The River Duddon Volume's Golden Ratio Wheel and Spiraling "Orbicular" Sonnets
The River Duddon Volume's Golden Ratio Wheel and Spiraling "Orbicular" Sonnets
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《River Duddon》卷的黄金比例轮和螺旋式“圆形”十四行诗
DOI：
10.1086/708149
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发表时间：
2020
期刊：
影响因子：
--
通讯作者：
Bates B
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文献类型：
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作者：
Bates B
在《杜登河》卷末的湖区“地形”指南中，华兹华斯将自己塑造成一个独特的、合格的风景如画的导游和文学制图师。最著名的是，他介绍了一个全景，鸟瞰图，地图湖区的周长通过一个车轮。他邀请读者想象这是不可能的--和他一起漂浮在一片云上，这片云提供了一个清晰而全面的前景视野，可以看到“国家的主要轮廓”（216页）：“让我们假设我们的站是一片云，悬挂在[大槌山和斯卡菲尔山]的中间，离每座山的山顶不超过半英里，离它们的最高海拔不超过几码;然后我们将看到在我们的脚下伸展着许多山谷，不少于九个，从我们应该站在上面的那一点分叉，就像车轮中殿的辐条一样。[1]浪漫主义时期的学者们仔细研究了18世纪和19世纪湖区的旅游指南和景观美学、局部描述诗学和地图测量技术，以及为这段话提供信息的微型浮雕模型和全景观赏。[2]然而，很少有人持续关注华兹华斯在《达顿河杜登》中的车轮图案的几何形式和文本内功能。在《华兹华斯与科学》一书中，玛丽莲·高尔提醒我们，华兹华斯一生都对几何学着迷，“从理性的欧几里得几何学到神秘的毕达哥拉斯几何学”，她特别指出他的轮子是他“视觉和空间几何学”的主要例子，它遵循“传统的欧几里得几何学”（604）。3在这篇文章中，我把华兹华斯的轮子描述为一个
In his “Topographical” guide to the Lake District at the end of The River Duddon volume, Wordsworth presents himself as a uniquely qualified picturesque tour guide and literary cartographer. Most famously, he introduces a panoramic, bird’s-eye view that maps the Lake District’s circumference through a wheel simile. He invites readers to imagine the impossible—floating with him on a cloud that provides a clear-sighted and comprehensive prospect view of “the main outlines of the Country”(216):“Let us suppose our station to be a cloud hanging midway between [Great Gavel and Scawfell] mountains, at not more than half a mile’s distance from the summit of each, and not many yards above their highest elevation; we shall then see stretched at our feet, a number of valleys, not fewer than nine, diverging from the point, on which we are supposed to stand, like spokes from the nave of a wheel”(217). 1 Romantic period scholars have closely examined the eighteenth-and nineteenth-century Lake District guidebooks and landscape aesthetics, loco-descriptive poetics and cartographic surveying techniques, and miniature relief models and panoramic spectatorship that inform this passage. 2 Little sustained attention, however, has been given to the geometric form and intratextual function of Wordsworth’s wheel simile in The River Duddon. In “Wordsworth and Science,” Marilyn Gaul reminds us that Wordsworth had a life-long fascination with geometry that ranged “from the rational Euclidean to the mystical Pythagorean,” and she singles out his wheel simile as a prime example of his “visual and spatial geometry,” which follows “a traditional Euclidean geometry of place”(604). 3 In this article, I describe Wordsworth’s wheel as a