By P. Simonsen
Via the later Wordsworth's ekphrastic writings approximately visible paintings and his elevated knowledge of the published size of his paintings, Simonsen calls recognition to what's uniquely intriguing approximately this missed physique of labor, and argues that it complicates conventional understandings of Wordsworth in response to his so-called nice Decade.
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Extra info for Wordsworth & Word-Preserving Arts: Typographic Inscription, Ekphrasis and Posterity in the Later Work
Example text
The delineation, if tolerably executed, will, in some instances, communicate to the traveller, who has already seen the objects, new information; and will assist in giving to his recollections a more orderly arrangement than his own opportunities of observing may have permitted him to make; while it will be still more useful to the future traveller, by directing his attention at once to distinctions in things which, without such previous aid, a length of time only could enable him to discover. It is hoped, also, that this Essay may become generally serviceable, by leading to habits of more exact and considerate observation than, as far as the writer knows, have hitherto been applied to local scenery.
What injury (short of the theatres) did not Boydell’s Shakespeare Gallery do me with Shakespeare? ’27 Lamb and Coleridge’s deep scepticism regarding illustration is typical of High Romanticism’s privileging of the ear over the eye, the transcendent over the material, the general over the particular, the mind over the body, the visionary over the visible, and may explain the lack of critical interest in exploring the presence of illustration in Wordsworth’s text. Yet, the ghostly presence of the suppressed illustrations may be seen to inform the Guide and exert positive influence on Wordsworth’s textual supplements.
Poetry grounded on such poetological considerations, as J. 4 This epitaphic, written voice is divorced from the poet’s body (note the absence of the ‘I’ and other personal pronouns in the second fragment, a remarkable absence compared to the no less than eight self-references in the first fragment) and wedded to the more permanent surface of monumental stone. Writing outlines speech, it fixes, externalises and visualises it in poetic lines, which have a substantiality not inherent to speech, but which for Wordsworth was not alien to speech either.