By John Peck

A quick background of English Literature offers a full of life introductory consultant to English literature from Beowulf to the current day. The authors write of their typically lucid type which allows the reader to interact absolutely with the narrative and simply comprehend the texts relating to the social, political and cultural contexts within which they have been written. A masterpiece of readability and compression, this booklet is a must-have for someone attracted to the historical past of literature from the British Isles.

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8) The analysis is strikingly similar to that of Schiller in his distinction between the 'naiVe' relationship with nature characteristic of classical culture and the 'sentimental' response of the moderns: 'one finds so little trace among fthe Greeks] of the sentimental interest with which we moderns are attached to the scenes and characters of nature. . 'st (The terms'naive'and 'sentimental'stand for the unmediated and the self-conscious attitudes; they do not carry the overtones they have developed.

The clouds were touch'd, And in their silent faces could he read conception of the life that is in nature. Lamb is again representative: 'To a mind constituted like that of Mr 'Wordsworth, the stream, the torrent, and the stirring leaf - seem not merely to suggest associations of deity, but to be a kind of speaking communication with it. . In his poetry nothing in Nature is dead. 'zo An orthodox reviewer like James Montgomery in the Eclectic has a similar emphasis: he writes of how the 'W'anderer has been 'spiritualized by communion with nature', but expresses the rese rvation that 'Wordsworth has paid to his 'omnipresent Spirit' in nature a kind of Unutterable love.

The Wanderer has a similar argument in a passage of The A crude reading of Ruskin's argument would suggest that he believed Excursion concerning ancient Greece that poets are idle to call on the hills and streams in this way. Is not this a fallacious ascription of feelings to inanimate nature? anderer's lament over Shelley were deeply attracted: Margaret's death: Beside yon Spring I stood, And eyed its waters till we seemed to feel One sadness, they and I. (i. 484-6) Here'Wordsworth recognizes that the fallacy springs from 'the strong creative power / Of human passion'.

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