Midterm 1

Wordsworth, "The Thorn"

"There is a Thorn—it looks so old, In truth, you'd find it hard to say How it could ever have been young, It looks so old and grey. Not higher than a two years' child It stands erect, this aged Thorn; No leaves it has, no prickly points; It is a mass of knotted joints, A wretched thing forlorn. It stands erect, and like a stone With lichens is it overgrown. II "Like rock or stone, it is o'ergrown, With lichens to the very top, And hung with heavy tufts of moss, A melancholy crop: Up from the earth these mosses creep, And this poor Thorn they clasp it round So close, you'd say that they are bent With plain and manifest intent To drag it to the ground; And all have joined in one endeavour To bury this poor Thorn for ever. III "High on a mountain's highest ridge, Where oft the stormy winter gale Cuts like a scythe, while through the clouds It sweeps from vale to vale; Not five yards from the mountain path, This Thorn you on your left espy; And to the left, three yards beyond, You see a little muddy pond Of water—never dry, Though but of compass small, and bare To thirsty suns and parching air. IV "And, close beside this aged Thorn, There is a fresh and lovely sight, A beauteous heap, a hill of moss, Just half a foot in height. All lovely colours there you see, All colours that were ever seen; And mossy network too is there, As if by hand of lady fair The work had woven been; And cups, the darlings of the eye, So deep is their vermilion dye. V "Ah me! what lovely tints are there Of olive green and scarlet bright, In spikes, in branches, and in stars, Green, red, and pearly white! This heap of earth o'ergrown with moss, Which close beside the Thorn you see, So fresh in all its beauteous dyes, Is like an infant's grave in size, As like as like can be: But never, never any where, An infant's grave was half so fair. VI "Now would you see this aged Thorn, This pond, and beauteous hill of moss, You must take care and choose your time The mountain when to cross. For oft there sits between the heap, So like an infant's grave in size, And that same pond of which I spoke, A Woman in a scarlet cloak, And to herself she cries, 'Oh misery! oh misery! Oh woe is me! oh misery!' VII "At all times of the day and night This wretched Woman thither goes; And she is known to every star, And every wind that blows; And there, beside the Thorn, she sits When the blue daylight's in the skies, And when the whirlwind's on the hill, Or frosty air is keen and still, And to herself she cries, 'Oh misery! oh misery! Oh woe is me! oh misery!' " VIII "Now wherefore, thus, by day and night, In rain, in tempest, and in snow, Thus to the dreary mountain-top Does this poor Woman go? And why sits she beside the Thorn When the blue daylight's in the sky Or when the whirlwind's on the hill, Or frosty air is keen and still, And wherefore does she cry?— O wherefore? wherefore? tell me why Does she repeat that doleful cry?" IX "I cannot tell; I wish I could; For the true reason no one knows: But would you gladly view the spot, The spot to which she goes; The hillock like an infant's grave, The pond—and Thorn, so old and grey; Pass by her door—'tis seldom shut— And if you see her in her hut— Then to the spot away! I never heard of such as dare Approach the spot when she is there." X "But wherefore to the mountain-top Can this unhappy Woman go, Whatever star is in the skies, Whatever wind may blow?" "Full twenty years are past and gone Since she (her name is Martha Ray) Gave with a maiden's true good-will Her company to Stephen Hill; And she was blithe and gay, While friends and kindred all approved Of him whom tenderly she loved. XI "And they had fixed the wedding day, The morning that must wed them both; But Stephen to another Maid Had sworn another oath; And, with this other Maid, to church Unthinking Stephen went— Poor Martha! on that woeful day A pang of pitiless dismay Into her soul was sent; A fire was kindled in her breast, Which might not burn itself to rest. XII "They say, full six months after this, While yet the summer leaves were green, She to the mountain-top would go, And there was often seen. What could she seek?—or wish to hide? Her state to any eye was plain; She was with child, and she was mad; Yet often was she sober sad From her exceeding pain. O guilty Father—would that death Had saved him from that breach of faith! XIII "Sad case for such a brain to hold Communion with a stirring child! Sad case, as you may think, for one Who had a brain so wild! Last Christmas-eve we talked of this, And grey-haired Wilfred of the glen Held that the unborn infant wrought About its mother's heart, and brought Her senses back again: And, when at last her time drew near, Her looks were calm, her senses clear. XIV "More know I not, I wish I did, And it should all be told to you; For what became of this poor child No mortal ever knew; Nay—if a child to her was born No earthly tongue could ever tell; And if 'twas born alive or dead, Far less could this with proof be said; But some remember well, That Martha Ray about this time Would up the mountain often climb. XV "And all that winter, when at night The wind blew from the mountain-peak, 'Twas worth your while, though in the dark, The churchyard path to seek: For many a time and oft were heard Cries coming from the mountain head: Some plainly living voices were; And others, I've heard many swear, Were voices of the dead: I cannot think, whate'er they say, They had to do with Martha Ray. XVI "But that she goes to this old Thorn, The Thorn which I described to you, And there sits in a scarlet cloak, I will be sworn is true. For one day with my telescope, To view the ocean wide and bright, When to this country first I came, Ere I had heard of Martha's name, I climbed the mountain's height:— A storm came on, and I could see No object higher than my knee. XVII " 'Twas mist and rain, and storm and rain: No screen, no fence could I discover; And then the wind! in sooth, it was A wind full ten times over. I looked around, I thought I saw A jutting crag,—and off I ran, Head-foremost, through the driving rain, The shelter of the crag to gain; And, as I am a man, Instead of jutting crag, I found A Woman seated on the ground. XVIII "I did not speak—I saw her face; Her face!—it was enough for me; I turned about and heard her cry, 'Oh misery! oh misery!' And there she sits, until the moon Through half the clear blue sky will go; And when the little breezes make The waters of the pond to shake, As all the country know, She shudders, and you hear her cry, 'Oh misery! oh misery!' " XIX "But what's the Thorn? and what the pond? And what the hill of moss to her? And what the creeping breeze that comes The little pond to stir?" "I cannot tell; but some will say She hanged her baby on the tree; Some say she drowned it in the pond, Which is a little step beyond: But all and each agree, The little Babe was buried there, Beneath that hill of moss so fair. XX "I've heard, the moss is spotted red With drops of that poor infant's blood; But kill a new-born infant thus, I do not think she could! Some say, if to the pond you go, And fix on it a steady view, The shadow of a babe you trace, A baby and a baby's face, And that it looks at you; Whene'er you look on it, 'tis plain The baby looks at you again. XXI "And some had sworn an oath that she Should be to public justice brought; And for the little infant's bones With spades they would have sought. But instantly the hill of moss Before their eyes began to stir! And, for full fifty yards around, The grass—it shook upon the ground! Yet all do still aver The little Babe lies buried there, Beneath that hill of moss so fair. XXII "I cannot tell how this may be, But plain it is the Thorn is bound With heavy tufts of moss that strive To drag it to the ground; And this I know, full many a time, When she was on the mountain high, By day, and in the silent night, When all the stars shone clear and bright, That I have heard her cry, 'Oh misery! oh misery! Oh woe is me! oh misery!' "

