The Prose Works of William Wordsworth Part 32

Shall I call thee Bird, Or but a wandering Voice?

This concise interrogation characterises the seeming ubiquity of the voice of the cuckoo, and dispossesses the creature almost of a corporeal existence; the Imagination being tempted to this exertion of her power by a consciousness in the memory that the cuckoo is almost perpetually heard throughout the season of spring, but seldom becomes an object of sight.

Thus far of images independent of each other, and immediately endowed by the mind with properties that do not inhere in them, upon an incitement from properties and qualities the existence of which is inherent and obvious. These processes of imagination are carried on either by conferring additional properties upon an object, or abstracting from it some of those which it actually possesses, and thus enabling it to re-act upon the mind which hath performed the process, like a new existence.

I pa.s.s from the Imagination acting upon an individual image to a consideration of the same faculty employed upon images in a conjunction by which they modify each other. The Reader has already had a fine instance before him in the pa.s.sage quoted from Virgil, where the apparently perilous situation of the goat, hanging upon the s.h.a.ggy precipice, is contrasted with that of the shepherd contemplating it from the seclusion of the cavern in which he lies stretched at ease and in security. Take these images separately, and how unaffecting the picture compared with that produced by their being thus connected with, and opposed to, each other!

As a huge stone is sometimes seen to lie Couched on the bald top of an eminence, Wonder to all who do the same espy By what means it could thither come, and whence, So that it seems a thing endued with sense, Like a sea-beast crawled forth, which on a shelf Of rock or sand reposeth, there to sun himself.

Such seemed this Man; not all alive or dead Nor all asleep, in his extreme old age.

Motionless as a cloud the old Man stood, That heareth not the loud winds when they call, And moveth altogether if it move at all.

In these images, the conferring, the abstracting, and the modifying powers of the Imagination, immediately and mediately acting, are all brought into conjunction. The stone is endowed with something of the power of life to approximate it to the sea-beast; and the sea-beast stripped of some of its vital qualities to a.s.similate it to the stone; which intermediate image is thus treated for the purpose of bringing the original image, that of the stone, to a nearer resemblance to the figure and condition of the aged Man; who is divested of so much of the indications of life and motion as to bring him to the point where the two objects unite and coalesce in just comparison. After what has been said, the image of the cloud need not be commented upon.

Thus far of an endowing or modifying power: but the Imagination also shapes and _creates_; and how? By innumerable processes; and in none does it more delight than in that of consolidating numbers into unity, and dissolving and separating unity into number,--alternations proceeding from, and governed by, a sublime consciousness of the soul in her own mighty and almost divine powers. Recur to the pa.s.sage already cited from Milton. When the compact Fleet, as one Person, has been introduced 'Sailing from Bengala.' 'They,' _i.e._ the 'merchants,'

representing the fleet resolved into a mult.i.tude of ships, 'ply' their voyage towards the extremities of the earth: 'So' (referring to the word 'As' in the commencement) 'seemed the flying Fiend;' the image of his person acting to recombine the mult.i.tude of ships into one body,--the point from which the comparison set out. 'So seemed,' and to whom seemed? To the heavenly Muse who dictates the poem, to the eye of the Poet's mind, and to that of the Reader, present at one moment in the wide Ethiopian, and the next in the solitudes, then first broken in upon, of the infernal regions!

Modo me Thebis, modo ponit Athenis.

Here again this mighty Poet,--speaking of the Messiah going forth to expel from heaven the rebellious angels,

Attended by ten thousand thousand Saints He onward came: far off his coming shone,--

the retinue of Saints, and the Person of the Messiah himself, lost almost and merged in the splendour of that indefinite abstraction 'His coming!'

As I do not mean here to treat this subject further than to throw some light upon the present Volumes, and especially upon one division of them, I shall spare myself and the Reader the trouble of considering the Imagination as it deals with thoughts and sentiments, as it regulates the composition of characters, and determines the course of actions: I will not consider it (more than I have already done by implication) as that power which, in the language of one of my most esteemed Friends, 'draws all things to one; which makes things animate or inanimate, beings with their attributes, subjects with their accessaries, take one colour and serve to one effect.'[18] The grand store-houses of enthusiastic and meditative Imagination, of poetical, as contradistinguished from human and dramatic Imagination, are the prophetic and lyrical parts of the Holy Scriptures, and the works of Milton; to which I cannot forbear to add those of Spenser. I select these writers in preference to those of ancient Greece and Rome, because the anthropomorphitism of the Pagan religion subjected the minds of the greatest poets in those countries too much to the bondage of definite form; from which the Hebrews were preserved by their abhorrence of idolatry. This abhorrence was almost as strong in our great epic Poet, both from circ.u.mstances of his life, and from the const.i.tution of his mind. However imbued the surface might be with cla.s.sical literature, he was a Hebrew in soul; and all things tended in him towards the sublime.

