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• W268570344 abstract "There is great alone on earth: noble living and the noble dead. (The Prelude [1805] 10.967-69) Once celebrated for healing natural supernaturalism, more recently Wordsworth's Home at Grasmere has been read for its tensions and disruptions. These readings usually attribute the text's discontinuities to Wordsworth's ambivalence towards Grasmere as a community, to his wariness, indeed, of the very idea of social relationship. Implicit in economic and psychoanalytic interpretations, the problem of in Home at Grasmere achieves fullest formulation in criticism which assesses the poem from the perspective of Recluse. From this viewpoint, Wordsworth undermined his text's coherence in 1806 when he yoked his lyrical invocation of Grasmere to social materials incommensurate with it but mandated by the public orientation of Recluse.(1) limitations of this approach emerge when we notice that Wordsworth's two most disruptive passages--his narratives of the missing swans and the Grasmere residents (332-57, 469-645)--thrust death into the text, and that criticism stressing the social too often dismisses the deathly. To Kenneth Johnston, for instance, the Grasmere stories appear nearly pointless, for their strained moral logic but partly because they all concern death and men's creative energy in overcoming--or even causing--death and grief.(2) Yet in Home at Grasmere the issue of community must be assessed in relation to the issue of death. Wordsworth understood thoroughly that the social construction of death bequeaths death socializing agency. He had read his Burke. In fact, the sociology of death in Home at Grasmere employs Burkean traditionalism to celebrate a trans-generational community of the living and dead. By ensuring the dead their place in life, this community grants the living a prospective deliverance from mortality, and thereby wins the poet's particular gratitude. Many of Wordsworth's most memorable poems show his rebellion against the consciousness of death's necessity.(3) But poems conceived as immortalizing projects obligate poetry to death, ironically, by decreeing death to be the motivational ground of the poetic enterprise. This complicity of imagination and death centers Wordsworth's reflections on poetry in Home at Grasmere. By using death as a figure for poetic representation, Home at Grasmere joins the Lucy and Matthew lyrics, The Brothers, Michael, and other 1798-1800 Wordsworth texts in conjuring the assent to mortality implicit in imagination. Grasmere incarnates a communal model, in turn because it can seemingly immortalize the poet, enlisting him in that One great society through which tradition canonizes individual talent. For these reasons, the of death in Home at Grasmere indicates both a local community and a cultural genealogy. Wordsworth uses death as figure linking social and poetic values or, rather, as a figure revealing their unavoidable connection. No testament to the egotistical sublime's aversion to society, Home at Grasmere reveals Wordsworth's authentic commitment to a communally grounded, communally oriented poetics. Home at Grasmere opens in a mood of pastoral nostalgia, with the speaker recalling his first sight of Grasmere's secluded beauty: Once on the brow of yonder Hill I stopped, While I was yet a School-boy (of what age I cannot well remember, but the hour I well remember though the year be gone), And with a sudden influx overcome At sight of this seclusion, I forgot My haste--for hasty had my footsteps been, As boyish my pursuits-[and sighing said], What happy fortune were it to live! And if I thought of dying, if a thought Of mortal separation could come in With paradise before me, to die.(4) Why here to die? Differently phrased, the poet's wish to die in Grasmere would appear unexceptional, an obverse rendering of the desire to abide there always. …" @default.
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• W268570344 date "1996-01-01" @default.
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• W268570344 title "The Society of Death in 'Home at Grasmere.'" @default.
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