⭐⭐⭐⭐⭐ Blessing Poem Analysis
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The first part of the poem was completed on 27 March and a copy was provided to Wordsworth's friend and fellow poet, Samuel Taylor Coleridge , who responded with his own poem, " Dejection: An Ode ", in April. The fourth stanza of the ode ends with a question, and Wordsworth was finally able to answer it with seven additional stanzas completed in early It was first printed as "Ode" in , and it was not until that it was edited and reworked to the version that is currently known, "Ode: Intimations of Immortality".
The poem is an irregular Pindaric ode in 11 stanzas that combines aspects of Coleridge's Conversation poems, the religious sentiments of the Bible and the works of Saint Augustine , and aspects of the elegiac and apocalyptic traditions. It is split into three movements: the first four stanzas discuss death, and the loss of youth and innocence; the second four stanzas describes how age causes man to lose sight of the divine, and the final three stanzas express hope that the memory of the divine allow us to sympathise with our fellow man.
The poem relies on the concept of pre-existence , the idea that the soul existed before the body, to connect children with the ability to witness the divine within nature. As children mature, they become more worldly and lose this divine vision, and the ode reveals Wordsworth's understanding of psychological development that is also found in his poems The Prelude and Tintern Abbey. Wordsworth's praise of the child as the "best philosopher" was criticised by Coleridge and became the source of later critical discussion.
Modern critics sometimes have referred to Wordsworth's poem as the "Great Ode"   and ranked it among his best poems,  but this wasn't always the case. Contemporary reviews of the poem were mixed, with many reviewers attacking the work or, like Lord Byron , 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 Romantic poets, most praised various aspects of the poem however.
By the Victorian period , most reviews of the ode were positive with only John Ruskin taking a strong negative stance against the poem. The poem continued to be well received into the 20th century, with few exceptions. The majority ranked it as one of Wordsworth's greatest poems. In , Wordsworth wrote many poems that dealt with his youth. These poems were partly inspired by his conversations with his sister, Dorothy, whom he was living with in the Lake District at the time. The poems, beginning with "The Butterfly" and ending with "To the Cuckoo", were all based on Wordsworth's recalling both the sensory and emotional experience of his childhood. As he moved from poem to poem, he began to question why, as a child, he once was able to see an immortal presence within nature but as an adult that was fading away except in the few moments he was able to meditate on experiences found in poems like "To the Cuckoo".
While sitting at breakfast on 27 March, he began to compose the ode. He was able to write four stanzas that put forth the question about the faded image and ended, "Where is it now, the glory and the dream? The short version of the ode was possibly finished in one day because Wordsworth left the next day to spend time with Samuel Taylor Coleridge in Keswick. 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, " Dejection: An 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 The Prelude , which consumed much of February and was finished on 17 March.
Many of the lines of the ode are similar to the lines of The Prelude Book V, and he used the rest of the ode to try to answer the question at the end of the fourth stanza. The poem was first printed in full for Wordsworth's collection of poems, Poems, in Two Volumes , under the title "Ode". The Latin phrase is from Virgil's Eclogue 4, meaning "let us sing a somewhat loftier song". The reprinted version also contained an epigraph that, according to Henry Crabb Robinson , was added at Crabb's suggestion. The ode was the final poem of the fourth and final book, and it had its own title-page, suggesting that it was intended as the poem that would serve to represent the completion of his poetic abilities.
The version also had some revisions,  including the removal of lines and The poem uses an irregular form of the Pindaric ode in 11 stanzas. The lengths of the lines and of the stanzas vary throughout the text, and the poem begins with an iambic meter. The irregularities increase throughout the poem and Stanza IX lacks a regular form before being replaced with a march-like meter in the final two stanzas. The poem also contains multiple enjambments and there is a use of an ABAB rhyme scheme that gives the poem a singsong quality.
By the end of the poem, the rhymes start to become as irregular in a similar way to the meter, and the irregular Stanza IX closes with an iambic couplet. The purpose of the change in rhythm, rhyme, and style is to match the emotions expressed in the poem as it develops from idea to idea. The narration of the poem is in the style of an interior monologue,  and there are many aspects of the poem that connect it to Coleridge's style of poetry called "Conversation poems", especially the poem's reliance on a one sided discussion that expects a response that never comes. In terms of genre, the poem is an ode, which makes it a poem that is both prayer and contains a celebration of its subject. However, this celebration is mixed with questioning and this hinders the continuity of the poem.
