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questions. Creswell, 2008. p-89. This chapter evaluations the literature obtainable on classroom questioning. ability that teachers will need to have for the better studying of the students. Finally, although Erchinger needs for more consideration of John Clare and Robert Burns, my Introduction notes that, as other scholars have proven, “even John Clare, who writes with a naturalist’s consideration to nature, usually resists technical, scientific language and thought” in his poetry , and an analogous assertion could possibly be made regarding Burns. Nevertheless, I’m pleased to leave it to future books and articles to determine the extent to which the nature poetry of Clare and Burns compares with the pursuit of literary originality by way of engagement with pure historical past that I explore in Questioning Nature, and whether or not or how this affected their own historic placement in relation to the canon. Famously, Seward even publically accused her up to date Charlotte Smith of plagiarism. According to Bailes, nonetheless, Smith drew on the work of others only to engender types of “collective originality” . More specifically, Bailes argues that Smith’s texts couple the spirit of the naturalist collector, who assembles and arranges what already exists, with the spirit of the poetic inventor looking for to create one thing altogether new. In this manner, they combine the “collaborative mindset” required for the examine of natural history with the individualist manner that, within the Romantic interval, was increasingly associated with the poet . Again, this distinction was maybe not as easy in apply as it was stated to be in principle. Poets often labored collaboratively too, after all, and there was nothing to prevent a naturalist from pursuing her or his research alone. Yet it is certainly true, as Bailes persuasively reveals in some of the partaking elements of her e-book, that Smith, like different Romantic writers, often used the example of birds to characterize these two methods of being creative, associating herself each with the solitary nightingale and the more sociable swan. The drawback right here, it appears to me, is that Bailes’s key terms are indeterminate. While applying a really broad, fluid, and heteregeneous idea of “girls’s scientific writing,” she however implies that it may be clearly distinguished from each male science and male poetry. To make this claim persuasive, she would need to make clear the which means of terms corresponding to “science,” “poetry,” and “literature.” Even if Wordsworth sought “to masculinize both poetry and pleasure” by locating its source in states of thoughts and creativeness, rather than in the detailed empirical study of the natural world Barbauld’s domain, we should still marvel if the identical applies to poets such as John Clare and Robert Burns. At the end of the first chapter, for instance, Bailes compares Barbauld’s conception of pure historical past with Wordsworth’s account of the relation between poetry and science in his preface to

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