Anna Barbauld, "A Summer Evening's Meditation"

'TIS past! The sultry tyrant of the south Has spent his short-lived rage; more grateful hours Move silent on; the skies no more repel The dazzled sight, but with mild maiden beams Of temper'd light, invite the cherish'd eye To wander o'er their sphere; where hung aloft DIAN's bright crescent, like a silver bow New strung in heaven, lifts high its beamy horns [Page 132] Impatient for the night, and seems to push Her brother down the sky. Fair VENUS shines E'en in the eye of the day; with sweetest beam Propitious shines, and shakes a trembling flood Of soften'd radiance from her dewy locks. The shadows spread apace; while meeken'd Eve Her cheek yet warm with blushes, slow retires Thro' the Hesperian gardens of the west, And shuts the gates of day. 'Tis now the hour When Contemplation, from her sunless haunts, The cool damp grotto, or the lonely depth Of unpierc'd woods, where wrapt in solid shade She mused away the gaudy hours of noon, And fed on thoughts unripen'd by the sun, Moves forward; and with radiant finger points To yon blue concave swell'd by breath divine, Where, one by one, the living eyes of heaven Awake, quick kindling o'er the face of ether [Page 133] One boundless blaze; ten thousand trembling fires, And dancing lustres, where th' unsteady eye, Restless, and dazzled wanders unconfin'd O'er all this field of glories: spacious field; And worthy of the Master: he, whose hand With hieroglyphics elder than the Nile, Inscribed the mystic tablet; hung on high To public gaze, and said, adore, O man! The finger of thy GOD. From what pure wells Of milky light, what soft o'erflowing urn, Are all these lamps so fill'd? these friendly lamps, For ever streaming o'er the azure deep To point our path, and light us to our home. How soft they slide along their lucid spheres! And silent as the foot of time, fulfil Their destin'd courses: Nature's self is hush'd, And, but a scatter'd leaf, which rustles thro' The thick-wove foliage, not a sound is heard [Page 134] To break the midnight air; tho' the rais'd ear, Intensely listening, drinks in every breath. How deep the silence yet how loud the praise! But are they silent all? or is there not A tongue in every star that talks with man, And wooes him to be wise; nor wooes in vain: This dead of midnight is the noon of thought, And wisdom mounts her zenith with the stars. At this still hour the self-collected soul Turns inward, and beholds a stranger there Of high descent, and more than mortal rank; An embryo GOD; a spark of fire divine, Which must burn on for ages, when the sun, (Fair transitory creature of a day!) Has clos'd his golden eye, and wrap'd in shades Forgets his wonted journey thro' the east. Ye citadels of light, and seats of GODS! Perhaps my future home, from whence the soul [Page 135] Revolving periods past, may oft look back With recollected tenderness, on all The various busy scenes she left below, Its deep laid projects and its strange events, As on some fond and doting tale that soothed Her infant hours; O be it lawful now To tread the hallow'd circle of your courts, And with mute wonder and delighted awe Approach your burning confines. Seiz'd in thought, On fancy's wild and roving wing I sail, From the green borders of the peopled earth, And the pale moon, her duteous fair attendant; From solitary Mars; from the vast orb Of Jupiter, whose huge gigantic bulk Dances in ether like the lightest leaf; To the dim verge, the suburbs of the system, Where cheerless Saturn 'midst his wat'ry moons Girt with a lucid zone, in gloomy pomp, [Page 136] Sits like an exil'd monarch: fearless thence I launch into the trackless deeps of space, Where, burning round, ten thousand suns appear, Of elder beam; which ask no leave to shine Of our terrestrial star, nor borrow light From the proud regent of our scanty day; Sons of the morning, first-born of creation, And only less than HIM who marks their track, And guides their fiery wheels. Here must I stop, Or is there aught beyond? What hand unseen Impells me onward thro' the glowing orbs Of habitable nature, far remote, To the dread confines of eternal night, To solitudes of vast unpeopled space, The desarts of creation, wide and wild; Where embryo systems and unkindled suns Sleep in the tomb of chaos? fancy droops, [Page 137] And thought astonish'd stops her bold career. But oh thou mighty mind! whose powerful word Said, thus let all things be, and thus they were, Where shall I seek thy presence? how unblam'd Invoke thy dread perfection? Have the broad eye-lids of the morn beheld thee? Or does the beamy shoulder of Orion Support thy throne? O look with pity down On erring guilty man; not in thy names Of terror clad; not with those thunders arm'd That conscious Sinai felt, when fear appall'd The scattered tribes; thou hast a gentler voice, That whispers comfort to the swelling heart, Abash'd, yet longing to behold her Maker. But now my soul unus'd to stretch her powers In flight so daring, drops her weary wing, And seeks again the known accustom'd spot, [Page 138] Drest up with sun, and shade, and lawns, and streams, A mansion-fair and spacious for its guest, And full replete with wonders. Let me here Content and grateful, wait th' appointed time And ripen for the skies: the hour will come When all these splendours bursting on my sight Shall stand unveil'd, and to my ravish'd sense Unlock the glories of the world unknown.

