his poetry grew steadily following his death. Shelley was a key member of a close circle of visionary poets and writers that included Lord Byron; Leigh
Hunt; Thomas Love Peacock; and his own second wife, Mary Shelley.
Shelley is perhaps best known for such classic poems as Ozymandias, Ode to the West Wind, To a Skylark, Music, When Soft Voices Die, The Cloud and The Masque of Anarchy. His other major works include long, visionary poems such as Queen Mab (later reworked as The Daemon of the World), Alastor, The Revolt of Islam, Adonaïs, the unfinished work The Triumph of Life; and the visionary verse dramas The Cenci (1819) and Prometheus Unbound (1820). (Bieri: 2008)
G. Overview
They were not only differ in location, but also different in defining concept the poet and the poem. Wordsworth said that it was the spontaneous overflow of powerful feelings but according to Shelley, poets are the mirrors of the gigantic shadows that futurity casts upon the present. Keats also give opinion about this case by saying “if poetry comes not as naturally as the leaves to a tree, it had better not come at all”. Coleridge defined his essential role of passion in art “deep thinking is attainable only by a means of deep feeling”. (Abrams, 1968: 1199)
H. The Works of Three Schools
1. Lake School’s Work
Tintern Abbey was a famous architectural in south-west England.
The Abbey was founded in 1131 by Walter de Clare Forcistericia, monks from France. The roofless church that remains was developed between 1220 and 1227 and completed in 14th century. This Wordsworth’s poem was greatly contributed to its fame but it does not mention the Abbey.
Tintern Abbey by William Wordsworth
Five years have past; five summers, with the length Of five long winters! and again I hear
These waters, rolling from their mountain-springs With a soft inland murmur.— Once again
Do I behold these steep and lofty cliffs, 5 That on a wild secluded scene impress
Thoughts of more deep seclusion; and connect The landscape with the quiet of the sky.
The day is come when I again repose
Here, under this dark sycamore, and view 10 These plots of cottage-ground, these orchard-tufts,
Which at this season, with their unripe fruits, Are clad in one green hue, and lose themselves 'Mid groves and copses. Once again I see
These hedge-rows, hardly hedge-rows, little lines 15 Of sportive wood run wild: these pastoral farms,
Green to the very door; and wreaths of smoke Sent up, in silence, from among the trees!
With some uncertain notice, as might seem
Of vagrant dwellers in the houseless woods, 20 Or of some Hermit's cave, where by his fire
The Hermit sits alone.
These beauteous forms, Through a long absence, have not been to me
As is a landscape to a blind man's eye: 25 But oft, in lonely rooms, and 'mid the din
Of towns and cities, I have owed to them In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart;
And passing even into my purer mind, 30
With tranquil restoration:— feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence
On that best portion of a good man's life,
His little, nameless, unremembered, acts 35 Of kindness and of love. Nor less, I trust,
To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery,
In which the heavy and the weary weight 40 Of all this unintelligible world,
Is lightened:— that serene and blessed mood, In which the affections gently lead us on, Until, the breath of this corporeal frame
And even the motion of our human blood 45 Almost suspended, we are laid asleep
In body, and become a living soul:
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
We see into the life of things. 50
If this Be but a vain belief, yet, oh! how oft, In darkness and amid the many shapes Of joyless daylight; when the fretful stir
Unprofitable, and the fever of the world, 55 Have hung upon the beatings of my heart
How oft, in spirit, have I turned to thee,
O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee!
