The Prose Works of William Wordsworth Part 28

At the Last Day I'm sure I shall appear, To meet with Jesus Christ my Saviour dear: Where I do hope to live with Him in bliss.

Oh, what a joy at my last hour was this!

_Aged 3 Months_.

What Christ said once He said to all, Come unto Me, ye children small: None shall do you any wrong, For to My Kingdom you belong.

_Aged 10 Weeks_.

The Babe was sucking at the breast When G.o.d did call him to his rest.

In an obscure corner of a country church-yard I once espied, half overgrown with hemlock and nettles, a very small stone laid upon the ground, bearing nothing more than the name of the deceased with the date of birth and death, importing that it was an infant which had been born one day and died the following. I know not how far the Reader may be in sympathy with me; but more awful thoughts of rights conferred, of hopes awakened, of remembrances stealing away or vanis.h.i.+ng, were imparted to my mind by that inscription there before my eyes than by any other that it has ever been my lot to meet with upon a tomb-stone.

The most numerous cla.s.s of sepulchral inscriptions do indeed record nothing else but the name of the buried person; but that he was born upon one day and died upon another. Addison in the _Spectator_ making this observation says, 'that he cannot look upon those registers of existence, whether of bra.s.s or marble, but as a kind of satire upon the departed persons who had left no other memorial of them than that they were born and that they died.' In certain moods of mind this is a natural reflection; yet not perhaps the most salutary which the appearance might give birth to. As in these registers the name is mostly a.s.sociated with others of the same family, this is a prolonged companions.h.i.+p, however shadowy: even a tomb like this is a shrine to which the fancies of a scattered family may return in pilgrimage; the thoughts of the individuals without any communication with each other must oftentimes meet here. Such a frail memorial then is not without its tendency to keep families together. It feeds also local attachment, which is the tap-root of the tree of Patriotism.

I know not how I can withdraw more satisfactorily from this long disquisition than by offering to the Reader as a farewell memorial the following Verses, suggested to me by a concise epitaph which I met with some time ago in one of the most retired vales among the mountains of Westmoreland. There is nothing in the detail of the poem which is not either founded upon the epitaph or gathered from enquiries concerning the deceased, made in the neighbourhood.

Beneath that pine which rears its dusky head Aloft, and covered by a plain blue stone Briefly inscribed, a gentle Dalesman lies; From whom in early childhood was withdrawn The precious gift of hearing. He grew up From year to year in loneliness of soul; And this deep mountain valley was to him Soundless with all its streams. The bird of dawn Did never rouse this Cottager from sleep With startling summons; not for his delight The vernal cuckoo shouted, not for him Murmured the labouring bee. When stormy winds Were working the broad bosom of the Lake Into a thousand thousand sparkling waves, Rocking the trees, or driving cloud on cloud Along the sharp edge of yon lofty crags, The agitated scene before his eye Was silent as a picture; evermore Were all things silent wheresoe'er he moved.

Yet by the solace of his own calm thoughts Upheld, he duteously pursued the round Of rural labours: the steep mountain side Ascended with his staff and faithful dog; The plough he guided and the scythe he swayed, And the ripe corn before his sickle fell Among the jocund reapers. For himself, All watchful and industrious as he was, He wrought not; neither field nor flock he owned; No wish for wealth had place within his mind, No husband's love nor father's hope or care; Though born a younger brother, need was none That from the floor of his paternal home He should depart to plant himself anew; And when mature in manhood he beheld His parents laid in earth, no loss ensued Of rights to him, but he remained well pleased By the pure bond of independent love, An inmate of a second family, The fellow-labourer and friend of him To whom the small inheritance had fallen.

Nor deem that his mild presence was a weight That pressed upon his brother's house; for books Were ready comrades whom he could not tire; Of whose society the blameless man Was never satiate; their familiar voice Even to old age with unabated charm Beguiled his leisure hours, refreshed his thoughts, Beyond its natural elevation raised His introverted spirit, and bestowed Upon his life an outward dignity Which all acknowledged. The dark winter night, The stormy day had each its own resource; Song of the Muses, sage historic tale, Science severe, or word of Holy Writ Announcing immortality and joy To the a.s.sembled spirits of the just From imperfection and decay secure: Thus soothed at home, thus busy in the field, To no perverse suspicion he gave way; No languour, peevishness, nor vain complaint.

And they who were about him did not fail In reverence or in courtesy; they prized His gentle manners, and his peaceful smiles; The gleams of his slow-varying countenance Were met with answering sympathy and love.