Spenser, of a gentler nature, maintained his freedom by aid of his allegorical spirit, at one time inciting him to create persons out of abstractions; and, at another, by a superior effort of genius, to give the universality and permanence of abstractions to his human beings, by means of attributes and emblems that belong to the highest moral truths and the purest sensations,--of which his character of Una is a glorious example. Of the human and dramatic Imagination the works of Shakspeare are an inexhaustible source.

[18] Charles Lamb upon the genius of Hogarth.

I tax not you, ye Elements, with unkindness, I never gave you kingdoms, call'd you Daughters!

And if, bearing in mind the many Poets distinguished by this prime quality, whose names I omit to mention; yet justified by recollection of the insults which the ignorant, the incapable and the presumptuous, have heaped upon these and my other writings, I may be permitted to antic.i.p.ate the judgment of posterity upon myself, I shall declare (censurable, I grant, if the notoriety of the fact above stated does not justify me) that I have given in these unfavourable times, evidence of exertions of this faculty upon its worthiest objects, the external universe, the moral and religious sentiments of Man, his natural affections, and his acquired pa.s.sions; which have the same enn.o.bling tendency as the productions of men, in this kind, worthy to be holden in undying remembrance.

To the mode in which Fancy has already been characterised as the power of evoking and combining, or, as my friend Mr. Coleridge has styled it, 'the aggregative and a.s.sociative power,' my objection is only that the definition is too general. To aggregate and to a.s.sociate, to evoke and to combine, belong as well to the Imagination as to the Fancy; but either the materials evoked and combined are different; or they are brought together under a different law, and for a different purpose.

Fancy does not require that the materials which she makes use of should be susceptible of change in their const.i.tution, from her touch; and, where they admit of modification, it is enough for her purpose if it be slight, limited, and evanescent. Directly the reverse of these, are the desires and demands of the Imagination. She recoils from everything but the plastic, the pliant, and the indefinite. She leaves it to Fancy to describe Queen Mab as coming,

In shape no bigger than an agate-stone On the fore-finger of an alderman.

Having to speak of stature, she does not tell you that her gigantic Angel was as tall as Pompey's Pillar; much less that he was twelve cubits, or twelve hundred cubits high; or that his dimensions equalled those of Teneriffe or Atlas;--because these, and if they were a million times as high it would be the same, are bounded: The expression is, 'His stature reached the sky!' the illimitable firmament!--When the Imagination frames a comparison, if it does not strike on the first presentation, a sense of the truth of the likeness, from the moment that it is perceived, grows--and continues to grow--upon the mind; the resemblance depending less upon outline of form and feature, than upon expression and effect; less upon casual and outstanding, than upon inherent and internal, properties: moreover, the images invariably modify each other.--The law under which the processes of Fancy are carried on is as capricious as the accidents of things, and the effects are surprising, playful, ludicrous, amusing, tender, or pathetic, as the objects happen to be appositely produced or fortunately combined. Fancy depends upon the rapidity and profusion with which she scatters her thoughts and images; trusting that their number, and the felicity with which they are linked together, will make amends for the want of individual value: or she prides herself upon the curious subtilty and the successful elaboration with which she can detect their lurking affinities. If she can win you over to her purpose, and impart to you her feelings, she cares not how unstable or transitory may be her influence, knowing that it will not be out of her power to resume it upon an apt occasion. But the Imagination is conscious of an indestructible dominion;--the Soul may fall away from it, not being able to sustain its grandeur; but, if once felt and acknowledged, by no act of any other faculty of the mind can it be relaxed, impaired, or diminished.--Fancy is given to quicken and to beguile the temporal part of our nature, Imagination to incite and to support the eternal.--Yet is it not the less true that Fancy, as she is an active, is also, under her own laws and in her own spirit, a creative faculty. In what manner Fancy ambitiously aims at a rivalship with Imagination, and Imagination stoops to work with materials of Fancy, might be ill.u.s.trated from the compositions of all eloquent writers, whether in prose or verse; and chiefly from those of our own Country. Scarcely a page of the impa.s.sioned parts of Bishop Taylor's Works can be opened that shall not afford examples.--Referring the Reader to those inestimable volumes, I will content myself with placing a conceit (ascribed to Lord Chesterfield) in contrast with a pa.s.sage from the 'Paradise Lost:'--

The dews of the evening most carefully shun, They are the tears of the sky for the loss of the sun.