And now, with gleams of half-extinguished thought, 60 With many recognitions dim and faint,
And somewhat of a sad perplexity, The picture of the mind revives again:
While here I stand, not only with the sense
Of present pleasure, but with pleasing thoughts 65 That in this moment there is life and food
For future years. And so I dare to hope,
Though changed, no doubt, from what I was when first I came among these hills; when like a roe
I bounded o'er the mountains, by the sides 70 Of the deep rivers, and the lonely streams,
Wherever nature led: more like a man
Flying from something that he dreads, than one Who sought the thing he loved. For nature then
(The coarser pleasures of my boyish days, 75 And their glad animal movements all gone by)
To me was all in all.— I cannot paint What then I was. The sounding cataract
Haunted me like a passion: the tall rock,
The mountain, and the deep and gloomy wood, 80 Their colours and their forms, were then to me
An appetite; a feeling and a love, That had no need of a remoter charm, By thought supplied, nor any interest
Unborrowed from the eye.— That time is past, 85 And all its aching joys are now no more,
And all its dizzy raptures. Not for this Faint I, nor mourn nor murmur, other gifts Have followed; for such loss, I would believe,
Abundant recompence. For I have learned 90 To look on nature, not as in the hour
Of thoughtless youth; but hearing oftentimes The still, sad music of humanity,
Nor harsh nor grating, though of ample power
To chasten and subdue. And I have felt 95 A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns,
And the round ocean and the living air, 100 And the blue sky, and in the mind of man;
A motion and a spirit, that impels
All thinking things, all objects of all thought, And rolls through all things. Therefore am I still
A lover of the meadows and the woods, 105 And mountains; and of all that we behold
From this green earth; of all the mighty world Of eye, and ear,— both what they half create, And what perceive; well pleased to recognize
In nature and the language of the sense, 110 The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul Of all my moral being.
Nor perchance,
If I were not thus taught, should I the more 115 Suffer my genial spirits to decay:
For thou art with me here upon the banks Of this fair river; thou my dearest Friend, My dear, dear Friend; and in thy voice I catch
The language of my former heart, and read 120 My former pleasures in the shooting lights
Of thy wild eyes. Oh! yet a little while May I behold in thee what I was once,
My dear, dear Sister! and this prayer I make,
Knowing that Nature never did betray 125
The heart that loved her; 'tis her privilege, Through all the years of this our life, to lead From joy to joy: for she can so inform The mind that is within us, so impress
With quietness and beauty, and so feed 130 With lofty thoughts, that neither evil tongues,
Rash judgments, nor the sneers of selfish men, Nor greetings where no kindness is, nor all The dreary intercourse of daily life,
Shall e'er prevail against us, or disturb 135 Our cheerful faith, that all which we behold
Is full of blessings. Therefore let the moon Shine on thee in thy solitary walk;
And let the misty mountain-winds be free
To blow against thee: and, in after years, 140 When these wild ecstasies shall be matured
Into a sober pleasure; when thy mind Shall be a mansion for all lovely forms, Thy memory be as a dwelling-place
For all sweet sounds and harmonies; oh! then, 145 If solitude, or fear, or pain, or grief,
Should be thy portion, with what healing thoughts Of tender joy wilt thou remember me,
And these my exhortations! Nor, perchance
If I should be where I no more can hear 150 Thy voice, nor catch from thy wild eyes these gleams
Of past existence— wilt thou then forget That on the banks of this delightful stream We stood together; and that I, so long
A worshipper of Nature, hither came 155
Unwearied in that service: rather say
With warmer love— oh! with far deeper zeal Of holier love. Nor wilt thou then forget, That after many wanderings, many years
Of absence, these steep woods and lofty cliffs, 160 And this green pastoral landscape, were to me
More dear, both for themselves and for thy sake!
(http://www.shmoop.com/tintern-abbey/poem-text.html Accessed on 7th March 2013)
2. Cockney School’s Work
La Belle Dame sans Merci, one of John Keats last works, is a ballad which tells the story of a knight who falls in love with a mystical lady and suffers broken heart.
La Belle Dame sans Merci by John Keats
O what can ail thee, knight-at-arms, Alone and palely loitering?
The sedge has wither’d from the lake, And no birds sing.
O what can ail thee, knight-at-arms! 5 So haggard and so woe-begone?
The squirrel’s granary is full, And the harvest’s done.
I see a lily on thy brow
With anguish moist and fever dew, 10 And on thy cheeks a fading rose
Fast withereth too.
I met a lady in the meads, Full beautiful— a faery’s child,
Her hair was long, her foot was light, 15 And her eyes were wild.
