The treatment of nature in English poetry between Pope and WordsworthReynolds, Myra
History
The treatment of nature in English poetry between Pope and Wordsworth
Reynolds, Myra
English poetry -- History and criticism; Nature in literature
Goodness that is ever-flowing through earth, air, and sea, and on the
ceaseless song of praise going up from the great community of Nature’s
sons. Boyse in his “Deity” thinks of God as an Almighty Architect, but
has a few lines in which he represents all Nature as being momently
derived from God. Young has a significant line when he says that night
is the “felt presence of the Deity.” The theme of Akenside’s poem is to
show the response which the imaginative mind finds in Nature, and this
response is, he says, the voice of the divine spirit. His conception is
usually, to be sure, that the divine spirit speaks through the forms
of Nature, rather than that the form and the spirit have an essential
union. Yet sometimes he speaks more clearly the new thought. He says
that the man who loves Nature holds daily converse with God himself;
the beauty of Nature flows directly from God; the order in Nature is
sacred; the influence whereby Nature soothes and cheers and elevates
man is really a divine influence. This is the fullest recognition of an
in-dwelling God until we reach Cowper. In his poetry we find a clear
statement of belief in the lines,
There lives and works
A soul in all things, and that soul is God,
but the point is not one on which he dwells. These passages certainly
foreshadow Wordsworth’s conception of God in Nature, but they are
comparatively feeble and unimaginative in expression. There is nothing
so Wordsworthian in Thomson’s sonorous lines or in Akenside’s ample
statement as there is the feeling that penetrates the brief words of
Lady Winchilsea and Parnell. Compared to these even Cowper seems cold
and intellectual.
Wordsworth did not, however, lay special stress on his belief that the
spirit he felt in Nature was divine. He rather took that for granted,
or allowed it to be implied in the passionate fulness and intensity
of his expressions of gratitude to that spirit for gifts of mind and
heart. This sense of indebtedness to Nature found no place in the
classical poetry. But in the transition period it receives surprisingly
full and varied expression. Sometimes it takes the form of personal
gratitude for special gifts; sometimes it is a general statement
of what man owes to Nature. A brief review of the more significant
passages will serve to show the characteristics of this feeling toward
Nature.
Public-domain text, read in full here on John Shaqi.
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