'Lines Written a Few Miles above Tintern Abbey' by William Wordsworth : A Critical & Comparative Study.
'Until, the breath of this corporeal frame
And even the motion of our human blood
Almost suspended, we are laid asleep
In body, and become a living soul:
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
We see into the life of things.'
(From 'Lines Written a Few Miles above Tintern Abbey')
- William Wordsworth
☆ Introduction :
(Image Credits of Tintern Abbey : https://arthistoryproject.com/timeline/middle-ages/medieval/tintern-abbey/)
The first and second sections of “Tintern Abbey” amplify the
Wordsworthian poet’s meditative tone through the combination of his sensory experience and emotion. While it has been “five summers with the length of five long winters” (1-2) since the speaker of the poem has visited the Wye, the familiar cliffs and mountain springs that he once again beholds “impress/ Thoughts of more deep seclusion: and connect/ The landscape with the quiet of the sky” (6-8). These images, emphasized by the poet’s repeated use of the words “secluded” and “quiet,” draw attention to the solitary wreathes of smoke that the pastoral farm’s chimney breathes. The poet parallels the solitude of the farmland and the solitude that surrounds him. Within this solitude, the speaker reflects and meditates upon nature, and he also recalls it within his imagination to help semi-placate his thoughts of mortality. Kjell Morland argues that, “It might be noted that Wordsworth seems to have avoided determining what the subject matter of “Tintern Abbey” actually is” (33). However, within the first and second sections of the poem, Wordsworth’s poet moves toward the subject matter of “Tintern Abbey,” which focuses on introspection about the process of maturation and
contemplation about mortality. The juxtaposition of the green landscape with the “wreathes of smoke/ Sent up, in silence, from among the trees” (18-19) indicates that the poet intends to revisit his thoughts on the solitary banks of the Wye. Furthermore, the description of the hermit in the last two lines of the first section proves that introspection of one’s self occurs “when he is alone with his own heart or alone with nature” (Hough 10). As a result, the poet is similar to the hermit because his processes of contemplation take place when he is by himself.
In the second section, the poet reaffirms that although he has been absent long from the Wye River Valley, he is able to recall, through his memory, “These forms of [nature’s] beauty,” unlike a blind man who will never know what a
landscape looks like (25-26). According to J.R. Watson, “The poet is reflecting on his good fortune in being present before the same beautiful landscape which he remembered from the previous visit” (188). The poet does not simply reflect on his good fortune, however. As Sandro Jung argues, “Wordsworth’s imagination does not merely recollect the past, but [it] refines both the memory as well as the sensations first experienced (66). Wordsworth’s poet uses nature’s forms of beauty, these first experienced sensations, as poetic inspiration to create a more meaningful understanding of himself when he revisits the Wye.
('Introduction' Source Credit : http://udel.edu/~rlipman/lipman_eportfolio/showcase/tinternabbey.pdf)
》After introducing the poem, although succinctly, let us delve into the poet's spiritual growth by the means of the poem :
☆ Soulful Description of Nature :
In the first few lines, Wordsworth goes on to tell that after five years of his life, he has come again to the Tintern Abbey which is placed aside the banks of river Wye which he calls 'sylvan Wye!' along in the company of his beloved sister Dorothy whom in the later parts Woedsworth seems to address a few lines in and of the poem.
He depicts the change in appearance of the Abbey specifically the natural beauty which has been changed with more vibrance than before. He observes and delineates :
'...and again I hear
These waters, rolling from their mountain-springs
With a soft inland murmur.—Once again
Do I behold these steep and lofty cliffs,
That on a wild secluded scene impress
Thoughts of more deep seclusion; and connect
The landscape with the quiet of the sky.
The day is come when I again repose
Here, under this dark sycamore, and view
These plots of cottage-ground, these orchard-tufts,
Which at this season, with their unripe fruits,
Are clad in one green hue, and lose themselves
'Mid groves and copses. Once again I see
These hedge-rows, hardly hedge-rows, little lines
Of sportive wood run wild: these pastoral farms,
Green to the very door; and wreaths of smoke
Sent up, in silence, from among the trees!
With some uncertain notice, as might seem
Of vagrant dwellers in the houseless woods,
Or of some Hermit's cave, where by his fire
The Hermit sits alone.'