I made a garland for her head,
And bracelets too, and fragrant zone;
She look’d at me as she did love,
And made sweet moan. 20
I set her on my pacing steed,
And nothing else saw all day long, For sidelong would she bend, and sing
A faery’s song.
She found me roots of relish sweet, 25 And honey wild, and manna dew,
And sure in language strange she said—
“I love thee true.”
She took me to her elfin grot,
And there she wept, and sigh’d fill sore, 30 And there I shut her wild wild eyes
With kisses four.
And there she lulled me asleep,
And there I dream’d— Ah! woe betide!
The latest dream I ever dream’d 35 On the cold hill’s side.
I saw pale kings and princes too,
Pale warriors, death-pale were they all;
They cried— “La Belle Dame sans Merci
Hath thee in thrall!” 40
I saw their starved lips in the gloam, With horrid warning gaped wide, And I awoke and found me here,
On the cold hill’s side.
And this is why I sojourn here, 45 Alone and palely loitering,
Though the sedge is wither’d from the lake, And no birds sing.
(http://www.shmoop.com/la-belle-dame-sans-merci/poem-text.html.
Accessed on 9th March 2013)
3. Satanic School’s Work
Ozymandias is a poem that told about a statue that represented an arrogant and powerful King.
Ozymandias by Percy Bysshe Shelley
I met a traveller from an antique land 2 Who said: "Two vast and trunkless legs of stone
Stand in the desert. Near them on the sand, Half sunk, a shattered visage lies, whose frown
And wrinkled lip and sneer of cold command 6 Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things, The hand that mocked them and the heart that fed.
And on the pedestal these words appear: 10
“My name is Ozymandias, King of Kings:
Look on my works, ye mighty, and despair!”
Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare,
The lone and level sands stretch far away. 15
(http://www.shmoop.com/ozymandias/poem-text.html. Accessed on 8th January 2013)
I. Conceptual Framework
ROMANTIC CHARACTERISTICS
Tintern Abbey by William Wordsworth
La Belle dame sans Merci
By John Keats
Ozymandias By Percy B.Shelley
Comparative Concept
Reflected Works Language Based
Approach
Comparative Concept
CHAPTER III
RESEARCH DESIGN AND METHODOLOGY
A. Method of collecting Data
This research is written based on primary data and secondary data.
Primary data were collected from the poem of three schools; Lake school’s Tintern Abbey, Cockney school’s La Belle Dame sans Merci, and Satanic school’s Ozymandias. The writer read the poems and quote some important elements related to the topic. The arrangements of problems are divided in relation to their possible rules based on the objectives of the research. From these divisions, several aspects of the problems can possibly be identified.
The secondary data were taken from various books, articles, website on internet, and PDF. Through this secondary data, the writer collected and used the data relevant to the topic.
B. Method of Data Analysis
In analyzing the data, the writer used the language based approach which focuses in analyzing the poems and their influences to the Romantic age. The data were presented by using descriptive qualitative method.
Intrinsic and extrinsic elements were used. In intrinsic element the poems become the main source. The writer used structural approach to analyze the data. Another way to analyze the data was by using extrinsic
element – this element makes the critic to give more significance to the context of the text. It means that the focuses are mainly interested in the biographical, historical, aesthetic and philosophical principles of the text.
1. The Intrinsic Element
Intrinsic element was used to understand the works themselves and their elements. In language based approach, intrinsic element mainly focuses on (Moody in Brumfit, 1983: 23):
a. Grammatical which focuses to the organization of sentences in the works
b. Lexical that includes denotative and connotative meanings of words, style and figurative language.
c. Structural focuses on the entity of whole texts
d. Cultural concerns to the content, message, and its value in relation to the cultural context.
2. The Extrinsic Element
External elements in various ways can determine the text which account for its special features. The principles of extrinsic would be (Moody in Brumfit, 1983: 23):
a. Biographical
Every text is produced by writer at particular time in particular place.
Text cannot be separated by the writer because it is relevant to know the influence and the role of writer to the text produced.
b. Historical
Text has been created at a particular point in historical time, and may bear the evidence of historical processes – economic, social, politic, or ideological.
c. Aesthetic
Particular text can be seen to reflect various theoretical or practical movements, related to the artistic creation, forms, structure, uses of language, prosody, genres, etc.
d. Philosophical
The text can be seen to illustrate topics typically belonging to other disciplines such as ethics, metaphysics, psychology, theology, even science or mathematics.