Wordsworth, The Ruined Cottage

'Twas summer and the sun was mounted high. Along the south the uplands feebly glared Through a pale steam, and all the northern downs In clearer air ascending shewed far off Their surfaces with shadows dappled o'er Of deep embattled clouds: far as the sight Could reach those many shadows lay in spots Determined and unmoved, with steady beams Of clear and pleasant sunshine interposed; Pleasant to him who on the soft cool moss Extends his careless limbs beside the root Of some huge oak whose aged branches make A twilight of their own, a dewy shade Where the wren warbles while the dreaming man, Half-conscious of that soothing melody, With side-long eye looks out upon the scene, By those impending branches made more soft, More soft and distant. Other lot was mine. Across a bare wide Common I had toiled With languid feet which by the slipp'ry ground Were baffled still, and when I stretched myself On the brown earth my limbs from very heat Could find no rest nor my weak arm disperse The insect host which gathered round my face And joined their murmurs to the tedious noise Of seeds of bursting gorse that crackled round. I rose and turned towards a group of trees Which midway in that level stood alone, And thither come at length, beneath a shade Of clustering elms that sprang from the same root I found a ruined house, four naked walls That stared upon each other. I looked round And near the door I saw an aged Man, Alone, and stretched upon the cottage bench; An iron-pointed staff lay at his side. With instantaneous joy I recognized That pride of nature and of lowly life, The venerable Armytage, a friend As dear to me as is the setting sun. Two days before We had been fellow-travellers. I knew That he was in this neighbourhood and now Delighted found him here in the cool shade. He lay, his pack of rustic merchandize Pillowing his head—I guess he had no thought Of his way-wandering life. His eyes were shut; The shadows of the breezy elms above Dappled his face. With thirsty heat oppress'd At length I hailed him, glad to see his hat Bedewed with water-drops, as if the brim Had newly scoop'd a running stream. He rose And pointing to a sun-flower bade me climb The [ ] wall where that same gaudy flower Looked out upon the road. It was a plot Of garden-ground, now wild, its matted weeds Marked with the steps of those whom as they pass'd, The goose-berry trees that shot in long lank slips, Or currants hanging from their leafless stems In scanty strings, had tempted to o'erleap The broken wall. Within that cheerless spot, Where two tall hedgerows of thick willow boughs Joined in a damp cold nook, I found a well Half-choked with willow flowers and weeds. I slaked my thirst and to the shady bench Returned, and while I stood unbonneted To catch the motion of the cooler air The old Man said, "I see around me here Things which you cannot see: we die, my Friend, Nor we alone, but that which each man loved And prized in his peculiar nook of earth Dies with him or is changed, and very soon Even of the good is no memorial left. The Poets in their elegies and songs Lamenting the departed call the groves, They call upon the hills and streams to mourn, And senseless rocks, nor idly; for they speak In these their invocations with a voice Obedient to the strong creative power Of human passion. Sympathies there are More tranquil, yet perhaps of kindred birth, That steal upon the meditative mind And grow with thought. Beside yon spring I stood And eyed its waters till we seemed to feel One sadness, they and 1. For them a bond Of brotherhood is broken: time has been When every day the touch of human hand Disturbed their stillness, and they ministered To human comfort. When I stooped to drink, A spider's web hung to the water's edge, And on the wet and slimy foot-stone lay The useless fragment of a wooden bowl; It moved my very heart. The day has been When I could never pass this road but she Who lived within these walls, when I appeared, A daughter's welcome gave me, and I loved her As my own child. O Sir! the good die first, And they whose hearts are dry as summer dust Burn to the socket. Many a passenger Has blessed poor Margaret for her gentle looks When she upheld the cool refreshment drawn From the forsaken spring, and no one came But he was welcome, no one went away But that it seemed she loved him. She is dead, The worm is on her cheek, and this poor hut, Stripp'd of its outward garb of houshold flowers, Of rose and sweet-briar, offers to the wind A cold bare wall whose earthy top is tricked With weeds and the rank spear-grass. She is dead, And nettles rot and adders sun themselves Where we have sate together while she nurs'd Her infant at her breast. The unshod Colt, The wandering heifer and the Potter's ass, Find shelter now within the chimney-wall Where I have seen her evening hearth-stone blaze And through the window spread upon the road Its cheerful light.--You will forgive me, Sir, But often on this cottage do I muse As on a picture, till my wiser mind Sinks, yielding to the foolishness of grief. She had a husband, an industrious man, Sober and steady; I have heard her say That he was up and busy at his loom In summer ere the mower's scythe had swept The dewy grass, and in the early spring Ere the last star had vanished. They who pass'd At evening, from behind the garden-fence Might hear his busy spade, which he would ply After his daily work till the day-light Was gone and every leaf and flower were lost In the dark hedges. So they pass'd their days In peace and comfort, and two pretty babes Were their best hope next to the God in Heaven. —You may remember, now some ten years gone, Two blighting seasons when the fields were left With half a harvest. It pleased heaven to add A worse affliction in the plague of war: A happy land was stricken to the heart; 'Twas a sad time of sorrow and distress: A wanderer among the cottages, I with my pack of winter raiment saw The hardships of that season: many rich Sunk down as in a dream among the poor, And of the poor did many cease to be, And their place knew them not. Meanwhile, abridg'd Of daily comforts, gladly reconciled To numerous self-denials, Margaret Went struggling on through those calamitous years With chearful hope: but ere the second autumn A fever seized her husband. In disease He lingered long, and when his strength returned He found the little he had stored to meet The hour of accident or crippling age Was all consumed. As I have said, 'twas now A time of trouble; shoals of artisans Were from their daily labour turned away To hang for bread on parish charity, They and their wives and children—happier far Could they have lived as do the little birds That peck along the hedges or the kite That makes her dwelling in the mountain rocks. Ill fared it now with Robert, he who dwelt In this poor cottage; at his door he stood And whistled many a snatch of merry tunes That had no mirth in them, or with his knife Carved uncouth figures on the heads of sticks, Then idly sought about through every nook Of house or garden any casual task Of use or ornament, and with a strange, Amusing but uneasy novelty He blended where he might the various tasks Of summer, autumn, winter, and of spring. But this endured not; his good-humour soon Became a weight in which no pleasure was, And poverty brought on a petted mood And a sore temper: day by day he drooped, And he would leave his home, and to the town Without an errand would he turn his steps Or wander here and there among the fields. One while he would speak lightly of his babes And with a cruel tongue: at other times He played with them wild freaks of merriment: And 'twas a piteous thing to see the looks Of the poor innocent children. 