In the beginning of this maestro class I was given by my professor a book written by Christopher Salvensen, “ The Landscape of Memory: A survey of Wordsworth ‘s poesy ” as a starting point and a beginning of inspiration for the design procedure for the Vauxhall Spring Gardens. I?I± I?IµI»I± I?I± I?I„I±I?I‰ I»I?I?I? I?I„I? IˆIµI?I?IµI‡I?I?IµI?I? to the book ‘ s really good written construction. Equally shortly as started reading this book I noticed that clip and memory are qualities profoundly involved in William Wordsworth ‘s poesy. In this book we can distinct three chief subjects about memory in landscape and its workings found in Williams Wordsworth poesy and manner of thought. The first subdivision is titled “ Poetry and the Picturesque oculus ” , the 2nd is “ Self, Memory and Sensuous Continuity ” and the 3rd “ Wise Passiveness in clip ” . In the first he points out Wordsworth ‘s grasp of landscape through his usage of memory. The landscape was originally approached from topographical authors and illustrators but Wordsworth was based significantly on memory through remembered feelings instead than through the bodily oculus, ‘the most despotic of our senses ‘[ 1 ]. Therefore seeing turned to contemplation, as the oculus became an inward oculus, an oculus of the reflective and renewing memory. In the 2nd subject he develops the connexions between contemplation and memory. Furthermore, underlines the importance of Wordsworth ‘s feeling for sense feelings and depict how the remembered looks give rise to a continuity of feeling. In “ Wise Passiveness in Time ” he emphasizes the connexion between the usage of memory and the mystical component in Wordsworth ‘s poesy. It was a continued religion in memory which was his reply to the sense of loss described in the “ Immortality Ode ” :

The idea of our past old ages in me doth breed ageless blessing.

There is broad sense that William Wordsworth, one of the greatest English poets, is thought to be as the poet of ‘nature ‘ , intending that he is composing about nature with a romantic and descriptive manner and that he approaches the picturesque merely as an aesthetic affair. But the things are non precisely like that. Wordsworth was seeing nature through a more human, societal and moral phasma/spectrum. He had an admirable manner of turning verse forms into images, but in the same clip his verse forms were full of profound human significances. He was composing about existent landscapes that existed and non about utopic topographic points that are reached merely through our imaginativeness. His belief was that we have to happen our felicity in a existent topographic point through experience and non in an fanciful topographic point.

So knowledge comes from a specific topographic point in the existent universe. This province of head is rather obvious on his following verse form:

Not in Utopia, -subterranean Fieldss, –

Or some secreted island, Heaven knows where!

But in the really universe, which is the universe

Of all of us, -the topographic point where, in the terminal,

We find our felicity, or non at all!

( Prelude, XI )

The manner he was seeing nature was taking appraising character and his grasp of nature was going through speculation and deep observation. Merely by holding detailed description of landscape for Wordsworth was meaningless, with the description, that was the footing, he had to set his ideas every bit good for giving value to his manner of visual perception and seek to explicate his feelings of how he was accepting the effects of nature and its powerful images. Sometimes in his ‘landscape composing ‘ his purposes were misunderstood by his readers, particularly in the Lyrical Ballads ( 1800 ) by desiring to support himself he said about his purposes that if they could be seen merely as descriptive and non at wholly as moral so he could non hold the right to be called as ‘a Poet ‘ . Because as John Keats wrote in his work Letterss:

Scenery is all right, but Human Nature is finer.

For Wordsworth, his verse forms were non merely about ways of cognizing objects and landscapes but besides poems uncovering how to populate, he was taking his personal experience as a guiding representative. For the record, his composing manner was non from the beginning of his calling like that, but it got more mature from clip to clip. In his first verse forms you could state their high denseness of detecting landscapes, as in his verse forms aggregation titled ‘Descriptive Sketches ‘ ( 1793 ) . Here is a transition from the aggregation:

Where falls the violet forenoon far and broad

In flakes of light upon the mountain-side ;

Where summer Suns in ocean sink to rest,

Or moonlight Upland lifts her grey chest ;

Where Silence, on her wing of dark O ‘ erbroods

Unfathom ‘ vitamin D dingles and undiscover ‘ 500 forests ;

Where stones and groves the power of Waterss shingles

In cataracts, or slumbers in quiet lakes.

