English literature and linguistics with ASMA SHEIKH: TED HUGHES PAST PAPERS CONTEXT N PAST PAPER

English literature and linguistics with ASMA SHEIKH: TED HUGHES PAST PAPERS CONTEXT N PAST PAPER: TED HUGHES PAST PAPERS CONTEXT You went on and on. Here were reasons To recite Chaucer. Then came the Wyf of Bath, Your favourite char...

Hyperion: Critique and Analysis/ Major Themes/ Human Sufferings in Hyperion/ Discuss “the agonies, the strife of human hearts.” In Hyperion 😊🌷🌹👇👌

Hyperion: Critique and Analysis/ Major Themes/ Human Sufferings in Hyperion/ Discuss “the agonies, the strife of human hearts.” In Hyperion
😊🌷🌹👇👌

Hyperion” is an uncompleted epic poem by John Keats. It is based on the Titans and Olympians, and tells of the despair of the former after their fall to the latter. Keats wrote the poem for about one year, when he gave it up as having “too many Miltonic inversions.” He was also nursing his brother Tom, who died in January of 1819 of tuberculosis. Hyperion relates the fall of the Titans, elemental energies of the world, and their replacement by newer gods. The Olympian gods, having superior knowledge and an understanding of humanity’s suffering, are the natural successors to the Titans.
Keats’s epic begins after the battle between the Titans and the Olympian gods, with the Titans already fallen. Hyperion, the sun god, is the Titans’ only hope for further resistance. The epic’s narrative, divided into three sections, concentrates on the dethronement of Hyperion and the ascension to power of Apollo, god of sun and poetry. Book I presents Saturn fallen and about to be replaced and Hyperion threatened within his empire. The succeeding events reveals the aftermath of the situation and the Titan’s acceptance of defeat after Oceanus’ speech. In Hyperion, the quality of Keats’s blank verse reached new heights, particularly in the opening scene between Thea and the fallen Saturn:

            “Deep in the shady sadness of a vale,
            … Sat gray-hair’d Saturn, quiet as a stone”
Many themes introduced in the Hyperion are identifiable as those associated with Romanticism. Hyperion, which marks the exchange of the old powers for the new, addresses ideas about poetry, beauty, knowledge, and experience. Hyperion’s dominant themes address the nature of poetry and its relationship to humanity and the sublimity of human suffering the knowledge gained through it. The narrative suggests a thematic consideration of progress, particularly toward enlightenment and depictions of beauty, even as it evokes classical ideals found in Greek mythology. Visual and verbal representations, in the use of language and of Greek sculptural forms, contribute to this exploration. Through his representation of gods, Keats’s commentary on Romantic opposites includes the real and ideal, history versus myth, finite versus infinite. The theme of truth is also prevalent. The speech of Oceanus and the ascension of Apollo both point to Hyperion’s concern with truth and its relationship with beauty, knowledge, and suffering. Truth is closely associated with knowledge and both are acquired through pain, which results from the understanding and acceptance of change and impermanence. However painful, truth is pure and beautiful, and what is beautiful is eternal. It is this honorable truth that the human spirit strives to attain. That is why Keats calls Hyperion:
            “the agonies, the strife of human hearts”
The poem is tragic with most of the qualities of a tragedy. Oceanus is working as a chorus giving the poem’s moral and working as a mediator.  Keats says: All I hope is that I may not lose interest in human affairs. In his later poetry, the realm of Flora and Old Pan are gone. His early poems were sensuous, but later he became aware of human sufferings. He thought that poetry of escape is not the real poetry. Real poetry deals with human beings. The function of poetry according to Keats is a friend to soothe the cares of man and lift up his thought. In the poems, gods have been given human qualities symbolizing sufferings of man. Gods are huge and Titanic, but have been given human characteristics effectively and realistically. Saturn’s misery, Thea’s stature all perfect human as exemplified in the line, ‘I have no comfort for thee, no, not one’. Keats has humanized the gods to reveal human sufferings as frther in Saturn’s speech:
            “Who had power
            To make me desolate? Whence came the strength?”
For Saturn, dethronement is a question of identity as Napoleon or any human being, may be Nawaz Sharif or Musharraf, could have felt. Thea’s reassurance to Saturn is a typical human activity. The suffering of Titans is the collected suffering of humanity at large.  Hyperion is a militant whose spirit is dampened by danger. So Keats, unlike other poems, has human concern in this poem. The Confidence with Saturn reminds us of Duke in “My Last Duchess” by Browning as “I gave commands and all smiles stopped”. Saturn is like Milton’s Satan who doesn’t want to establish his own kingdom for sovereignty as much as to take revenge on God. So the gods are all humanized. This is also visible in the Hyperion’s apprehensions about his dethronement and mock-determinations.
            “I will advance a terrible right arm
            Shall scare that infant thunderer, rebel Jove”
He has seen certain omens which indicate that his downfall may be imminent. Human beings feel apprehensive when they hear a dog howling or an owl screeching; and this god is feeling apprehensive because the wings of eagles darkened his palace and because the neighing of steeds has been heard which had never been heard before “by gods or wondering men”. The omens are different no doubt, but Hyperion’s reaction to the omens is the same as that of human beings is. And just as a human being might still resolve to fight against a coming danger, so Hyperion too says that he will use his terrible right arm. He feels most restless to think of the fate which might overtake him. But his restlessness is human restlessness under the pressure of a coming danger. Just as a wealthy man is afraid lest he should become bankrupt, so Hyperion is afraid lest he should lose his ‘‘lucent empire”. Just as a wealthy man is afraid lest he should be deprived of all his gains, so Hyperion is afraid lest he should lose “the blaze, the splendour, and the symmetry”. Hyperion is at this time like a fish out of water. Ha would like to begin the day sooner than usual, but the laws of Nature do not permit him to do that. He picks up courage only when his father whispers to him from somewhere in heaven and urges him to go and join his fellow-Titans on the earth; another human activity.
Keats suffered from the two experiences of entirely different nature: imagination and reality.  It is evident, then, that Keats was grappling with the problem of human suffering and with a human dilemma. He even suggests the simple formula: What cannot be cured must be endured. Human beings should face the facts squarely and calmly, and such a calm acceptance of realities shows not a defeatist mentality but a manly or even a divine frame of mind. Having arrived at this stage in his thinking, Keats went on to write the great odes in which his human concerns find a full utterance. Keats has like Apollo, acquired the tragic vision and become a great poet. Had he lived longer, he would have written even greater poetry and it would have been a poetry marked by profound thought, intense emotion, and a portrayal of the stern realities of human life.

Seamus Heaney Poem Personal Helicon From the book “THE DEATH OF NATURLIST”

Seamus Heaney
Poem Personal Helicon
From the book “THE DEATH OF NATURLIST”

As a child, they could not keep me from wells
And old pumps with buckets and windlasses.
I loved the dark drop, the trapped sky, the smells
Of waterweed, fungus and dank moss

One, in a brickyard, with a rotted board top
I savored the rich crash when a bucket
Plummeted down at the end of a rope
So deep you saw no reflection in it.

A shallow one under a dry stone ditch
Fructified like any aquarium
When you dragged out long roots from the soft mulch
A white face hovered over the bottom

Others had echoes, gave back your own call
With a clean new music in it. And one
Was scaresome, for there, out of ferns and tall
Foxgloves, a rat slapped across my reflection.