☆ Mystical Revelation :
In the following stanza, he gives account of how he comes accross the impact of all these 'beauteous forms' upon his mind, body, and sensations with delighted joy :
'These beauteous forms,
Through a long absence, have not been to me
As is a landscape to a blind man's eye:
But oft, in lonely rooms, and 'mid the din
Of towns and cities, I have owed to them,
In hours of weariness, sensations sweet,
Felt in the blood, and felt along the heart;
And passing even into my purer mind
With tranquil restoration:—feelings too
Of unremembered pleasure: such, perhaps,
As have no slight or trivial influence
On that best portion of a good man's life,
His little, nameless, unremembered, acts
Of kindness and of love. Nor less, I trust,
To them I may have owed another gift,
Of aspect more sublime; that blessed mood,
In which the burthen of the mystery,
In which the heavy and the weary weight
Of all this unintelligible world,
Is lightened:—that serene and blessed mood,
In which the affections gently lead us on,—Until, the breath of this corporeal frame
And even the motion of our human blood
Almost suspended, we are laid asleep
In body, and become a living soul:
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
We see into the life of things.'
Here, he describes the concept of after-death experience that according to him, after we die, our bodies lay still, and we become a 'living soul' which is quite similar to the preachings of Bhagavad Geeta - an Indian Mythological Excerpt of the epic 'Mahabharata' :
"वासांसि जीर्णानि यथा विहाय
नवानि गृह्णाति नरोऽपराणि |
तथा शरीराणि विहाय जीर्णा
न्यन्यानि संयाति नवानि देही ||"
The English translation of the Shloka or verse by Swami Mukundanada :
'BG 2.22: As a person sheds worn-out garments and wears new ones, likewise, at the time of death, the soul casts off its worn-out body and enters a new one.'
☆ His Brief Account of The Wye River Located Nigh to the Tintern Abbey :
The first and second sections of “Tintern Abbey” amplify the
Wordsworthian poet’s meditative tone through the combination of his sensory experience and emotion. While it has been “five summers with the length of five long winters” (1-2) since the speaker of the poem has visited the Wye, the familiar cliffs and mountain springs that he once again beholds “impress/ Thoughts of more deep seclusion: and connect/ The landscape with the quiet of the sky” (6-8). These images, emphasized by the poet’s repeated use of the words “secluded” and “quiet,” draw attention to the solitary wreathes of smoke that the pastoral farm’s chimney breathes. The poet parallels the solitude of the farmland and the solitude that surrounds him. Within this solitude, the speaker reflects and meditates upon nature, and he also recalls it within his imagination to help semi-placate his thoughts of mortality. Kjell Morland argues that, “It might be noted that Wordsworth seems to have avoided determining what the subject matter of “Tintern Abbey” actually is” (33). However, within the first and second sections of the poem, Wordsworth’s poet moves toward the subject matter of “Tintern Abbey,” which focuses on introspection about the process of maturation and
contemplation about mortality. The juxtaposition of the green landscape with the “wreathes of smoke/ Sent up, in silence, from among the trees” (18-19) indicates that the poet intends to revisit his thoughts on the solitary banks of the Wye. Furthermore, the description of the hermit in the last two lines of the first section proves that introspection of one’s self occurs “when he is alone with his own heart or alone with nature” (Hough 10). As a result, the poet is similar to the hermit because his processes of contemplation take place when he is by himself.
In the second section, the poet reaffirms that although he has been absent long from the Wye River Valley, he is able to recall, through his memory, “These forms of [nature’s] beauty,” unlike a blind man who will never know what a
landscape looks like (25-26). According to J.R. Watson, “The poet is reflecting on his good fortune in being present before the same beautiful landscape which he remembered from the previous visit” (188). The poet does not simply reflect on his good fortune, however. As Sandro Jung argues, “Wordsworth’s imagination does not merely recollect the past, but [it] refines both the memory as well as the sensations first experienced (66). Wordsworth’s poet uses nature’s forms of beauty, these first experienced sensations, as poetic inspiration to create a more meaningful understanding of himself when he revisits the Wye.
