Rich Complexities by Wordsworth, and Expostulation and Reply by Coleridge - Book Report/Review Example

Explore the rich complexities of point of view EXPLORE THE RICH COMPLEXITIES OF POINT OF VIEW IN WORDSWORTH AND COLERIDGES LYRICAL BALLAD, "EXPOSTULATION AND REPLY" GRACE SARKAR Order No. 431566 18 April 2010 Table of Contents Introduction 3 Language and Literature 3 Stylistic Literature 7 Excellence in complexities 11 Conclusion 13 Sources 14 EXPLORE THE RICH COMPLEXITIES OF POINT OF VIEW IN WORDSWORTH AND COLERIDGES LYRICAL BALLAD, "EXPOSTULATION AND REPLY" Introduction William Wordsworth allows the poem to speak for itself. The question in the poem is simple and straightforward. "WHY, William, on that old grey stone, Thus for the length of half a day, Why, William, sit you thus alone, And dream your time away "Where are your books--that light bequeathed To Beings else forlorn and blind! Up! up! and drink the spirit breathed From dead men to their kind" (Wordsworth, William; 1798) The question is put before Wordsworth by his friend, Matthew. Obviously, Matthew was time conscious and he did not favor the idea of whiling away the morning on an old grey stone. However, Wordsworth knew what he was doing. Nature had intrinsic charm and reality hidden within its domain. One did not have to be a poet to realize this (Introduction to Stylistics). The contrasting elements in the poem unfold the excellence and challenges in the realm of nature as well as in the domain of observation. The realm of nature assumes precedence over the domain of observation because there are many aspects of nature still not discovered by man. Language and Literature Words are crushed in poem. Sometimes they are mangled beyond any shape or form. However, the intention of the poet is to make expositions within the context of the poem. In "Expostulation and Reply" the lyrics are more or less decipherable if one knows the geography of the region where the poem is being written. The poem was written using the Esthwaite Lake in the Lake District of northwestern England as background. Simultaneously, there are also "books" and "Powers" to serve as backgrounds (Wordsworth, William; 1798) Matthew goes a step further in his remonstration. He uses "grey stone" and "Mother Earth" to emphasize reason over idleness. He awakens the poet using the poet's own language. The metamorphosis from the "old grey stone" to "Mother Earth" is accentuated using personal noun for "Mother Earth". Matthew is an intelligent person capable of seeing the end from the beginning. By using "Mother Earth" he leaves no room for excuse for Wordsworth. His assertion "You look round on your Mother Earth, As if she for no purpose bore you; As if you were her first-born birth, And none had lived before you!" dooms Wordsworth and rationally Wordsworth has no choice but rise up and fulfill his "purpose" (Wordsworth, William; 1798) Rational thinking is useful because it denotes responsibility and reason. Discoveries and inventions have taken place as a result of acute rational thinking. Philosophers and psychologists swear by rationalism because rationalism clearly distinguishes the real from the general. In the realm of language and literature, it is difficult to bank on any premise other than rationalism to express views and conclusions (Rimoldi, Eleanor; 2000). However, there are exceptions to this rule. It is not possible to exclusively rule out exceptions after all facts are analyzed and exhausted. There is the margin of error and exceptions. Sir Isaac Newton remarked he was "only like a boy playing on the sea-shore and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, whilst the great ocean of truth lay all undiscovered before me" (Mandelbrote, Scott; 2002, p9). By the same argument, Wordsworth brought to bear "Powers which of themselves our minds impress, that we can feed this mind of ours in a wise passiveness" (Wordsworth, William; 1798). William Wordsworth did not talk about "Powers" in an abstract sense. As a poet, he was constantly in touch with the "Powers" that guided his literary sense. Like Newton, he was aware of the "great ocean of truth that lay undiscovered" around him. He was more in touch with rhymes than reason. The rhymes lay vast and undiscovered around him. This vastness was enough to nudge out the reason that necessitated circumspection. This vastness produced rhymes after rhymes invoking belief in the unknown and the unseen. Language and literature are constrained by the rules of grammar and other basic features such as phonology, graphology, morphology, syntax, lexicology, semantics and pragmatics (Simpson, Paul, p5). Basically, these form the edifice for the language and uphold or reject theories that expound or oppose their use. However, the blend of language and literature cannot be contained within the constraints of grammar and vocabulary. Language and literature have their own ways to evolve. Notice words in the medieval ages that have changed in usage or meaning now. We do not use frith for peace or methel for meeting. But these words were in use in medieval times (Arkenberg, J.S.; 1999). Words and phrases change for various reasons. Words are dependent on uses based on social contexts, economical, cultural, etc. Before few decades