Explore how the poems “Extract: From The Prelude” and “Storm on The
Island” present nature (30)
Both works place utter emphasis on the superiority of nature and its enormity. Wordsworth, a
romantic poet, who was interested in social and political order and the power of nature: this political
order is subverted, composed in iambic pentameter form, reflecting the impulsiveness of nature.
Influenced by Satan's Pandemonium, by Milton, Wordsworth alludes his excerpt to the physical
similarities of setting itself, characterised by fear. Whereas Heaney's work articulates uniform
identity in the adversity of the “fear” of nature, set in a remote community on an island during a
metaphorical ‘storm’ that exploits The Troubles, where the free-verse form replicates the ‘islands’
solidarity and coalesces each denomination in order to reconcile, and end this ‘storm.’
Power of nature in Wordsworth’s work resonates with the individual, whereas Heaney places
emphasis on unity - “prepared” to confront the ‘storm.’ The static image “we just sit tight” employs
the pronoun “we," similarly the intensifier “just," conveying a sense of desperation, yet unity - the use
of sibilance in ‘harsh, houses, squat’ reinforce this idea of the ‘storm’ hissing - Heany domesticates
the storm, communicating an idea of control - despite an external barrier, the ‘storm’ penetrates,
suggesting it is internal - this ‘storm’ is our home. Conversely, in Wordsworth's work, the protagonist
(as a child) is alone, indicated by the singular ‘one’ alongside nature, yet ‘led by her’ - this edenic
setting of isolation taps into a biblical theme of temptation - ‘Eve,’ portrayed as ‘her’ who led Adam to
the ‘tree’ - here, the ‘willow tree,’ despite God’s objection - which is the ‘chain’ the boat is tied to - in
this way, the power of nature is subverted by the protagonist, and fatally underestimated - this
ultimately ends in torment: the ‘huge black peak.’ This rigid dichotomy when likened to Heaney’s
work displays a community, who have built their “houses squat” to withstand the “gale”, hammering
the notion that they are protecting themselves from the ‘storm’ - perhaps, this ‘squat’ and ‘sink walls’
are euphemism for the conflict - Wordsworth confronts the danger, whereas Heaney withstands.
Thus, the protagonist in Wordsworth's work signposts a memorable lesson by nature, tapping into the
theme of allegory, whereas the community in Heaney's work acknowledges the upper-hand of nature,
‘preparing.’
Both works are composed in unrhymed iambic pentameter, with a plethora of long sentences,
mirroring this fragmented relationship between man and nature - or perhaps, mimicking the
disruption nature has imposed. In Wordsworth's work, the protagonist begins at ease, convinced he is
in utter control, engaging with this idyllic setting where there is “light” - this signposts the
protagonist, providing a goal - this serene atmosphere is reinforced by the lateral sounds, ‘still…
small… all… idly’ mimic the steady movement of the protagonist. This creates a a macabre tone, where
nature is ‘lulling’ the child into a false sense of security, soon to be demoted back into his inferior role
of humanity: the plethora of enjambment reinforce this ‘lulling’ idea, or the limitless flow of the ‘little
boat’ and stream. Whereas Heaney’s work depicts a ‘wizened earth,’ where ‘no stacks or stooks that
Island” present nature (30)
Both works place utter emphasis on the superiority of nature and its enormity. Wordsworth, a
romantic poet, who was interested in social and political order and the power of nature: this political
order is subverted, composed in iambic pentameter form, reflecting the impulsiveness of nature.
Influenced by Satan's Pandemonium, by Milton, Wordsworth alludes his excerpt to the physical
similarities of setting itself, characterised by fear. Whereas Heaney's work articulates uniform
identity in the adversity of the “fear” of nature, set in a remote community on an island during a
metaphorical ‘storm’ that exploits The Troubles, where the free-verse form replicates the ‘islands’
solidarity and coalesces each denomination in order to reconcile, and end this ‘storm.’
Power of nature in Wordsworth’s work resonates with the individual, whereas Heaney places
emphasis on unity - “prepared” to confront the ‘storm.’ The static image “we just sit tight” employs
the pronoun “we," similarly the intensifier “just," conveying a sense of desperation, yet unity - the use
of sibilance in ‘harsh, houses, squat’ reinforce this idea of the ‘storm’ hissing - Heany domesticates
the storm, communicating an idea of control - despite an external barrier, the ‘storm’ penetrates,
suggesting it is internal - this ‘storm’ is our home. Conversely, in Wordsworth's work, the protagonist
(as a child) is alone, indicated by the singular ‘one’ alongside nature, yet ‘led by her’ - this edenic
setting of isolation taps into a biblical theme of temptation - ‘Eve,’ portrayed as ‘her’ who led Adam to
the ‘tree’ - here, the ‘willow tree,’ despite God’s objection - which is the ‘chain’ the boat is tied to - in
this way, the power of nature is subverted by the protagonist, and fatally underestimated - this
ultimately ends in torment: the ‘huge black peak.’ This rigid dichotomy when likened to Heaney’s
work displays a community, who have built their “houses squat” to withstand the “gale”, hammering
the notion that they are protecting themselves from the ‘storm’ - perhaps, this ‘squat’ and ‘sink walls’
are euphemism for the conflict - Wordsworth confronts the danger, whereas Heaney withstands.
Thus, the protagonist in Wordsworth's work signposts a memorable lesson by nature, tapping into the
theme of allegory, whereas the community in Heaney's work acknowledges the upper-hand of nature,
‘preparing.’
Both works are composed in unrhymed iambic pentameter, with a plethora of long sentences,
mirroring this fragmented relationship between man and nature - or perhaps, mimicking the
disruption nature has imposed. In Wordsworth's work, the protagonist begins at ease, convinced he is
in utter control, engaging with this idyllic setting where there is “light” - this signposts the
protagonist, providing a goal - this serene atmosphere is reinforced by the lateral sounds, ‘still…
small… all… idly’ mimic the steady movement of the protagonist. This creates a a macabre tone, where
nature is ‘lulling’ the child into a false sense of security, soon to be demoted back into his inferior role
of humanity: the plethora of enjambment reinforce this ‘lulling’ idea, or the limitless flow of the ‘little
boat’ and stream. Whereas Heaney’s work depicts a ‘wizened earth,’ where ‘no stacks or stooks that