('Introduction' Source Credit : http://udel.edu/~rlipman/lipman_eportfolio/showcase/tinternabbey.pdf)
》After introducing the poem, although succinctly, let us delve into the poet's spiritual growth by the means of the poem :
☆ Soulful Description of Nature :
In the first few lines, Wordsworth goes on to tell that after five years of his life, he has come again to the Tintern Abbey which is placed aside the banks of river Wye which he calls 'sylvan Wye!' along in the company of his beloved sister Dorothy whom in the later parts Woedsworth seems to address a few lines in and of the poem.
He depicts the change in appearance of the Abbey specifically the natural beauty which has been changed with more vibrance than before. He observes and delineates :
'...and again I hear
These waters, rolling from their mountain-springs
With a soft inland murmur.—Once again
Do I behold these steep and lofty cliffs,
That on a wild secluded scene impress
Thoughts of more deep seclusion; and connect
The landscape with the quiet of the sky.
The day is come when I again repose
Here, under this dark sycamore, and view
These plots of cottage-ground, these orchard-tufts,
Which at this season, with their unripe fruits,
Are clad in one green hue, and lose themselves
'Mid groves and copses. Once again I see
These hedge-rows, hardly hedge-rows, little lines
Of sportive wood run wild: these pastoral farms,
Green to the very door; and wreaths of smoke
Sent up, in silence, from among the trees!
With some uncertain notice, as might seem
Of vagrant dwellers in the houseless woods,
Or of some Hermit's cave, where by his fire
The Hermit sits alone.'
☆ Mystical Revelation :
In the following stanza, he gives account of how he comes accross the impact of all these 'beauteous forms' upon his mind, body, and sensations with delighted joy :
'These beauteous forms,
Through a long absence, have not been to me
As is a landscape to a blind man's eye:
But oft, in lonely rooms, and 'mid the din
Of towns and cities, I have owed to them,
In hours of weariness, sensations sweet,
Felt in the blood, and felt along the heart;
And passing even into my purer mind
With tranquil restoration:—feelings too
Of unremembered pleasure: such, perhaps,
As have no slight or trivial influence
On that best portion of a good man's life,
His little, nameless, unremembered, acts
Of kindness and of love. Nor less, I trust,
To them I may have owed another gift,
Of aspect more sublime; that blessed mood,
In which the burthen of the mystery,
In which the heavy and the weary weight
Of all this unintelligible world,
Is lightened:—that serene and blessed mood,
In which the affections gently lead us on,—Until, the breath of this corporeal frame
And even the motion of our human blood
Almost suspended, we are laid asleep
In body, and become a living soul:
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
We see into the life of things.'
Here, he describes the concept of after-death experience that according to him, after we die, our bodies lay still, and we become a 'living soul' which is quite similar to the preachings of Bhagavad Geeta - an Indian Mythological Excerpt of the epic 'Mahabharata' :
"वासांसि जीर्णानि यथा विहाय
नवानि गृह्णाति नरोऽपराणि |
तथा शरीराणि विहाय जीर्णा
न्यन्यानि संयाति नवानि देही ||"
The English translation of the Shloka or verse by Swami Mukundanada :
'BG 2.22: As a person sheds worn-out garments and wears new ones, likewise, at the time of death, the soul casts off its worn-out body and enters a new one.'
☆ His Brief Account of The Wye River Located Nigh to the Tintern Abbey :
(Image Credits of Wye River : Wikipedia)
'If this Be but a vain belief, yet, oh! how oft—
In darkness and amid the many shapes
Of joyless daylight; when the fretful stir
Unprofitable, and the fever of the world,
Have hung upon the beatings of my heart—
How oft, in spirit, have I turned to thee,
O sylvan Wye! thou wanderer thro' the woods,
How often has my spirit turned to thee!'
☆ Wordsworth Recalls His Childhood Reminiscence :
'If this Be but a vain belief, yet, oh! how oft—
In darkness and amid the many shapes
Of joyless daylight; when the fretful stir
Unprofitable, and the fever of the world,
Have hung upon the beatings of my heart—
How oft, in spirit, have I turned to thee,
O sylvan Wye! thou wanderer thro' the woods,
How often has my spirit turned to thee!'
