ABSTRACT This article argues that Robert Bloomfield’s efforts to free himself from the expectations placed upon him as a poet of the laboring classes must be considered in light of his poetry’s treatment of contemplation. Bloomfield’s contemplative poetics are informed by his concern over the precarity of rural labor in the wake of enclosure and urbanization; thus, the nostalgia for “humble industry” in The Farmer’s Boy persists in tension with Bloomfield’s account of his later experience as a leisured tourist of rural landscapes in The Banks of Wye. “Studious leisure,” an attitude of informed receptivity which resists the elitist biases of picturesque aesthetics, is the proposed tonic for his “wilder’d” subject-position. By comparing moments of studious leisure in Bloomfield’s georgic poetry with similar, more traditionally canonical passages in Wordsworth, this essay attempts to show how Bloomfield’s contemplative ecologies project a poetics averse to the destructive tendencies of the subjective self-enclosure frequently associated with Romantic perceptions of nature. Instead, Bloomfield emphasizes a relational ethics which recognizes a dynamic environment populated by other persons, one in which communal bonds are antecedent to social or practical agreements.

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“引领狂野思维的任务”：罗伯特·布卢姆菲尔德，谦逊的工业和好学的休闲

摘要 本文认为，罗伯特·布卢姆菲尔德 (Robert Bloomfield) 努力摆脱作为劳动阶级诗人的期望而做出的努力，必须考虑到他的诗歌对沉思的处理方式。布卢姆菲尔德的沉思诗学源于他对圈地和城市化之后农村劳动力不稳定的关注；因此，《农夫的男孩》中对“谦逊工业”的怀旧与布卢姆菲尔德对他后来在怀伊银行的乡村景观中作为悠闲游客的经历的描述持续存在紧张关系。“勤奋好学”，一种反对风景如画美学的精英偏见的知情接受态度，是他“狂野”主题立场的建议补品。通过将布卢姆菲尔德的乔治诗中的勤奋闲暇时刻与类似的进行比较，作为华兹华斯中更传统的经典段落，这篇文章试图展示布卢姆菲尔德的沉思生态如何投射一种诗学，反对经常与浪漫主义自然感知相关的主观自我封闭的破坏性倾向。相反，布卢姆菲尔德强调一种关系伦理，它承认一个由其他人居住的动态环境，在这种环境中，社区纽带是社会或实际协议的先决条件。