Carefully Read the Poem Simon Lee by William Wordsworth
Simon Lee the Old Huntsman is a ditty which occurs in Lyrical Ballads and was written in 1798, united, thus, temporally to the Romantic age (1780-1830). Romantic agreement is often signed delay some key elements, which solicitude ingenuity, essence, symbolism and fiction (although there possess been writers of this age who were not as ‘mainstream’). William Wordsworth has been typeised as a lull inventor of Romantic Poetry in that his employment is very-much immovable to the conception of Essence and sufficiency of intimation is made to it.
Approaching a fragment of scholarly employment, leveltually, from this perspective is very astringent, consequently, in this essay we achieve try a ‘social’ or ‘historical’ peel of adit. We shall try to ‘read’ the effectlistic talk set-up in the ditty as collective or literal yarn through the interesting techniques industrious by the writer. In other utterance, we achieve analyse the way uncertain elements of interesting arcollocate and talk foreigner to form purport and goods. Simon Lee is encircling an old huntsman who, spaceliness was uninterruptedly zealous and free, now strives to operation his impoverished vigor and ability.
The ditty recounts an real attack of the tingler delay this old man. It seems to be a mongrel of metrical and narrative (a metricalal carol). Metrical in that we possess a superexcellentval-idiosyncratic countenance of feeling and watchfulness upon the operations and feelings of an indivisible at a detail trice, spaceliness narrative, spent there is a narrator and another type, whom the arrangeer attacks and, later, represents. There are 12 stanzas of view threads each delay a tingle plea of ABABCDED that causes the threads to run smoothly.
The superexcellentval stanza of the ditty introduces us delay Simon and sets the scene: ‘In the fresh shire of Cardigan’. It is unsophisticated from the outset that Wordsworth is traffic delay a subject from base vitality, spent entire discoverer is base delay and can draw a fresh shire, the corresponding way the conception of ‘pleasant’ is unconstrained to grip. Furthermore, a course of deferential, unsophisticated adjectives that extract soberness are used to reexhibit Simon: ‘old man’, ‘a weak man’, who ‘uninterruptedly was tall’ making it disentangled that the ‘hero’ of the ditty is exact a meek, conventional old man.
Nature, Wordsworth argued, can snatch inhabitants from the insanity, discomfiture and composure of coeval courtly vitality. It seems to me that by choosing to begin the ditty placing the discoverers in a agricultural area separate from courtly vitality, he seeks to extract feelings incongruous to the ones mentioned aggravate, those that are for him united delay separate-from-essence settings. The prevent stanza is, I cogitate, slightly mournful, spent two altogether incongruous adjectives- ‘poor’ and ‘merry’- are used to reexhibit this corresponding idiosyncratic simply in two contrariant ages of his vitality: in the spent and exhibit.
In this way, the tortuous down of Simon’s vitality aggravate the years becomes level further strenuous to the discoverer. The imaginative foreigner ‘has he/ see’ in Lines 1 and 3 of the prevent stanza is unreserved as interesting violation. Wordsworth has inverted the message ordain for the cause of the gauge perception of the verse as courteous as of the rhythm, twain of which would possess been contrariant if he had used ‘he has’. Perhaps any other precious would possess made the tingle plan close unfussy than it is now, and entanglement is what he has genial to dodge throughout the unimpaired ditty.
The unconstrained tingles ‘merry/cherry’, ‘sound/round’, ‘sick/thick’, ‘door/poor’ are so exactified by this plea. The similitude ‘like a cherry’ is quickly extraneous from the ‘diction’ of Essence and can be abundantly comprehended and drawd by the preponderance of the base population-especially in agricultural areas. In the fourth stanza the retrospection stops and Simon is no longer in the superexcellent of his vitality. He is no longer vigory, rather he is ‘impecunious old Simon Lee’ frequently, who ‘has no son’, ‘has no child’, he simply has ‘an ancient woman’ and they twain subsist ‘upon the village base’.
Simon Lee is frequently transformed into the old man that was exhibited to us in the superexcellentval stanza and the interesting violation of ‘village base’ powers to license an imitation of the baseness of entirething that surrounds this man, for uninterruptedly further. For the aftercited four stanzas this draw of his is highlighted through utterance such as ‘lean’, ‘sick’, ‘thin’, ‘dry’, ‘weak’, ‘the weakest in the village’ or the effigy of his ankles, which are ‘swoln and thick’. By these instrument, the discoverer is ‘forced’ to sympathise delay the model, who is altogether lone.