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. The ode contains 11 stanzas split into three movements. The first movement is four stanzas long and discusses the narrator's inability to see the divine glory of nature, the problem of the poem. The second movement is four stanzas long and has a negative response to the problem. The third movement is three stanzas long and contains a positive response to the problem. There was a time when meadow, grove, and stream, The earth, and every common sight, To me did seem Apparelled in celestial light, The glory and the freshness of a dream. It is not now as it hath been of yore;— Turn wheresoe'er I may, By night or day, The things which I have seen I now can see no more.
In the second and third stanzas, the narrator continues by describing his surroundings and various aspects of nature that he is no longer able to feel. He feels as if he is separated from the rest of nature until he experiences a moment that brings about feelings of joy that are able to overcome his despair: . To me alone there came a thought of grief: A timely utterance gave that thought relief, And I again am strong: The cataracts blow their trumpets from the steep; No more shall grief of mine the season wrong; lines 22— The joy in stanza III slowly fades again in stanza IV as the narrator feels like there is "something that is gone". Though they appear to be similar, one asks where the visions are now "Where is it now" while the other doesn't "Whither is fled" , and they leave open the possibility that the visions could return: .
A single Field which I have looked upon, Both of them speak of something that is gone: The Pansy at my feet Doth the same tale repeat: Whither is fled the visionary gleam? Where is it now, the glory and the dream? The second movement begins in stanza V by answering the question of stanza IV by describing a Platonic system of pre-existence. The narrator explains how humans start in an ideal world that slowly fades into a shadowy life: . Our birth is but a sleep and a forgetting: The Soul that rises with us, our life's Star, Hath had elsewhere its setting, And cometh from afar: Not in entire forgetfulness, And not in utter nakedness, But trailing clouds of glory do we come From God, who is our home: Heaven lies about us in our infancy!
Shades of the prison-house begin to close Upon the growing Boy, But He beholds the light, and whence it flows, He sees it in his joy; lines 58— Before the light fades away as the child matures, the narrator emphasises the greatness of the child experiencing the feelings. By the beginning of stanza VIII, the child is described as a great individual,  and the stanza is written in the form of a prayer that praises the attributes of children: . Thou, whose exterior semblance doth belie Thy Soul's immensity; Thou best Philosopher, who yet dost keep Thy heritage, thou Eye among the blind, That, deaf and silent, read'st the eternal deep, Haunted for ever by the eternal mind, — Mighty Prophet! Seer blest! On whom those truths do rest, Which we are toiling all our lives to find, In darkness lost, the darkness of the grave; lines — The end of stanza VIII brings about the end of a second movement within the poem.
The glories of nature are only described as existing in the past, and the child's understanding of mortality is already causing them to lose what they once had: . Full soon thy Soul shall have her earthly freight, And custom lie upon thee with a weight, Heavy as frost, and deep almost as life! The questions in Stanza IV are answered with words of despair in the second movement, but the third movement is filled with joy. Hence in a season of calm weather Though inland far we be, Our Souls have sight of that immortal sea Which brought us hither, Can in a moment travel thither, And see the Children sport upon the shore, And hear the mighty waters rolling evermore. The children on the shore represents the adult narrator's recollection of childhood, and the recollection allows for an intimation of returning to that mental state.
In stanza XI, the imagination allows one to know that there are limits to the world, but it also allows for a return to a state of sympathy with the world lacking any questions or concerns: . The Clouds that gather round the setting sun Do take a sober colouring from an eye That hath kept watch o'er man's mortality; Another race hath been, and other palms are won. The poem concludes with an affirmation that, though changed by time, the narrator is able to be the same person he once was: . Thanks to the human heart by which we live, Thanks to its tenderness, its joys, and fears, To me the meanest flower that blows can give Thoughts that do often lie too deep for tears.
The first version of the ode is similar to many of Wordsworth's spring poems. The ode is like To the Cuckoo in that both poems discuss aspects of nature common to the end of spring. Both poems were crafted at times when the natural imagery could not take place, so Wordsworth had to rely on his imagination to determine the scene. Wordsworth refers to "A timely utterance" in the third stanza, possibly the same event found in his The Rainbow , 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. 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 Dejection: An Ode. 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.
While with Wordsworth, Coleridge was able to read the poem and provide his response to the ode's question within an early draft of his poem, Dejection: an Ode. 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, The Mad Monk 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. The poem is similar to the conversation poems created by Coleridge, including Dejection: An Ode. 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 Tintern Abbey and Ode: Intimations of Immortality , 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.