☆ Wordsworth Recalls His Childhood Reminiscence :
Further in the following stanzas, the poet recalls his reminiscence as how the natural forms used to please and haunt him when he was a boy :
'While here I stand, not only with the sense
Of present pleasure, but with pleasing thoughts
That in this moment there is life and food
For future years. And so I dare to hope,
Though changed, no doubt, from what I was when first
I came among these hills; when like a roe
I bounded o'er the mountains, by the sides
Of the deep rivers, and the lonely streams,
Wherever nature led: more like a man
Flying from something that he dreads, than one
Who sought the thing he loved. For nature then
(The coarser pleasures of my boyish days
And their glad animal movements all gone by)
To me was all in all.—I cannot paint
What then I was. The sounding cataract
Haunted me like a passion: the tall rock,
The mountain, and the deep and gloomy wood,
Their colours and their forms, were then to me
An appetite; a feeling and a love,
That had no need of a remoter charm,
By thought supplied, nor any interest
Unborrowed from the eye.—That time is past,
And all its aching joys are now no more,
And all its dizzy raptures. Not for this
Faint I, nor mourn nor murmur; other gifts
Have followed; for such loss, I would believe,
Abundant recompense. For I have learned
To look on nature, not as in the hour
Of thoughtless youth; but hearing oftentimes
The still sad music of humanity,
Nor harsh nor grating, though of ample power
To chasten and subdue.'
'While here I stand, not only with the sense
Of present pleasure, but with pleasing thoughts
That in this moment there is life and food
For future years. And so I dare to hope,
Though changed, no doubt, from what I was when first
I came among these hills; when like a roe
I bounded o'er the mountains, by the sides
Of the deep rivers, and the lonely streams,
Wherever nature led: more like a man
Flying from something that he dreads, than one
Who sought the thing he loved. For nature then
(The coarser pleasures of my boyish days
And their glad animal movements all gone by)
To me was all in all.—I cannot paint
What then I was. The sounding cataract
Haunted me like a passion: the tall rock,
The mountain, and the deep and gloomy wood,
Their colours and their forms, were then to me
An appetite; a feeling and a love,
That had no need of a remoter charm,
By thought supplied, nor any interest
Unborrowed from the eye.—That time is past,
And all its aching joys are now no more,
And all its dizzy raptures. Not for this
Faint I, nor mourn nor murmur; other gifts
Have followed; for such loss, I would believe,
Abundant recompense. For I have learned
To look on nature, not as in the hour
Of thoughtless youth; but hearing oftentimes
The still sad music of humanity,
Nor harsh nor grating, though of ample power
To chasten and subdue.'
☆ Pantheism in 'Tintern Abbey' with Special Reference to Some of the Verses of Bhagavad Geeta :
▪︎Bhagavad Geeta :
▪︎Bhagavad Geeta :
(Image Credits : Wikipedia)
The Shrimad Bhagavad Gita (/ˌbʌɡəvəd ˈɡiːtɑː/; Sanskrit: श्रीमद्भगवद्गीता, romanized: śrīmadbhagavadgītā, lit. 'The Song by God';), often referred to as the Gita (IAST: gītā), is a 700-verse Hindu scripture that is part of the epic Mahabharata (chapters 23–40 of book 6 of the Mahabharata called the Bhishma Parva), dated to the second half of the first millennium BCE and is typical of the Hindu synthesis.
The Gita is set in a narrative framework of a dialogue between Pandava prince Arjuna and his guide and charioteer Krishna, the Supreme Personality of Godhead. At the start of the Dharma Yuddha (righteous war) between Pandavas and Kauravas, Arjuna is filled with moral dilemma and despair about the violence and death the war will cause in the battle against his own kind. He wonders if he should renounce and seeks Krishna's counsel, whose answers and discourse constitute the Bhagavad Gita. Krishna counsels Arjuna to "fulfill his Kshatriya (warrior) duty to uphold the Dharma" through "selfless action". The Krishna–Arjuna dialogues cover a broad range of spiritual topics, touching upon ethical dilemmas and philosophical issues that go far beyond the war Arjuna faces.
