By Jane Dyer
An illustrated selection of mom Goose rhymes, lullabies, and modern verses that remember certain occasions in a kid's first years.
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Additional resources for Animal Crackers - Nursery Rhymes
Smell the taste of dairy,” “Spring” l. ,” “Ode to a Nightingale” ll. 13–14). Wordsworth’s own references to taste tend to be ﬁgurative rather than papillary, even when evoking infantile nursing: the infant babe “drinks in the feelings of his Mother’s eye” (The Prelude, 1850 version, 2:237, my emphasis); language ought to “uphold, and feed, and leave in quiet” (Essays on Epitaphs 3, Prose Works 2:85, my emphasis). Wordsworth less often evokes scent—indeed, one critic has recently alleged that he could not smell19 —but smelling is not wholly absent from his work: for example, in The Prelude, Wordsworth compares the grace-under-adversity of his friend Beaupuy to the enhanced smell of “aromatic ﬂowers on Alpine turf / When foot hath crushed them” (9:304–5).
The voice I hear this passing night was heard / In ancient days”: neither, in this limited sense, are we hearers mortal. From this insight, later Romantics would elaborate a metaphysics of music, from Schopenhauer, for whom the motions of music are an index to the “will” or sexualized life force that underlies all passing phenomena, to Nietzsche, who claimed, “It is only through the spirit of music that we can understand the joy involved in the annihilation of the individual” (104). Through music we rejoice in the life force that undergirds all phenomenal beings and periodically reclaims them.
Ll. 424–25, 432–39)11 These lines decenter not just the world apart from contemplative consciousness but that consciousness itself in the accumulation of particular sounds conveyed as though for their own sake. ” Wordsworth’s lines reverse the Biblical dynamic; here inner landscape gives way to outer. The deeps that concern him are those of nature, not of human spirit, and they call, but not primarily to us, the speaker’s witness notwithstanding. 12 Yet even while Wordsworth’s ethic opposes that of the Scriptures, what attracts Wordsworth to Biblical locutions, and speciﬁcally to those of the King James Bible (KJB), is their anti-iconic sublimity.