The Cultural Geographies of Romantic Authorship in William Wordsworth’s “View from the Top of Blackcomb” and “Tintern Abbey”
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In this essay titled “The Cultural Geography of William Wordsworth’s Romantic Imagination,” I study the new nexus between road-making and military infrastructure represented by the Ordnance Survey and the construction of military roads in Scotland. The Ordnance Survey commenced with the triangular mapping of the Anglo-Scottish border in the year of 1745. When William Roy (1726-1790) and his successor William Mudge (1762-1820) carried out the Survey of the British Isles, their success was mirrored in the subsequent mapping of William Wordsworth’s poetry, particularly “Lines Composed a Few Miles Above Tintern Abbey” and “View from the Top of Black Comb.” Wordsworth is understood as the poet of nature in various cultures across time and space. Yet, how, why, when and even where we celebrate the career of Wordsworth as exemplary nature poet are open and contested questions. The purpose of my essay is to offer a critical examination of the theories, practices, and effects of the two current criticisms, New Historicism and Green Romanticism, in today’s Romantic studies. In keeping with an interdisciplinary focus, each section of my essay will explore a specific aspect of radiant intertexuality, broadly conceived, with the goal of prompting a range of different questions and viewpoints that reflect critical perspectives from across the poems as well as social and natural sciences developed into their specific geography, cartography, and geology. By aligning William Wordsworth, the Romantic poet with William Mudge, the cartographer, I conceive the encounter of these two distinct figures as taking place in a specific text of poetic articulation where cultural geography is constituted and disseminated by Wordsworth’s poetic imagination, making way for the invention of the new typographical design of the Lyrical Ballads, whereby local people in the real British landscape conceive themselves to participate in a common identity lost and displaced by contemporary geographical developments. At the crux of radiant intertexuality, I claim that Wordsworth’s Romantic poetry views the British empire of lyric poetry from the top of “Black Comb,” the specific poetic place enveloped by the reach and complexity of ongoing empire in the world.
Abstract
In this essay titled “The Cultural Geography of William Wordsworth’s Romantic Imagination,” I study the new nexus between road-making and military infrastructure represented by the Ordnance Survey and the construction of military roads in Scotland. The Ordnance Survey commenced with the triangular mapping of the Anglo-Scottish border in the year of 1745. When William Roy (1726-1790) and his successor William Mudge (1762-1820) carried out the Survey of the British Isles, their success was mirrored in the subsequent mapping of William Wordsworth’s poetry, particularly “Lines Composed a Few Miles Above Tintern Abbey” and “View from the Top of Black Comb.” Wordsworth is understood as the poet of nature in various cultures across time and space. Yet, how, why, when and even where we celebrate the career of Wordsworth as exemplary nature poet are open and contested questions. The purpose of my essay is to offer a critical examination of the theories, practices, and effects of the two current criticisms, New Historicism and Green Romanticism, in today’s Romantic studies. In keeping with an interdisciplinary focus, each section of my essay will explore a specific aspect of radiant intertexuality, broadly conceived, with the goal of prompting a range of different questions and viewpoints that reflect critical perspectives from across the poems as well as social and natural sciences developed into their specific geography, cartography, and geology. By aligning William Wordsworth, the Romantic poet with William Mudge, the cartographer, I conceive the encounter of these two distinct figures as taking place in a specific text of poetic articulation where cultural geography is constituted and disseminated by Wordsworth’s poetic imagination, making way for the invention of the new typographical design of the Lyrical Ballads, whereby local people in the real British landscape conceive themselves to participate in a common identity lost and displaced by contemporary geographical developments. At the crux of radiant intertexuality, I claim that Wordsworth’s Romantic poetry views the British empire of lyric poetry from the top of “Black Comb,” the specific poetic place enveloped by the reach and complexity of ongoing empire in the world.
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