('Introduction' Source of Bhagavad Geeta : Wikipedia)
The Shrimad Bhagavad Gita (/ˌbʌɡəvəd ˈɡiːtɑː/; Sanskrit: श्रीमद्भगवद्गीता, romanized: śrīmadbhagavadgītā, lit. 'The Song by God';), often referred to as the Gita (IAST: gītā), is a 700-verse Hindu scripture that is part of the epic Mahabharata (chapters 23–40 of book 6 of the Mahabharata called the Bhishma Parva), dated to the second half of the first millennium BCE and is typical of the Hindu synthesis.
The Gita is set in a narrative framework of a dialogue between Pandava prince Arjuna and his guide and charioteer Krishna, the Supreme Personality of Godhead. At the start of the Dharma Yuddha (righteous war) between Pandavas and Kauravas, Arjuna is filled with moral dilemma and despair about the violence and death the war will cause in the battle against his own kind. He wonders if he should renounce and seeks Krishna's counsel, whose answers and discourse constitute the Bhagavad Gita. Krishna counsels Arjuna to "fulfill his Kshatriya (warrior) duty to uphold the Dharma" through "selfless action". The Krishna–Arjuna dialogues cover a broad range of spiritual topics, touching upon ethical dilemmas and philosophical issues that go far beyond the war Arjuna faces.
('Introduction' Source of Bhagavad Geeta : Wikipedia)
Before going into the treatment of Pantheism in Wordsworth's poem, let us have a definition of the term 'Pantheism' :
• Cambridge Dictionary defines 'Pantheism' as :
'Belief in many or all gods, or the belief that God exists in, and is the same as, all things, animals, and people within the universe.'
So, it is the belief in the first place, not a proven fact; so on this belief that there is something called as soul rules the body of any living entity in the nature, we have innumerable philosophical treatises concerning existence of God, Spirit or Soul, Heaven - Hell, and so on - but in null and void.
• Cambridge Dictionary defines 'Pantheism' as :
'Belief in many or all gods, or the belief that God exists in, and is the same as, all things, animals, and people within the universe.'
So, it is the belief in the first place, not a proven fact; so on this belief that there is something called as soul rules the body of any living entity in the nature, we have innumerable philosophical treatises concerning existence of God, Spirit or Soul, Heaven - Hell, and so on - but in null and void.
Pantheism in the 'Tintern Abbey' is seen when Wordsworth seems to sense 'A Prescence' which is felt being amongst the natural forces like mountains, woods, brooks, sky, and very air we breath to live :
'...And I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man:
A motion and a spirit, that impels
All thinking things, all objects of all thought,
And rolls through all things. Therefore am I still
A lover of the meadows and the woods
And mountains; and of all that we behold
From this green earth; of all the mighty world
Of eye, and ear,—both what they half create,
And what perceive; well pleased to recognise
In nature and the language of the sense
The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul
Of all my moral being.'
So, it also adds to his moral discretion as he refers to nature as a 'teacher' in his 'Tables Turned' and a 'gudie' in his 'Tintern Abbey.'
'...And I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man:
A motion and a spirit, that impels
All thinking things, all objects of all thought,
And rolls through all things. Therefore am I still
A lover of the meadows and the woods
And mountains; and of all that we behold
From this green earth; of all the mighty world
Of eye, and ear,—both what they half create,
And what perceive; well pleased to recognise
In nature and the language of the sense
The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul
Of all my moral being.'
So, it also adds to his moral discretion as he refers to nature as a 'teacher' in his 'Tables Turned' and a 'gudie' in his 'Tintern Abbey.'
Now, let us compare the treatment of pantheism in Wordsworth's poem/s to that of the Bhagavad Geeta which although is found in most verses or Shlokas of Bhagavad Geeta, but particularly in the seventh chapter named as Gnyana-Vignyana Yoga or Knowledge of the Absolute. Here are some verses depicting pantheist point of view from this chapter of Bhagavad Geeta :
(Source for the Shlokas Images : https://vedantastudents.com/wp-content/uploads/2018/10/01-Bhagavad-Gita-Bashya-Chapter-10.pdf)
☆ Address to His Beloved Sister Dorothy :
☆ Address to His Beloved Sister Dorothy :
In the concluding stanzas, he addresses his sister Dorothy who along with him is present to the place Tintern Abbey.
