The Prose Works of William Wordsworth Part 57

London, 1793.

10. *_Descriptive Sketches_.

1791-2. Much the greatest part of this poem was composed during my walks upon the banks of the Loire, in the years 1791, 1792. I will only notice that the description of the valley filled with mist, beginning 'In solemn shapes,' &c. was taken from that beautiful region, of which the princ.i.p.al features are Lungarn and Sarnen. Nothing that I ever saw in Nature left a more delightful impression on my mind than that which I have attempted, alas how feebly! to convey to others in these lines.

Those two lakes have always interested me, especially from bearing, in their size and other features, a resemblance to those of the North of England. It is much to be deplored that a district so beautiful should be so unhealthy as it is.

FOOT-NOTES.

11. _The Cross_. 'The Cross, by angels planted on the aerial rock' (I.

70). Alluding to the crosses seen on the spiry rocks of Chartreuse.

12. _Rivers_. 'Along the mystic streams of Life and Death' (I. 71).

Names of rivers at the Chartreuse.

13. _Vallombre_. 'Vallombre, 'mid her falling fanes' (I. 74). Name of one of the valleys of the Chartreuse.

14. _Sugh_. 'Beneath the cliffs, and pine-wood's steady sugh' (I. 358).

Sugh, a Scotch word expressive of the sound of the wind through the trees.

15. _Pikes_. 'And Pikes of darkness named and fear and storms' (I. 471).

As Schreck-Horn, the pike of terror, Wetter-horn, the pike of storms, &c. &c.

16. _Shrine_. 'Ensiedlen's wretched fane' (I. 545). This shrine is resorted to, from a hope of relief, by mult.i.tudes, from every corner of the Catholic world, labouring under mental or bodily afflictions.

17. _Sourd_. 'Sole sound, the Sourd prolongs his mournful cry!' (I.

618.) An insect so called, which emits a short melancholy cry, heard at the close of the Summer evenings, on the banks of the Loire.

18. *_Lines left upon a Seat in a Yew-tree, which stands near the Lake of Esthwaite, on a desolate Part of the Sh.o.r.e, commanding a beautiful Prospect_.[VII.]

Composed in part at school at Hawkshead. The tree has disappeared, and the slip of Common on which it stood, that ran parallel to the lake, and lay open to it, has long been enclosed, so that the road has lost much of its attraction. This spot was my favourite walk in the evenings during the latter part of my school-time. The individual whose habits and character are here given was a gentleman of the neighbourhood, a man of talent and learning, who had been educated at one of our universities, and returned to pa.s.s his time in seclusion on his own estate. He died a bachelor in middle age. Induced by the beauty of the prospect, he built a small summer-house on the rocks above the peninsula on which the ferry-house stands. [In pencil here--Query, Mr. Nott?]

This property afterwards past into the hands of the late Mr. Curwen. The site was long ago pointed out by Mr. West in his _Guide_ as the pride of the Lakes, and now goes by the name of 'The Station.' So much used I to be delighted with the view from it, while a little boy, that some years before the first pleasure-house was built, I led thither from Hawkshead a youngster about my own age, an Irish boy, who was a servant to an itinerant conjuror. My motive was to witness the pleasure I expected the boy would receive from the prospect of the islands below, and the intermingling water. I was not disappointed; and I hope the fact, insignificant as it may seem to some, may be thought worthy of note by others who may cast their eye over these notes.

19. _Guilt and Sorrow; or Incidents upon Salisbury Plain_.[VIII.]

ADVERTIs.e.m.e.nT, PREFIXED TO THE FIRST EDITION OF THIS POEM, PUBLISHED IN 1842.

Not less than one-third of the following poem, though it has from time to time been altered in the expression, was published so far back as the year 1798, under the t.i.tle of 'The Female Vagrant.' The extract is of such length that an apology seems to be required for reprinting it here: but it was necessary to restore it to its original position, or the rest would have been unintelligible. The whole was written before the close of the year 1794, and I will detail, rather as a matter of literary biography than for any other reason, the circ.u.mstances under which it was produced.