'Every smile,' Said Margaret to me here beneath these trees, 'Made my heart bleed.'" At this the old Man paus'd And looking up to those enormous elms He said, '"Tis now the hour of deepest noon. At this still season of repose and peace, This hour when all things which are not at rest Are chearful, while this multitude of flies Fills all the air with happy melody, Why should a tear be in an old man's eye? Why should we thus with an untoward mind And in the weakness of humanity From natural wisdom turn our hearts away, To natural comfort shut our eyes and ears, And feeding on disquiet thus disturb The calm of Nature with our restless thoughts?" End of the first Part Second Part He spake with somewhat of a solemn tone: But when he ended there was in his face Such easy chearfulness, a look so mild That for a little time it stole away All recollection, and that simple tale Passed from my mind like a forgotten sound. A while on trivial things we held discourse, To me soon tasteless. In my own despite I thought of that poor woman as of one Whom I had known and loved. He had rehearsed Her homely tale with such familiar power, With such a[n active] countenance, an eye So busy, that the things of which he spake Seemed present, and, attention now relaxed, There was a heartfelt chillness in my veins. I rose, and turning from that breezy shade Went out into the open air and stood To drink the comfort of the warmer sun. Long time I had not stayed ere, looking round Upon that tranquil ruin, I returned And begged of the old man that for my sake He would resume his story. He replied, "It were a wantonness and would demand Severe reproof, if we were men whose hearts Could hold vain dalliance with the misery Even of the dead, contented thence to draw A momentary pleasure never marked By reason, barren of all future good. But we have known that there is often found In mournful thoughts, and always might be found, A power to virtue friendly; were't not so, I am a dreamer among men, indeed An idle dreamer. 'Tis a common tale, By moving accidents uncharactered, A tale of silent suffering, hardly clothed In bodily form, and to the grosser sense But ill adapted, scarcely palpable To him who does not think. But at your bidding I will proceed. While thus it fared with them To whom this cottage till that hapless year Had been a blessed home, it was my chance To travel in a country far remote. And glad I was when, halting by yon gate That leads from the green lane, again I saw These lofty elm-trees. Long I did not rest: With many pleasant thoughts I cheer'd my way O'er the flat common. At the door arrived, I knocked, and when I entered with the hope Of usual greeting, Margaret looked at me A little while, then turned her head away Speechless, and sitting down upon a chair Wept bitterly. I wist not what to do Or how to speak to her. Poor wretch! at last She rose from off her seat—and then, oh Sir! I cannot tell how she pronounced my name: With fervent love, and with a face of grief Unutterably helpless, and a look That seem'd to cling upon me, she enquir'd If I had seen her husband. As she spake A strange surprize and fear came to my heart, Nor had I power to answer ere she told That he had disappeared—just two months gone. He left his house; two wretched days had passed, And on the third by the first break of light, Within her casement full in view she saw A purse of gold. 'I trembled at the sight,' Said Margaret, 'for I knew it was his hand That placed it there, and on that very day By one, a stranger, from my husband sent, The tidings came that he had joined a troop Of soldiers going to a distant land. He left me thus—Poor Man! he had not heart To take a farewell of me, and he feared That I should follow with my babes, and sink Beneath the misery of a soldier's life.' This tale did Margaret tell with many tears: And when she ended I had little power To give her comfort, and was glad to take Such words of hope from her own mouth as serv'd To cheer us both: but long we had not talked Ere we built up a pile of better thoughts, And with a brighter eye she looked around As if she had been shedding tears of joy. We parted. It was then the early spring; I left her busy with her garden tools; And well remember, o'er that fence she looked, And while I paced along the foot-way path Called out, and sent a blessing after me With tender chearfulness and with a voice That seemed the very sound of happy thoughts. I roved o'er many a hill and many a dale With this my weary load, in heat and cold, Through many a wood, and many an open ground, In sunshine or in shade, in wet or fair, Now blithe, now drooping, as it might befal, My best companions now the driving winds And now the 'trotting brooks' and whispering trees And now the music of my own sad steps, With many a short-lived thought that pass'd between And disappeared. I came this way again Towards the wane of summer, when the wheat Was yellow, and the soft and bladed grass Sprang up afresh and o'er the hay-field spread Its tender green. When I had reached the door I found that she was absent. In the shade Where now we sit I waited her return. Her cottage in its outward look appeared As chearful as before; in any shew Of neatness little changed, but that I thought The honeysuckle crowded round the door And from the wall hung down in heavier wreathes, And knots of worthless stone-crop started out Along the window's edge, and grew like weeds Against the lower panes. I turned aside And stroll'd into her garden.— It was chang'd: The unprofitable bindweed spread his bells From side to side and with unwieldy wreaths Had dragg'd the rose from its sustaining wall And bent it down to earth; the border-tufts— Daisy and thrift and lowly camomile And thyme—had straggled out into the paths Which they were used to deck. Ere this an hour Was wasted. Back I turned my restless steps, And as I walked before the door it chanced A stranger passed, and guessing whom I sought He said that she was used to ramble far. The sun was sinking in the west, and now I sate with sad impatience. From within Her solitary infant cried aloud. The spot though fair seemed very desolate, The longer I remained more desolate. And, looking round, I saw the corner-stones, Till then unmark'd, on either side the door With dull red stains discoloured and stuck o'er With tufts and hairs of wool, as if the sheep That feed upon the commons thither came Familiarly and found a couching-place Even at her threshold.—The house-clock struck eight; I turned and saw her distant a few steps. Her face was pale and thin, her figure too Was chang'd. As she unlocked the door she said, 'It grieves me you have waited here so long, But in good truth I've wandered much of late And sometimes, to my shame I speak, have need Of my best prayers to bring me back again.' While on the board she spread our evening meal She told me she had lost her elder child, That he for months had been a serving-boy Apprenticed by the parish. 