It is from the ancient Greeks and the Miltonic era that romantic poets have learned to so casually reject their profound place in society. They claim often to be some small part of an awesome whole; the vastness of earth, its circularity (life cycle), the infinitudes of time all decreasing the relative size of any one work. However, I feel it is this very size and impersonal quality of the earth that makes the words of the romantic poet so beautiful and meaningful.
[...] One must look at correlation, why are the cities in existence? What do they symbolize? Urbanization has always been a symbol of revolution, a move away from the farms, streams, and trees of many of the romantic's childhood. Not only did the cities bring aesthetic displeasure to the poets but the industrialization brought the ruination of many natural elements, water and wood became a source for fiscal advancement rather than the subject of beautiful art. Schools taught politics, business, and math along with art. [...]
[...] That death is all around us is certainly no secret, the fact that one doesn't notice such small murders as certain blades of grass speaks to forgetfulness of nature's importance and its ability to remain in the background while humanity hustles and bustles fretting about “important” issues. But the speaker is so alone, his depth of understanding so sensitive and open he is completely in tune with what is going on outside his cottage. While nature does kill it will be reborn by the end of the poem. [...]
[...] (19-23) The little dying fire in the room and the soot that floats are the only other active elements in the room, his companion; it is this current companion that flings the speaker to the last time he sought and longed for a companion (fluttering stranger). This is a striking transition back to Coleridge the boy in the classroom who looked through the bars, imprisoned waiting for freedom from city life, longing for a friend and the return to the nature of his youth. [...]
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