C. Steps in Data Analysis
The writer read the works - and also determined the discussion of this research. Then, the writer identified the scopes of the problems.
Furthemore, the writer did the library research in order to gather some data to support the analysis of the topic. The writer classified the data into
primary and secondary data. The writer used language based approach to analyze the data.
D. Population
The population of this research was all of works in the Romantic period limited to the three works from three schools : Wordsworth’s Tintern Abbey (Lake school), Keat’s La Belle Dame sans Merci (Cockney school), and Shelley’s Ozymandias (Satanic school).
E. Sample
The samples of the research were some citations related to the objectives of the research. Examples of the citations from the three schools:
1. Lake School
Tintern Abbey by Wordsworth
Five years have passed; five summers, with the length Of five long winters! and again I hear
These waters, rolling from their mountain-springs With a sweet inland murmur.4 -- Once again Do I behold these steep and lofty cliffs, Which on a wild secluded scene impress Thoughts of more deep seclusion; and connect
The river is not affected by the tides a few miles above Tintern.
(Wordsworth, Lyrical ballad)
2. Cockney School
La Belle Dame sans Merci by John Keats O what can ail thee, knight-at-arms,
Alone and palely loitering?
The sedge has wither’d from the lake, And no birds sing.
O what can ail thee, knight-at-arms! 5 So haggard and so woe-begone?
3. Satanic School
Ozymandias by Shelley
I met a traveller from an antique land
Who said: "Two vast and trunkless legs of stone Stand in the desert. Near them on the sand, Half sunk, a shattered visage lies, whose frown And wrinkled lip and sneer of cold command Tell that its sculptor well those passions read
CHAPTER IV
FINDINGS AND DISCUSSION
A. Finding
In this chapter, researcher will show the interpretation of selected poems from three schools.
1. Tintern Abbey
Five years have past; five summers, with the length 1 Of five long winters! and again I hear
These waters, rolling from their mountain-springs With a soft inland murmur.
The speaker starts first stanza by telling us the length of times that have passed and automatically changed from time to time. Five years of summers and long winters had been passed through but nature remains similar as it is – rolling waters from mountain springs with its ever-lasting soft water fall sound roaring to the quietness of surroundings and affecting the listening around.
The speaker came to the place that he has already left for a long time. His first impression to the place when he has just arrived as same as the past years he was. The surrounding greets him by the beautiful sound of the wind and the gurgling water.
— Once again
Do I behold these steep and lofty cliffs, 5
That on a wild secluded scene impress
Thoughts of more deep seclusion; and connect The landscape with the quiet of the sky.
He can feel the cliff as if he touches it just like the old time when he was here long time ago. The scene has delightly portrays what landscape looks like in reflection to deep and encouraging sensibility of the circumstances of persuading the contradiction of the stillness of the sky above and the emerging impression of the surroundings.
The day is come when I again repose
Here, under this dark sycamore, and view 10 These plots of cottage-ground, these orchard-tufts,
Which at this season, with their unripe fruits, Are clad in one green hue, and lose themselves 'Mid groves and copses.
Then, that view of delight has emerged that feeling on a place full of dense trees of sycamore which are high and lush as the comfortable air can be felt inside the body. Then, the plot of cottage ground and orchard- tufts can be beautifully seen with their unripe fruits at the particular season.
In the past, he always played in the wood, under the big tree called sycamore and he made a cottage which is exactly under that big tree as a place to rest or to shelter in case it was raining when he was there. When he fell asleep, he could clearly see the green view above which is full with the leaves and the fruit. To the extent we could not distinguish which leaves and the fruit.
Once again I see
These hedge-rows, hardly hedge-rows, little lines 15 Of sportive wood run wild: these pastoral farms,
Green to the very door; and wreaths of smoke Sent up, in silence, from among the trees!
