The river glideth at his own sweet will: Dear God! Such magnificent showings do not happen very often, so Wordsworth suggests that a person would be foolish to pass by, assuming that there will be other chances to enjoy stunning moments in time. The river glideth at his own sweet will: Dear God! It is a sonnet, made up of fourteen lines. It can be classified under his Momentary Poems as it is born out of a specific moment. My boyfriend, Andrew, my babeh who always supports me and my endeavors, makes me smile, makes me feel special, loved and cared for. Here, the ships and buildings are nude.
The reduced version of a petrarchan Sonnet by Hopkins praises God for all the odd and strange things within nature. In 1812, while living in Grasmere, two of their children—Catherine and John—died. Thus the paradox that is developed all through the poem reaches its final statement in this line. The buildings and ships are seen as part of the greater setting: the natural landscape. GradeSaver, 17 November 2007 Web. He mentions the sight of fields, which is unusual considering that the city of London is known more for its movement and commerical structures. The poetic devices used in his poem help show that beauty is not always made by hand but that it is formed throughout nature on calm, peaceful mornings or afternoons.
William Wordsworth and William Blake both wrote their poems within a very similar time, yet they are completely different in all aspects. While the poems themselves are some of the most influential in Western literature, it is the preface to the second edition that remains one of the most important testaments to a poet's views on both his craft and his place in the world. In the poem, London is apostrophized as a fair lady, and the sonnet is dedicated to her magnificence. The poet gives earth human feature by saying that the earth shows him the scenery, where as he is seeing the scenery himself. In line 4, Wordsworth explicitly mentions the city that wears the beauty of the morning cf. The view from Westminster Bridge combines both this elements. William Wordsworth was the quintessential Romantic who rendered the natural supernatural.
This poem is a Petrarchan sonnet. He personifies the city as a human wearing beautiful clothes. In this text, Wordsworth expresses strong feelings and emotions towards London in the 19th century. The city and nature never cross paths until the morning. Wordsworth was a famous Romantic poet.
By writing this, Wordsworth makes it a point to tell the audience that London is still worth coming to see and it still is as beautiful as ever. Theaters are used for entertainment; towers symbolize class and hierarchy, domes house various government groups, ships bring income from trading, establish business, and promote commerce. This shows interest and enthusiasm in the subject. Now, Wordsworth wanted to marry his childhood sweetheart, Mary Hutchinson. The meter, or rhythm, of this poem is loosely Iambic pentameter.
Wordsworth is clearly captivated by the beauty of this particular London morning. The connection with the dress metaphor is established through the image of the city being steeped in the light of the sun and then the paradox is extended to the strange union of being dead or asleep and being alive. Any line reproduced from the article has to be appropriately documented by the reader. When I read both these poems they make me understand how nature is unique in its own ways which can be very different from what we think of as beauty and there are various ways that you can look at it from. In the dawning of the day, nature holds a brief dominion over the sleeping houses and buildings.
It shows the contrast between the houses in the morning and the houses throughout the day. The manner in which Composed upon Westminster Bridge is written shows a few different tones. Never did sun more beautifully steep In his first splendour, valley, rock, or hill; Ne'er saw I, never felt, a calm so deep! The last four lines Wordsworth writes give the tone of peace. How the city was so calm that for those moments it was peaceful. His sister, Dorothy Wordsworth accompanied him during the meeting.
The speaker is lucky to catch the city on a morning that is completely free of fog. In the first line, Earth has not anything to show more fair, Wordsworth is comparing the city to the Earth saying that there is nothing more beautiful upon it than the city of London. Additionally, it is important to consider the significance of the context, the role of the reader as well as their expectations. The poem describes the city in a very positive way, communicating its power and 'splendour'. The sight is not only beautiful but also majestic. This created a different atmosphere in the two poems even though they were. The poem is about the experience of crossing Westminster Bridge early in the morning and seeing the calmness and beauty of the city of London.
Throughout Composed upon Westminster Bridge Wordsworth uses imagery, figures of speech and tone. The simplified beauty of London in the early morning is stating that London itself is a regal entity, but only when it is empty of the people that sully it. Note the lack of life throughout the poem, aiming towards an almost alien landscape, a familiar icon turned completely unfamiliar due to the way that it is completely silenced. However, we did qualify this as loose iambic pentameter, evidenced by the fact that lines one and two begin with stressed syllables 'earth' and 'dull'. . Composed Upon Westminster Bridge Analysis Earth has not anything to show more fair: Dull would he be of soul who could pass by A sight so touching in its majesty: This City now doth, like a garment, wear The beauty of the morning; silent, bare, Ships, towers, domes, theatres, and temples lie Open unto the fields, and to the sky; All bright and glittering in the smokeless air. The river glideth at his own sweet will: Dear God! Most of the Romantic poets,including Wordsworth had mastered the art of writing in a very unique style that was able to maintain the grammatical perfection of poetry while at the same time giving the reader his turn to see through the realistic dimension of the subject matter of the poem.