Youth and Adulthood

Wordsworth: Young person and Adulthood

A typical reading of Wordsworth ‘s plants would propose that Wordsworth emphasizes nature in order to convey how understanding adult male ‘s relationship to nature and natural beauty is extremely of import. Although Wordsworth most surely focuses on nature and the beauty of persons, he includes such images non as the cardinal focal point of his verse forms but instead as a agency by which he exemplifies a commentary on the more important impression of the importance of young person. Oftentimes, characters in Wordsworth ‘s verse forms are blinded by impressions of natural beauty and therefore overlook this of import subject of young person. Through utilizing specific textual illustrations in my essay, drawn from Wordsworth ‘s “Anecdote for Fathers, ” “We are Seven, ” and “Lucy Gray” I will back up the impression that William Wordsworth frequently employs nature imagination and images of natural beauty as a medium though which he highlights the contrast between young person with maturity, in order to confabulate on readers the importance of young person and artlessness.

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In “Anecdote for Fathers” , Wordsworth uses the comparing between two images of nature, “Liswyn farm” and “Kilve, ” to picture the relationship between a immature male child and his male parent in order to confabulate on readers the importance of young person, although it appears at first glimpse that the verse form is concentrating on nature imagination entirely ( 216 ) . In the verse form, the male parent is seeking to determine which residence his boy prefers over another. It is of import to observe that Wordsworth devotes the bulk of stanzas to depicting the two abodes in item: “I idea of Kilve ‘s delicious shore…At Kilve ‘s smooth shore by the green sea…woods and green hills warm” ( 216 ) . In making so, Wordsworth allows readers to stress with the male parent ‘s battle of seeking to calculate out what facets of nature his boy prefers—thus stressing the verse form ‘s apparently cardinal significance of how nature is of import. Wordsworth depicts the male parent in the verse form as being preoccupied with the impression of nature as being of extreme importance ; likewise, some readers are convinced that nature is the chief focal point of Wordsworth ‘s texts. Although Wordsworth often employs nature imagination, the verse form ‘s chief focal point is how kids, through their apparently asinine contemplations, supply penetration to grownups. Using nature imagination as a medium, Wordsworth emphasizes the continual, unsolved oppugning with which the male parent wrestles throughout the bulk of the verse form. It is non until the verse forms end where it is made known that the male child prefers Kilve over Liswyn farm non because of anything built-in in the natural beauty of the landscape but because of the simple fact that the latter lacks a conditions vane. In the line “Could I but teach the centesimal part/Of what from thee I learn” , readers are eventually secluded to the verse forms commentary on how grownups learn from young person ( 99 ) . Wordsworth topographic points readers in the same function as the male parent: one where the myopic position that nature is of import is deemphasized in order to give manner to the more of import thought of how youth confer values, such as forbearance in this instance, on grownups.

In add-on to using images of nature, Wordsworth uses images of natural beauty, as in “We are Seven, ” to picture how a adult male, Jim, is engrossed by the beauty of a miss in order to clarify how the nearsighted positions of grownups and their preoccupation with natural beauty lead them to pretermit the importance of young person. Just as Wordsworth depicted a young person in “Anecdote for Fathers” whom grownups misunderstood, so excessively does he picture the apparently inane yet really profound interior workings of a kid ‘s head. In “We are Seven” , Wordsworth ‘s illustrate a kid ‘s astoundingly brooding impression that two dead siblings should be counted when asked how many brothers and sisters the kid has. Wordsworth once more allows readers to experience the same confusion that the storyteller feels when he comes into contact with a young person. Here, Wordsworth emphasizes, once more, how an grownup who is preoccupied with impressions of natural beauty, neglect the wiser commentary that kids can supply: “She had a countrified, woodland air, /…Her hair was thick with many a curl/…Her beauty made me glad” ( 213 ) . Alternatively of concentrating on the more of import thought of the miss ‘s reading of decease, Jim focuses on the miss ‘s countenance. Both verse forms provide grounds for Wordsworth ‘s larger, more of import parsing of what artlessness agencies. By demoing how kids operate on a different wavelength as grownups in both verse forms, he makes a commentary on how kids ‘s ideas should non be overlooked. Are kids wiser than grownups and do they hold the power to learn grownups? Such a inquiry Wordsworth seeks to confirm throughout his word picture of the young person vis-a-vis maturity.

Wordsworth exemplifies how kids are of import figures in the lives of grownups, particularly in the verse form “Lucy Gray” , for in it he constructs a melancholic narrative of the decease of a kid by utilizing nature imagination to picture the resulting mayhem that consumed the grownups of the town. Like the other two verse forms, “We are Seven” and “Anecdote for Fathers” , Wordsworth centres on the a child figure and relates to readers that kid ‘s function vis-a-vis grownups. At the beginning of the verse form “Lucy Gray” , Wordsworth contrasts beautiful images of nature with the loss of Lucy: “You yet may descry the Fawn at drama, / The Hare upon the Green ; / But the sweet face of Lucy Gray/ Will ne’er more be seen” ( 323 ) . Here, some would reason that Wordsworth is indicating out how despite nature ‘s everlasting presence, Lucy will discontinue to be. Alternatively of composing the text in this mode, I argue that by taking into context the entireness of the verse form, Wordsworth is doing commentary on how although Lucy ‘s “face” will ne’er be seen, her memory will stay preserved. The last stanzas “Yet some maintain that to this day/She is a life Child… [ she ] sings a lone song/That whistles in the wind” stress how the memory of Lucy Gray is lasting ( 325 ) . Wordsworth even depicts the motive of the footmarks, which represent Lucy ‘s physical presence, as fleeting: “The footprints, one by one…And farther there were none” ( 324 ) . In these two specific textual cases, Wordsworth once more deemphasizes the importance of the natural beauty of Lucy ‘s face in order to demo how natural beauty itself is passing. Because this verse form relates kids to grownups, Wordsworth ‘s de-emphasis of natural beauty in this verse form should be considered as a lesson being taught to adults—that it is they who should understand that a kid ‘s empyreal presence supersedes any animalism or nature that accompanies them.

In analyzing how Wordsworth uses images of nature and natural beauty in these three verse forms to demo his intervention of kids vis-a-vis grownups, Wordsworth exposes the thought that kids have a universal, interior pureness that transcends both nature and the conventions of grownups. I argue that Wordsworth suggests that this interior pureness is correspondent to the impression of a psyche that is built-in in all kids. By demoing how grownups learn from young person in “Anecdotes for Fathers” , how kids are wiser than grownups in “We are Seven” , and, most significantly, how a kid ‘s presence remains after they have died in both “We are Seven” and “Lucy Gray” , Wordsworth seeks to research and confabulate on grownups the qualities of forbearance and religion through the thought that there exists a permanency or an artlessness in the psyche of kids, which is more of import than mere nature or physical beauty entirely.

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