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Notes about this poem: 1. Wordsworth made use of the description in his sister's diary, as well as of his memory of the daffodils in Gowbarrow Park, by Ullswater. Cf. Dorothy Wordsworth's Journal, April 15, 1802: "I never saw daffodils so beautiful. They grew among the mossy stones . . .; some rested their heads upon these stones, as on a pillow for weariness; and the rest tossed and reeled and danced, and seemed as if they verily laughed with the wind, that blew upon them over the lake; they looked so gay, ever glancing, ever changing." 2. 'They flash upon that inward eye... ': Wordsworth said that these were the two best lines in the poem and that they were composed by his wife. Biography and Assessment: Wordsworth was born in the Lake District of northern England[...]The natural scenery of the English lakes could terrify as well as nurture, as Wordsworth would later testify in the line "I grew up fostered alike by beauty and by fear," but its generally benign aspect gave the growing boy the confidence he articulated in one of his first important poems, "Lines Composed a Few Miles Above Tintern Abbey . . . ," namely, "that Nature never did betray the heart that loved her." [...] Wordsworth moved on in 1787 to St. John's College, Cambridge. Repelled by the competitive pressures there, he elected to idle his way through the university, persuaded that he "was not for that hour, nor for that place." The most important thing he did in his college years was to devote his summer vacation in 1790 to a long walking tour through revolutionary France. There he was caught up in the passionate enthusiasm that followed the fall of the Bastille, and became an ardent republican sympathizer. [...] The three or four years that followed his return to England were the darkest of Wordsworth's life. Unprepared for any profession, rootless, virtually penniless, bitterly hostile to his own country's opposition to the French, he knocked about London in the company of radicals like William Godwin and learned to feel a profound sympathy for the abandoned mothers, beggars, children, vagrants, and victims of England's wars who began to march through the sombre poems he began writing at this time. This dark period ended in 1795, when a friend's legacy made possible Wordsworth's reunion with his beloved sister Dorothy--the two were never again to live apart--and their move in 1797 to Alfoxden House, near Bristol. There Wordsworth became friends with a fellow poet, Samuel Taylor Coleridge, and they formed a partnership that would change both poets' lives and alter the course of English poetry. [...] Through all these years Wordsworth was assailed by vicious and tireless critical attacks by contemptuous reviewers; no great poet has ever had to endure worse. But finally, with the publication of The River Duddon in 1820, the tide began to turn, and by the mid-1830s his reputation had been established with both critics and the reading public. Wordsworth's last years were given over partly to "tinkering" his poems, as the family called his compulsive and persistent habit of revising his earlier poems through edition after edition. The Prelude, for instance, went through four distinct manuscript versions (1798-99, 1805-06, 1818-20, and 1832-39) and was published only after the poet's death in 1850. Most readers find the earliest versions of The Prelude and other heavily revised poems to be the best, but flashes of brilliance can appear in revisions added when the poet was in his seventies. Wordsworth succeeded his friend Robert Southey as Britain's poet laureate in 1843 and held that post until his own death in 1850. Thereafter his influence was felt throughout the rest of the 19th century, though he was honoured more for his smaller poems, as singled out by the Victorian critic Matthew Arnold, than for his masterpiece, The Prelude. In the 20th century his reputation was strengthened both by recognition of his importance in the Romantic movement and by an appreciation of the darker elements in his personality and verse. William Wordsworth was the central figure in the English Romantic revolution in poetry. His contribution to it was threefold. First, he formulated in his poems and his essays a new attitude toward nature. This was more than a matter of introducing nature imagery into his verse; it amounted to a fresh view of the organic relation between man and the natural world, and it culminated in metaphors of a wedding between nature and the human mind, and beyond that, in the sweeping metaphor of nature as emblematic of the mind of God, a mind that "feeds upon infinity" and "broods over the dark abyss." Second, Wordsworth probed deeply into his own sensibility as he traced, in his finest poem, The Prelude, the "growth of a poet's mind." The Prelude was in fact the first long autobiographical poem. Writing it in a drawn-out process of self-exploration, Wordsworth worked his way toward a modern psychological understanding of his own nature, and thus more broadly of human nature. Third, Wordsworth placed poetry at the centre of human experience; in impassioned rhetoric he pronounced poetry to be nothing less than "the first and last of all knowledge--it is as immortal as the heart of man," and he then went on to create some of the greatest English poetry of his century. It is probably safe to say that by the late 20th century he stood in critical estimation where Coleridge and Arnold had originally placed him, next to John Milton--who stands, of course, next to William Shakespeare. Some comments: 1.We often go through life as if we were unconscious of what is going on around us - like clouds. We notice many things some of which are beautiful and some ordinary. But being distracted - not poets, who would naturally notice and be gay at the sight - we fail to be lifted by the simple but awesome beauty that surrounds us. WW was not being a poet at the time and so he "little thought what wealth to him the show had wrought." He was forced to try to re-experience it from memory - his inward eye - in order to fill his heart with the pleasure he missed when he actually saw the daffodils. To me, the poem serves as a reminder that our happiness is best served if we live our lives as poets and notice the simple beauty that nature gives us daily. Where ordinary people see flowers, the poet sees stars, dancers, happy celebrations of nature's miracles and is pleasured. Live as a poet!!!!! 2.I always thought of the poem as a simple poem of yellow gay springtime. Having really looked at the poem something clicked and I have a profound understanding that I had overlooked - The word 'DANCE' is in every stanza - Dance the cosmic creative energy that transforms space into time, is the rhythm of the universe. Round dancing, was a dance that imitated the sun's course in the heavens and enclosed a sacred space. The round, yellow, golden cups of the daffodil can easily symbolize the sun, the sacred sun of incorruptibile wisdom, superior and noble. Dancing as the Dance of Siva is the eternal movement of the universe the 'play' of creatio, or the 'fluttering' frenzy emotional chaos of Dionysian/Bacchic. The stars, messengers of the gods, the eyes of night, and hope, toss their 'head,' the seat of both our intelligence and folly, honor and dishonor. Lying on a couch in a vacant pensive mood could easily be a way to discribe a meditative state where the forces of the universe and our connection with the ceaseless movement, the ebb and flow of life as a wave dances could be pondered. That last line "And dances with the Daffodils." could it be the dance of angels round the throne of God. If this is a poem of the cycle of existence and the circling of the sun/God of course what wealth and glee. 3.A poem can stir all of the senses, and the subject matter of a poem can range from being funny to being sad.
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