Romanticism And The Child Depictions Of Children In The Poems We Are Seven And Anecdote For Fathers By William Wordsworth

Seminar paper from the year 2018 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Heidelberg (Anglistisches Seminar), course: Hauptseminar First Generation Romantic Poets, language: English, abstract: William Wordsworth provides material for an extensive study of children and childhood in Romanticism with his oeuvre. The notion of "The child is father of the man" appears to be ingrained in earlier works such as the volume "Lyrical Ballads" (1798) as well. The poems discussed in this paper are ‘We are Seven’ and ‘Anecdote for Fathers'. Is the child a teacher or the origin of the adult? Or is it something inferior? How does the portrayal of the children in the two poems differ and in what ways are they similar? The interpretation and comparison of these poems will provide an insight into Wordsworth’s Romantic child. In these two ballads adult narrators describe their encounters and conversations with a child. The focus here is clearly on the descriptive aspect (e.g. the child’s appearance and behaviour). To get an historical background of the prevalent ideas of childhood and children of Wordsworth’s contemporaries, a short summary of the two dominant philosophers Jean-Jacques Rousseau and John Locke, who both coined the Romantic views on childhood, is provided (Chapter 2). The analysis of the poems themselves is divided into several subcategories: the portrayal of the child (3.1.), the child in relation to the adult (3.2.), the child’s use of language (3.3.) and the child’s worldview (3.4.). The categories have been chosen in consideration of the research questions whether Wordsworth’s children are portrayed positively.

Popular anthologies hold that the Romantic Era in Great Britain ended promptly in 1832 and that the early Twentieth Century was the time of Modernism and the rejection of the Romantic in British letters. However, in Wales, just the opposite was true. This study traces the work of poets and novelists in Wales in the early- to mid-Twentieth Century who all found their poetic master to be William Wordsworth. In the early part of the century, W. H. Davies, John Cowper Powys and Huw Menai – a tramp, a mystic novelist and a coal miner – produce novels and poetry with Wordsworth as their acknowledged master. By mid-century, Idris Davies, a coal miner turned teacher, R. S. Thomas, an Anglican priest, and Leslie Norris, another teacher, are writing in the “mountainous shadow of William Wordsworth.” While the literary lights of London are leading the Modernist revolution, in Wales, the inspiration is still the English poet, Wordsworth. This study will illuminate this flare up of Romanticism, and show the way in which Romanticism re-emerges from unexpected quarters.

Seminar paper from the year 2014 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Bristol (Faculty of Arts), course: Literature 3 - 1700 to 1830, language: English, abstract: The work addresses the representation of the child through selected works from Blake's Songs of Innocence and of Experience. As a poet of unknown value during his lifetime, William Blake remains an exceptional writer of the early Romantics. Blake was not only exceptional for his devotion for an aesthetic form of his illuminated poems but he was also unique for his strong concentration of thought. In contrast to the Enlightenment thinkers, John Locke and Jean-Jacques Rousseau reconsidered the special stage of childhood. It was the great influence of Rousseau’s image of the child, not seen as a small adult but as a human being in its own entity and of natural innocence, which induced Blake to write his Songs of Innocence (1789) and its counterpart Songs of Experience (1794) a few years later.