'I perceive You look at me, and you have cause. Today I have been travelling far, and many days About the fields I wander, knowing this Only, that what I seek I cannot find. And so I waste my time: for I am changed; And to myself,' said she, 'have done much wrong, And to this helpless infant. I have slept Weeping, and weeping I have waked; my tears Have flow'd as if my body were not such As others are, and I could never die. But I am now in mind and in my heart More easy, and I hope,' said she, 'that heaven Will give me patience to endure the things Which I behold at home.' It would have grieved Your very heart to see her. Sir, I feel The story linger in my heart. I fear 'Tis long and tedious, but my spirit clings To that poor woman: so familiarly Do I perceive her manner, and her look And presence, and so deeply do I feel Her goodness, that not seldom in my walks A momentary trance comes over me; And to myself I seem to muse on one By sorrow laid asleep or borne away, A human being destined to awake To human life, or something very near To human life, when he shall come again For whom she suffered. Sir, it would have griev'd Your very soul to see her: evermore Her eye-lids droop'd, her eyes were downward cast; And when she at her table gave me food She did not look at me. Her voice was low, Hey body was subdued. In every act Pertaining to her house-affairs appeared The careless stillness which a thinking mind Gives to an idle matter—still she sighed, But yet no motion of the breast was seen, No heaving of the heart. While by the fire We sate together, sighs came on my ear; I knew not how, and hardly whence they came. I took my staff, and when I kissed her babe The tears stood in her eyes. I left her then With the best hope and comfort I could give; She thanked me for my will, but for my hope It seemed she did not thank me. I returned And took my rounds along this road again Ere on its sunny bank the primrose flower Had chronicled the earliest day of spring. I found her sad and drooping; she had learn'd No tidings of her husband: if he lived She knew not that he lived; if he were dead She knew not he was dead. She seemed the same In person [ ] appearance, but her house Bespoke a sleepy hand of negligence; The floor was neither dry nor neat, the hearth Was comfortless [ ], The windows too were dim, and her few books, Which, one upon the other, heretofore Had been piled up against the corner-panes In seemly order, now with straggling leaves Lay scattered here and there, open or shut As they had chanced to fall. Her infant babe Had from its mother caught the trick of grief And sighed among its playthings. Once again I turned towards the garden-gate and saw More plainly still that poverty and grief Were now come nearer to her: the earth was hard, With weeds defaced and knots of withered grass; No ridges there appeared of clear black mould, No winter greenness; of her herbs and flowers It seemed the better part were gnawed away Or trampled on the earth; a chain of straw Which had been twisted round the tender stem Of a young apple-tree lay at its root; The bark was nibbled round by truant sheep. Margaret stood near, her infant in her arms, And seeing that my eye was on the tree She said, 'I fear it will be dead and gone Ere Robert come again.' Towards the house Together we returned, and she inquired If I had any hope. But for her Babe And for her little friendless Boy, she said, She had no wish to live, that she must die Of sorrow. Yet I saw the idle loom Still in its place. His sunday garments hung Upon the self-same nail, his very staff Stood undisturbed behind the door. And when I passed this way beaten by Autumn winds She told me that her little babe was dead And she was left alone. That very time, I yet remember, through the miry lane She walked with me a mile, when the bare trees Trickled with foggy damps, and in such sort That any heart had ached to hear her begg'd That wheresoe'er I went I still would ask For him whom she had lost. We parted then, Our final parting, for from that time forth Did many seasons pass ere I returned Into this tract again.Five tedious years She lingered in unquiet widowhood, A wife and widow. Needs must it have been A sore heart-wasting. I have heard, my friend, That in that broken arbour she would sit The idle length of half a sabbath day— There, where you see the toadstool's lazy head— And when a dog passed by she still would quit The shade and look abroad. On this old Bench For hours she sate, and evermore her eye Was busy in the distance, shaping things Which made her heart beat quick. Seest thou that path? (The green-sward now has broken its grey line) There to and fro she paced through many a day Of the warm summer, from a belt of flax That girt her waist spinning the long-drawn thread With backward steps.— Yet ever as there passed A man whose garments shewed the Soldier's red, Or crippled Mendicant in Sailor's garb, The little child who sate to turn the wheel Ceased from his toil, and she with faltering voice, Expecting still to learn her husband's fate, Made many a fond inquiry; and when they Whose presence gave no comfort were gone by, Her heart was still more sad. And by yon gate Which bars the traveller's road she often stood And when a stranger horseman came, the latch Would lift, and in his face look wistfully, Most happy if from aught discovered there Of tender feeling she might dare repeat The same sad question. Meanwhile her poor hut Sunk to decay, for he was gone whose hand At the first nippings of October frost Closed up each chink and with fresh bands of straw Chequered the green-grown thatch. And so she lived Through the long winter, reckless and alone, Till this reft house by frost, and thaw, and rain Was sapped; and when she slept the nightly damps Did chill her breast, and in the stormy day Her tattered clothes were ruffled by the wind Even at the side of her own fire. Yet still She loved this wretched spot, nor would for worlds Have parted hence; and still that length of road And this rude bench one torturing hope endeared, Fast rooted at her heart, and here, my friend, In sickness she remained, and here she died, Last human tenant of these ruined walls." The old Man ceased: he saw that I was mov'd; From that low Bench, rising instinctively, I turned aside in weakness, nor had power To thank him for the tale which he had told. I stood, and leaning o'er the garden-gate Reviewed that Woman's suff'rings, and it seemed To comfort me while with a brother's love I blessed her in the impotence of grief. At length upon the hut I fix'd my eyes Fondly, and traced with milder interest That secret spirit of humanity Which, 'mid the calm oblivious tendencies Of nature, 'mid her plants, her weeds, and flowers, And silent overgrowings, still survived. The old man, seeing this, resumed and said, "My Friend, enough to sorrow have you given, The purposes of wisdom ask no more; Be wise and chearful, and no longer read The forms of things with an unworthy eye. She sleeps in the calm earth, and peace is here. I well remember that those very plumes, Those weeds, and the high spear-grass on that wall, By mist and silent rain-drops silver'd o'er, As once I passed did to my heart convey So still an image of tranquillity, So calm and still, and looked so beautiful Amid the uneasy thoughts which filled my mind, That what we feel of sorrow and despair From ruin and from change, and all the grief The passing shews of being leave behind, Appeared an idle dream that could not live Where meditation was. I turned away And walked along my road in happiness." He ceased. By this the sun declining shot A slant and mellow radiance which began To fall upon us where beneath the trees We sate on that low bench, and now we felt, Admonished thus, the sweet hour coming on. A linnet warbled from those lofty elms, A thrush sang loud, and other melodies, At distance heard, peopled the milder air. The old man rose and hoisted up his load. Together casting then a farewell look Upon those silent walls, we left the shade And ere the stars were visible attained A rustic inn, our evening resting-place.