At length when sixty years and five were told A slow disease insensibly consumed The powers of nature, and a few short steps Of friends and kindred bore him from his home, Yon cottage shaded by the woody cross, To the profounder stillness of the grave.

Nor was his funeral denied the grace Of many tears, virtuous and thoughtful grief, Heart-sorrow rendered sweet by grat.i.tude; And now that monumental stone preserves His name, and unambitiously relates How long and by what kindly outward aids And in what pure contentedness of mind The sad privation was by him endured.

And yon tall pine-tree, whose composing sound Was wasted on the good man's living ear, Hath now its own peculiar sanct.i.ty, And at the touch of every wandering breeze Murmurs not idly o'er his peaceful grave.

III. ESSAYS, LETTERS, AND NOTES ELUCIDATORY AND CONFIRMATORY OF THE POEMS.

1798-1835.

_(a)_ OF THE PRINCIPLES OF POETRY AND THE 'LYRICAL BALLADS' (1798-1802).

_(b)_ OF POETIC DICTION.

_(c)_ POETRY AS A STUDY (1815).

_(d)_ OF POETRY AS OBSERVATION AND DESCRIPTION, AND DEDICATION OF 1815.

_(e)_ OF 'THE EXCURSION:' PREFACE.

_(f)_ LETTERS TO SIR GEORGE AND LADY BEAUMONT AND OTHERS ON THE POEMS AND RELATED SUBJECTS.

_(g)_ LETTER TO CHARLES FOX WITH THE 'LYRICAL BALLADS,' AND HIS ANSWER, &c.

_(h)_ LETTER ON THE PRINCIPLES OF POETRY AND HIS OWN POEMS TO (AFTERWARDS) PROFESSOR JOHN WILSON.

NOTE.

Of the occasion and sources, &c. of the several portions of the present division see Preface in Vol. I. G.

_(a)_ OF THE PRINCIPLES OF POETRY AND THE 'LYRICAL BALLADS'

(1798-1802).

The first Volume of these Poems has already been submitted to general perusal. It was published, as an experiment, which, I hoped, might be of some use to ascertain, how far, by fitting to metrical arrangement a selection of the real language of men in a state of vivid sensation, that sort of pleasure and that quant.i.ty of pleasure may be imparted, which a Poet may rationally endeavour to impart.

I had formed no very inaccurate estimate of the probable effect of those Poems: I flattered myself that they who should be pleased with them would read them with more than common pleasure: and, on the other hand, I was well aware, that by those who should dislike them, they would be read with more than common dislike. The result has differed from my expectation in this only, that a greater number have been pleased than I ventured to hope I should please.

Several of my Friends are anxious for the success of these Poems, from a belief, that, if the views with which they were composed were indeed realised, a cla.s.s of Poetry would be produced, well adapted to interest mankind permanently, and not unimportant in the quality, and in the multiplicity of its moral relations: and on this account they have advised me to prefix a systematic defence of the theory upon which the Poems were written. But I was unwilling to undertake the task, knowing that on this occasion the Reader would look coldly upon my arguments, since I might be suspected of having been princ.i.p.ally influenced by the selfish and foolish hope of _reasoning_ him into an approbation of these particular Poems: and I was still more unwilling to undertake the task, because, adequately to display the opinions, and fully to enforce the arguments, would require a s.p.a.ce wholly disproportionate to a preface.

For, to treat the subject with the clearness and coherence of which it is susceptible, it would be necessary to give a full account of the present state of the public taste in this country, and to determine how far this taste is healthy or depraved; which, again, could not be determined, without pointing out in what manner language and the human mind act and re-act on each other, and without retracing the revolutions, not of literature alone, but likewise of society itself. I have therefore altogether declined to enter regularly upon this defence; yet I am sensible, that there would be something like impropriety in abruptly obtruding upon the Public, without a few words of introduction, Poems so materially different from those upon which general approbation is at present bestowed.