Now, to pry into roots, to finger slime,
To stare, big-eyed Narcissus, into some spring
Is beneath all adult dignity. I rhym
To see myself, to set the darkness echoing

Context:
Seamus Heaney was born in a rural area of Northern Ireland. As we expect he was living in a country side meant that he had more chance of playing in the nature and another important thing to keep in mind is both my grandfather and father were farmers, they had dedicated their whole lives to farming because they were responsible for our family. Although, he admired and had high respect for them farming was just now my thing, instead. He was more into writing poems. Therefore, this led his father and he a relationship.
About Personal Helicon:
Before we look at it as a whole, Helicon can refer to two different things, one of them can mean an instrument while it is also a mountain located in the region of Thespiai in Boeotia, Greece. This mountain is greek mythology is where the muses live. Muses are known as the inspirational goddess of literature, science and art and mountain where Apollo was in and was the source of inspiration of Apollo’s poem and music.
First Stanza:
In the first stanza he is trying to focus on his childhood on the well. He uses dictions that provoke imagery of the features of the well. For example, in line 2, Old pumps, buckets, and windlasses, in line 3, dark drop and trapped sky and in line 4, waterweed, fungus, and dank moss. Therefore, by using these detailed dictions we are able to image the well that Seamus Heaney grew up with in his childhood.
Second Stanza:
In stanza 2, Seamus Heaney brings in a different well into the poem and this time it seems like this well is when Heaney is a little bit older than the first well, showing that there has been a shift of how Heaney’s thoughts have changed from stanza 1 which is more of Heaney wonders and curiosity that Heaney has towards the world, while stanza 2 talks more about the way how Heaney thinks about himself and tries to find who he really is. Seamus Heaney used the word savoured to describe the conflicted thoughts that he was holding inside due to what he wanted to be, but his family tradition from his grandfather to his father kept him from holding in the thought of being a poet. To add in the conflicted thoughts he described the well really deep to show that he cannot see who he really is and what he wanted to be. Rat appears on his face, well, since Heaney and Jay said everything in conclusion, Heaney used realistic diction to talk about the conflicted thoughts Heaney has. For example, savoured, so deep, rotted board top.
Third Stanza  :
In stanza 3, Seamus Heaney bring another well, which shows another shift in the morning. However, in line 11, he mentioned that he has dragged out the long roots from the soft mulch, in this line the long roots symbolize tradition of his family of being a farmer to help the family out. Therefore, it shows that he is trying to be different from his grandfather and father. Also in line 12, he refers his own reflection as a white face. This shows that although I have got the conflict out of my way, I don’t know who he really is still and that he has not made the exact decision of who he wants to be. Well overall, this stanza uses euphemistic diction such a dry stone ditch, fructified, dragged, soft mulch, to show the action that Heaney had towards finding who he wants to be and also it shows the way how Heaney was closed to the nature due to the place where he lived and how he spent more time in the nature because of the conflict he had with his dad, which is not wanting to be a farmer.
Fourth Stanza:
Now in stanza 4,there is another shift which is shown by the changed of the well. This time, Heaney focuses on the life or the journey he went through being a poet. For example, in line 13, he looks into the well and shouts, the well echoes and in return gives back Heaney with ideas of music, which can also mean poems.
It shows that how the wells were the source of inspiration to Heaney’s poem. He actually had an obstacle along the way even if he decided to be  a poet. For example, in line 15, there is another shift that has a different mood compared to the previous one. Inside this well, a rat comes in and slaps the reflection of me. Overall, the 4th stanza stars off with a joyful diction but changes into a dismayed diction to show the troubles that still stand in front of Heaney becoming a poet.
Lastly the 5th stanza brings in Narcissus that who is a figure in the greek mythology who fell in love with himself after looking at his own reflection. Heaney also refers himself as Narcissus and tells that under his reflection , he sees all the dignity that an adult carries. This stanza shows he is finally accepting who he is as a poet and that by rhyming words, which truly shows that who he is between being a poet and a farmer. In addition, the last line shows that when I rhyme, that is how his poems are created.
So to conclude things, Heaney uses multiple wells and to talk about his growth and his source of inspiration as he gets older. Therefore, we can tell what the title represents. The title “HELICON”  is treated as the home of the muses and where Apollo gets his inspiration. Therefore, since this poem talks about the inspiration Heaney for his poems. It is referring the well as Heaney’s personal source of inspiration just like how “Helicon” is an inspiration for Apollo.
Structure:
It is in ABAB CDCD! However, for each stanza the 2nd and the 4th line does not rhyme and this illustrates the conflicted thoughts that is going through Heaney’s head from whether to become a farmer or a poet. However, in the last stanza, all lines are in perfect rhyme, which shows that Heaney finally decided that who he wants and who he is. In addition, this rhyme scheme also makes it sound like an echo, where when I make an echo that is how he gets inspiration for his poems. He used many shifts between time and the setting of the well.
Enjambment
In this poem enjambment suggests that the things in his life does not go the way he particularly wants. Heaney also keeps brining in the reflection that he sees in the well. The purpose of this poem to show the life Heaney went through being a poet and the inspiration that he got from the well. So the author is very reflective through his poem because he keeps looking at his status and the way he is right now.