word "aids" was positive indicator for help. Now with the advent of the disease AIDS, the word is shunned. The realm of poetry has its own terms for use of lyrics. In no other sphere of literature words are stretched and crushed as in poetry. The uses of verses and meters in poems are more emphatic than the actual words or grammar. The play of words in poems is emphasized more than grammar. For instance, the verse from Expostulation and Reply, "One morning thus, by Esthwaite Lake, When life was sweet, I knew not why, To me my good friend Matthew spake, And thus I made reply" (Wordsworth, William; 1798) if arranged in grammatical order will rewritten as: "One morning by the Esthwaite Lake my good friend Matthew spoke, and to which I replied" skipping the line "When life was sweet, I knew not why." The rational will argue that this line need not exist if there is no reason for it to exist. However, in the poem it is a vital sentence because it denotes the prevailing mood at the time the poem was written. It underscores the emotion in the poem which is an important attribute in a poem. It is possible that the reader gets another idea than the intended idea about the full poem or part of the poem. The central point of the poem remains intact. However, inferences pertaining to different parts of the poem depend on the reader's perceptions. A reader with a rational bent of mind may tend to disagree with the entire poem. Thus, it is necessary to read any poem with an open mind. The open mind grasps the credulous part of the poem while staying open or neutral to the unfathomable portion of the poem. Wordsworth talks about the "Powers" without elaborating what the "Powers" meant. However, he talked about "Powers" that impressed our minds and was powerful enough to influence us in "wise passiveness". The poet was obviously expressing "Powers" in superior terms when compared to our minds (Wordsworth, William; 1798). As poet, Wordsworth had tremendous faith in the unknown. He was aware of the frailty of human nature in spite of the tremendous progress made by man. He felt very small as against the glories of the unknown. Time and again, his poems reveal the abundant wealth of nature and the amount of lessons to be learnt from nature. His poems also reveal the safety and security he experienced with nature. To him, the "Powers" held the answers to all our questions. "Expostulation and Reply" essentially pits the arrogance of man's power to the power of the unknown. The power of man is transient and temporary. The poem argues that man can only have as much power as is apportioned to him by providence. Man cannot add to the power even if he tries. Stylistic Literature Stylistic literature is varied and difficult to define because of its socio-cultural and metaphysical attributes. "More recent 'stylistic' studies have attempted to include the dimensions of social and cultural context, readerly interpretation and cognition, and the historical grounding of the text as part of the essential area of consideration. In other words, stylistics is today very much less formalist and structuralist than it ever was, and is in a position to be able to address many of the issues that literary criticism has traditionally regarded as its own" (Introduction to Stylistics). Stylistic literature will view "Expostulation and Reply" with greater tolerance and credibility than an outright literature critic. Because stylistics today is much less formalists and structuralists, they can afford to show greater tolerance and credibility. Perhaps stylistics today is more tolerant because of past lessons. They have a better notion about the "Powers" and are inclined to obtain more benefits by being on the right side of the "Powers" than risk losing these benefits by being on the opposite side of the "Powers". Thus, one can expect greater pragmatic approach when dealing with the latter half of "Expostulation and Reply". To an average reader the latter half of "Expostulation and Reply" may appear fanciful and incredible. First of all, the average reader does not recognize the "Powers". Subsequently, he will not waste more time trying to understand the "Powers" simply because it is beyond him. At the most, he will pay lip service to the "Powers" and leave it at that. Further studies on the subject have provided conflicting reports. Hence, an average reader will continue to remain bewildered on the subject (Wales, Katie; 2009). Against this background, "Expostulation and Reply" will continue to remain a mystery to the readers. The attitude of the poet in the concluding lines fuel the impression that it is better to soak in "wise passiveness" than get involved in hard work. This part is a little difficult to accept because normally one wants to work hard to attain goals and objectives. Now let us go through the concluding portion of the poem in order to get its full import. "The eye--it cannot choose but see; We cannot bid the ear be still; Our bodies feel, where'er they be, Against or with our will. 20 "Nor less I deem that there are Powers Which of themselves our minds impress; That we can feed this mind of ours In a wise passiveness. "Think you, 'mid all this mighty sum Of things for ever speaking, That nothing of itself will come, But we