The first of these lines of thought may be illustrated by a passage in the Prelude, in which the boy’s mind is represented as passing through precisely the train of emotion which we may imagine to be at the root of the theology of many barbarous peoples. He is rowing at night alone on Esthwaite Lake, his eyes fixed upon a ridge of crags, above which nothing is visible: —
I dipped my oars into the silent lake,
And as I rose upon the stroke my boat
Went heaving through the water like a swan; —
When, from behind that craggy steep till then
The horizon’s bound, a huge peak, black and huge,
As if with voluntary power instinct
Upreared its head. I struck and struck again;
And, growing still in stature, the grim shape
Towered up between me and the stars, and still,
For so it seemed, with purpose of its own,
And measured motion like a living thing,
Strode after me. With trembling oars I turned,
And through the silent water stole my way
Back to the covert of the willow-tree;
There in her mooring-place I left my bark,
And through the meadows homeward went, in grave
And serious mood. But after I had seen
That spectacle, for many days, my brain
Worked with a dim and undetermined sense
Of unknown modes of being; o’er my thoughts
There hung a darkness — call it solitude,
Or blank desertion. No familiar shapes
Remained, no pleasant images of trees,
Of sea, or sky, no colours of green fields;
But huge and mighty forms, that do not live
Like living men, moved slowly thro’ the mind
By day, and were a trouble to my dreams.
In the controversy as to the origin of the worship of inanimate objects, or of the powers of Nature, this passage might fairly be cited as an example of the manner in which those objects, or those powers, can impress the mind with that awe which is the foundation of savage creeds, while yet they are not identified with any human intelligence, such as the spirits of ancestors or the like, nor even supposed to operate according to any human, analogy.
Up to this point Wordsworth’s reminiscences may seem simply to illustrate the conclusions which science reaches by other roads. But he is not content with merely recording and analyzing his childish impressions; he implies, or even asserts, that these “fancies from afar are brought” — that the child’s view of the world reveals to him truths which the man with difficulty retains or recovers. This is not the usual teaching of science, yet it would be hard to assert that it is absolutely impossible. The child’s instincts may well be supposed to partake in larger measure of the general instincts of the race, in smaller measure of the special instincts of his own country and century, than is the case with the man. Now the feelings and beliefs of each successive century will probably be, on the whole, superior to those of any previous century. But this is not universally true; the teaching of each generation does not thus sum up the results of the whole past. And thus the child, to whom in a certain sense the past of humanity is present, — who is living through the whole life of the race in little, before he lives the life of his century in large, — may possibly dimly apprehend something more of truth in certain directions than is visible to the adults around him.
But, thus qualified, the intuitions of infancy might seem scarcely worth insisting on. And Wordsworth, as is well known, has followed Plato in advancing for the child a much bolder claim. The child’s soul, in this view, has existed before it entered the body — has existed in a world superior to ours, but connected, by the immanence of the same pervading Spirit, with the material universe before our eyes. The child begins by feeling this material world strange to him. But he sees in it, as it were, what he has been accustomed to see; he discerns in it its kinship with the spiritual world which he dimly remembers; it is to him “an unsubstantial fairy place” — a scene at once brighter and more unreal than it will appear in his eyes when he has become acclimatized to earth. And even when this freshness of insight has passed away, it occasionally happens that sights or sounds of unusual beauty or carrying deep associations — a rainbow, a cuckoo’s cry, a sunset of extraordinary splendour — will renew for a while this sense of vision and nearness to the spiritual world — a sense which never loses its reality, though with advancing years its presence grows briefer and more rare.
Such, then, in prosaic statement is the most characteristic message of Wordsworth. And it is to be noted that though Wordsworth at times presents it as a coherent theory, yet it is not necessarily of the nature of a theory, nor need be accepted or rejected as a whole; but is rather an inlet of illumining emotion in which different minds can share in the measure of their capacities or their need. There are some to whom childhood brought no strange vision of brightness, but who can feel their communion with the Divinity in Nature growing with the growth of their souls. There are others who might be unwilling to acknowledge any spiritual or transcendent source for the elevating joy which the contemplation of Nature can give, but who feel nevertheless that to that joy Wordsworth has been their most effective guide. A striking illustration of this fact may be drawn, from the passage in which John Stuart Mill, a philosopher of a very different school, has recorded the influence exercised over him by Wordsworth’s poems; read in a season of dejection, when there seemed to be no real and substantive joy in life, nothing but the excitement of the struggle with the hardships and injustices of human fates.
“What made Wordsworth’s poems a medicine for my state of mind,” he says in his Autobiography, “was that they expressed, not mere outward beauty, but states of feeling, and of thought coloured by feeling, under the excitement of beauty. They seemed to be the very culture of the feelings which I was in quest of. In them I seemed to draw from a source of inward joy, of sympathetic and imaginative pleasure, which could be shared in by all human beings, which had no connexion with struggle or imperfection, but would be made richer by every improvement in the physical or social condition of mankind. From them I seemed to learn what would be the perennial sources of happiness, when all the greater evils of life shall have been removed. And I felt myself at once better and happier as I came under their influence.”