THEORY OF INSPIRATION IN THAT MORNING BY TED HUGHES

consonant chart

DIPHTHONGS IN URDU/HINDI

VOWELS AND DIPHTHONGS IN URDU/HINDI

How to Attempt Reference to the Context question in examination

How to Attempt Reference to the Context question in examination

Exemplary lines

And i tell you what i think
You planned it,you had it done
You all but killed him with your hands
If you had eyes,i will say
the crime was yours and yours alone

Reference to the context
These lines have been taken from Shophocles' play "Oedipus Rex". In this play we came across king Oedipus who is trying to solve the riddle of king Laious' murderer because it is the murderer who is the cause of calamity. Being a loving and responsible king he wants to save his subject and for this purpose he consults Teiresias who could help him surely.

Explanation
In these lines king Oedipus is talking to Teiresias who has refused to reveal the murderer's name in spite of all pleadings of the king. Finally when he refused to utter the murderer's name, Oedipus got hyper and insulted the prophet of Apollo. Along with this he immediately concluded that Teiresias is hiding the name of the murderer as if he himself is the murderer.

Though the conclusion of Oedipus was not wrong if we analyse it from an honest king's point of view who is restless to solve the issue because his nation is suffering. His attitude shows his honesty,care and devotion for his nation.But this is  the one side of picture. If we analysed this behaviour in an other way we will see that Oedipus had immediately drawn the conclusion in a very rash mood. His anger, harshness, and jumping at conclusion without solid proof were his tragic flaws which became the cause of his tragedy.

Oedipus had no solid proof of Teiresias' disloyalty. He must keep in mind to whom he was talking. He was talking to the prophet of Apollo. This shows that Oedipus had no ability to judge the man or situation. Here  the reader is forced to think that deep down Oedipus was proud of his worldly wisdom which forced him for this blasphemous act. Here we are reminded of Dr. Faustus who was also proud of his worldly wisdom and because of it he performed blasphemous acts but the comparison is just limited.

These lines are basically ironic in nature. Oedipus was blaming Teireias for the murder but in fact he himself had no knowledge of it that he himself is that curse   man who is the cause of calamity. It is one of the best example of irony found in this play.

Sociolinguistics

Sociolinguistics

The branch of knowledge which studies the social aspects of LANGUAGE, including how the use and norms of language vary from one society to another (in relation, for example, to ACCENT, DIALECT, and GRAMMAR), and the way in which attitudes influence perceptions of the characteristics and abilities of speakers. These attitudes are clearly social in origin: for example, speakers of the prestigious BrE accent known as RECEIVED PRONUNCIATION (RP) are often perceived to be more competent and intelligent than speakers with regional accents, this view arising from the high social status of RP. Similarly, some accents of English are regarded as being more or less aesthetically pleasing than others. This, too, can be shown to be the result of the social connotations that different accents have for listeners. Americans, for example, do not find the accent of the West Midlands of England ugly, as many British people do, which has much to do with the fact that they do not recognize these accents as being from the West Midlands.

