Сompare and contrast the way nature is represented in the following Romantic poem and extract from a Romantic poem

Percy Bysshe Shelleys Mont Blanc and lines 452-542 from take Sixth of The feeler by William Wordsworth (Ro globetic belles-lettres An Anthology, pp.329-32 and pp.133-5 respectively)Both literary texts that we willing be dealing with in this essay, Percy Bysshe Shelleys Mont Blanc and an extract from platter 6 of The Prelude by William Wordsworth fit temporally to the Romantic Period (1780-1830), with the originator having been written in 1816, and the latter effected in 1805, al though it was not published until 1926. Wordsworth go bads to the inaugural generation of Romantic generators, whose Romantic literature was wartime literature. olibanum he had lived with the Revolutionary occlusive and had also witnessed the aftermath of it the dissipation in a long war. Despite his initial sympathy towards the early ideas of the Revolution concerning man and compassionate race liberties, he came to abandon them, turn from a fervent progressist into a resigned conservatist. He began to argue against the accredited idea of poetical language as a not bad(p) mode of eloquence available bargonly to those with an education in previous literary models, employing the language of men.The second generation, however, in which Shelley is included, belong to the post-war period, and having lived neither through the Revolution itself nor the reaction, they cut this change of cipher as a betrayal. Shelleys writing can be characterized as a continuous rebellion aiming at the establishment of the reign of love and liberty in human society. Mont Blanc constitutes an impressive recital of his belief in a eleemosynary force in personality and of honorable activity in man. Likewise, Wordsworths Book 6 from The Prelude, entitled Cambridge and the Alps, aims at charting the growth of a poets master brainiac, with particular emphasis on the importance of Nature, which is al delegacys a key pattern in his philosophy and poetry.Having given this background, we w ill start comparing and contrasting the way Nature is represented in the devil writings with fibre to their characteristics in monetary value of poetic form and language.Mont BlancMont Blanc is a 144-line ode composed during the writers journey to Chamounix Valley in southeast France and intended to reflect the shaftry through which he travelled. It is divided into five stanzas, with mixture in the number of lines in each, and is written in irregular rhyme as well as rhythmic pattern. This renunciation of regularity of pentameter iambics expresses a sense of granting immunity which aims, in turn, at bringing active feelings of sublimity evoked by such a close contact with Nature. The point of view is of number one-person, conveying, thus, immediacy.The poetry begins with the claim The everlasting macrocosm of things/flows through the mind., with which Shelley states his rejoinder to Mont Blanc to consider what the adorn before him can teach approximately the merging of Nature and the mind. In this first stanza, Shelley develops his understanding of the mind participating in Nature, comparing the human mind to a small stream surrounded by waterfalls and a river The source of human panorama processsuch as a fainthearted brookwhere waterfalls around it leap evermore (ll.5-9). Later in the poem as well, several ways in which the mind participates in the creative forces evident in the landscape are indicated, as in Lines 37-41, where his mind now renders and receives fast influencing.One boniface of wild thoughts.He squareises that knowledge is a combination of sensory perceptions and the ideas of the mind. The river can then(prenominal) lot as a emblem for the mind, a conscious power and a source for imaginative thought when he finishes the stanza with thou art there. Also, at the end of the poem, addressing the mount, he states that the arcanum potence of things/which governs thought, and to the eternal dome/of Heaven is as a law, inh abits thee (ll.139-141).However, at certain parts, this response is implied as impossible this world of thought is overly great for a human to comprehend (for the very spirit fails/goaded like a homelessamong the neutral gales, ll.57-59). By these means, the sublime of Nature is existence foregrounded.The starting lines of the second stanza talk of the gibe before him, the Arve, which is represented as the indicator the universal realm of thought, which surprises us by bursting into view like lightning (Thus thou Ravine of ArveBursting through these dark mountains, ll.12-19). The syntax of these lines is grotesque Thus probably confirms evidence for the previous claim, although it is not clear what is be demonstrated then, we take for sentence fragments, the use of dashes, even the article order of dark deep, that reverses typical locution. This disrupted, funny syntax denotes the pressure of this overwhelming experience, cause Shelleys senses to instantly break down.Fina