Wordsworth "Expostulation and Reply"

'WHY, William, on that old grey stone, Thus for the length of half a day, Why, William, sit you thus alone, And dream your time away? 'Where are your books?—that light bequeathed 5 To Beings else forlorn and blind! Up! up! and drink the spirit breathed From dead men to their kind. 'You look round on your Mother Earth, As if she for no purpose bore you; 10 As if you were her first-born birth, And none had lived before you!' One morning thus, by Esthwaite lake, When life was sweet, I knew not why, To me my good friend Matthew spake, 15 And thus I made reply: 'The eye—it cannot choose but see; We cannot bid the ear be still; Our bodies feel, where'er they be, Against, or with our will. 20 'Nor less I deem that there are Powers Which of themselves our minds impress; That we can feed this mind of ours In a wise passiveness. 'Think you, 'mid all this mighty sum 25 Of things for ever speaking, That nothing of itself will come, But we must still be seeking? '—Then ask not wherefore, here, alone, Conversing as I may, 30 I sit upon this old grey stone, And dream my time away.'

"Resolution and Independence"

(282, 285, 290, 341)

Burke, Reflections on the Revolution in France

197-204

Wordsworth "The Old Cumberland beggar"

1I saw an aged Beggar in my walk; 2And he was seated, by the highway side, 3On a low structure of rude masonry 4Built at the foot of a huge hill, that they 5Who lead their horses down the steep rough road 6May thence remount at ease. The aged Man 7Had placed his staff across the broad smooth stone 8That overlays the pile; and, from a bag 9All white with flour, the dole of village dames, 10He drew his scraps and fragments, one by one; 11And scanned them with a fixed and serious look 12Of idle computation. In the sun, 13Upon the second step of that small pile, 14Surrounded by those wild, unpeopled hills, 15He sat, and ate his food in solitude: 16And ever, scattered from his palsied hand, 17That, still attempting to prevent the waste, 18Was baffled still, the crumbs in little showers 19Fell on the ground; and the small mountain birds 20Not venturing yet to peck their destined meal, 21Approached within the length of half his staff. 22Him from my childhood have I known; and then 23He was so old, he seems not older now; 24He travels on, a solitary Man, 25So helpless in appearance, that from him 26The sauntering Horseman throws not with a slack 27And careless hand his alms upon the ground, 28But stops,--that he may safely lodge the coin 29Within the old Man's hat; nor quits him so, 30But still, when he has given his horse the rein, 31Watches the aged Beggar with a look 32Sidelong, and half-reverted. She who tends 33The toll-gate, when in summer at her door 34She turns her wheel, if on the road she sees 35The aged Beggar coming, quits her work, 36And lifts the latch for him that he may pass. 37The post-boy, when his rattling wheels o'ertake 38The aged Beggar in the woody lane, 39Shouts to him from behind; and if, thus warned, 40The old Man does not change his course, the boy 41Turns with less noisy wheels to the roadside, 42And passes gently by, without a curse 43Upon his lips, or anger at his heart. 44He travels on, a solitary Man; 45His age has no companion. On the ground 46His eyes are turned, and, as he moves along, 47They move along the ground; and, evermore, 48Instead of common and habitual sight 49Of fields, with rural works, of hill and dale, 50And the blue sky, one little span of earth 51Is all his prospect. Thus, from day to day, 52Bow-bent, his eyes forever on the ground, 53He plies his weary journey; seeing still, 54And seldom knowing that he sees, some straw, 55Some scattered leaf, or marks which, in one track, 56The nails of cart or chariot-wheel have left 57Impressed on the white road,--in the same line, 58At distance still the same. Poor Traveller! 59His staff trails with him; scarcely do his feet 60Disturb the summer dust; he is so still 61In look and motion, that the cottage curs, 62Ere he has passed the door, will turn away, 63Weary of barking at him. Boys and girls, 64The vacant and the busy, maids and youths, 65And urchins newly breeched--all pass him by: 66Him even the slow-paced waggon leaves behind. 67But deem not this Man useless.--Statesmen! ye 68Who are so restless in your wisdom, ye 69Who have a broom still ready in your hands 70To rid the world of nuisances; ye proud, 71Heart-swoln, while in your pride ye contemplate 72Your talents, power, or wisdom, deem him not 73A burden of the earth! 'Tis Nature's law 74That none, the meanest of created things, 75Of forms created the most vile and brute, 76The dullest or most noxious, should exist 77Divorced from good--a spirit and pulse of good, 78A life and soul, to every mode of being 79Inseparably linked. Then be assured 80That least of all can aught--that ever owned 81The heaven-regarding eye and front sublime 82Which man is born to--sink, howe'er depressed, 83So low as to be scorned without a sin; 84Without offence to God cast out of view; 85Like the dry remnant of a garden-flower 86Whose seeds are shed, or as an implement 87Worn out and worthless. While from door to door, 88This old Man creeps, the villagers in him 89Behold a record which together binds 90Past deeds and offices of charity, 91Else unremembered, and so keeps alive 92The kindly mood in hearts which lapse of years, 93And that half-wisdom half-experience gives, 94Make slow to feel, and by sure steps resign 95To selfishness and cold oblivious cares, 96Among the farms and solitary huts, 97Hamlets and thinly-scattered villages, 98Where'er the aged Beggar takes his rounds, 99The mild necessity of use compels 100The acts of love; and habit does the work 101Of reason; yet prepares that after-joy 102Which reason cherishes. And thus the soul, 103By that sweet taste of pleasure unpursued, 104Doth find herself insensibly disposed 105To virtue and true goodness. 106 Some there are 107By their good works exalted, lofty minds 108And meditative, authors of delight 109And happiness, which to the end of time 110Will live, and spread, and kindle: even such minds 111In childhood, from this solitary Being, 112Or from like wanderer, haply have received 113(A thing more precious far than all that books 114Or the solicitudes of love can do!) 115That first mild touch of sympathy and thought, 116In which they found their kindred with a world 117Where want and sorrow were. The easy man 118Who sits at his own door,--and, like the pear 119That overhangs his head from the green wall, 120Feeds in the sunshine; the robust and young, 121The prosperous and unthinking, they who live 122Sheltered, and flourish in a little grove 123Of their own kindred;--all behold in him 124A silent monitor, which on their minds 125Must needs impress a transitory thought 126Of self-congratulation, to the heart 127Of each recalling his peculiar boons, 128His charters and exemptions; and, perchance, 129Though he to no one give the fortitude 130And circumspection needful to preserve 131His present blessings, and to husband up 132The respite of the season, he, at least, 133And 't is no vulgar service, makes them felt. 134Yet further.--Many, I believe, there are 135Who live a life of virtuous decency, 136Men who can hear the Decalogue and feel 137No self-reproach; who of the moral law 138Established in the land where they abide 139Are strict observers; and not negligent 140In acts of love to those with whom they dwell, 141Their kindred, and the children of their blood. 142Praise be to such, and to their slumbers peace! 143But of the poor man ask, the abject poor; 144Go, and demand of him, if there be here 145In this cold abstinence from evil deeds, 146And these inevitable charities, 147Wherewith to satisfy the human soul? 148No--man is dear to man; the poorest poor 149Long for some moments in a weary life 150When they can know and feel that they have been, 151Themselves, the fathers and the dealers-out 152Of some small blessings; have been kind to such 153As needed kindness, for this single cause, 154That we have all of us one human heart. 155--Such pleasure is to one kind Being known, 156My neighbour, when with punctual care, each week 157Duly as Friday comes, though pressed herself 158By her own wants, she from her store of meal 159Takes one unsparing handful for the scrip 160Of this old Mendicant, and, from her door 161Returning with exhilarated heart, 162Sits by her fire, and builds her hope in heaven. 163Then let him pass, a blessing on his head! 164And while in that vast solitude to which 165The tide of things has borne him, he appears 166To breathe and live but for himself alone, 167Unblamed, uninjured, let him bear about 168The good which the benignant law of Heaven 169Has hung around him: and, while life is his, 170Still let him prompt the unlettered villagers 171To tender offices and pensive thoughts. 172--Then let him pass, a blessing on his head! 173And, long as he can wander, let him breathe 174The freshness of the valleys; let his blood 175Struggle with frosty air and winter snows; 176And let the chartered wind that sweeps the heath 177Beat his grey locks against his withered face. 178Reverence the hope whose vital anxiousness 179Gives the last human interest to his heart. 180May never HOUSE, misnamed of INDUSTRY, 181Make him a captive!--for that pent-up din, 182Those life-consuming sounds that clog the air, 183Be his the natural silence of old age! 184Let him be free of mountain solitudes; 185And have around him, whether heard or not, 186The pleasant melody of woodland birds. 187Few are his pleasures: if his eyes have now 188Been doomed so long to settle upon earth 189That not without some effort they behold 190The countenance of the horizontal sun, 191Rising or setting, let the light at least 192Find a free entrance to their languid orbs. 193And let him, where and when he will, sit down 194Beneath the trees, or on a grassy bank 195Of highway side, and with the little birds 196Share his chance-gathered meal; and, finally, 197As in the eye of Nature he has lived, 198So in the eye of Nature let him die!

Anna Barbauld, "To a Little Invisible Being..."

Germ of new life, whose powers expanding slow For many a moon their full perfection wait,— Haste, precious pledge of happy love, to go Auspicious borne through life's mysterious gate. What powers lie folded in thy curious frame,— Senses from objects locked, and mind from thought! How little canst thou guess thy lofty claim To grasp at all the worlds the Almighty wrought! And see, the genial season's warmth to share, Fresh younglings shoot, and opening roses glow! Swarms of new life exulting fill the air,— Haste, infant bud of being, haste to blow! For thee the nurse prepares her lulling songs, The eager matrons count the lingering day; But far the most thy anxious parent longs On thy soft cheek a mother's kiss to lay. She only asks to lay her burden down, That her glad arms that burden may resume; And nature's sharpest pangs her wishes crown, That free thee living from thy living tomb. She longs to fold to her maternal breast Part of herself, yet to herself unknown; To see and to salute the stranger guest, Fed with her life through many a tedious moon. Come, reap thy rich inheritance of love! Bask in the fondness of a Mother's eye! Nor wit nor eloquence her heart shall move Like the first accents of thy feeble cry. Haste, little captive, burst thy prison doors! Launch on the living world, and spring to light! Nature for thee displays her various stores, Opens her thousand inlets of delight. If charmed verse or muttered prayers had power, With favouring spells to speed thee on thy way, Anxious I'd bid my beads each passing hour, Till thy wished smile thy mother's pangs o'erpay.