must still be seeking "--Then ask not wherefore, here, alone, Conversing as I may, 30 I sit upon this old grey stone, And dream my time away," (Wordsworth, William; 1798). The poet is intrinsically practical and reasonable in his arguments for dreaming away on an old grey stone. Using the senses of seeing and hearing as backgrounds, he argues that man has enough resource to learn from nature. He goes on to say that "nothing of itself will come". He reasons just as every organ has its function, every man and woman has his and her own duties. It is left for the individual to decide whether he has done his share of work for the day. The question "But we must still be seeking" has many applications. The function of the poet is to admire nature. He is content with nature. In his case, he has obtained what he is looking for. As for others, he leaves the open-ended question "But we must still be seeking" It is left for other individuals to decide if they must continue seeking or they are content with their day's work. The poem satisfies the rules of stylistic literature. The poem answers the question of the remonstrator in all fullness. Wordsworth is a poet. As a poet, he has to be involved in much reading. But today, he has a specific task. Today he must while away his time on an old grey stone. The old grey stone is the place from where he will examine the splendor of the natural scenario before him. The Esthwaite Lake "is a short drive inland from the Irish Sea in the Cumbria County between Morecambe Bay on the south and Solway Firth on the north. Among the lake's attractions are England's highest mountain, Scafell Pike, and other picturesque meres radiating outward like the points of a star from the town of Grasmere" (Cummings, Michael J; 2007). To the poet, the scenario is so spell-binding that it will take him all day to get the gist of the scenario. To anyone, he may appear to be whiling away his time. But he understands the full implication of the scenario before him. The scenario is awe-inspiring enough to implicate the "Powers". The poet is aware of the majesty and excellence of the surrounding scenario. It has inspired his senses to creativity and respect for nature. The remonstration has triggered his abilities to write a poem. It is a befitting response to the man with limited abilities whose sphere of excellence is limited only to self-education. The poet is sensitive to the higher calling that involves nature and a supreme being that he calls "Powers". He will not compromise this calling to any earthly efforts. The wonders of nature have him spell-bound. The poet also reveals consistence and confidence in his stand. He knows he is in a domain where the Almighty is directly involved. He is consistent in his beliefs that he is in the right environment and he has no option other than revel in this environment (Carter, Ronald (a); 2010). Stylistic literature, on the other hand, has had its ups and downs. Stylistic literature lacked consistency because its protagonists had their own versions and could not come to a common understanding of what stylistic literature must be based on. Ultimately, there was some understanding but it was not complete. Hence, the poet was free of total censure of his views (Pennanech, Florian; 2010). Differing and dissenting voices among followers of stylistic literature essentially freed language and literature from suffocating strangleholds of forms and formulations. Understandably, it was not possible to work in environment that few people could vouch they knew all about. Faith and beliefs go beyond reason and rationality (Carter, Ronald and Simpson, Paul; 2009). "Expostulation and Reply" found immediate acceptance from critics who understood faith and beliefs. This is because there are critics open to faith and beliefs. These understand that it is not possible to maintain rigid postures in matters relating to issues that lie beyond human grasp. Even if "Expostulation and Reply" were to be put through the strictest tests of stylistic literature, it would be difficult to expect a clear verdict on account of lack of norms for such tests. For instance, how do you decide whether the "Powers" as expressed in the poem did or did not exist (Vandepitte, Sonia;1997). Excellence in complexities There was no question about excellence in "Expostulation and Reply". The poem is excellent because it articulates the visible as well as the invisible. It talks about the Esthwaite Lake and immediately you are in an idyllic, awesome environment graced by the lake and the mountains. It talks about "Powers" and you are mystified by anyone who has created such grand scenario. Thus, even if the origins of the scenario are complex, there is no denying the fact that the creator of such scenario must be equally or more divine. The poet has provided an outstanding reply to a remonstration. The reply is outstanding because it at once captures the terrestrial as well as the divine. An agnostic may feel otherwise, but a cultured observer will have little option in deciding that the reply is outstanding simply because it is not an easy answer. It is one thing to exclaim that the environment has been created by someone divine, and it is quite another thing to relate this divine entity to mankind. The