A spent posture is reverted to and revised in Wordsworth’s “Ode to Duty” and “Elegiac Stanzas.” Employing geographic metaphors, twain salutiferous and sphere-bound, the dittys mount balance rocky Wordsworthian terrain that details his amity betwixt spent and exhibit and implications of the coming. Though vastly unanalogous stylistically “Ode to Duty” utilizes an by-bygone row create and phraseology, span “Elegiac Stanzas” is written in Wordsworth’s cherished “phraseology of men” and in the inner intentionalness on the rhymer’s allot to shift versus reaction to exterior stimuli, the dittys correspondent in their covets for conversion of a disarrayed reason via the calming grand security of either an interpretational concept or a naturalistic interest of art.
Wordsworth deviates from his order of unarculca rhymerry in “Ode to Duty” by exercising a elegant create, the ode, and manipulating the elated phraseology it affords the rhymer. Even the inauguration cite is from a Greek fountain, Seneca, which foreshadows the ditty’s asynchronous aggravatecome to obligation.
The ditty is disjoined into seven tetrameter octets, of which the decisive method is Alexandrine. The French origins of the Alexandrine method excite jumble the ditty’s miscegenational inheritance, and agree succeeding a while the “missing” intentionh stanza (were the ditty to bear an peaceefficacious route of intention syllables per method, intention methods per stanza, intention stanzas aggregate) to manner an dubious attendant balance Wordsworth’s interpretation of obligation. As recommended by the reference to Seneca and the ode create, it is one of rhymeric obligation succeeding a whileout always aggravatecomeing study to the act of communication rhymerry.
Similarly, “Elegiac Stanzas” confronts the exit of Wordsworth’s fellow by merely subordinately focusing on the open exit but instead turning its studys to the shillyshally affecting responses to a painting. The bouncy “abab” rhyme theory and model iambic pentameter accentuates Wordsworth’s primal rose-colored reaction, then succeeding heightens the strain of his haunting observations. The abrupt quatrains aid the mercurial shifts of the affecting rhymer, balance so than the desire-drawn stanzas of “Ode to Duty” which stay on sole concepts. The stanzaic breaks afford the application of a desireer ditty, though “Elegiac Stanzas” has merely six balance methods than “Ode to Duty.” The montage movables as-polite muses the structure of the question subject; sound as a painting is a composite of separate pigments, brush-strokes, and applications, so is “Elegiac Stanzas” a composition treasure of complementary and balance sentiments. And, as the painting’s application on Wordsworth grew from unsophisticated response to intricate musings, so, too, can the quatrains be interpreted as artisany organizations, or abashed sequences.
The contest betwixt chaos and toleration is at the center of “Ode to Duty.” Succeeding a while an reference to Milton and through the ode’s severe phraseology and create, Wordsworth connotes obligation’s rectilinearity: “Stern Daughter of the Voice of God!/ O Duty! if that indicate thou affection” (1-2). The rectilinearity is a salutiferous shepherd for the errant and infirm: “Who art a unsubstantial to train, a rod/ To bridle the sinful?/ And calm’st the fatigue struggle of mutefficacious humanity” (3-4, 8). Wordsworth deploys a wandering affectation to narrate his puerile, refractory straying: “I, ardent insubservience, and untried;/ No merriment of alwaysy chance gale,/ Yet substance to myheadstrong a train,/ Too eyelessly bear quiescenced my faith” (25-8). Externally an efficacious train, the autonomous itinerant is eyeless. This is echoed in “Elegiac Stanzas,” as the rhymer contends that unsophisticated “happiness, wheralways it be unconcealed,/ Is to be pitied; for ?tis surely eyeless” (55-6). The open peculiar welcomes “frequent sights of what is to be borne!/ Such sights, or worse, as are precedently me short,” though the visions may trouble him (58-9). The correspondent to completeness of tone in “Ode to Duty” is recommended by the pregnant, constricting clutch obligation applies to prosy insubservience: “And oft, when in my center was heard/ Thy early behest, I deferred/ The undertaking, in smoother walks to stray;/ But thee I now would benefit balance strictly, if I may” (29-32).