Blake - Songs of Innocence

INTRODUCTION Piping down the valleys wild, Piping songs of pleasant glee, On a cloud I saw a child, And he laughing said to me: 'Pipe a song about a Lamb!' So I piped with merry cheer. 'Piper, pipe that song again.' So I piped: he wept to hear. 'Drop thy pipe, thy happy pipe; Sing thy songs of happy cheer!' So I sung the same again, While he wept with joy to hear. p. 2'Piper, sit thee down and write In a book, that all may read.' So he vanished from my sight; And I plucked a hollow reed, And I made a rural pen, And I stained the water clear, And I wrote my happy songs Every child may joy to hear. THE LAMB Little lamb, who made thee? Does thou know who made thee, Gave thee life, and bid thee feed By the stream and o'er the mead; Gave thee clothing of delight, Softest clothing, woolly, bright; Gave thee such a tender voice, Making all the vales rejoice? Little lamb, who made thee? Does thou know who made thee? Little lamb, I'll tell thee; Little lamb, I'll tell thee: He is callèd by thy name, For He calls Himself a Lamb. He is meek, and He is mild, He became a little child. I a child, and thou a lamb, We are callèd by His name. Little lamb, God bless thee! Little lamb, God bless thee! p. 7THE LITTLE BLACK BOY My mother bore me in the southern wild, And I am black, but O my soul is white! White as an angel is the English child, But I am black, as if bereaved of light. My mother taught me underneath a tree, And, sitting down before the heat of day, She took me on her lap and kissèd me, And, pointing to the East, began to say: 'Look on the rising sun: there God does live, And gives His light, and gives His heat away, And flowers and trees and beasts and men receive Comfort in morning, joy in the noonday. 'And we are put on earth a little space, That we may learn to bear the beams of love; And these black bodies and this sunburnt face Are but a cloud, and like a shady grove. p. 8'For, when our souls have learned the heat to bear, The cloud will vanish, we shall hear His voice, Saying, "Come out from the grove, my love and care, And round my golden tent like lambs rejoice."' Thus did my mother say, and kissed me, And thus I say to little English boy. When I from black, and he from white cloud free, And round the tent of God like lambs we joy, I'll shade him from the heat till he can bear To lean in joy upon our Father's knee; And then I'll stand and stroke his silver hair, And be like him, and he will then love me. THE CHIMNEY-SWEEPER When my mother died I was very young, And my father sold me while yet my tongue Could scarcely cry 'Weep! weep! weep! weep!' So your chimneys I sweep, and in soot I sleep. There's little Tom Dacre, who cried when his head, That curled like a lamb's back, was shaved; so I said, 'Hush, Tom! never mind it, for, when your head's bare, You know that the soot cannot spoil your white hair.' And so he was quiet, and that very night, As Tom was a-sleeping, he had such a sight!— That thousands of sweepers, Dick, Joe, Ned, and Jack, Were all of them locked up in coffins of black. And by came an angel, who had a bright key, And he opened the coffins, and set them all free; Then down a green plain, leaping, laughing, they run And wash in a river, and shine in the sun. p. 11Then naked and white, all their bags left behind, They rise upon clouds, and sport in the wind: And the angel told Tom, if he'd be a good boy, He'd have God for his father, and never want joy. And so Tom awoke, and we rose in the dark, And got with our bags and our brushes to work. Though the morning was cold, Tom was happy and warm: So, if all do their duty, they need not fear harm. THE DIVINE IMAGE To Mercy, Pity, Peace, and Love, All pray in their distress, And to these virtues of delight Return their thankfulness. For Mercy, Pity, Peace, and Love, Is God our Father dear; And Mercy, Pity, Peace, and Love, Is man, His child and care. For Mercy has a human heart; Pity, a human face; And Love, the human form divine: And Peace the human dress. Then every man, of every clime, That prays in his distress, Prays to the human form divine: Love, Mercy, Pity, Peace. p. 18And all must love the human form, In heathen, Turk, or Jew. Where Mercy, Love, and Pity dwell, There God is dwelling too.

Wordsworth, Simon Lee

In the sweet shire of Cardigan, Not far from pleasant Ivor-hall, An old Man dwells, a little man,— 'Tis said he once was tall. For five-and-thirty years he lived A running huntsman merry; And still the centre of his cheek Is red as a ripe cherry. No man like him the horn could sound, And hill and valley rang with glee When Echo bandied, round and round The halloo of Simon Lee. In those proud days, he little cared For husbandry or tillage; To blither tasks did Simon rouse The sleepers of the village. He all the country could outrun, Could leave both man and horse behind; And often, ere the chase was done, He reeled, and was stone-blind. And still there's something in the world At which his heart rejoices; For when the chiming hounds are out, He dearly loves their voices! But, oh the heavy change!—bereft Of health, strength, friends, and kindred, see! Old Simon to the world is left In liveried poverty. His Master's dead—and no one now Dwells in the Hall of Ivor; Men, dogs, and horses, all are dead; He is the sole survivor. And he is lean and he is sick; His body, dwindled and awry, Rests upon ankles swoln and thick; His legs are thin and dry. One prop he has, and only one, His wife, an aged woman, Lives with him, near the waterfall, Upon the village Common. Beside their moss-grown hut of clay, Not twenty paces from the door, A scrap of land they have, but they Are poorest of the poor. This scrap of land he from the heath Enclosed when he was stronger; But what to them avails the land Which he can till no longer? Oft, working by her Husband's side, Ruth does what Simon cannot do; For she, with scanty cause for pride, Is stouter of the two. And, though you with your utmost skill From labour could not wean them, 'Tis little, very little—all That they can do between them. Few months of life has he in store As he to you will tell, For still, the more he works, the more Do his weak ankles swell. My gentle Reader, I perceive, How patiently you've waited, And now I fear that you expect Some tale will be related. O Reader! had you in your mind Such stores as silent thought can bring, O gentle Reader! you would find A tale in every thing. What more I have to say is short, And you must kindly take it: It is no tale; but, should you think, Perhaps a tale you'll make it. One summer-day I chanced to see This old Man doing all he could To unearth the root of an old tree, A stump of rotten wood. The mattock tottered in his hand; So vain was his endeavour, That at the root of the old tree He might have worked for ever. "You're overtasked, good Simon Lee, Give me your tool," to him I said; And at the word right gladly he Received my proffered aid. I struck, and with a single blow The tangled root I severed, At which the poor old Man so long And vainly had endeavoured. The tears into his eyes were brought, And thanks and praises seemed to run So fast out of his heart, I thought They never would have done. —I've heard of hearts unkind, kind deeds With coldness still returning; Alas! the gratitude of men Hath oftener left me mourning.