'For thou art with me here upon the banks
Of this fair river; thou my dearest Friend,
My dear, dear Friend; and in thy voice I catch
The language of my former heart, and read
My former pleasures in the shooting lights
Of thy wild eyes. Oh! yet a little while
May I behold in thee what I was once,
My dear, dear Sister! and this prayer I make,
Knowing that Nature never did betray
The heart that loved her; 'tis her privilege,
Through all the years of this our life, to lead
From joy to joy: for she can so inform
The mind that is within us, so impress
With quietness and beauty, and so feed
With lofty thoughts, that neither evil tongues,
Rash judgments, nor the sneers of selfish men,
Nor greetings where no kindness is, nor all
The dreary intercourse of daily life,
Shall e'er prevail against us, or disturb
Our cheerful faith, that all which we behold
Is full of blessings. Therefore let the moon
Shine on thee in thy solitary walk;
And let the misty mountain-winds be free
To blow against thee: and, in after years,
When these wild ecstasies shall be matured
Into a sober pleasure; when thy mind
Shall be a mansion for all lovely forms,
Thy memory be as a dwelling-place
For all sweet sounds and harmonies; oh! then,
If solitude, or fear, or pain, or grief,
Should be thy portion, with what healing thoughts
Of tender joy wilt thou remember me,
And these my exhortations! Nor, perchance—
If I should be where I no more can hear
Thy voice, nor catch from thy wild eyes these gleams
Of past existence—wilt thou then forget
That on the banks of this delightful stream
We stood together; and that I, so long
A worshipper of Nature, hither came
Unwearied in that service: rather say
With warmer love—oh! with far deeper zeal
Of holier love. Nor wilt thou then forget,
That after many wanderings, many years
Of absence, these steep woods and lofty cliffs,
And this green pastoral landscape, were to me
More dear, both for themselves and for thy sake!'
☆ Conclusion :
Having discussed the masterpiece 'Lines Written a Few Miles above Tintern Abbey' by a 'worshiper of nature' and the great literary figure of Romantic movement William Wordsworth, we get the idea to merge ourselves with the natural forces and derive bliss being in company of them.
Thank You!
'For thou art with me here upon the banks
Of this fair river; thou my dearest Friend,
My dear, dear Friend; and in thy voice I catch
The language of my former heart, and read
My former pleasures in the shooting lights
Of thy wild eyes. Oh! yet a little while
May I behold in thee what I was once,
My dear, dear Sister! and this prayer I make,
Knowing that Nature never did betray
The heart that loved her; 'tis her privilege,
Through all the years of this our life, to lead
From joy to joy: for she can so inform
The mind that is within us, so impress
With quietness and beauty, and so feed
With lofty thoughts, that neither evil tongues,
Rash judgments, nor the sneers of selfish men,
Nor greetings where no kindness is, nor all
The dreary intercourse of daily life,
Shall e'er prevail against us, or disturb
Our cheerful faith, that all which we behold
Is full of blessings. Therefore let the moon
Shine on thee in thy solitary walk;
And let the misty mountain-winds be free
To blow against thee: and, in after years,
When these wild ecstasies shall be matured
Into a sober pleasure; when thy mind
Shall be a mansion for all lovely forms,
Thy memory be as a dwelling-place
For all sweet sounds and harmonies; oh! then,
If solitude, or fear, or pain, or grief,
Should be thy portion, with what healing thoughts
Of tender joy wilt thou remember me,
And these my exhortations! Nor, perchance—
If I should be where I no more can hear
Thy voice, nor catch from thy wild eyes these gleams
Of past existence—wilt thou then forget
That on the banks of this delightful stream
We stood together; and that I, so long
A worshipper of Nature, hither came
Unwearied in that service: rather say
With warmer love—oh! with far deeper zeal
Of holier love. Nor wilt thou then forget,
That after many wanderings, many years
Of absence, these steep woods and lofty cliffs,
And this green pastoral landscape, were to me
More dear, both for themselves and for thy sake!'
☆ Conclusion :
Having discussed the masterpiece 'Lines Written a Few Miles above Tintern Abbey' by a 'worshiper of nature' and the great literary figure of Romantic movement William Wordsworth, we get the idea to merge ourselves with the natural forces and derive bliss being in company of them.
Thank You!
¤ (word Count : 2536)
Comments
Post a Comment