During the latter part of the summer of 1793, having pa.s.sed a month in the Isle of Wight, in view of the fleet which was then preparing for sea off Portsmouth at the commencement of the war, I left the place with melancholy forebodings. The American war was still fresh in memory. The struggle which was beginning, and which many thought would be brought to a speedy close by the irresistible arms of Great Britain being added to those of the Allies, I was a.s.sured in my own mind would be of long continuance, and productive of distress and misery beyond all possible calculation. This conviction was pressed upon me by having been a witness, during a long residence in revolutionary France, of the spirit which prevailed in that country. After leaving the Isle of Wight, I spent two days in wandering on foot over Salisbury Plain, which, though cultivation was then widely spread through parts of it, had upon the whole a still more impressive appearance than it now retains.

The monuments and traces of antiquity, scattered in abundance over that region, led me unavoidably to compare what we know or guess of those remote times with certain aspects of modern society, and with calamities, princ.i.p.ally those consequent upon war, to which, more than other cla.s.ses of men, the poor are subject. In those reflections, joined with particular facts that had come to my knowledge, the following stanzas originated.

In conclusion, to obviate some distraction in the minds of those who are well acquainted with Salisbury Plain, it may be proper to say, that of the features described as belonging to it, one or two are taken from other desolate parts of England.

20. *_The Female Vagrant_.

I find the date of this is placed in 1792 in contradiction, by mistake, to what I have a.s.serted in 'Guilt and Sorrow.' The correct date is 1793-4. The chief incidents of it, more particularly her description of her feelings on the Atlantic, are taken from life.

21. *_Guilt and Sorrow; or Incidents upon Salisbury Plain_. [VIII.]

Unwilling to be unnecessarily particular, I have a.s.signed this poem to the dates 1793 and 1794; but, in fact, much of the Female Vagrant's story was composed at least two years before. All that relates to her sufferings as a soldier's wife in America, and her condition of mind during her voyage home, were faithfully taken from the report made to me of her own case by a friend who had been subjected to the same trials, and affected in the same way. Mr. Coleridge, when I first became acquainted with him, was so much impressed with this poem, that it would have encouraged me to publish the whole as it then stood; but the Mariner's fate appeared to me so tragical, as to require a treatment more subdued, and yet more strictly applicable in expression, than I had at first given to it. This fault was corrected nearly fifty years afterwards, when I determined to publish the whole. It may be worth while to remark, that though the incidents of this attempt do only in a small degree produce each other, and it deviates accordingly from the general rule by which narrative pieces ought to be governed, it is not therefore wanting in continuous hold upon the mind, or in unity, which is effected by the ident.i.ty of moral interest that places the two personages upon the same footing in the reader's sympathies. My ramble over many parts of Salisbury Plain put me, as mentioned in the preface, upon writing this poem, and left upon my mind imaginative impressions the force of which I have felt to this day. From that district I proceeded to Bath, Bristol, and so on to the banks of the Wye; when I took again to travelling on foot. In remembrance of that part of my journey, which was in 1793, I began the verses,

'Five years have pa.s.sed,' &c.

22. _Charles Farish_.

'And hovering, round it often did a raven fly.'

From a short MS. poem read to me when an undergraduate, by my schoolfellow and friend, Charles Farish, long since deceased. The verses were by a brother of his, a man of promising genius, who died young.

['Guilt and Sorrow,' st. ix. l. 9.]

23. *_The Forsaken. Poems founded on the Affections_. [XII.]

This was an overflow from the affliction of Margaret, and excluded as superfluous there; but preserved in the faint hope that it may turn to account, by restoring a shy lover to some forsaken damsel; my poetry having been complained of as deficient in interests of this sort, a charge which the next piece, beginning,

'Lyre! though such power do in thy magic live!'

will scarcely tend to obviate. The natural imagery of these verses was supplied by frequent, I might say intense, observation of the Rydal Torrent. What an animating contrast is the ever-changing aspect of that, and indeed of every one of our mountain brooks, to the monotonous tone and unmitigated fury of such streams among the Alps as are fed all the summer long by glaciers and melting snows! A traveller, observing the exquisite purity of the great rivers, such as the Rhone at Geneva, and the Reuss at Lucerne, where they issue out of their respective lakes, might fancy for a moment that some power in Nature produced this beautiful change, with a view to make amends for those Alpine sullyings which the waters exhibit near their fountain heads; but, alas! how soon does that purity depart, before the influx of tributary waters that have flowed through cultivated plains and the crowded abodes of men.