In this instance, he brings out the empyreal feelings that landscape can born by sing landscape with all of our senses in this so lyrical and atmospheric image that Wordsworth offers us.

After 1975-78 he is get downing to hold I?I?I?I?I‰I?I?I?IµI‚ I±I?I·I?I…I‡I?IµI‚ On the other manus the verse forms that we could straight away I?IµI‡I‰I?I?I?I?I…I?Iµ for their adulthood and intelligence of the author are the verse forms ‘Tintern Abbey ‘ and ‘Prelude ‘ woven with deep homo and poetic significances. Wordsworth sees images of nature with his sentiment, utilizing his particular experimental accomplishments. He was facing his verse form as parts of nature, as portion of originative procedure by detecting in item nature and meditating, the observation had to be combined with speculation, after every image a idea had to follow. And as Coleridge ( 1772 -1834 ) notices, all these ideas of Wordsworth and his rational degree in his poesy comes non from analyzing -‘won, non from books ‘ but from poets ‘meditative observation ‘ . So in Wordsworth ‘s instance, esthesis was in a manner intelligence, and had become for him I?I?I± I…IˆI?I?I?I?I?I?I…I?I± I?I…I?I±I?I· I„I? to his authorship.

For W. altering landscape imagination could create/bring on societal and political deductions, in a manner that he was interested and concerned of the deep connexion and relation between people and topographic points. Specifically, he show involvement for the “ home ” landscape, that is seen clear in his verse form “ Michael ” ( 1800 ) , there he is composing about the devastation of a home and the significance of this loss for the society and its values. The loss of Michael ‘s home landscape is non of import for its picturesque qualities but for his memories and acquaintance that lies within it, cause is the topographic point where he lives and works.[ 2 ]

Those Fieldss, those hills-what could they less? had laid

Strong clasp on his fondnesss, were to him

A enjoyable feeling of blind love,

The pleasance which there is in life itself. ( lines 74-77 )

The ‘principle of alteration ‘ and the extremist change of a topographic point concerned a batch and another of import English poet, John Clare ( 13 July 1793 – 20 May 1864 ) . For Clare, in a similar manner to Wordsworth landscape is seen and experienced through its human associations, although in his instance he seems to be obsessed with the consequence of enclosure in landscape and sometimes he may hold become a victim of it. He comes from the small town of Helpston and he lived at that place until 1832, where he said characteristically the ‘landscape of the limestone heath made up my being ‘ .[ 3 ]The most of his work was covering with his place of birth, which he was profoundly emotionally attached to. Most people could happen Helpston dull and uninterested with nil picturesque about it, but for Clare it was his darling vicinity, valued of large human significance and alteration of the land he grew up and lived would traumatise his life and the lives of its inhabitants. In Clares mind ‘change ‘ does non come through natural procedures but with human engagement I?Iµ I?I?I?I±I?I‰I?IµI?I? IµIˆI?IˆIµI?I? . In Clares verse forms, the feeling of nostalgia for his childhood is really obvious and his remembrances are resuscitating by looking or brining in head the imagination landscape of Helpston.

Oh, happy Eden of those aureate old ages

Which memory cherishes, and usage endears

( Helpstone, 141-142 )

I would wish to convey out the lyrical qualities of the scene, expression at images in a romantic manner. Some scenes bring out emotions including from his yesteryear, conveying out his memories. Landscape scenes can convey out unexpected emotions that can non be rationally explained. How will you convey your images and W. together? Make you develop a parallel history?

In a more practical degree the inquiry that is being born is how the interior decorator can convey poesy into a topographic point, into a park? What is poesy to us? Some people could happen some things poetic, whereas some others do n’t. Each of us has a different manner of gestating something ‘poetic ‘ , cause we are different human sorts. We value and weight poesy otherwise, we have different poetic visions.