It is supposed, that by the act of writing in verse an Author makes a formal engagement that he will gratify certain known habits of a.s.sociation; that he not only thus apprises the Reader that certain cla.s.ses of ideas and expressions will be found in his book, but that others will be carefully excluded. This exponent or symbol held forth by metrical language must in different eras of literature have excited very different expectations: for example, in the age of Catullus, Terence, and Lucretius, and that of Statius or Claudian; and in our own country, in the age of Shakspeare and Beaumont and Fletcher, and that of Donne and Cowley, or Dryden, or Pope. I will not take upon me to determine the exact import of the promise which, by the act of writing in verse, an Author in the present day makes to his reader: but it will undoubtedly appear to many persons that I have not fulfilled the terms of an engagement thus voluntarily contracted. They who have been accustomed to the gaudiness and inane phraseology of many modern writers, if they persist in reading this book to its conclusion, will, no doubt, frequently have to struggle with feelings of strangeness and awkwardness: they will look round for poetry, and will be induced to inquire by what species of courtesy these attempts can be permitted to a.s.sume that t.i.tle. I hope therefore the reader will not censure me for attempting to state what I have proposed to myself to perform; and also (as far as the limits of a preface will permit) to explain some of the chief reasons which have determined me in the choice of my purpose: that at least he may be spared any unpleasant feeling of disappointment, and that I myself may be protected from one of the most dishonourable accusations which can be brought against an Author; namely, that of an indolence which prevents him from endeavouring to ascertain what is his duty, or, when his duty is ascertained, prevents him from performing it.

The princ.i.p.al object, then, proposed in these Poems was to choose incidents and situations from common life, and to relate or describe them, throughout, as far as was possible in a selection of language really used by men, and, at the same time, to throw over them a certain colouring of imagination, whereby ordinary things should be presented to the mind in an unusual aspect; and, further, and above all, to make these incidents and situations interesting by tracing in them, truly though not ostentatiously, the primary laws of our nature: chiefly, as far as regards the manner in which we a.s.sociate ideas in a state of excitement. Humble and rustic life was generally chosen, because, in that condition, the essential pa.s.sions of the heart find a better soil in which they can attain their maturity, are less under restraint, and speak a plainer and more emphatic language; because in that condition of life our elementary feelings co-exist in a state of greater simplicity, and, consequently, may be more accurately contemplated, and more forcibly communicated; because the manners of rural life germinate from those elementary feelings, and, from the necessary character of rural occupations, are more easily comprehended, and are more durable; and, lastly, because in that condition the pa.s.sions of men are incorporated with the beautiful and permanent forms of Nature. The language, too, of these men has been adopted (purified indeed from what appear to be its real defects, from all lasting and rational causes of dislike or disgust) because such men hourly communicate with the best objects from which the best part of language is originally derived; and because, from their rank in society and the sameness and narrow circle of their intercourse, being less under the influence of social vanity, they convey their feelings and notions in simple and unelaborated expressions. Accordingly, such a language, arising out of repeated experience and regular feelings, is a more permanent, and a far more philosophical language, than that which is frequently subst.i.tuted for it by Poets, who think that they are conferring honour upon themselves and their art, in proportion as they separate themselves from the sympathies of men, and indulge in arbitrary and capricious habits of expression, in order to furnish food for fickle tastes, and fickle appet.i.tes, of their own creation.[8]

I cannot, however, be insensible to the present outcry against the triviality and meanness, both of thought and language, which some of my contemporaries have occasionally introduced into their metrical compositions; and I acknowledge that this defect, where it exists, is more dishonourable to the Writer's own character than false refinement or arbitrary innovation, though I should contend at the same time, that it is far less pernicious in the sum of its consequences. From such verses the Poems in these volumes will be found distinguished at least by one mark of difference, that each of them has a worthy _purpose_. Not that I always began to write with a distinct purpose formally conceived; but habits of meditation have, I trust, so prompted and regulated my feelings, that my descriptions of such objects as strongly excite those feelings, will be found to carry along with them a _purpose_. If this opinion be erroneous, I can have little right to name of a Poet. For all good poetry is the spontaneous overflow of powerful feelings: and though this be true, Poems to which any value can be attached were never produced on any variety of subjects but by a man who, being possessed of more than usual organic sensibility, had also thought long and deeply.

For our continued influxes of feeling are modified and directed by our thoughts, which are indeed the representatives of all our past feelings; and, as by contemplating the relation of these general representatives to each other, we discover what is really important to men, so, by the repet.i.tion and continuance of this act, our feelings will be connected with important subjects, till at length, if we be originally possessed of much sensibility, such habits of mind will be produced, that, by obeying blindly and mechanically the impulses of those habits, we shall describe objects, and utter sentiments, of such a nature, and in such connection with each other, that the understanding of the Reader must necessarily be in some degree enlightened, and his affections strengthened and purified.

[8] It is worth while here to observe, that the affecting parts of Chaucer are almost always expressed in language pure and universally intelligible even to this day.

It has been said that each of these poems has a purpose. Another circ.u.mstance must be mentioned which distinguishes these Poems from the popular Poetry of the day; it is this, that the feeling therein developed gives importance to the action and situation, and not the action and situation to the feeling.