poet has remarked that the Powers have impressed our mind to an extent from where "we can feed this mind of ours in a wise passiveness". Now what is "wise passiveness" Can wisdom be joined to passiveness Does wisdom teach passiveness Wisdom teaches one to be active. In poetical language, wise passiveness can only mean informed decisions. By experience, we learn to wait. We know there is much to learn. But we must learn by waiting and observation. "As we move more irreversibly into a world of multi-media and multi-modal communication, to what extent should literatures in English be included and according to what criteria And other questions being asked range from the aesthetic to the ideological, both domains in which there remain key issues of definition. For example: Should criteria for the selection of texts for study be exclusively aesthetic criteria Should they relate to questions of national canons and values that transcend the social and the political Or should socio-economic and political values and educational priorities prevail" (Carter, Ronald (a); 2010) Conclusion The question put to Wordsworth by his friend, Matthew, is not an easy question. The answer provided is equally difficult to comprehend. However, the number of arguments in favor of Matthew must evolve similar number of arguments in support of Wordsworth. This is both are right in their own perspectives. Matthew is right in his observation that there are better things to do than while away time on a old grey stone. Wordsworth is also right in his observation that it is not possible to while away time in such a grand environment. The only wise and possible route out of such a messy circumstance is to absorb the best of both worlds and continue to learn from there. Sources: Arkenberg, J.S.; 1999, Guide to Medieval Terms, http://www.the-orb.net/medieval_terms.html Attridge, Derek; Poetic rhythm: an introduction, http://books.google.com/bookshl=en&lr=&id=9jvRxrf6Sd0C&oi=fnd&pg=PA147&dq=Attridge,+D.+(1995)+Poetic+Rhythm:+An+introduction,+Cambridge:+Cambridge+university+press&ots=LP9nom6qfC&sig=e1n3NoUvip771W1FJcENxB2rvHU#v=onepage&q&f=false Birch, David; Language, literature and critical practice: ways of analyzing text, http://books.google.com/bookshl=en&lr=&id=f04OAAAAQAAJ&oi=fnd&pg=PR11&dq=Birch,+D.+(1989)+Language,+Literature+and+Critical+Practice:+Ways+of+Analysing+Text,+London:+Routledge&ots=dSlXWhREu8&sig=ihpjfhEEj8syjq_uIMzeYKPYfbs#v=onepage&q&f=false Carter, Ronald (a); 2010, Issues in pedagogical stylistics: A coda, http://lal.sagepub.com/cgi/pdf_extract/19/1/115 Carter, Ronald (b); Investigating English discourse: language, literacy and literature, http://books.google.com/bookshl=en&lr=&id=Mw24BRfjlUAC&oi=fnd&pg=PR9&dq=Carter,+R.+(1997)+Investigating+English+Discourse,+London:+Routledge&ots=Aka-U62PfL&sig=85dSGfs_7q8WPHJ1F2bTCzHsyrM#v=onepage&q&f=false Carter, Ronald and Simpson, Paul; 22.07.2009, Review, Language, Discourse and Literature, http://www.reference-global.com/doi/abs/10.1515/jlse.1990.19.2.130 Clarke, Billy; 2009, Salient inferences: Pragmatics and The Inheritors, http://lal.sagepub.com/cgi/content/abstract/18/2/173 Cummings, Michael J; 2007, Expostulation and Reply, http://www.cummingsstudyguides.net/Guides3/Expostulation.html Introduction to Stylistics, http://equella.nottingham.ac.uk/uon/items/c3f4c936-4870-22a0-f4be-39c54aa52617/1/DistanceLearningMaterial.zip/LitLing/Litling1.htm Mandelbrote, Scott; 2002, Footprints of the lion: Isaac Newton at work, http://www.lib.cam.ac.uk/exhibitions/Footprints_of_the_Lion/Newtoncat.pdf Pennanech, Florian; 06 April 2010, New stylistic approaches language literary text http://translate.google.com/translatehl=en&sl=fr&u=http://www.fabula.org/actualites/article36952.php&ei=Cy7JS8DFKYW5rAf66aXdCQ&sa=X&oi=translate&ct=result&resnum=5&ved=0CA4Q7gEwBDgU&prev=/search%3Fq%3DBex,%2BT.,%2BBurke,%2BM.%2Band%2BStockwell,%2BP.%2B(eds)%2B(2000)%2BContextualised%2BStylistics,%2BAmsterdam:%2BRodopi%26start%3D20%26hl%3Den%26sa%3DN%26rlz%3D1W1SKPB_en Rimoldi, Eleanor; July 2000, Generic genius - how does it all add up http://www.informaworld.com/smpp/contentdb=allcontent=a735131015 Simpson, Paul; Stylistics, a resource book for students, http://books.google.com/booksid=21-aRiC9sZkC&pg=PA149&lpg=PA149&dq=Paul+Simpson,+Stylistics:+A+Resourcebook+for+students,+London:+Routledge+(2004&source=bl&ots=yRKWH78wYO&sig=Xc25z5jTBUj6U2zld-gbw69CLFc&hl=en&ei=sInIS5uvJpTGrAeY-f33CQ&sa=X&oi=book_result&ct=result&resnum=7&ved=0CCAQ6AEwBg#v=onepage&q&f=false Vandepitte, Sonia;1997, Review, English in Speech and Writing: Investigating Language and Literature, London, http://lal.sagepub.com/cgi/pdf_extract/6/2/151 Wales, Katie; 2009, Unnatural conversations in unnatural conversations: speech reporting in the discourse of spiritual mediumship, http://lal.sagepub.com/cgi/content/abstract/18/4/347 Wordsworth, William et al; Lyrical Ballads and other poems, http://books.google.com/booksid=JW83Xx6q6cIC&printsec=frontcover&dq=William+Wordsworth+and+Samuel+Taylor+Coleridge+Lyrical+Ballads+(penguin+classics)&source=gbs_book_similarbooks#v=onepage&q&f=false Wordsworth, William; 1798, Expostulation and Reply, http://www.bartleby.com/145/ww133.html Read More

 

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