Accent, dialect, region, and class

The relationship between accent and dialect, on the one hand, and social class background on the other, is an issue of considerable sociolinguistic importance. For example, dialects and accents of BrE vary both geographically and socially. The high status of RP is traditionally associated with the British upper class and the public schools (a group of private boarding-schools), and, although often associated with southern England, it shows no regional variation. The further one goes down the social scale, however, the more regional differences come into play, with lower-class or ‘broad’ accents having many regional features. One of the major advances of modern sociolinguistics has been the introduction of quantitative techniques, following the lead of the American sociolinguist William Labov, which enables investigators to measure exactly and gain detailed insight into the nature of the relationship between language and social class.

In a sociolinguistic study in Bradford, Yorkshire, Malcolm Petyt showed that the percentage of hs ‘dropped’ by speakers correlated closely with social class as measured by factors such as occupation and income. While lower working-class speakers on average dropped 93% of all hs in words like house, upper working-class speakers dropped 67%, lower middle-class speakers 28%, and upper middle-class speakers only 12%. This study provides information about the source of some of the language attitudes mentioned above. H-dropping is widely regarded in Britain as ‘wrong’. Teachers and parents have often tried to remove this feature from children's speech, sometimes claiming that since the h appears in the spelling it must be wrong to omit it in speech. This is obviously a rationalization: no one makes this claim about the h of hour, or the k of knee. The real reason for this condemnation of h-dropping is its correlation with social class and its low social status.

Language change

Such quantitative techniques enable linguists to investigate some of the processes involved in LANGUAGE CHANGE. Large amounts of tape-recorded data (obtained in such a way as to ensure as far as possible that speakers are speaking naturally) can be used to plot the spread of changes through the community and through the language. For example, Labov was able in the 1960s to show that in NEW YORK City the consonant r was being reintroduced in the pronunciation of words like form and farm by comparing the number of rs used by older speakers to the number used by younger speakers. He was also able to show that this change was being spear-headed by speakers from the lower middle class, probably because saying ‘forrm’ rather than ‘fawm’ is considered prestigious (and therefore ‘correct’) in US society, and because speakers from this class are more likely to be both socially ambitious and insecure about the worth of their dialects.

Language planning

Sociolinguistics can be concerned with observing the details of individual behaviour in, for example, face-to-face conversation. It can also be involved in the larger-scale investigation of linguistic behaviour in communities the size of New York City. It can furthermore be concerned with the relationship between language and society in even larger-scale units such as entire nations. Sociolinguists working in areas such as the sociology of language and LANGUAGE PLANNING are concerned with issues like the treatment of language minorities, and the selection and codification of languages in countries which have hitherto had no standard language. In nations such as Britain, Ireland, the US, Canada, Australia, and New Zealand, English is the majority language, in a relationship of dominance with numerically much smaller and officially much less well-supported languages, such as GAELIC and WELSH in Britain and Maori in New Zealand. Sociolinguists study such relationships and their implications for education. In the case of Britain, they also attempt to obtain information on more recently arrived languages such as Gujarati, Punjabi, Maltese, and Turkish. Elsewhere, they note that there are countries in which native speakers of English are in a minority, as in Nicaragua, Honduras, South Africa, and Zimbabwe.

Switching languages and styles

In multilingual situations, developments occur which are important for linguists, including the growth of pidgin and CREOLE languages. Sociolinguists study the behaviour of bilinguals, investigating the way in which they switch from one language to another depending on social context. Speakers in all human societies possess large verbal repertoires, which may include different languages, different dialects, and different (less or more formal) styles. Varieties of language will be selected from this repertoire depending on features of the social context, such as the formality of the situation and the topic of conversation. Stylistic variation occurs in all English-speaking communities, signalled for the most part by vocabulary: for example, one might say somewhat foolish or rather silly or a bit daft depending on who one is talking to, what one is talking about, the situation one is in, and the impression one wants to create. Some English-speaking communities, like many Scots and members of overseas Caribbean communities, are bidialectal, having access to more than one dialect as well as different styles.