A sense of false modesty shall not prevent me from a.s.serting, that the Reader's attention is pointed to this mark of distinction, far less for the sake of these particular Poems than from the general importance of the subject. The subject is indeed important! For the human mind is capable of being excited without the application of gross and violent stimulants; and he must have a very faint perception of its beauty and dignity who does not know this, and who does not further know, that one being is elevated above another, in proportion as he possesses this capability. It has therefore appeared to me, that to endeavour to produce or enlarge this capability is one of the best services in which, at any period, a Writer can be engaged; but this service, excellent at all times, is especially so at the present day. For a mult.i.tude of causes, unknown to former times, are now acting with a combined force to blunt the discriminating powers of the mind, and, unfitting it for all voluntary exertion, to reduce it to a state of almost savage torpor. The most effective of these causes are the great national events which are daily taking place, and the increasing acc.u.mulation of men in cities, where the uniformity of their occupations produces a craving for extraordinary incident, which the rapid communication of intelligence hourly gratifies. To this tendency of life and manners the literature and theatrical exhibitions of the country have conformed themselves. The invaluable works of our elder writers, I had almost said the works of Shakspeare and Milton, are driven into neglect by frantic novels, sickly and stupid German Tragedies, and deluges of idle and extravagant stories in verse.--When I think upon this degrading thirst after outrageous stimulation, I am almost ashamed to have spoken of the feeble endeavour made in these volumes to counteract it; and, reflecting upon the magnitude of the general evil, I should be oppressed with no dishonourable melancholy, had I not a deep impression of certain inherent and indestructible qualities of the human mind, and likewise of certain powers in the great and permanent objects that act upon it, which are equally inherent and indestructible; and were there not added to this impression a belief, that the time is approaching when the evil will be systematically opposed, by men of greater powers, and with far more distinguished success.

Having dwelt thus long on the subjects and aim of these Poems, I shall request the Reader's permission to apprise him of a few circ.u.mstances relating to their _style_, in order, among other reasons, that he may not censure me for not having performed what I never attempted. The Reader will find that personifications of abstract ideas rarely occur in these volumes; and are utterly rejected, as an ordinary device to elevate the style, and raise it above prose. My purpose was to imitate, and, as far as is possible, to adopt the very language of men; and a.s.suredly such personifications do not make any natural or regular part of that language. They are, indeed, a figure of speech occasionally prompted by pa.s.sion, and I have made use of them as such; but have endeavoured utterly to reject them as a mechanical device of style, or as a family language which Writers in metre seem to lay claim to by prescription. I have wished to keep the Reader in the company of flesh and blood, persuaded that by so doing I shall interest him. Others who pursue a different track will interest him likewise; I do not interfere with their claim, but wish to prefer a claim of my own. There will also be found in these volumes little of what is usually called poetic diction; as much pains has been taken to avoid it as is ordinarily taken to produce it; this has been done for the reason already alleged, to bring my language near to the language of men; and further, because the pleasure which I have proposed to myself to impart, is of a kind very different from that which is supposed by many persons to be the proper object of poetry. Without being culpably particular, I do not know how to give my Reader a more exact notion of the style in which it was my wish and intention to write, than by informing him that I have at all times endeavoured to look steadily at my subject; consequently, there is I hope in these Poems little falsehood of description, and my ideas are expressed in language fitted to their respective importance. Something must have been gained by this practice, as it is friendly to one property of all good poetry, namely, good sense: but it has necessarily cut me off from a large portion of phrases and figures of speech which from father to son have long been regarded as the common inheritance of Poets. I have also thought it expedient to restrict myself still further, having abstained from the use of many expressions, in themselves proper and beautiful, but which have been foolishly repeated by bad Poets, till such feelings of disgust are connected with them as it is scarcely possible by any art of a.s.sociation to overpower.

If in a poem there should be found a series of lines, or even a single line, in which the language, though naturally arranged, and according to the strict laws of metre, does not differ from that of prose, there is a numerous cla.s.s of critics, who, when they stumble upon these prosaisms, as they call them, imagine that they have made a notable discovery, and exult over the Poet as over a man ignorant of his own profession. Now these men would establish a canon of criticism which the Reader will conclude he must utterly reject, if he wishes to be pleased with these volumes. And it would be a most easy task to prove to him, that not only the language of a large portion of every good poem, even of the most elevated character, must necessarily, except with reference to the metre, in no respect differ from that of good prose, but likewise that some of the most interesting parts of the best poems will be found to be strictly the language of prose when prose is well written. The truth of this a.s.sertion might be demonstrated by innumerable pa.s.sages from almost all the poetical writings, even of Milton himself. To ill.u.s.trate the subject in a general manner, I will here adduce a short composition of Gray, who was at the head of those who, by their reasonings, have attempted to widen the s.p.a.ce of separation betwixt Prose and Metrical composition, and was more than any other man curiously elaborate in the structure of his own poetic diction.