The expanded portion of the ode is related to the ideas expressed in Wordsworth's The Prelude Book V in their emphasis on childhood memories and a connection between the divine and humanity. To Wordsworth, the soul was created by the divine and was able to recognise the light in the world. As a person ages, they are no longer able to see the light, but they can still recognise the beauty in the world. Who has not felt the same aspirations as regards the world of his own mind? Having to wield some of its elements when I was impelled to write this poem on the "Immortality of the Soul", I took hold of the notion of pre-existence as having sufficient foundation in humanity for authorising me to make for my purpose the best use I could of it as a Poet.
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. Wordsworth's explanation of the origin of the poem suggests that it was inspiration and passion that led to the ode's composition, and he later said that the poem was to deal with the loss of sensations and a desire to overcome the natural process of death.
As for the specific passages in the poem that answer the question of the early version, two of the stanzas describe what it is like to be a child in a similar manner to his earlier poem, "To Hartley Coleridge, Six Years Old" dedicated to Coleridge's son. In the previous poem, the subject was Hartley's inability to understand death as an end to life or a separation. In the ode, the child is Wordsworth and, like Hartley or the girl described in "We are Seven", he too was unable to understand death and that inability is transformed into a metaphor for childish feelings. The later stanzas also deal with personal feelings but emphasise Wordsworth's appreciation for being able to experience the spiritual parts of the world and a desire to know what remains after the passion of childhood sensations are gone.
Although this emphasis seems non-Christian, many of the poem's images are Judeo-Christian in origin. The idea of pre-existence within the poem contains only a limited theological component, and Wordsworth later believed that the concept was "far too shadowy a notion to be recommended to faith. 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". 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 The Prelude and in Tintern Abbey. 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. Ode: Intimations of Immortality is about childhood, but the poem doesn't completely focus on childhood or what was lost from childhood.
Instead, the ode, like The Prelude and Tintern Abbey , places an emphasis on how an adult develops from a child and how being absorbed in nature inspires a deeper connection to humanity. A Reader who has not a vivid recollection of these feelings having existed in his mind in childhood cannot understand the poem. In a letter to Isabella Fenwick , 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.
Like the two other poems, The Prelude and Tintern Abbey , 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. 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. Wordsworth returns to the ideas found within the complete ode many times in his later works. There is also a strong connection between the ode and Wordsworth's Ode to Duty , completed at the same time in 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 Ode to Duty states that love and happiness are important to life, but there is something else necessary to connect an individual to nature, affirming the narrator's loyalty to a benevolent divine presence in the world. However, Wordsworth was never satisfied with the result of Ode to Duty as he was with Ode: Intimations of Immortality. The argument and the ideas are similar to many of the statements in the ode along with those in The Prelude , Tintern Abbey , and "We Are Seven". He would also return directly to the ode in his poem Composed upon an Evening of Extraordinary Splendor and Beauty where he evaluates his own evolving life and poetic works while discussing the loss of an early vision of the world's joys.
In the Ode: Intimations of Immortality , 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. Wordsworth's ode is a poem that describes how suffering allows for growth and an understanding of nature,  and this belief influenced the poetry of other Romantic poets. Wordsworth followed a Virgilian idea called lacrimae rerum , 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 Prometheus Unbound , 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.
In Coleridge's theory, his poetic abilities were the basis for happiness and without them there would only be misery. The ode praises children for being the "best Philosopher" "lover of truth" because they live in truth and have prophetic abilities. The omnipresent Spirit works equally in them, as in the child; and the child is equally unconscious of it as they. Richards, in his work Coleridge on Imagination , 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? Later, Cleanth Brooks reanalyzes the argument to point out that Wordsworth would include the animals among the children. He also explains that the child is the "best philosopher" because of his understanding of the "eternal deep", which comes from enjoying the world through play: "They are playing with their little spades and sand-buckets along the beach on which the waves break.
If Wordsworth's weakness is incongruity, his strength is propriety. That Coleridge should tell us this at such length tells as much about Coleridge as about Wordsworth: reading the second volume of the Biographia , we learn not only Wordsworth's strong and weak points but also the qualities that most interest Coleridge. While modern critics believe that the poems published in Wordsworth's collection represented a productive and good period of his career, contemporary reviewers were split on the matter and many negative reviews cast doubts on his circle of poets known as the Lake Poets. Many, with inferior abilities, have acquired a loftier seat on Parnassus, merely by attempting strains in which Mr.
