By Wordsworth, William; Roberts, Jonathan; Blake, William
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Extra info for Blake. Wordsworth. Religion
I am interested in the sketch because it was drawn on the beach at Felpham in the same place that Blake had his vision – and although the sketch itself is undated, the Tate Gallery suggests that it was circa 1800,18 which would put it in the same year too. My question then is whether this might be a pictorial counterpart to the poem, and if so, whether it might provide more detailed empirical evidence to understand that vision. To my knowledge, no one has commented on this relationship between the poem and the sketch.
Wide web. In England, there had been late snow in May, but June was hot. After months of cool dull weather and rain, people were out in the sun – at least where I was – drinking lager at canal-side pubs. The summer term had finished and I felt conflicted about my studies, as I wanted to connect to the lives of these texts in other ways than the cognitive or even the aesthetic. I’d read a lot of Wordsworth, and knew both the Butts poem and the Excursion extract through anthologies. Postgraduate study was keeping me in daily contact with these poets, but was also, I felt, pushing me away from them: after all, what did scholarship really offer as a way into the mystical human life that Blake invokes, or the mystical reciprocity with nature shown by Wordsworth?
She panicked, and sought aid from Fawcett who, despite his anger with her, agreed to help. About this time, her husband returned home, and he and Fawcett set out in search of the old man, and before long they had found his abandoned tools. They shouted his name, but there was no reply. Darkness fell, the storm did not abate, and for their own safety they had to return home. Fawcett wept. The storm continued through the night, but in the morning the wind dropped and the rain abated, though the hills remained shrouded in an impenetrable mist.