Conclusion

Sociolinguistics of all types is concerned with language as a social phenomenon. Some aspects of this subject may be more sociological in emphasis, others may be more linguistic. It is characteristic of all work in sociolinguistics, however, that it focuses on English and other languages as they are used by ordinary people to communicate with one another and to develop and maintain social relationships.

Tintern Abbey by Wordsworth

Tintern Abbey by Wordsworth

Introduction

This poem appeared in the Lyrical Ballads published in 1798. Wordsworth writes:

 “No poem of mine was composed under cir­cumstances more pleasant for me to 

remember than this. I began it upon leaving Tintern, after crossing the Wye, and concluded

 it just as I was entering Bristol in the evening, after a ramble of four or five days with my sister. The visit to Tintern called forth memories of a previous visit in the summer of 1793 and led Wordsworth to review the change which had affected his attitude to Nature in the interval. Apart from its personal interest, the poem possesses a special historical value as the first clear statement of the emotional change in poetry of which the Romantic Movement was the climax.

Tintern Abbey is a great reflective poem. Wordsworth first restates his moral doctrine: The memory of this beautiful scene has not only been calming and restorative, but has aroused almost unnoticed sensations of pleasure. Wordsworth does not explain or defend this doctrine; he merely states it as an experience, in verse of such serene loveliness that it carries with it its own guarantee of authenticity.
In Tintern Abbey, Wordsworth reaches his best style, unadorn­ed but rising to sustained heights of eloquence and grandeur. He opens with quiet description, but he is no longer limited to the langu­age of “low and rustic life”.

The poem may be regarded as an essay in verse, and one of the finest achievements of a “feeling intellect”. It expounds some of the leading views of Nature which Wordsworth had developed with Coleridge and which were to form the basis of much of his most important work. 

Critical Appreciation

The poem is a statement of Wordsworth’s complete philosophy of Nature. The Memory of the beautiful scene of Nature round Tintern Abbey has been affording relief to the poet in moments of trouble and distress.

The opening lines give us a vivid description of the scene visi­ted by the poet—the waters rolling from their mountain springs; the steep and lofty rocks; the dark sycamore; the plots of cottage ground; the orchard with its unripe fruits; the hedge-rows; etc. These lines show Wordsworth’s minute and close observation of Na­ture. He was extra-ordinarily sensitive to the sights of Nature and his pictures of Nature are a record of his observation.

The second part of the poem traces the growth of the poet’s mental and emotional attitude to Nature. The memory of the scene, he says, has been a source of great joy to him and has acted on him as a stimulus to kind and sympathetic deeds. The beauteous shapes of Nature have also served to put him in that blessed mood in which one begins to understand the mystery of life. Whenever the poet felt oppressed by fretful stir and fever of the world, he felt relief by thinking of this scene of Nature. Thus Wordsworth looks upon Nature as a healing influence on a troubled mind.

Then he contrasts his attitude to Nature as a boy with his attitude to Nature as a man. As a boy, his love for Nature was purely sensuous and physical. The” objects of Nature were then an appetite, and they haunted him like a passion. They appealed only to his senses, and his love for them was thoughtless. But now his love for Nature is spiritual. He has now witnessed the sufferings of mankind (“the still, sad music of humanity’) and that experience has made him thoughtful. He has now discovered in all Nature the existence of Divine Spirit “whose dwelling is the light of setting suns and the round ocean and the living air, and the blue sky, and in the mind of man.” This is Wordsworth’s pantheism (the belief that a Divine Spirit pervades all objects of Mature). He goes on to refer to the moral and educative influence of Nature. Nature, he says, is a great moral teacher. Nature is the nurse, the guide, the guardian of his heart, and the soul of all his moral being.