Words like these, proceeding from a mind so different from the poet’s own, form perhaps as satisfactory a testimony to the value of his work as any writer can obtain. For they imply that Wordsworth has succeeded in giving his own impress to emotions which may become common to all; that he has produced a body of thought which is felt to be both distinctive and coherent, while yet it enlarges the reader’s capacities instead of making demands upon his credence. Whether there be theories, they shall pass; whether there be systems, they shall fail; the true epoch-maker in the history of the human soul is the man who educes from this bewildering universe a new and elevating joy.
I have alluded above to some of the passages, most of them familiar enough, in which Wordsworth’s sense of the mystic relation between the world without us and the world within — the correspondence between the seen and the unseen — is expressed in its most general terms. But it is evident that such a conviction as this, if it contain any truth, cannot be barren of consequences on any level of thought. The communion with Nature which is capable of being at times sublimed to an incommunicable ecstasy must be capable also of explaining Nature to us so far as she can be explained; there must be axiomata media of natural religion; there must be something in the nature of poetic truths, standing midway between mystic intuition and delicate observation.
How rich Wordsworth is in these poetic truths — how illumining is the gaze which he turns on the commonest phenomena — how subtly and variously he shows us the soul’s innate perceptions or inherited memories as it were co-operating with Nature and “half creating” the voice with which she speaks — all this can
be learnt by attentive study alone. Only a few scattered samples can be given here; and I will begin with one on whose significance the poet has himself dwelt. This is the poem called The Leech-Gatherer, afterwards more formally named Resolution and Independence.
“I will explain to you,” says Wordsworth, “in prose, my feelings in writing that poem, I describe myself as having been exalted to the highest pitch of delight by the joyousness and beauty of Nature; and then as depressed, even in the midst of those beautiful objects, to the lowest dejection and despair. A young poet in the midst of the happiness of Nature is described as overwhelmed by the thoughts of the miserable reverses which have befallen the happiest of all men, viz. poets. I think of this till I am so deeply impressed with it, that I consider the manner in which I am rescued from my dejection and despair almost as an interposition of Providence. A person reading the poem with feelings like mine will have been awed and controlled, expecting something spiritual or supernatural. What is brought forward? A lonely place, ‘a pond, by which an old man was, far from all house or home:’ not stood, nor sat, but was — the figure presented in the most naked simplicity possible. The feeling of spirituality or supernaturalness is again referred to as being strong in my mind in this passage. How came he here? thought I, or what can he be doing? I then describe him, whether ill or well is not for me to judge with perfect confidence; but this I can confidently affirm, that though I believe God has given me a strong imagination, I cannot conceive a figure more impressive than that of an old man like this, the survivor of a wife and ten children, travelling alone among the mountains and all lonely places, carrying with him his own fortitude, and the necessities which an unjust state of society has laid upon him. You speak of his speech as tedious. Everything is tedious when one does not read with the feelings of the author. The Thorn is tedious to hundreds; and so is The Idiot Boy to hundreds. It is in the character of the old man to tell his story, which an impatient reader must feel tedious. But, good heavens! Such a figure, in such a place; a pious, self-respecting, miserably infirm and pleased old man, telling such a tale!”
The naive earnestness of this passage suggests to us how constantly recurrent in Wordsworth’s mind were the two trains of ideas which form the substance of the poem; the interaction, namely, (if so it may be termed,) of the moods of Nature with the moods of the human mind; and the dignity and interest of man as man, depicted with no complex background of social or political life, but set amid the primary affections and sorrows, and the wild aspects of the external world.
Among the pictures which Wordsworth has left us of the influence of Nature on human character, Peter Bell may be taken as marking one end, and the poems on Lucy the other end of the scale. Peter Bell lives in the face of Nature untouched alike by her terror and her charm; Lucy’s whole being is moulded by Nature’s self; she is responsive to sun and shadow, to silence and to sound, and melts almost into an impersonation of a Cumbrian valley’s peace. Between these two extremes how many are the possible shades of feeling! In Ruth, for instance, the point impressed upon us is that Nature’s influence is only salutary so long as she is herself, so to say, in keeping with man; that when her operations reach that degree of habitual energy and splendour at which our love for her passes into fascination and our admiration into bewilderment, then the fierce and irregular stimulus consorts no longer with the growth of a temperate virtue.
The wind, the tempest roaring high,
The tumult of a tropic sky,
Might well be dangerous food
For him, a youth to whom was given
So much of earth, so much of heaven,
And such impetuous blood.
And a contrasting touch recalls the healing power of those gentle and familiar presences which came to Ruth in her stormy madness with visitations of momentary calm.
Yet sometimes milder hours she knew,
Nor wanted sun, nor rain, nor dew,
Nor pastimes of the May;
They all were with her in her cell;
And a wild brook with cheerful knell
Did o’er the pebbles play.