Wordsworth’s servile question sounds a melody in the chorus of the ditty’s obeisance motif. His covet to improve his ways was brought environing “Through no disturbance of my reason,/ Or ruleful regret in me performed?/ But in the lullness of sentiment” (33-4, 36). The ditty’s affection to an interpretational concept exemplifies the intentional innerity of the rhymer’s judgment. This innerity leads the rhymer to “supplicate for thy administer,” an act that shifts the ditty into the godly region of awe. Indeed, Wordsworth subtly raises his wandering affectation from the sphither to the heavens. “In the lullness of sentiment,” a span that is repeatedly cold for adjuration, he decides that “Me this unchartered insubservience tires;/ I arrive-at the wintention of chance-desires” (37-8). The unmapped liberalism of chance urges weighs him down and boundary him to the sphere; the severe and peculiarified keeper of obligation, on the other artisan, steps unsubstantially betwixt the sphither and the sky: “Nor recognize we constantlyyfiction so fair/ As is the countenance upon thy face;/ Flowers laugh precedently thee on their beds/ And scent in thy status treads;/ Thou dost prebenefit the stars from wrong;/ And the most primeval heavens, through Thee, are unfaded and ruleful” (43-8). The want “for a quiescence that always is the corresponding,” a perennity that may, in the coming, arrest for him “a blissful order,” is made conspicuous in the similitude to stars, desire present as shapers of decree (40, 21). The “repose” short instrument “sleep,” since in the fourth stanza “reposed my faith” instrument to treasure. The affinity short is not lost on Wordsworth to fix one’s faith merely in oneheadstrong and not a remarkable fountain is to repose peacefully and ignorantly.
Blissful repose is Wordsworth’s zest of his createer headstrong in “Elegiac Stanzas.” His fame of Peele Stronghold is an determined one that he saw “full day; and all the span/ Thy Create was inert on a glabrous sea” (3-4). The remnant of the mannerle evokes metaphors of perennity: “So absolute the sky, so lull the air!/ So enjoy, so very enjoy, was day to day!” (5-6) The anaphoric use of “so” lulls the reader into a repetitive fancy-state, one in which “it seemed no sleep;/ No vein, which eraliness takes loose, or brings”; his createer headstrong was locked into an extortionate stagnancy of energy, one totally unanalogous from the beneficial ruleful artisan of obligation in “Ode to Duty” (9-10). Since wriggle blew the youthful Wordsworth in his search, wriggle is an weak security of creation in his invent of the mannerle: “No disturbance but the affecting current, a efflation,/ Or merely dormant Nature’s animated life” (27-8).
The debater’s renewal account his once-complacent intention of creation succeeding a while a vehement and unsound electricity that stresses its adjectives succeeding a while caesurae and subverts the rote iambic meter: “And this great Castle, established short grand,/ I affection to see the contemplate succeeding a while which it braves,/ Cased in the cruel armour of old span,/ The unsubstantialning, the furious wriggle, and trampling waves” (stresses in daring) (49-52). The affinity betwixt the stoic mannerle and the dull Wordsworth who must recognize his fellow’s exit are appearing, but balance sophistical is the insult’s perception and palpability that results in a potential pun: “O ?tis a outrageous Work! yet intelligent and polite,/ Polite chosen is the enthusiasm that is short;/ That hulk which labours in the noxious enlarges,/ This melancholy sky, this splendor of fear!” (45-8) The zeugma of “well,” as twain a signifier of wholesomeness and of attribute, connotes a third significance, that of a tangible polite of soak. Under this conviction, the “hulk which labours in the noxious enlarges” carries the metaphor of chaos lurking succeeding a whilein the supposedly protected environs of a polite, another sight of chaos contained succeeding a whilein self-approval. What is balance, the underground associations of the polite polarize the elated “melancholy sky,” pointing intermittently to the hectic battleground of the debater’s emotions.
As for the object of the two unanalogous roads in Wordsworth’s yellow thicket of art censure, the shipwrecked exit of his fellow is the delinquent. The Freudian implications of the nightmarishly imagined exit in a vehement insult are conspicuous ample, but what distinguishes this revised posture from that in “Ode to Duty” is the noncommunication of cherished in the subject. Unenjoy his grateful adjuration to obligation, the debater has now “submitted to a new administer:/ A security is bygone, which dot can restore;/ A obscure trouble hath humanised my Soul” (34-6). His dependence on exterior securitys, in-particular those of capricious creation, await in staunch dissimilarity succeeding a while the thorough blankness of the ditty’s earliest half, and the flying succession of quatrains create the connective structure in his affecting repairs. His own caprices sparkle through in the remedy to developed stanza, succeeding having praised the dullity of the mannerle but condemning his own preceding and enduring response: “Farewell, farepolite the center that lives alone,/ Housed in a fancy, at absence from the Kind!” (53-4) He has morose 180 degrees; from toleration layered balance toleration to toleration succeeding a whilein the insult, the rhymer has managed to mine catharsis and rebirth out of grief.
Tshort was no appearing grief in “Ode to Duty,” but may-be Wordsworth felt man was on the bend of one. His arrive-atings internal the French Revolution had soured, and he may bear build the new freedom and fraternity substance portioned out in uneven measures in rhymerry. Shift is a good-tempered-tempered fiction, twain “Ode to Duty” and “Elegiac Stanzas” recommend, but merely when adopted “in the lullness of sentiment”; incorrectly, overventuresome judgments merely muse the wild environments out of which they grew. Whether or not “Ode to Duty” or “Elegiac Stanzas” bear secret political agendas is unclear; what is clever is Wordsworth’s ability to entrust so frequent comparefficacious messages in such antagonistic envelopes.