perceptions of Life in William Wordsworths Works

wild daffodils grew in a particular place and she saw them and wrote about them on a particular April day in 1802. These, added to the depression that Wordsworth felt, which was caused by the French Revolution and England's continuing war with France, gave significance to his 'hearing oftentimes The still, sad music of humanity'.

They were dancing in wind; they are alive. That 'something far more deeply interfused' of 'Tintern Abbey' whose 'dwelling was the light of setting suns' in 1798, and in whose presence the poet felt a 'sense sublime' and heard oftentimes the music of humanity, is scarcely present in Wordsworth's writing of this time. Apart from the resting flowers, even those in the dance have different movements. Between the ages of 16 and 22 she lived with her uncle William Cookson's family, in his rectory in Norfolk.Dorothy tended to see the natural world as something outside herself, as having its own existence in which, as a separate person, she could delight. In passages of, the Prelude first drafted amid the snows of an isolated winter in Goslar, near the Harz Forest in Germany, in 1798-99, Wordsworth recalled several significant episodes from his schooldays. But the daffodils were not explicitly related to herself. Here the adult Wordsworth evokes the child's fear, and his sense that, alone and small amid the great hills and the universe of night, he has angered unknown powers in Nature that are real and far bigger than.

She caught the celebratory dance of elemental wind and frail mortal flowers, and her Journal evokes it for. The eternal was glimpsed. Top, dorothy's story, the interior of Dove Cottage where Dorothy Wordworth lived with her brother William. They were not offering a tutelary lesson in morals or inviting their viewers to a perception of transcendence. These hesitations surface within the belief expressed in the poem, but then sink down, and Wordsworth, sure at least of his own experience of Nature's beneficial power, was able to end the poem with a strong positive thrust, praying that Nature might bring future consolation. He began writing the autobiographical poem that he would work on intermittently for the next race and the CCC 40 years. Only his relationship with Nature, built up over years, now, in these times of 'dereliction and dismay' allowed Wordsworth to 'Despair not of our nature' ( ibid., II, 458). For Wordsworth, Nature in 1804 was neither so triumphant nor so transcendent a presence as hitherto, and humanity now brought the dominant consolation, and had power even to make Nature meaningful. On another occasion these fearsome powers strode after him for days in his imagination after he 'stole' a boat to row out into Ullswater.