From his point of view, he can see the beautiful irregularly arranged lines which are naturally created by the hedge-rows. The farms were described pastoral as the farm lives in the village, greening the land.
Appearance of smoke bothers his view to the scene, raised the curiosity of where the smoke came from.
He stunned with the terraced rice field of neatly arranged like a staircase and what makes him more stunned is the scene that he is looking at is green, full of green. He is enjoying the beauty around when suddenly he sees smoke coming out of the woods near the farm. He is wondering why there is smoke in the middle of woods, a homeless wood.
With some uncertain notice, as might seem
Of vagrant dwellers in the houseless woods, 20 Or of some Hermit's cave, where by his fire
The Hermit sits alone.
His curiosity is being answered in these lines by the speaker himself. He thought that the smoke came from homeless vagrant dwellers who made bonfire to warm their body and to protect them from the wildness of the wood or perhaps it comes from a cave in which the hermit is lonely sitting and accompanied by the fire he made to cure his loneliness.
The words “again”in these lines were repeated four times are to emphasize that the speaker has been here before, he has seen all the surroundings that he described, he could not forget the place where he lived long time ago.
These beauteous forms, Through a long absence, have not been to me
As is a landscape to a blind man's eye: 25
Though, he has left the place for long time but the presence of the beautiful scene he has described in the previous stanza still haunt his mind in the present time which can be seen by closing eyes as blind.
Since his last visit, the memory of the "beauteous forms," or the awesome view he has just described, has been so present to him that he could practically see it – not like the description of a "landscape to a blind man," who wouldn't be able to imagine it fully.
But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart;
And passing even into my purer mind, 30 With tranquil restoration:
Usually, he can feel the beauteous forms in his daily life in the town.
When he feels tired and lonely, it can be felt flowing into his blood, giving
him sensational feeling then it purifies the mind from all bothering thoughts with quiet recovery.
The speaker often felt comforted by his memory when he was lonely or cooped up in the noise of city.When he was feeling totally fried by a long day in the big bad city, he felt the beauteous forms somewhere in his blood and his heartbefore it finally went into his mind. However the
"beauteous forms got into his blood, he found that the memory of this view along the Wye could restore him to "tranquility," or calmness.
— feelings too
Of unremembered pleasure: such, perhaps, As have no slight or trivial influence
On that best portion of a good man's life,
His little, nameless, unremembered, acts 35 Of kindness and of love.
Also, he can feel a pleasure that cannot been remembered anymore as it has gone by the board without any significant influence. This pleasures are the best things of people’s life; every feelings even the littlest things, unknown, forgotten, and acts of love and goodness.
Speaker tells his readers that his first visit to this place gave him
"sensations sweet" when he was in the "lonely rooms" of the city. He intimates that these "feelings... / Of unremembered pleasure" may have helped him to be a better person, perhaps simply by putting him in a better mood than he would have been.
Nor less, I trust,
To them I may have owed another gift, Of aspect more sublime;
He believes it is the good things for him, and he feels indebted to such pleasures he has got so far about what he called the more sublime aspects. That feeling has been helpful for him since it is always there when the speaker feels happy or sad or even worse than sad. It makes him feel as he needs to do something to recompense what that feeling has done for him.
that blessed mood,
In which the burthen of the mystery,
In which the heavy and the weary weight 40 Of all this unintelligible world,
Is lightened:
Of the more sublime aspect that he called blessed mood because it makes the burden, exhaustion, and weight of life are lightened by the blessed pleasure. Helping them to switch all bad things – burden, exhaustion, and weight –become great pleasure for him.
In these lines, he shows how big his love to the feeling to the extent he called it blessed mood. Blessed mood as it has a great power to change what is bad become a good thing and useful for people in this case for the speaker. In these lines, it told that the blessed mood he called
can change the heavy and weary burden of the world become light and pure spirit.
— that serene and blessed mood,
In which the affections gently lead us on, Until, the breath of this corporeal frame
And even the motion of our human blood 45 Almost suspended, we are laid asleep
In body, and become a living soul:
The quietness and pleasure, softly lead them no matter until the breath in our body has been suspended even the blood stops flowing nearly inside the body because the best thing when we lay sleeping is becoming a living soul, our eyes are closed but our soul venture deep into mind and wandering in wonderland.
