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    Tintern Abbey

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    Manu James
    The document discusses Dorothy Wordsworth's role in her brother William Wordsworth's life and poetry. It describes how Dorothy acted as William's close friend, supporter, editor, and secretary. The document also analyzes William Wordsworth's poem "Tintern Abbey" and how it depicts Dorothy as enabling William's access to "former pleasures" through her voice, eyes, and existence. Scholars debate whether Dorothy served only as William's helpmate or also as his muse. The document also provides background on the genre of topographical poetry, such as William Wordsworth's "Tintern Abbey," and describes common elements of this poetry genre like pastoral imagery, the sublime, and the picturesque.

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    Tintern Abbey

    Uploaded by

    Manu James
    120 views2 pages
    The document discusses Dorothy Wordsworth's role in her brother William Wordsworth's life and poetry. It describes how Dorothy acted as William's close friend, supporter, editor, and secretary. The document also analyzes William Wordsworth's poem "Tintern Abbey" and how it depicts Dorothy as enabling William's access to "former pleasures" through her voice, eyes, and existence. Scholars debate whether Dorothy served only as William's helpmate or also as his muse. The document also provides background on the genre of topographical poetry, such as William Wordsworth's "Tintern Abbey," and describes common elements of this poetry genre like pastoral imagery, the sublime, and the picturesque.

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    The document discusses Dorothy Wordsworth's role in her brother William Wordsworth's life and poetry. It describes how Dorothy acted as William's close friend, supporter, editor, and secretary. The document also analyzes William Wordsworth's poem "Tintern Abbey" and how it depicts Dorothy as enabling William's access to "former pleasures" through her voice, eyes, and existence. Scholars debate whether Dorothy served only as William's helpmate or also as his muse. The document also provides background on the genre of topographical poetry, such as William Wordsworth's "Tintern Abbey," and describes common elements of this poetry genre like pastoral imagery, the sublime, and the picturesque.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    120 views2 pages

    Tintern Abbey

    Uploaded by

    Manu James
    The document discusses Dorothy Wordsworth's role in her brother William Wordsworth's life and poetry. It describes how Dorothy acted as William's close friend, supporter, editor, and secretary. The document also analyzes William Wordsworth's poem "Tintern Abbey" and how it depicts Dorothy as enabling William's access to "former pleasures" through her voice, eyes, and existence. Scholars debate whether Dorothy served only as William's helpmate or also as his muse. The document also provides background on the genre of topographical poetry, such as William Wordsworth's "Tintern Abbey," and describes common elements of this poetry genre like pastoral imagery, the sublime, and the picturesque.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
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    Tintern Abbey

    Dortothy

    Dorothy “plays a major role in the poet’s life as close friend, supporter of his vocation as writer,
    editor, and secretary, almost his ‘all in all’ ” (Mahoney 5). Her special place in the poet’s life is
    solidified through her role as a silent listener and observer. Wordsworth points out in his poem,
    “Lines Composed a Few Miles above Tintern Abbey,” that Dorothy’s voice, her eyes, and her
    existence enables him to access his “former pleasures” (“Tintern Abbey” 117). While one group of
    scholars identify Dorothy as his helpmate only, others view Dorothy as her brother’s muse (Thomson
    531).  James Soderholm argues that Wordsworth uses Dorothy for “his own poetic ends” (Soderholm
    311). On the contrary, Heidi Thomson emphasizes that “Tintern Abbey” is the poem that “affirms the
    continuous necessity for a web of interlocution between Wordsworth and his sister to substantiate
    the myth of memory” (Thomson 533). As Thomson mentions, “Tintern Abbey” can be read as a
    warm sibling memory poem excluding any utility value granted upon Dorothy. Regardless, Dorothy
    provides Wordsworth with inspiration throughout his poetry and his life.

    Topographical poetry

    Topographical poetry or loco-descriptive poetry is a genre of poetry that describes, and often


    praises, a landscape or place. John Denham's 1642 poem "Cooper's Hill" established the genre,
    which peaked in popularity in 18th-century England with the poetry of William Wordsworth (e.g.
    "Tintern Abbey" ). Examples of topographical verse date, however, to the late classical period, and
    can be found throughout the medieval era and during the Renaissance. Though the earliest
    examples come mostly from continental Europe, the topographical poetry in the tradition originating
    with Denham concerns itself with the classics, and many of the various types of topographical verse,
    such as river, ruin, or hilltop poems were established by the early 17th century. Alexander Pope's
    "Windsor Forest" (1713) and John Dyer's "Grongar Hill' (1762) are two other oft-mentioned
    examples. More recently, Matthew Arnold's "The Scholar Gipsy" (1853) praises the Oxford
    countryside, and W. H. Auden's "In Praise of Limestone" (1948) uses a limestone landscape as an
    allegory.

    Subgenres of topographical poetry include the country house poem, written in 17th-century England
    to compliment a wealthy patron, and the prospect poem, describing the view from a distance or a
    temporal view into the future, with the sense of opportunity or expectation. When understood
    broadly as landscape poetry and when assessed from its establishment to the present, topographical
    poetry can take on many formal situations and types of places. Kenneth Baker identifies 37 varieties
    and compiles poems from the 16th through the 20th centuries—from Edmund Spenser to Sylvia
    Plath—correspondent to each type, from "Walks and Surveys," to "Mountains, Hills, and the View
    from Above," to "Violation of Nature and the Landscape," to "Spirits and Ghosts."

    Common aesthetic registers of which topographical poetry make use include pastoral imagery, the
    sublime, and the picturesque. These latter two registers subsume imagery of rivers, ruins, moonlight,
    birdsong, and clouds, peasants, mountains, caves, and waterscapes.

    Jonathan Swift summarized the style as "Descriptions tedious, flat and dry/And introduc'd the Lord
    knows why".

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