Southey, in an 8 December letter to Walter Scott, wrote, "There are certainly some pieces there which are good for nothing The Ode upon Pre-existence is a dark subject darkly handled. Coleridge is the only man who could make such a subject luminous. Francis Jeffrey, a Whig lawyer and editor of the Edinburgh Review , originally favoured Wordsworth's poetry following the publication of Lyrical Ballads in but turned against the poet from onward.
In response to Wordsworth's collection of poetry, Jeffrey contributed an anonymous review to the October Edinburgh Review that condemned Wordsworth's poetry again. We can pretend to give no analysis or explanation of it;-- our readers must make what they can of the following extracts. He believed that Wordsworth's greatest weakness was portraying the low aspects of life in a lofty tone. Another semi-negative response to the poem followed on 4 January in the Eclectic Review. The writer, James Montgomery , attacked the collection of poems for depicting low subjects. When it came to the ode, Montgomery attacked the poem for depicting pre-existence. 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. 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 for no purpose at all, and certainly to no good one.
Wordsworth often speaks in ecstatic strains of the pleasure of infancy. If we rightly understand him, he conjectures that the soul comes immediately from a world of pure felicity, when it is born into this troublous scene of care and vicissitude This brilliant allegory, for such we must regard it, is employed to illustrate the mournful truth, that looking back from middle age to the earliest period of remembrance we find, 'That there hath pass'd away a glory from the earth,' Such is Life ". Though it was a review of his uncle's Remorse , he connects the intention and imagery found within Coleridge's poem to that in Ode: Intimation of Immortality and John Wilson's "To a Sleeping Child" when saying, "To an extension or rather a modification of this last mentioned principle [obedience to some internal feeling] may perhaps be attributed the beautiful tenet so strongly inculcated by them of the celestial purity of infancy.
Wordsworth, in a passage which strikingly exemplifies the power of imaginative poetry". 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. John Taylor Coleridge continues by explaining the negative aspects of such a concept: "Though the tenderness and beauty resulting from this opinion be to us a rich overpayment for the occasional strainings and refinements of sentiment to which it has given birth, it has yet often served to make the author ridiculous in common eyes, in that it has led him to state his own fairy dreams as the true interpretation and import of the looks and movements of children, as being even really in their minds.
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. In the same year came responses to the ode by two Romantic writers. Leigh Hunt , a second-generation Romantic poet, added notes to his poem Feast of the Poets that respond to the ideas suggested in Wordsworth's poetry. These ideas include Wordsworth's promotion of a simple mental state without cravings for knowledge, and it is such an ideas that Hunt wanted to mock in his poem.
However, Hunt did not disagree completely with Wordsworth's sentiments. 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. Wordsworth's New Poems" in three parts, starting in the 21 August Examiner. 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. 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.
In came two more responses by Romantic poets to the ode. Coleridge was impressed by the ode's themes, rhythm, and structure since he first heard the beginning stanzas in 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.
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. Milnes, that John Keats, one of the second-generation Romantic poets, discussed the poem with him.
Following Coleridge's response was an anonymous review in the May Blackwood's Edinburgh Magazine , possible by either John Lockhart and John Wilson together or just Lockhart on his own. Of Wordsworth's abilities as a poet in general, the review claimed: "Mr Wordsworth 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.
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 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". William Blake, a Romantic poet and artist, thought that Wordsworth was at the same level as the poets Dante, Shakespeare, and Milton. In a diary entry for 27 December , H.
Robinson recounted a conversation between himself and William Blake shortly before Blake's death: "I read to him Wordsworth's incomparable ode, which he heartily enjoyed. But he repeated, 'I fear Wordsworth loves nature, and nature is the work of the Devil. The Devil is in us as 'far as we are nature. The parts of Wordsworth's ode which Blake most enjoyed were the most obscure—at all events, those which I least like and comprehend. In the third part, he critiqued Wordsworth's use of pre-existence within the poem and asked "unless our author means to say that, having existed from all eternity, we are of an eternal and indestructible essence; or, in other words, that being incarnate portion of the Deity But if the poet intends to affirm this, do you not perceive that he frustrates his own aim?
There appears to be a laborious toiling after originality, ending in a dismal want of harmony. The ode, like others of Wordsworth's poetry, was favoured by Victorians for its biographical aspects and the way Wordsworth approached feelings of despondency. The American Romantic poet Ralph Waldo Emerson , in his work English Traits , 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. 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. The philosopher John Stuart Mill liked Wordsworth's ode and found it influential to the formation of his own thoughts. Alliteration occurs with diabolic dye and there is an allusion to the old testament character Cain, son of Adam and Eve. Marine Biology. Electrical Engineering.
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