lly, we have an enliven metaphor the Ravine, which is addressed as if it were active (Thus thou), and the Arve, which descends as Power from his secret throne (ll.16-17). This allows for the writer to later address call questions to Mont Blanc, suggesting a presence in it that finds an respondent response in us (Is this sceneonce this silent snow?, ll.71-74). In this third stanza, Mont Blanc is presented as piercing the infinite sky (l.60), whose subject mountains have unearthly forms (l.62) and the deeps are unfathomable (l.64), introducing thus its connections to this higher power. The alliteration in Line 78 so solemn, so serene foregrounds the perception that Nature can be both benevolent and malevolent, depending on the kinship one chooses to establish with it. In whatever case, even though the power is too great for mankind, it can indeed serve as a teacher who teaches awfully doubt (l.77), or a faith in human nature that will cheer the world.This language encourages u s to conceive the mountain as a cognizance something like-if not superior to-human thought, leading imagination to plump itself to the dimensions of it. In Lines 139-144 the power of the universe is symbolised by Mont Blanc, denying thus the existence of a inborn religion, but for that power to have every meaning, one must exercise the imagination. The questions with which Shelley ends the poem grant the reader granting immunity to hypothesise the ultimate question of what is Nature if it doesnt intermingle with human mind and imagination, reflecting perchance the freedom that he has experienced.The Prelude, Book 6Lets preempt to the extract from Book 6 of The Prelude now, which is structured as a narrative, grave a story which is complete in itself, as well as being part of The Prelude as a whole, and which forms part of Wordsworths autobiography. It is also lyrical in that in recounts his feelings and actions at a rum or typical moment during his mark of the Alps. It is written in blank verse, which perhaps helps avoid monotony, and the rhythm is iambic pentameter.In Lines 453-456, Wordsworth expresses his disappointment in Mont Blanc it is a soulless go out, which had unsurpd upon a living thought/That never could be. A living thought is better than a soulless image it is better to think than merely to see. Here, governmental language is applied to nature and the running(a) of mind (unsurpd), which could imply his disappointment in the contemporary political events.However, the sight of the valley of Chamounix is quite compensatory it is a book from which the young and disused learn (ll.473-7). He finds fascination in the landscape, which did make rich amends and reconciled us to realities (ll.460-1). The resource of country life, such as small birds co-existing with eagles, a reaper at work in the fields, and the threat of spend in the autumn sunshine, which is similed to a tamed lion (ll.466), are all experienced as edifying.The culmin ate comes at Line 524, when it dawns on them that they have crossed the Alps without knowing. The subdivision of surprise is prominent in this climax I was lost as in a cloud (l.525), which is perceived as the Power. The writer experiences a spiritual catharsis by being revealed of the power of the mind and the free-flowing spontaneousness of the language conveys to us this uplifting slew of exaltation. Wordsworth celebrates the way that powercameathwart him (ll.527-9). So, impotence in the presence is followed by a prox of infinite possibility, which is achieved through imagination and moves the poet from the frustrate place to time. The living thought/that never more could be (ll.455-6) is succeeded by a reference to something evenmore about to be (l.542). He is lost in the realm of time along with imagination, which transcends the human senses.Nevertheless,the light of sense/goes out in flashes that have shown to us/the invisible world (ll.534-6). This image conveys a denial that the normal faculties of consciousness are adequate to discover our destiny, our nature, and our home (l.538). The repeating of hope in Line 540 strongly foregrounds Wordsworths craving to reconstitute its grounds in a dark time of post-revolutionary reaction and despair. determinationOn balance, these two literary kit and boodle share an interesting similarity in their use of apocalyptic and millennial imagery to express the relationship of man to Nature and to higher powers they are both productive in making their readers aware of the greater harmony of the universe, both within and outside the boundaries of time. However, where Wordsworth admitted his disappointment on the view of real Mont Blanc, Shelleys reaction was the opposite. Furthermore, while Wordsworth places great emphasis on the interaction of the human mind with its environment, Shelley emphasises the passivity of the mind in the regular interchange with the clear universe of things around (ll.39-40) Nature is the messenger and the imagination acts upon it only after having received it.