"Tintern Abbey" Further Explained

To further explain Wordsworth's glorification of nature in "Tintern Abbey," a bit of analysis is needed. According to Patrick J. Kennedy, "the poet depicts the ardour and intensity of his love for nature when a youth, the solace he was afforded in return, and the change in his feelings toward nature and beauty in his maturer years" ("Introductory Note" 91). Kennedy also states in his "Introductory Note" that "[f]urthermore, we find in them an exposition of 'that serene and blessed mood' of mystical rapture when the poet is enabled to 'see into the life of things,' and also some glimpses of Wordsworth's creed and philosophy of life" (91).  He experiences this solitude "amid the bustle and din of crowded cities, by calling up before his mind the images of these beautiful scenes [and how] their soothing power acted as a healing balm bodily and mentally by restoring his tranquility of soul" ("Introductory Note" 91-92). Wordsworth glorifies nature in his poem, "Lines Composed a Few Miles above Tintern Abbey." Without delving into his state of mind, the poem simply enlightens the audience that he returns to nature again and again in order to bring back the feeling which he lost. "His decay of genial spirits" needs to be enhanced (Wordsworth "Tintern Abbey" 113-14). The war that was going on between the country which he loved (England), to France, and the war in his mind between nature and city, conflicted with his love for England; therefore, he felt he needed to escape, back to tranquility, back to a time where he could "see into the life of things" ("Introductory Note" 92).

Patrick Kennedy's "Introductory Note" also analyzes lines 102-111 of the poem: "Accordingly, he is still a lover of nature. Formerly, he loved her for delighting his eye and ear; now he has additional reasons for loving her, as he recognises in her his nurse, his guide, his guardian and his teacher" (92). Wordsworth recognized nature as "his nurse, his guide, his guardian and his teacher" ("Introductory Note" 92) because, for him, it regarded a positive consideration of his country: a country he longed for, as well as loved. It restored a feeling of tranquility which he had previously. Nature taught him to appreciate the city, as well as remember his love for it ("Introductory Note" 92). This compares to his poem, "Composed upon Westminster Bridge . . ."; he can now pause and reflect upon nature with the guidance that it has afforded him. 

My visit to Hyde Park reminded me of the country which I came from: the United States. London is a wonderful city; I glorify this place and this country of England, much like Wordsworth did. My visit to Bath, however, conflicted my love of the city because Bath was how I envisioned England to be, with its cobblestone streets, and sense of calmness amongst its exterior walls. When I went to the parks, particularly Hyde Park, I saw and reflected upon the Memorial Fountain for Princess Diana. This visit returned me to a tranquil state of love which I had known, and always had, for England. In this instance, the glorification of nature was a teacher, and has served as a guide for my emotions, and like Wordsworth, reinforced the myth of England as an island nation ("Introductory Note" 92). The glorification of nature led to the return of tranquility in a time of unsettled peace, even with conflicts of interest for myself, as it did for Wordsworth. Thus, it reflects upon one view of England for Wordsworth: one which suggests it was a place of tranquility, even in a time of unsettled peace.    



Hyde Park: Princess Diana's Memorial Fountain. England.

Patrick J. Kennedy analyzes lines 83-102 of the poem:
     
But his attitude toward natural beauty has undergone a change. His
former love of Nature or the pleasures it gave his eye and ear has
produced in him a chastened mood, and led him to the love of
humanity as well, and to sympathy with its woes. Besides, he has
become aware of a "Presence" that permeates everything- the
heavenly bodies, the ocean, the air, and 'the mind of man'- an active
principle that circulates through all creation, 'the soul of all the
worlds'." ("Introductory Note." 92).
                                                                                                                                                                                                                                                                                                                                                                                                
Through this, Wordsworth begins to return to a love for his country; his love for a place, which is England. Nature brought him the tranquility that he needed in order to be brought back to the myth of England as an island nation. Much like his visit to Westminster Bridge in his poem, "Composed upon Westminster Bridge, September 3, 1802," Wordsworth returns to a city which is the depths of glorification for him. Tintern Abbey restoreth his soul, or his glorification of England whereas in "Composed upon Westminster Bridge . . .," he already has this restoration, or tranquility, for a city, or place, because of Tintern Abbey.

Patrick J. Kennedy analyzes Lines 29-35 of the poem: "The recollection of beautiful scenes brought a refreshing calm even into the innermost depths of his soul, where even pleasures once experienced, but now forgotten, had left their effect, because every act plays its part in the formation of character" ("Notes" 94). Also, lines 90-93: "Love of nature has brought him into sympathy with man and his sorrows" ("Notes" 97). This analysis of the lines of the poem, "Tintern Abbey," reinforces my thoughts as well. The effect that nature had on Wordsworth (the effect that it brings to his next poem, "Composed upon Westminster Bridge, September 3, 1802") formulates the spirit of England which he always had, yet needed restoring. This peace which he obtained through nature itself brought him the tranquility that he needed in an unsettled time; ultimately, he viewed England in the spirit which it should be. This "sympathy with man and his sorrows" possibly explains the return of that spirit for Wordsworth because in his next poem, which I investigate: "Composed upon Westminster Bridge . . .," he is at peace with his country. The theory that "every act plays its part in the formation of character" further identifies with the Westminster Bridge poem as well. "Tintern Abbey" ultimately regards this because Wordsworth finds a tranquility in nature, brings it back to the city, and to an England that was always there for him that he needed reminding of. This is reiterated when he and his sister, Dorothy, return to France for a month long excursion ("Footnote 1").    

"Footnote 1." Wordsworth, William. “Composed upon Westminster Bridge, September 3, 1802.” The Norton Anthology of English Literature. 8^th ed. Vol. D: The Romantic Period. Eds. Stephen Greenblatt, M. H. Abrams, Jack Stillinger, Deidre Shauna Lynch. New York: Norton, 2006. 317. Print.                        

"Introductory Note." Kennedy, Patrick J. Lucidas by John Milton. Lines Composed a Few Miles above Tintern Abbey and Ode on the Intimations of Immortality by William Wordsworth. Dublin: M. H Gill and Son, N.d. 91-92. Print. British Library.                                                            

                   
"Notes." Kennedy, Patrick J. Lucidas by John Milton. Lines Composed a Few Miles above Tintern Abbey and Ode on the Intimations of Immortality by William Wordsworth. Dublin: M. H. Gill and Son, N.d. 93-101. Print. British Library. 

Wordsworth, William. “Composed upon Westminster Bridge, September 3, 1802.” The Norton Anthology of English Literature. 8^th ed. Vol. D: The Romantic Period. Eds. Stephen Greenblatt, M. H. Abrams, Jack Stillinger, Deidre Shauna Lynch. New York: Norton, 2006. 317. Print.                                                                                                              

Wordsworth, William. “Lines Composed a Few Miles above Tintern Abbey.” The Norton Anthology of English Literature. 8^th ed. Vol. D: The Romantic Period. Eds. Stephen Greenblatt, M. H. Abrams, Jack Stillinger, Deidre Shauna Lynch. New York: Norton, 2006. 258-62. Print.