Dorothy Wordsworth has a unique place in literary studies.
Notoriously self-effacing, she assiduously eschewed publication,
yet in her lifetime, her journals inspired William to write some of
his best-known poems. Memorably depicting daily life in a
particular environment (most famously, Grasmere), these journals
have proven especially useful for readers wanting a more intimate
glimpse of arguably the most important poet of the Romantic period.
With the rise of women's studies in the 1980s, however, came a
shift in critical perspective. Scholars such as Margaret Homans and
Susan Levin revaluated Dorothy's work on its own terms, as well as
in relation to other female writers of the eighteenth and
nineteenth centuries. Part of a larger shift in the academy,
feminist-oriented analyses of Dorothy's writings take their place
alongside other critical approaches emerging in the 1980s and into
the next decade.
One such approach, ecocriticism, closely parallels Dorothy's
changing critical fortunes in the mid-to-late 1980s. Curiously,
however, the major ecocritical investigations of the Romantic
period all but ignore Dorothy's work while at the same time
emphasizing the relationship between ecocriticism and feminism. The
present study situates Dorothy in an ongoing ecocritical dialogue
through an analysis of her prose and poetry in relation to the
environments that inspired it.
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