In vain to me the smiling mornings s.h.i.+ne, And reddening Phoebus lifts his golden fire: The birds in vain their amorous descant join, Or cheerful fields resume their green attire.

These ears, alas! for other notes repine; _A different object do these eyes require; My lonely anguish melts no heart but mine; And in my breast the imperfect joys expire_; Yet morning smiles the busy race to cheer, And new-born pleasure brings to happier men; The fields to all their wonted tribute bear; To warm their little loves the birds complain.

_I fruitless mourn to Him that cannot hear, And weep the more because I weep in vain_.

It will easily be perceived, that the only part of this Sonnet which is of any value is the lines printed in Italics; it is equally obvious, that, except in the rhyme, and in the use of the single word 'fruitless'

for fruitlessly, which is so far a defect, the language of these lines does in no respect differ from that of prose.

By the foregoing quotation it has been shown that the language of Prose may yet be well adapted to Poetry; and it was previously a.s.serted, that a large portion of the language of every good poem can in no respect differ from that of good Prose. We will go further. It may be safely affirmed, that there neither is, nor can be, any _essential_ difference between the language of prose and metrical composition. We are fond of tracing the resemblance between Poetry and Painting, and, accordingly, we call them Sisters: but where shall we find bonds of connection sufficiently strict to typify the affinity betwixt metrical and prose composition? They both speak by and to the same organs; the bodies in which both of them are clothed may be said to be of the same substance, their affections are kindred, and almost identical, not necessarily differing even in degree; Poetry[9] sheds no tears 'such as Angels weep,' but natural and human tears; she can boast of no celestial ichor that distinguishes her vital juices from those of prose; the same human blood circulates through the veins of them both.

[9] I here use the word 'Poetry' (though against my own judgment) as opposed to the word Prose, and synonymous with metrical composition. But much confusion has been introduced into criticism by this contradistinction of Poetry and Prose, instead of the more philosophical one of Poetry and Matter of Fact, or Science. The only strict ant.i.thesis to Prose is Metre; nor is this, in truth, a _strict_ ant.i.thesis, because lines and pa.s.sages of metre so naturally occur in writing prose, that it would be scarcely possible to avoid them, even were it desirable.

If it be affirmed that rhyme and metrical arrangement of themselves const.i.tute a distinction which overturns what has just been said on the strict affinity of metrical language with that of prose, and paves the way for other artificial distinctions which the mind voluntarily admits, I answer that the language of such Poetry as is here recommended is, as far as is possible, a selection of the language really spoken by men; that this selection, wherever it is made with true taste and feeling, will of itself form a distinction far greater than would at first be imagined, and will entirely separate the composition from the vulgarity and meanness of ordinary life; and, if metre be superadded thereto, I believe that a dissimilitude will he produced altogether sufficient for the gratification of a rational mind. What other distinction would we have? Whence is it to come? And where is it to exist? Not, surely, where the Poet speaks through the mouths of his characters: it cannot be necessary here, either for elevation of style, or any of its supposed ornaments: for, if the Poet's subject be judiciously chosen, it will naturally, and upon fit occasion, lead him to pa.s.sions the language of which, if selected truly and judiciously, must necessarily be dignified and variegated, and alive with metaphors and figures. I forbear to speak of an incongruity which would shock the intelligent Reader, should the Poet interweave any foreign splendour of his own with that which the pa.s.sion naturally suggests: it is sufficient to say that such addition is unnecessary. And, surely, it is more probable that those pa.s.sages, which with propriety abound with metaphors and figures, will have their due effect, if, upon other occasions where the pa.s.sions are of a milder character, the style also be subdued and temperate.

But, as the pleasure which I hope to give by the Poems now presented to the Reader must depend entirely on just notions upon this subject, and, as it is in itself of high importance to our taste and moral feelings, I cannot content myself with these detached remarks. And if, in what I am about to say, it shall appear to some that my labour is unnecessary, and that I am like a man fighting a battle without enemies, such persons may be reminded, that, whatever be the language outwardly holden by men, a practical faith in the opinions which I am wis.h.i.+ng to establish is almost unknown. If my conclusions are admitted, and carried as far as they must be carried if admitted at all, our judgments concerning the works of the greatest Poets both ancient and modern will be far different from what they are at present, both when we praise, and when we censure: and our moral feelings influencing and influenced by these judgments will, I believe, be corrected and purified.