Though I preserved many of the elements described in Wordsworth’s poem, I chose to cut out the physical form of the poet because I wanted to test Wordsworth’s ideas that the poet was “A man…endowed with more lively sensibility, more enthusiasm and tenderness, who has a greater knowledge of human nature, and a more comprehensive soul, than are supposed to be common among mankind,” by visually adapting his poetry without a specific person distinctly at its center (Lyrical Ballads 81-85). Instead, I portrayed the living room–a man-made environment incomplete without its inhabitant–as the primary space to suggest the presence of a person who is the writer of the poem more than the beautiful place in nature that inspires “I Wandered Lonely as a Cloud,” would. At the same time, I hope to make it plausible with my piece that the poet doesn’t need to be anyone in particular.
As the room comes to represent the presence of a poet, the fluidity of the person who can be a poet is conveyed by the malleability of the living room space in my piece. Though I used ink to draw the room to contrast the vibrant image of “A host, of golden daffodils” that inspires the poem, the black-and-white quality of the media also suggests that portion of the piece could be unfinished and therefore subject to change (“I Wandered Lonely as a Cloud,” 4). Using the qualities of the room as reflections of its inhabitant, the suggestion that one could substitute any living room or human space for the one I drew allows the viewer to conceive of any inhabitant as sufficiently inspired by the daffodils creeping into the room from the lower left-hand corner to fulfill the role of “poet.”