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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 1999.2
- 수록면
- 121 - 144 (24page)
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An Evening Walk, Wordsworth’s first published poem, has usually been taken as a product of his poetic apprenticeship, a preparation for his maturing poetic genius. It is a traditional 18th century meditative landscape poem full of picturesque descriptions which seems to have little to do with radical politics and humanitarian concerns, the hallmark of Wordsworth’s early masterpieces. This paper re-examines the quality of An Evening Walk’s picturesque descriptions to establish a closer connection between An Evening Walk and the poems of Wordsworth’s golden decade(1798-1808) that are supposed to contain more genuinely Wordsworthian poetic quality. The main agenda, therefore, is to explore the political implication of the picturesque both as an artistic discipline and a descriptive practice as is materialized in An Evening Walk.
In the later 18th century, the picturesque was established as an aesthetic category by William Gilpin and Uvedale Price, and their versions of the picturesque were markedly aesthetic in their orientation, which implies paradoxically that they were under great pressure to accommodate more social reality in their picture of the picturesque landscape. The picturesque descriptions of An Evening Walk, in fact, are based on the artistic compromise the Gilpin’s aesthetic picturesque had to make, which tend to suppress or “adapt” the human figures of the picture into the natural landscape in which they are placed.
Such descriptive strategy of “adaptation” is by and large successfully applied in An Evening Walk until it reaches the episode of a female vagrant, a stock character of the humanitarian social protest poems. Wordsworth tries to contain the moral implication of the episode but only with partial success. The poetic narrator of An Evening Walk, safely distanced, sober, and objective all along, fails here to suppress his emotional involvement with the pathetic case of the female vagrant. Sudden change of the scene into that of the swans, an emblem of “tender Cares and mild domestic Loves,” which, in my view, is his desperate measure to maintain the aestheticism of the picture, only testifies to the depth and intensity of the poet’s moral impulse that is due to articulate itself more clearly in the ensuing poems. The politics of the picturesque in An Evening Walk, and the invisible, yet powerful existence of Wordsworth’s moral impulse behind the picturesque description, therefore, should be more properly appreciated to allow a fair share of poetic esteem to Wordsworth’s first published poem.
In the later 18th century, the picturesque was established as an aesthetic category by William Gilpin and Uvedale Price, and their versions of the picturesque were markedly aesthetic in their orientation, which implies paradoxically that they were under great pressure to accommodate more social reality in their picture of the picturesque landscape. The picturesque descriptions of An Evening Walk, in fact, are based on the artistic compromise the Gilpin’s aesthetic picturesque had to make, which tend to suppress or “adapt” the human figures of the picture into the natural landscape in which they are placed.
Such descriptive strategy of “adaptation” is by and large successfully applied in An Evening Walk until it reaches the episode of a female vagrant, a stock character of the humanitarian social protest poems. Wordsworth tries to contain the moral implication of the episode but only with partial success. The poetic narrator of An Evening Walk, safely distanced, sober, and objective all along, fails here to suppress his emotional involvement with the pathetic case of the female vagrant. Sudden change of the scene into that of the swans, an emblem of “tender Cares and mild domestic Loves,” which, in my view, is his desperate measure to maintain the aestheticism of the picture, only testifies to the depth and intensity of the poet’s moral impulse that is due to articulate itself more clearly in the ensuing poems. The politics of the picturesque in An Evening Walk, and the invisible, yet powerful existence of Wordsworth’s moral impulse behind the picturesque description, therefore, should be more properly appreciated to allow a fair share of poetic esteem to Wordsworth’s first published poem.
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