After the transgression of Adam, Milton, with other appearances of sympathising Nature, thus marks the immediate consequence,

Sky lowered, and, muttering thunder, some sad drops Wept at completion of the mortal sin.

The a.s.sociating link is the same in each instance: Dew and rain, not distinguishable from the liquid substance of tears, are employed as indications of sorrow. A flash of surprise is the effect in the former case; a flash of surprise, and nothing more; for the nature of things does not sustain the combination. In the latter, the effects from the act, of which there is this immediate consequence and visible sign, are so momentous, that the mind acknowledges the justice and reasonableness of the sympathy in nature so manifested; and the sky weeps drops of water as if with human eyes, as 'Earth had before trembled from her entrails, and Nature given a second groan.'

Finally, I will refer to Cotton's 'Ode upon Winter,' an admirable composition, though stained with some peculiarities of the age in which he lived, for a general ill.u.s.tration of the characteristics of Fancy.

The middle part of this ode contains a most lively description of the entrance of Winter, with his retinue, as 'A palsied king,' and yet a military monarch,--advancing for conquest with his army; the several bodies of which, and their arms and equipments, are described with a rapidity of detail, and a profusion of _fanciful_ comparisons, which indicate on the part of the poet extreme activity of intellect, and a correspondent hurry of delightful feeling. Winter retires from the foe into his fortress, where

--a magazine Of sovereign juice is cellared in; Liquor that will the siege maintain Should Phoebus ne'er return again.

Though myself a water-drinker, I cannot resist the pleasure of transcribing what follows, as an instance still more happy of Fancy employed in the treatment of feeling than, in its preceding pa.s.sages, the Poem supplies of her management of forms.

'Tis that, that gives the poet rage, And thaws the gelly'd blood of age; Matures the young, restores the old, And makes the fainting coward bold.

It lays the careful head to rest, Calms palpitations in the breast.

Renders our lives' misfortune sweet;

Then let the chill Sirocco blow, And gird us round with hills of snow, Or else go whistle to the sh.o.r.e, And make the hollow mountains roar.

Whilst we together jovial sit Careless, and crowned with mirth and wit, Where, though bleak winds confine us home, Our fancies round the world shall roam.

We'll think of all the Friends we know.

And drink to all worth drinking to; When having drunk all thine and mine, We rather shall want healths than wine.

But where Friends fail us, we'll supply Our friendships with our charity; Men that remote in sorrows live, Shall by our l.u.s.ty brimmers thrive.

We'll drink the wanting into wealth, And those that languish into health, The afflicted into joy; th' opprest Into security and rest.

The worthy in disgrace shall find Favour return again more kind, And in restraint who stifled lie, Shall taste the air of liberty.

The brave shall triumph in success, The lovers shall have mistresses, Poor unregarded Virtue, praise, And the neglected Poet, bays.

Thus shall our healths do others good, Whilst we ourselves do all we would; For, freed from envy and from care, What would we be but what we are?

When I sate down to write this Preface, it was my intention to have made it more comprehensive; but, thinking that I ought rather to apologise for detaining the reader so long, I will here conclude.

DEDICATION: PREFIXED TO THE EDITION OF 1815.

_To Sir George Howland Beaumont, Bart_.

MY DEAR SIR GEORGE,

Accept my thanks for the permission given me to dedicate these Volumes to you. In addition to a lively pleasure derived from general considerations, I feel a particular satisfaction; for, by inscribing these Poems with your Name, I seem to myself in some degree to repay, by an appropriate honour, the great obligation which I owe to one part of the Collection--as having been the means of first making us personally known to each other. Upon much of the remainder, also, you have a peculiar claim,--for some of the best pieces were composed under the shade of your own groves, upon the cla.s.sic ground of Coleorton; where I was animated by the recollection of those ill.u.s.trious Poets of your name and family, who were born in that neighbourhood; and, we may be a.s.sured, did not wander with indifference by the dashing stream of Grace Dieu, and among the rocks that diversify the forest of Charnwood.--Nor is there any one to whom such parts of this Collection as have been inspired or coloured by the beautiful Country from which I now address you, could be presented with more propriety than to yourself--to whom it has suggested so many admirable pictures. Early in life, the sublimity and beauty of this region excited your admiration; and I know that you are bound to it in mind by a still strengthening attachment.

Wishing and hoping that this Work, with the embellishments it has received from your pencil, may survive as a lasting memorial of a friendship which I reckon among the blessings of my life,