In the last part of the poem, he pays a glowing tribute to his sister Dorothy. His feeling of love for Nature is combined with a. feeling of tenderness for Dorothy. “Nature”, he says, “never did betray the heart that loved her.” He advises Dorothy to submit herself completely to natural influences because Nature has a purifying, ennobling and elevating effect on man and leads him from joy to joy. He asks her to let the breeze blow freely against her cheek and the moon shine freely on her brow. He calls himself a worshipper of Nature and urges Dorothy to develop an intimacy with Nature be­cause the sweet - memories of this intimacy with Nature will be a comfort to her in the misfortunes and troubles of life. Wordsworth here again expresses his belief in the education of man by Nature,
It is a great poem, of a flawless and noble beauty. It is also one of Wordsworth’s most personal pieces written from the inmost stuff of his mind and heart. It sums up all that Nature, man and his own development meant for him in the light of his ripe thinking. In other words, the poem contains Wordsworth’s faith and is valuable chiefly as a statement of his Nature-philosophy in highly lyrical verse.
The opening lines show Wordsworth’s pictorial or descriptive quality. We are given a vivid description of the scene visited by the poet—the waters—the waters rolling from their mountain springs; the steep and lofty cliffs; the green trees with their unripe fruits; the hedge-rows; the column of smoke rising from amongst the trees.

The second part of the poem contains the Nature-philosophy of Wordsworth. The memory of this scene of Nature has been a source of great joy to him. Whenever the poet was oppressed by the “fretful stir and fever of the world”, he felt relief by thinking of this scene of Nature. Thus Wordsworth looks upon Nature as a healing in­fluence on troubled minds.

Then he contrasts his attitude to Nature as a boy with his attitude to Nature as a man. As a boy, his love for Nature was purely sensuous and physical. But now his love for Nature is spiritual. He has now witnessed the sufferings of mankind (“the still, sad music of humanity”) and that experience has made him thoughtful. He perceives in all Nature the existence of a Divine Spirit and expresses his pantheistic belief. And he goes on to dwell upon the moral influence of Nature, Nature as a great moral teacher. Nature is the nurse, the guide, the guardian of his heart, and soul of all his moral being.
In the last part, the feeling of love for Nature is combined with a feeling of tenderness for his sister Dorothy. He advises her to submit herself completely to natural influences because Nature has a purifying ennobling, and elevating effect on man and leads him from joy to joy. He believes in (he education of man by Nature and thus establishes a close inter-relation between Nature and man.
Wordsworth appears here, in his own words, as a “Worshipper of Nature”, or Nature’s priest. He has stated his view of Nature in highly poetic lines charged with the deepest sincerity. The poem is written in a meditative mood and is full of perfectly calm and tranquil joy, and as we go through it we are greatly moved by its sentiments. We begin to see greater ‘beauty in Nature, more grandeur, more majesty, and a profound significance. It is a poem that turns our lazy indifference towards Nature into a vital feeling of admiration and awe.

The backward-looking character of the poem is also apparent. Wordsworth dwells upon his memories of this natural scene and reveals how these memories sustained him. He also recollects his boyish passion for Nature and all his glad animal movements. Much of Words worth’s poetry possesses this reminiscent or backward-looking character.

The poem is marked by Wordsworth’s gift of making beautiful and highly expressive phrases. Some of the phrases and lines of this poem have become so famous that they are often quoted. “We see into the life of things”; “Fretful stir unprofitable”; the fever of the world”; “the sounding cataract haunted me like a passion”; “aching joys and dizzy raptures”; “the still, sad music of humanity”; “the shooting lights of thy wild eyes”; “Nature never did betray the heart that loved her”—these are some of the best known phrases and lines in the poem.

“The music of the poem is also noteworthy. The sublimity of verse suits the loftiness of theme. The blank verse of the poem is majestic and we see here an instance of Wordsworth’s grand style.

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