The Prelude – William Wordsworth

Fardad Hajirostami Guilty Conscience In his numbers, The Prelude, William Wordsworth relives a childhood epiphany that alters his learning of character. Wordsworth describes this experience of his through his voyage in a boat which later dramatically turns into a nightmarish journey. Through part of suspenseful diction, dramatic personification, and descriptive phrase structure, Wordsworth vividly illustrates his perception of nature and how he views it with accredited trepidation after he encounters a towering and horrific get in.The opening lines of the poem immediately personify nature as having a feministic quality. When Wordsworth stumbles upon a boat and unloosens its chain, he describes this incident as an act of larceny and troubled pleasure. Wordsworth in a sort foreshadows possible dangers that are lurking in the near future receivable to his punishable moral sense. This guilty conscience stack as well be interpreted as a consequence of the sexual seduction of nature and the boat as suggested by the informants syntax and tone.The seeds mentioning of the boat as an elfin cutlery and the description of how he lustily dipped his oars into the silent lake confirm the authors premature and lascivious tendencies. Wordsworths bearing towards the alliance that he shares with the boat to a fault infers a sense of egotism and overconfidence. He describes himself as one who rows, proud of his skill, to come across a elect point with an firm line, with a fixed view. Wordsworths syntax and his choice of the words fixed, chosen and unswerving all further damp and emphasize his haughty youthful character.Later in the poem, when Wordsworth witnesses a monstrous glum figure appearing on the horizon that seemed to master an utmost boundary, a explosive shift in tone and diction takes place. The authors seemingly direct of nature and his sexual dominance is utterly stolen away from him due to a symbolical drab figure that in a way represent s Wordsworths guilty conscience and childhood illusions. In addition, the author has disjointed his composure and proud skill in the way he paddles away with palpitation oars. The incidence of this daemon figure alone transformsWordsworths tranquil and hearty relationship with nature into a dreadful and awkward one. Wordsworths earlier intimacy with nature transforms to solitude and blank desertion. The authors perception of nature contrasts with that of the Romanticists. The beaten(prenominal) shapes are no longer common and no pleasant images of trees or modify of green fields linger in the authors conscience. The authors anticipation of possible dangers that seemed inevitable due to the suspenseful nature of the poem did non compare to the extent of such an episode.A separate distinction between the authors perceptions of nature earlier and later in the poem arises in the extent in which he personifies it. Initially, nature was illustrated as possessing an trifling qua lity and a mere existence. This connotation suggested that he controlled natures way and determined its fate. Later, however, this earlier notion of his is alter once a huge peak, black and huge appears on the horizon. The voluntary tycoon instinct of the figure implies that it has acquired unnatural and human-centred qualities and thus haunted the authors dreams.Wordsworths description of nature can be interpreted as Wordsworths childhood sexual fantasies with feminine figures composition the black figure symbolically represents apparitional condemnation of his society at the time. The morals and customs of the society in which Wordsworth lived in presumably disdained the sexual desires of the youths. Consequently, Wordsworth unconsciously fears the black figure and interprets it as a forte that has come to punish his unfitting and lustful behavior.