Analysis Of Paradise Lost

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Embedded in myriad ways in the form and structure of his sonnet, William Wordsworth’s poem, “The World is Too Much With Us,” characterizes humanity as cynical and material, resounding the dissonance of human disconnect from nature.
Wordsworth’s comparison of man’s loss of nature to the biblical fall from Paradise—ultimate loss—is not limited to the auditory-visual realm, for it finds foundation in the structure of his elegiac sonnet. Succeeding Milton and his blank verse sonnet structure of Paradise Lost, Wordsworth writes a perverted resurrection of the Miltonic sonnet, a Petrarchan sonnet that omits the volta. While he largely retains the iambic pentameter of Milton, Wordsworth chooses not to indulge in the enjambment that distinguishes the fluid consciousness of Milton’s poetry. Instead, Wordsworth punctuates the end of each line, a physical curtailing that indicates an emphasis on efficiency. This construction of strong pause mirrors the then economical and transactional “nature” of society, what he refers to as the “getting and spending” of life (2). The best business deal is the best poem form: clear and straightforward. By making uncanny the known conventions and connotations of Milton, Wordsworth implicitly illustrates how society has deviated from the Miltonic ideal of unity and free thought, for “little we see in Nature that is ours” that influences us (3). Markedly, only the phrase “Great God! I’d rather be / A Pagan suckled in a creed outworn” is allowed to

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