He wants to show us how valuable the feeling for him since it has given him a great affection for his life, lead him to a right way, become a part of him. He will not let it go away from himself even though he die, he will keep it alive in his immortal soul.
While with an eye made quiet by the power Of harmony, and the deep power of joy,
We see into the life of things. 50
Then, he is sleeping quietly, he enjoy the time when he cannot recognize the surroundings, he can feel the life of things in the peace of his soul and harmonious sound which only can be heard by him.
In this stanza there is switch from the subject “I’, “me”, “my”become
“us”, “we”, “our”. As though, the speaker wants the reader to be included in this story he’s describing.
If this Be but a vain belief, yet, oh! how oft, In darkness and amid the many shapes Of joyless daylight; when the fretful stir
Unprofitable, and the fever of the world, 55 Have hung upon the beatings of my heart
How oft, in spirit, have I turned to thee,
O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee!
He believes with all these wonderful surroundings but often darkness and various shapes formed every day, restlessness mastering himself, gloom of the world make him hesitate about the presence of these pleasures he has described and felt. Usually, at this critical time, the spirit to believe is never reduced while he is turning to the river Wye, calling the spirit of adventure inside his body raise his spirit up not to stop believing about the reality he has just faced.
And now, with gleams of half-extinguished thought, 60 With many recognitions dim and faint,
And somewhat of a sad perplexity, The picture of the mind revives again:
The word “now”starts this stanza means he finished describing the flashback view and come back to the present life which bring back the picture of his past memory even though in his confusion about his own thought with its capture of something vague and not clear somehow the description of his mind.
He finally back to the now-real condition but still confuse about what he is feeling at the moment. In his perplexity, his mind helps him to tell him what really happen by showing him the memory that has long forgotten.
While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts
That in this moment there is life and food 65 For futureyears.
In these lines, he looks out to the surroundings, feeling glad because what he is looking now is the great pleasure for him, according to what he expects – a beautiful view which is almost similar with what he has just described. With the pleasing thoughts, he optimistically looks forward for the better future in his life.
The mind or the thought he has had makes him more optimistic in looking the future. He believes that the future will be better with the present situation he has just faced and it is good omen for him to face the future.
And so I dare to hope,
Though changed, no doubt, from what I was when first I came among these hills;
The great thought he got from the previous lines makes him optimistic in facing the ever-changing circumstances. His spirit revives the memory when he was first here long time ago, the impression of the place, the memories are left here and still a trace.
He continues here how sure he is about his great expectation for the better future even in the uncertainty of his surroundings. He comes to a place in which he starts to memorize.
when like a roe
I bounded o'er the mountains, by the sides
Of the deep rivers, and the lonely streams, 70 Wherever nature led:
He imagined himself as a roe, runs everywhere at the side of the mountain, plays along the river flowed, jump nimbly to and fro, no matter what happen he feels free in the great widespread nature just like a roe that always feels happy because the nature never betrays him.
more like a man
Flying from something that he dreads, than one Who sought the thing he loved.
After finished liken himself to a roe, he starts his journey by running from one place to another place seems like he is avoiding something he fears but it is not described clearly about what he fears actually. Instead of trying what he loves, he prefers to run from something undefined.
In these lines, the reader might be confused with what the speaker decided to do. From the previous lines, he showed the optimistic thought and thinks with confidence after what the pleasure has given to him.
Unfortunately, here he is afraid of something and tries to run away from the unknown “something” that makes him forgot about what he really wants for a moment.
For nature then
(The coarser pleasures of my boyish days,
And their glad animal movements all gone by) 75 To me was all in all. — I cannot paint
What then I was.
In these lines, there is something interesting that line 74 and 75 are in parentheses which tells about his childhood that is very rough for a boy who are still inexperienced. He said so because at that time, cheerfulness and happiness among human beings even animals have gone and passed away. It means everything for him - the togetherness they had spent, the happiness they shared each other, the pleasure that he would not get from another life, his life is incomplete without them. That is why he finds it hard
