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On Wordsworth's Prelude
In a series of closely related essays, Professor Lindenberger analyzes the language, style, imagery, and organization of Wordsworth's \"Prelude.'' In precise detail and with richly relevant use of critical and historical materials, he demonstrates the variety and complexity of \"The Prelude\" leading the reader into a deepened understanding of one of the major long poems in the English language.
Originally published in 1963.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
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Situating Opera
Setting opera within a variety of contexts - social, aesthetic, historical - Lindenberger illuminates a form that has persisted in recognizable shape for over four centuries. The study examines the social entanglements of opera, for example the relation of Mozart's Abduction from the Seraglio and Verdi's Il trovatore to its initial and later audiences. It shows how modernist opera rethought the nature of theatricality and often challenged its viewers by means of both musical and theatrical shock effects. Using recent experiments in neuroscience, the book demonstrates how different operatic forms developed at different periods to create new ways of exciting a public. Lindenberger considers selected moments of operatic history from Monteverdi's Orfeo to the present to study how the form has communicated with its diverse audiences. Of interest to scholars and operagoers alike, this book advocates and exemplifies opera studies as an active, emerging area of interdisciplinary study.
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TIME-CONSCIOUSNESS (1)
FROM our mid-twentieth century vantage-point we can viewThe Preludeas an ancestor to those “time-books” which Wyndham Lewis, in attacking the artistic premises of Joyce, Proust, and Gertrude Stein, once disparaged for their “obsession with the temporal scale,” their “sick anxiety directed to questions of time and place.”¹ For it is Wordsworth’s unique experience with time (the word itself was one of his ten most frequently used, as it was not, for instance, with Shakespeare, Milton or Pope) which has not only determined the form of the poem, but has endowed it with that peculiar intensity which distinguishes it
Book Chapter
TIME-CONSCIOUSNESS (2)
THE “characters” ofThe Prelude, what few there are, can be divided according to the relationship they maintain with time. There are, first of all, those shadowy figures, like the discharged soldier, the Arab with the allegorical shell and stone, or the blind beggar on the London streets, who do not belong to the ordinary world of time. As representatives of “the utmost that we know, / Both of ourselves and of the universe,” their function is to “admonish from another world” (VII, 618-622), which is, in fact, the timeless world of eternity. These figures will not concern us at
Book Chapter
THE RHETORIC OF INTERACTION (1)
IN one of the few nineteenth-century discussions ofThe Preludethat show any real insight into the poem, De Quincey, writing more than a decade before the poem was published, singled out part of the passage which was already known to the public under the title “There Was a Boy”:
And they [the owls] would shout
Across the watry Vale, and shout again,
Responsive to his call, with quivering peals,
And long halloos, and screams, and echoes loud
Redoubled and redoubled; concourse wild
Of mirth and jocund din! And when it chanced That pauses of deep silence mock’d his skill,
Book Chapter
THE PRELUDE IN LITERARY HISTORY
WORDSWORTH’S own conception of the subordinate position ofThe Preludewithin the scheme of the larger and uncompletedReclusehas badly obscured the poem’s rightful place at the center of his work. In the preface he attached toThe Excursionwhen it was published in 1814 he distinguishes as follows between the still unpublishedPreludeandThe Recluseitself, to which it is prefatory and of whichThe Excursionis the second and only complete part:
“The preparatory poem [The Prelude] is biographical, and conducts the history of the Author’s mind to the point when he was emboldened to hope
Book Chapter
THE SOCIAL DIMENSION (1)
THE notion that Wordsworth lacked real sympathy with human beings, despite his protestations about “love of nature leading to love of mankind,” has recurred frequently among his critics. In its most contemporary form it is argued persuasively by David Ferry, whose recent study of Wordsworth,The Limits of Mortality, is built on the thesis that “his genius was his enmity to man, which he mistook for love.”¹ But even at the timeThe Preludeap-peared, one of its fust reviewers complained of an “absence of deep and vital sympathy with men, their works and ways,”² while a year before, Walt
Book Chapter