The end of the eighteenth century witnessed an imaginative mass migration as authors wrote about withdrawing from society. This thesis traces the origins of 'Romantic reclusion' in the works of Cowper and Wordsworth, particularly Cowper's poem The Task and Wordsworth's unfinished masterwork The Recluse, which epitomise the tradition. Romantic reclusion differs from 'solitude' and 'retirement' in that its motives were social. Cowper and Wordsworth wrote about withdrawing in order to criticise the increasing commercialism and competition they saw in British society. Both poets imagined seceding into a community of individuals who would care for a shared set of values, envisaging this as a form of non-violent political protest leading to reform. The thesis builds on recent studies of Romantic community, and develops Raymond Williams's cultural criticism, to refute the New Historicist position that Romantic writing elides history. It proceeds by historicising Cowper's and Wordsworth's concepts of reclusion, tracing echoes of their extensive reading about this subject in what they wrote. Romantic reclusion emerges as an artistic attempt to defend the individual against the dehumanising effects of contemporary society. Its aims can be grouped under four interrelated headings-'creative', 'medical', 'political', and 'natural'-which form the basis of the chapter divisions. Chapter One argues that Cowper and Wordsworth both presented Milton as a precedent for their poetic reclusion. They withdrew from literary society and cut themselves off from the diction of eighteenth-century poetry, because they believed that it turned words into luxury items which could only be purchased by the imaginations of a few. Cowper's translations of Madame Guyon and Wordsworth's modernisations of Chaucer both attempted to develop a plain style which would unite a wider, non-hierarchical community of readers. Chapter Two explores the origins of Cowper's reclusion in his spiritual crisis of 1763-5. Beginning with a study of medical books owned by Cowper's doctor, Nathaniel Cotton, it argues that Cotton regarded Cowper's illness as a product of eighteenth-century models of sociability. Both Cowper and Wordsworth employed Robert Burton's concept of 'Honest Melancholy', or sorrow for the state of one's country, to critique social competition and call for new models of community. Chapter Three examines Cowper's and Wordsworth's presentations of reclusion as the best response to the violence of the American and French Revolutions. Drawing on the works of Classical and modern historians, both poets argued that political revolutions would only succeed once individuals learned to renounce self-interest and govern their selfish passions. The 'retired man' becomes the unexpected political hero of The Task, which in turn forms the basis for Wordsworth's conception of The Recluse. Finally, Chapter Four explores Cowper's and Wordsworth's interests in natural theology, arguing that both poets built on the works of writers including Calvin, David Hartley, and Joseph Butler to explain the psychological mechanism by which reclusion in nature could help to reform the mind, eliminating the selfish passions and teaching individuals to live in an active, mutually responsible community.

In Romantic studies, Romanticism is regarded as a reaction against modernity, or more accurately, a self-critique of modernity. There have been critical debates over the nature of the preoccupation of the Romantics with the past and the natural world, whether such concern is an illustration of the reactionary tendency of Romanticism, or an aesthetic innovation of the Romantics. This study tries to approach this problem from the perspective of space. It draws from the spatial theory of Henri Lefebvre, discussed in the Production of Space, in which Lefebvre conceives a spatial history of modernity, and sees Romanticism as the cultural movement that took place at the threshold of the formation of abstract space. The poetry of three British Romantic writers, William Wordsworth, S. T. Coleridge and Joanna Baillie, is examined. This study analyses how the writers’ thinking and poetry writing are interactive with the formation of social space during the Romantic period. Their poetry embodies the lived experience of the time. The writers show an awareness of the performative aspect of poetry, that poetry is a kind of linguistic creation instead of mere representation, which can be used to appropriate the lived space of reality. This awareness is particular to these Romantic writers because their poetic tactics are socially contextualized. Poetry is their method, as well as manner of life, for confronting the unprecedented social changes brought by modernity. By using Merleau-Ponty’s phenomenology, an examination of the significance of the body and perception in Romantic poetry is also employed to show how, through the use of performative poetic language, the writers re-create their lived space so as to counter the dominance of abstract space.

Photocopy of typescript. / Digitized by Kansas Correctional Industries

Thesis (Ph. D.)--Ohio State University, 2006. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2007 Jun 15

Proefschrift--Amsterdam. / Published also without thesis note. "Stellingen": 2 leaves laid in. "List of books consulted": p. [194]-202.

Thesis (Ph.D.) - University of St Andrews, September 2009. / Restricted until 2nd September 2014.

This essay compares Wordsworth’s and Arnold’s conceptions of nature and suggests reasons for the differences found. Both poets were keenly sensitive to the leveliness of the external world, and found in nature a soothing and healing power for the troubled mind of man. Both derived sensuous enjoyment from the beauties of nature, and found in nature permanence, peace, and tranquillity. The fundamental difference in their doctrines of nature is in their conceptions of abstract nature. To Wordsworth, nature was a benevolent force which actively participated in the moral and spiritual growth of man. His was a doctrine of joy and optimism. To Arnold, nature was a great and indifferent force which man must transcend. His was a doctrine of stoicism and pessimism. The differences are mainly due to the progress in science and thought from the mid-eighteenth to the mid-nineteenth century. Wordsworth inherited the eighteenth century belief in a benevolent and all-powerful Deity, who manifested his goodness in nature. By a synthesis of this philosophy, the assumptions of associationist psychology, and his own experience, he explained the moral and spiritual growth of man. Wordsworth believed that through love of nature, man was led to love of his fellow man and of God. He believed that nature participated in man’s moral growth, through the senses, with the aid of some super-sensuous power – ‘a superadded soul’, an ‘auxilier light’, which he believed to be the imagination. Through semi-mystical and visionary experiences, he became convinced of the unity between the soul of man and the soul of nature. This was the source of his joy in nature. Arnold took for granted many of the assumptions of nineteenth century science regarding nature. Through these, and his own search for truth, he lost faith in a benevolent force in the universe. He saw no evidence of harmony or teleological purpose in nature. He found in nature only an edifying example of tranquility, steadfastness, and stoicism. The central tenet of his doctrine was of the superiority of man over nature, through his reason and conscience. On a broader basis, the change in attitude to nature between Wordsworth and Arnold is due to the changed conception of men’s place in the Chain of Being. In the eighteenth century, man held the most important earthly place in nature’s Chain of Being. In the nineteenth century, he lost that place. The Industrial Revolution created a materialistic world in which only the fittest survived economically. Biologists and zoologists reduced man to the level of all other creatures. He lost his favoured place in the Chain of Being, and for him nature lost all order and purposiveness. A pessimistic view of nature was logical and common. / Arts, Faculty of / English, Department of / Graduate

This dissertation is a study of the romantic elements in Bernard Malamud's fiction that can be seen as representing a romantic ideology closely related to the romanticism of William Wordsworth.

William Wordsworth was not the civic-minded public servant who is often thought of when good citizenship awards are given. However, it can be said that through his writings, he did much to arouse others to an awareness of political, religious, and educational needs of his country. This thesis examines his views in these areas and how they contributed to him as a citizen.

This thesis discusses the influence of Milton on the poetry of Wordsworth.