Even further, the relation (which could so be typeised as alliteration) of the turn ‘he has no’ in Thdiscbalance 5 of the fourth stanza reinforces the perception of retirement and broken-character that is formd. The corresponding commodities is so achieved by the alliteration that occurs betwixt the utterance ‘sole’ -‘survivor’ in Thdiscbalance 8 of the third stanza. What is strikingly grand is that there is a cessation at the end of approximately each thread, either a comma, a semi-colon, a full-stop or an utterance note, delay interrupted oppositions in some threads in an disunited plan.
This stylistic emblem, unreserved as ‘enjambment’, suggests that these unusual threads indeed run on; leveltually, on totality of the real thdiscbalance result itself (delay no punctuation note) the discoverer is made to cessation for a spaceliness and conceive. In other utterance, he can discbalance each thdiscbalance sloth. This employments to help any perception of pause or force delayin the ditty. Or we can say that the writer initially bequest at reproducing polished qualities of poise, similitude and rate, spaceliness the variations noticed may power to manifest the restlessness that has occurred to the aggravate.
Suddenly, in the ninth octave Wordsworth writes quickly to the discoverer –‘My polite discoverer’- and asks him to look-for no operation; the ditty is not climactic and the tingler is addressing this occurrence (‘It is no fable’). Through the turn ‘I perceive’ he reveals his insight into the discoverer’s reactions (‘ I’ m suspicious that you look-for some fable achieve be related’) and he establishes that there is no decomposition or height to be look-fored. He is so impmendacious the discoverer’s blindness of the ‘tale’ already told by Simon’s aging body: the occurrence that he is meekd spaceliness he realises that struggling frequentlyst a declensioning organism is desperate.
At this subject-matter it jurisdiction be profitable to conceive of the discoverers whom this ditty was originally formd to address. On the one agency, Wordsworth has chosen to embody the base inhabitants of agricultural vitality in his collocate of conference, and consequently is using their own talk. In the ‘Preface’ to his Lyrical Ballads of 1802 he argues that the talk of tinglerry ought to be ‘talk of men’. As he says, this is accordingly the agricultural impecunious ‘convey their feelings and conceptions in unsophisticated and unelaborated countenances’ (Wu, Romanticism,1994 p. 252). Their conduct do not modify as they are not forced by mould, so their talk is further spentre.
On the other agency, by the turn ‘my polite discoverer’, we could so say that he is addressing the discoverers united to the upper-rank of companionship; the educated inhabitants who would look-for a further elaborated talk and this ditty to indeed be far close proset-up that it indeed is. To those inhabitants who cannot see that it powers to be symbolic, but who simply see the utterance and the levelts delayout the purport mendacious adown these. Wordsworth had subsistd through the Revolutionary age and was frequentlyst the future effects, which is why he had the office of a innate.
He was influenced by the subversive effects of the age. It seems that through this ditty he seeks to modify the collective mode of the space. He seeks for a further subversive avow and he trys to by this conception through the use of unsophisticated, unelaborated talk, which is cogitateed as ‘uncorrupted’. Let’s not obliviate that it was written in a age of singular collective and collective modify. Therefore, in one perception, he conducted his own ‘collective revolution’, influenced by the collective matter delayin which he formd tinglerry.
He was frequentlyst the common effect of interesting talk condition as polished and animated as to be advantageous simply to those delay an education. We jurisdiction, thus, say that by addressing his discoverer in these two stanzas he is condition ironic towards this rank of companionship. At the blank of the ditty, where the simply operation so far has been the declension of vitality, this ‘single blow’ in the twelfth stanza seems to be releasing a perception of insubservience from this cosmical law and the writer’s character suggests this ovation aggravate aging and declension.
Simon’s retort to this comes delay ‘The respect into his eyes’ and ‘thanks and praises’ , conveying a shelve from privative to positive; from commiseration to respect, spent watchfulness now byes from Simon’s extraneous declension to the endclose ‘activity’ and honesty of his character. The writer is aggravatewhelmed by this gratefulness developed towards him and suggests that peelness delayin one’s character may aggravatecome any substantial declension that comes delay aging and produce encircling this religions operation that equals substantial vigour of immature.