With rare exceptions, William Wordsworth uses word to designate a geographical place. His often are exceptionally good locations. They include pre-Napoleonic French rich in all things that can soothe and please (October 1803 8), so calm and green and the deep and quiet of Peter Bell (365, 376), chosen in know an aged man (21), calmest fairest on earth of Recluse (1.73), favoured that he distinguishes from rest of whole earth in 1805 Prelude (10.701), pregnant of ground, dear appropriated spot, and hallowed of earth in Excursion (5.371, 945; 6.802), and many more. are also places where natural or human pleasure or pain has occurred, and they are invested with events that have occurred there. They include spot [...] made by Nature for herself' in Poems on Naming of Places (To M.H. 15) and natal of briar-rose in The Waterfall and Eglantine (23). Human Passion rivets to in Descriptive Sketches (298); Margaret's overgrown cottage garden has become a cheerless spot, and her cottage is a wretched in Ruined Cottage (60, 487); and where Martha Ray spends her days crying, Oh misery, in The Thorn is The to which she goes (92; also 91, 97, and 99). And so on. Spot is a common word in poetry. It is plain speech, entering language by 1200 CE, when it meant moral stain, blot, or blemish; a stigma or disgrace (OED), a meaning that resonates in Margaret's, Martha Ray's, and many other Wordsworthian spots. Its semantic range expands to include A small space or of ground; a particular or locality of limited extent around 1400. In as now, word often connotes spiritual, mental, bodily characteristics: a on one's face, on one's reputation, etc. Wordsworth, though, places these characteristics onto or into land. Critical accounts of spots of emphasize other issues than their complex placedness. Often they prioritize trauma that has occurred at (or in relation to) spots, as when Geoffrey Hartman shows that Wordsworth raise [s] himself from his obsession with specific place to deal with a Nature that assumes a tutelary role after he has violated it (212-4); or as when Peter Larkin shows that Wordsworth's of time' occupy a fault-line between trauma and aspiration (30). They highlight contradictions and conflicts in formulation of spots of time, as when Eugene Stelzig calls phrase famous[ly] paradoxical (533); or as when Alan Richardson observes that 'spots of time' is an oxymoron: an enigma designed to halt reading process and challenge conventional categories of literary experience (15; also Wedd 225-6). But contemporaries might have seen in phrase language that is apposite to common 18th century expressions of spatial-temporal connections. In 1990, Jack Stillinger observed that American educator Emma Willard used phrase spots of in her 1822 Ancient Geography, as Connected with Chronology and that, while she could not have read lines on spots, first published in 1850, her sentences are a veritable anthology of Wordsworthian concepts (Willard vii; Stillinger 71). Because of similarity between Willard and Wordsworth, Stillinger [s] that somewhere [...] there exists a pre-Wordsworthian discussion of of time in geographical or geographical-historical terms (72). Along these lines, I propose that spots of time, which first appeared in 1799 two-part Prelude, emerge from his decade-long contact with representations, conceptualizations, and theorizations of space and precursors of space-time. In spots of passages, Wordsworth engages with space-oriented writings and conversations of figures such as Isaac Newton, David Hartley, Common Sense philosopher Thomas Reid, and Tom Wedgwood. …
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