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This is the first book to address William Wordsworth’s profound
identification of the spirit of nature in trees. It looks at what
trees meant to him, and how he represented them in his poetry and
prose: the symbolic charm of blasted trees, a hawthorn at the heart
of Irish folk belief, great oaks that embodied naval strength, yews
that tell us about both longevity and the brevity of human life.
Linking poetry and literary history with ecology, Versed in Living
Nature explores intricate patterns of personal and local
connections that enabled trees – as living things, cultural
topics, horticultural objects and even commodities – to be
imagined, theorized, discussed and exchanged. In this book, the
literary past becomes the urgent present.
This book considers William Wordsworth's use of iconography in his
long poem The Excursion. Through the iconographical approach, the
author steers a middle course between The Excursion's two very
different interpretive traditions, one focusing upon the poem's
philosophical abstraction, the other upon its touristic realism.
Fresh readings are also offered of Wordsworth's other major works,
including The Prelude. Yen explores Wordsworth's iconography in The
Excursion by tracing allusions and correspondences in an abundance
of post-1789 and earlier verbal and pictorial sources, as well as
in Wordsworth's prose and poetry. He analyses how the
iconographical images in The Excursion contribute to, and impose
limitations on, the overarching preoccupations of Wordsworth's
writings, particularly the themes of paradise lost and paradise
regained in the post-revolutionary context. Shedding light on a
vital aspect of Wordsworth's poetic method, this study reveals the
visual etymologies - together with the nuances and rhetorical
capacities - of five categories of apparently 'collateral' images:
envisioning, rooting, dwelling, flowing, and reflecting.
This book considers William Wordsworth's use of iconography in his
long poem The Excursion. Through the iconographical approach, the
author steers a middle course between The Excursion's two very
different interpretive traditions, one focusing upon the poem's
philosophical abstraction, the other upon its touristic realism.
Fresh readings are also offered of Wordsworth's other major works,
including The Prelude. Yen explores Wordsworth's iconography in The
Excursion by tracing allusions and correspondences in an abundance
of post-1789 and earlier verbal and pictorial sources, as well as
in Wordsworth's prose and poetry. He analyses how the
iconographical images in The Excursion contribute to, and impose
limitations on, the overarching preoccupations of Wordsworth's
writings, particularly the themes of paradise lost and paradise
regained in the post-revolutionary context. Shedding light on a
vital aspect of Wordsworth's poetic method, this study reveals the
visual etymologies - together with the nuances and rhetorical
capacities - of five categories of apparently 'collateral' images:
envisioning, rooting, dwelling, flowing, and reflecting.
A book that debunks the popular myth that William Wordsworth was,
first and foremost, a poet of daffodils, Wordsworth's Gardens and
Flowers: The Spirit of Paradise provides a vivid account of
Wordsworth as a gardening poet who not only wrote about gardens and
flowers but also designed - and physically worked in - his gardens.
Wordsworth's Gardens and Flowers: The Spirit of Paradise is a book
of two halves. The first section focuses on the gardens that
Wordsworth made at Grasmere and Rydal in the English Lake District,
and also in Leicestershire, at Coleorton. The gardens are explored
via his poetry and prose and the journals of his sister, Dorothy
Wordsworth. In the second half of the book, the reader learns more
of Wordsworth's use of flowers in his poetry, exploring the vital
importance of British flowers and other 'unassuming things' to his
work, as well as their wider cultural, religious and political
meaning. Throughout, the engaging, accessible text is woven around
illustrations that bring Wordsworth's gardens and flowers to life,
including rare botanical prints, many reproduced here for the first
time in several decades.
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