24. *_The Borderers: a Tragedy_.

Of this dramatic work I have little to say in addition to the short printed note which will be found attached to it. It was composed at Racedown in Dorset, during the latter part of the year 1795, and in the course of the following year. Had it been the work of a later period of life, it would have been different in some respects from what it is now.

The plot would have been something more complex, and a greater variety of characters introduced, to relieve the mind from the pressure of incidents so mournful; the manners also would have been more attended to. My care was almost exclusively given to the pa.s.sions and the characters, and the position in which the persons in the drama stood relatively to each other, that the reader (for I never thought of the stage at the time it was written) might be moved, and to a degree instructed, by lights penetrating somewhat into the depths of our nature. In this endeavour, I cannot think, upon a very late review, that I have failed. As to the scene and period of action, little more was required for my purpose than the absence of established law and government, so that the agents might be at liberty to act on their own impulses. Nevertheless, I do remember, that having a wish to colour the manners in some degree from local history more than my knowledge enabled me to do, I read Redpath's _History of the Borders_, but found there nothing to my purpose. I once made an observation to Sir W. Scott, in which he concurred, that it was difficult to conceive how so dull a book could be written on such a subject. Much about the same time, but a little after, Coleridge was employed in writing his tragedy of _Remorse_; and it happened soon after that, through one of the Mr.

Pooles, Mr. Knight, the actor, heard that we had been engaged in writing plays, and, upon his suggestion, mine was curtailed, and (I believe, with Coleridge's) was offered to Mr. Harris, manager of Covent Garden.

For myself, I had no hope, nor even a wish (though a successful play would in the then state of my finances have been a most welcome piece of good fortune), that he should accept my performance; so that I incurred no disappointment when the piece was _judiciously_ returned as not calculated for the stage. In this judgment I entirely concurred; and had it been otherwise, it was so natural for me to shrink from public notice, that any hope I might have had of success would not have reconciled me altogether to such an exhibition. Mr. C.'s play was, as is well known, brought forward several years after, through the kindness of Mr. Sheridan. In conclusion, I may observe, that while I was composing this play, I wrote a short essay, ill.u.s.trative of that const.i.tution and those tendencies of human nature, which make the apparently _motiveless_ actions of bad men intelligible to careful observers. This was partly done with reference to the character of Oswald, and his persevering endeavour to lead the man he disliked into so heinous a crime; but still more to preserve in my distinct remembrance what I had observed of transitions in character, and the reflections I had been led to make, during the time I was a witness of the changes through which the French Revolution pa.s.sed.

25. The following is the 'short printed note' mentioned in above:

This Dramatic Piece, as noticed in its t.i.tle-page, was composed in 1795-6. It lay nearly from that time till within the last two or three months unregarded among my papers, without being mentioned even to my most intimate friends. Having, however, impressions upon my mind which made me unwilling to destroy the MS., I determined to undertake the responsibility of publishing it during my own life, rather than impose upon my successors the task of deciding its fate. Accordingly it has been revised with some care; but, as it was at first written, and is now published, without any view to its exhibition upon the stage, not the slightest alteration has been made in the conduct of the story, or the composition of the characters; above all, in respect to the two leading Persons of the Drama, I felt no inducement to make any change. The study of human nature suggests this awful truth, that, as in the trial to which life subjects us, sin and crime are apt to start from their very opposite qualities, so are there no limits to the hardening of the heart, and the perversion of the understanding to which they may carry their slaves. During my long residence in France, while the Revolution was rapidly advancing to its extreme of wickedness, I had frequent opportunities of being an eye-witness of this process, and it was while that knowledge was fresh upon my memory that the Tragedy of the _Borderers_ was composed.