I will give one other instance of this subtle method of dealing with the contrasts in Nature. It is from the poem entitled “Lines left upon a Seat in a Yew-Tree which stands near the Lake of Esthwaite, on a desolate part of the Shore, commanding a beautiful Prospect.” This seat was once the haunt of a lonely, a disappointed, an embittered man.
Stranger! These gloomy boughs
Had charms for him: and here he loved to sit,
His only visitants a straggling sheep,
The stone-chat, or the glancing sand-piper;
And on these barren rocks, with fern and heath
And juniper and thistle sprinkled o’er,
Fixing his downcast eye, he many an hour
A morbid pleasure nourished, tracing here
An emblem of his own unfruitful life:
And, lifting up his head, he then would gaze
On the more distant scene, — how lovely ‘tis
Thou seest, — and he would gaze till it became
Far lovelier, and his heart could not sustain
The beauty, still more beauteous! Nor, that time,
When Nature had subdued him to herself,
Would he forget those beings, to whose minds,
Warm from the labours of benevolence,
The world, and human life, appeared a scene
Of kindred loveliness; then he would sigh
With mournful joy, to think that others felt
What he must never feel; and so, lost Man!
On visionary views would fancy feed
Till his eyes streamed with tears.
This is one of the passages which the lover of Wordsworth, quotes, perhaps, with some apprehension; not knowing how far it carries into the hearts of others its affecting power; how vividly it calls up before them that mood of desolate loneliness when the whole vision of human love and joy hangs like a mirage in the air, and only when it seems irrecoverably distant seems also intolerably dear. But, however this particular passage may impress the reader, it is not hard to illustrate by abundant references the potent originality of Wordsworth’s outlook on the external world.
There was indeed no aspect of Nature, however often depicted, in which his seeing eye could not discern some unnoted quality; there was no mood to which nature gave birth in the mind of man from which his meditation could not disengage some element which threw light on our inner being. How often has the approach of evening been described! And how mysterious is its solemnizing power! Yet it was reserved for Wordsworth in his sonnet “Hail, Twilight, sovereign of one peaceful hour,” to draw out a characteristic of that grey waning light which half explains to us its sombre and pervading charm. “Day’s mutable distinctions” pass away; all in the landscape that suggests our own age or our own handiwork is gone; we look on the sight seen by our remote ancestors, and the visible present is generalized into an immeasureable past.
The sonnet on the Duddon beginning “What aspect bore the Man who roved or fled First of his tribe to this dark dell,” carries back the mind along the same track, with the added thought of Nature’s permanent gentleness amid the “hideous usages” of primeval man, — through all which the stream’s voice was innocent, and its flow benign. “A weight of awe not easy to be borne” fell on the poet, also, as he looked on the earliest memorials which these remote ancestors have left us. The Sonnet on a Stone Circle which opens with these words is conceived in a strain of emotion never more needed than now, — when Abury itself owes its preservation to the munificence of a private individual, — when stone-circle or round-tower, camp or dolmen, are destroyed to save a few shillings, and occupation-roads are mended with the immemorial altars of an unknown God. “Speak, Giant-mother! Tell it to the Morn!” — how strongly does the heart re-echo the solemn invocation which calls on those abiding witnesses to speak once of what they knew long ago!
The mention of these ancient
worships may lead us to ask in what manner Wordsworth was affected “by the Nature-deities of Greece and Rome” — impersonations which have preserved through so many ages so strange a charm. And space must be found here for the characteristic sonnet in which the baseness and materialism of modern life drives him back on whatsoever of illumination and reality lay in that young ideal.
The world is too much with us; late and soon
Getting and spending, we lay waste our powers:
Little we see in Nature that is ours;
We have given our hearts away, a sordid boon!
The Sea that bares her bosom to the moon;
The Winds that will be howling at all hours,
And are up-gathered now like sleeping flowers;
For this, for everything we are out of tune;
It moves us not. Great God! I’d rather be
A pagan suckled in a creed outworn;
So might I, standing on this pleasant lea,
Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea:
Or hear old Triton blow his wreathèd horn.
Wordsworth’s own imagination idealized Nature in a different way. The sonnet “Brook! Whose society the poet seeks” places him among the men whose Nature-deities have not yet become anthropomorphic — men to whom “unknown modes of being” may seem more lovely as well as more awful than the life we know. He would not give to his idealized brook “human cheeks, channels for tears, — no Naiad shouldst thou be,” —
It seems the Eternal Soul is clothed in thee
With purer robes than those of flesh and blood,
And hath bestowed on thee a better good;
Unwearied joy, and life without its cares.
And in the Sonnet on Calais Beach the sea is regarded in the same way, with a sympathy (if I may so say) which needs no help from an imaginary impersonation, but strikes back to a sense of kinship which seems antecedent to the origin of man.
It is a beauteous Evening, calm and free;
The holy time is quiet as a Nun
Delphi Complete Works of William Wordsworth Page 499