Wordsworth, Songs of Experience

NTRODUCTION Hear the voice of the Bard, Who present, past, and future, sees; Whose ears have heard The Holy Word That walked among the ancient trees; Calling the lapséd soul, And weeping in the evening dew; That might control The starry pole, And fallen, fallen light renew! 'O Earth, O Earth, return! Arise from out the dewy grass! Night is worn, And the morn Rises from the slumbrous mass. p. 34'Turn away no more; Why wilt thou turn away? The starry floor, The watery shore, Is given thee till the break of day.' THE CHIMNEY-SWEEPER A little black thing among the snow, Crying! 'weep! weep!' in notes of woe! 'Where are thy father and mother? Say!'— 'They are both gone up to the church to pray. 'Because I was happy upon the heath, And smiled among the winter's snow, They clothed me in the clothes of death, And taught me to sing the notes of woe. 'And because I am happy and dance and sing, They think they have done me no injury, And are gone to praise God and His priest and king, Who made up a heaven of our misery.' THE SICK ROSE O rose, thou art sick! The invisible worm, That flies in the night, In the howling storm, Has found out thy bed Of crimson joy, And his dark secret love Does thy life destroy. THE TIGER Tiger, tiger, burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire? And what shoulder and what art Could twist the sinews of thy heart? And, when thy heart began to beat, What dread hand and what dread feet? What the hammer? what the chain? In what furnace was thy brain? What the anvil? what dread grasp Dare its deadly terrors clasp? p. 52When the stars threw down their spears, And watered heaven with their tears, Did He smile His work to see? Did He who made the lamb make thee? Tiger, tiger, burning bright In the forests of the night, What immortal hand or eye Dare frame thy fearful symmetry? THE GARDEN OF LOVE I went to the Garden of Love, And saw what I never had seen; A Chapel was built in the midst, Where I used to play on the green. And the gates of this Chapel were shut, And 'Thou shalt not' writ over the door; So I turned to the Garden of Love That so many sweet flowers bore. And I saw it was filled with graves, And tombstones where flowers should be; And priests in black gowns were walking their rounds, And binding with briars my joys and desires. THE HUMAN ABSTRACT Pity would be no more If we did not make somebody poor, And Mercy no more could be If all were as happy as we. And mutual fear brings Peace, Till the selfish loves increase; Then Cruelty knits a snare, And spreads his baits with care. He sits down with holy fears, And waters the ground with tears; Then Humility takes its root Underneath his foot. Soon spreads the dismal shade Of Mystery over his head, And the caterpillar and fly Feed on the Mystery. p. 60And it bears the fruit of Deceit, Ruddy and sweet to eat, And the raven his nest has made In its thickest shade. The gods of the earth and sea Sought through nature to find this tree, But their search was all in vain: There grows one in the human Brain. A POISON TREE I was angry with my friend: I told my wrath, my wrath did end. I was angry with my foe: I told it not, my wrath did grow. And I watered it in fears Night and morning with my tears, And I sunnèd it with smiles And with soft deceitful wiles. And it grew both day and night, Till it bore an apple bright, And my foe beheld it shine, And he knew that it was mine,— And into my garden stole When the night had veiled the pole; In the morning, glad, I see My foe outstretched beneath the tree. A DIVINE IMAGE Cruelty has a human heart, And Jealousy a human face; Terror the human form divine, And Secrecy the human dress. The human dress is forgèd iron, The human form a fiery forge, The human face a furnace sealed, The human heart its hungry gorge.

The Prelude - Wordsworth

Of Truth that cherishes our daily life; 230 With meditations passionate from deep Recesses in man's heart, immortal verse Thoughtfully fitted to the Orphean lyre; But from this awful burthen I full soon Take refuge and beguile myself with trust 235 That mellower years will bring a riper mind And clearer insight. Thus my days are past In contradiction; with no skill to part Vague longing, haply bred by want of power, From paramount impulse not to be withstood,

Wordsworth, Goody Blake and Harry Gill

Oh! what's the matter? what's the matter? What is't that ails young Harry Gill? That evermore his teeth they chatter, Chatter, chatter, chatter still! Of waistcoats Harry has no lack, Good duffle grey, and flannel fine; He has a blanket on his back, And coats enough to smother nine. In March, December, and in July, 'Tis all the same with Harry Gill; The neighbours tell, and tell you truly, His teeth they chatter, chatter still. At night, at morning, and at noon, 'Tis all the same with Harry Gill; Beneath the sun, beneath the moon, His teeth they chatter, chatter still! Young Harry was a lusty drover, And who so stout of limb as he? His cheeks were red as ruddy clover; His voice was like the voice of three. Old Goody Blake was old and poor; Ill fed she was, and thinly clad; And any man who passed her door Might see how poor a hut she had. All day she spun in her poor dwelling: And then her three hours' work at night, Alas! 'twas hardly worth the telling, It would not pay for candle-light. Remote from sheltered village-green, On a hill's northern side she dwelt, Where from sea-blasts the hawthorns lean, And hoary dews are slow to melt. By the same fire to boil their pottage, Two poor old Dames, as I have known, Will often live in one small cottage; But she, poor Woman! housed alone. 'Twas well enough when summer came, The long, warm, lightsome summer-day, Then at her door the 'canty' Dame Would sit, as any linnet, gay. But when the ice our streams did fetter, Oh then how her old bones would shake! You would have said, if you had met her, 'Twas a hard time for Goody Blake. Her evenings then were dull and dead: Sad case it was, as you may think, For very cold to go to bed; And then for cold not sleep a wink. O joy for her! whene'er in winter The winds at night had made a rout; And scattered many a lusty splinter And many a rotten bough about. Yet never had she, well or sick, As every man who knew her says, A pile beforehand, turf or stick, Enough to warm her for three days. Now, when the frost was past enduring, And made her poor old bones to ache, Could any thing be more alluring Than an old hedge to Goody Blake? And, now and then, it must be said, When her old bones were cold and chill, She left her fire, or left her bed, To seek the hedge of Harry Gill. Now Harry he had long suspected This trespass of old Goody Blake; And vowed that she should be detected-- That he on her would vengeance take. And oft from his warm fire he'd go, And to the fields his road would take; And there, at night, in frost and snow, He watched to seize old Goody Blake. And once, behind a rick of barley, Thus looking out did Harry stand: The moon was full and shining clearly, And crisp with frost the stubble land. --He hears a noise--he's all awake-- Again?--on tip-toe down the hill He softly creeps--'tis Goody Blake; She's at the hedge of Harry Gill! Right glad was he when he beheld her: Stick after stick did Goody pull: He stood behind a bush of elder, Till she had filled her apron full. When with her load she turned about, The by-way back again to take; He started forward, with a shout, And sprang upon poor Goody Blake. And fiercely by the arm he took her, And by the arm he held her fast, And fiercely by the arm he shook her, And cried, "I've caught you then at last!"-- Then Goody, who had nothing said, Her bundle from her lap let fall; And, kneeling on the sticks, she prayed To God that is the judge of all. She prayed, her withered hand uprearing, While Harry held her by the arm-- "God! who art never out of hearing, O may he never more be warm!" 0 The cold, cold moon above her head, Thus on her knees did Goody pray; Young Harry heard what she had said: And icy cold he turned away. He went complaining all the morrow That he was cold and very chill: His face was gloom, his heart was sorrow, Alas! that day for Harry Gill! That day he wore a riding-coat, But not a whit the warmer he: Another was on Thursday brought, And ere the Sabbath he had three. 'Twas all in vain, a useless matter, And blankets were about him pinned; Yet still his jaws and teeth they clatter; Like a loose casement in the wind. And Harry's flesh it fell away; And all who see him say, 'tis plain, That, live as long as live he may, He never will be warm again. No word to any man he utters, A-bed or up, to young or old; But ever to himself he mutters, "Poor Harry Gill is very cold." A-bed or up, by night or day; His teeth they chatter, chatter still. Now think, ye farmers all, I pray, Of Goody Blake and Harry Gill!

Wordsworth, Preface to Lyrical Ballads

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 quantity of pleasure may be imparted, which a Poet may rationally endeavour to impart. 1 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. 2 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 realized, a class 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 principally 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 space 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. 3 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 association; that he not only thus apprises the Reader that certain classes 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 Shakespeare 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 assume that title. 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. 4 The principal 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 associate ideas in a state of excitement. Humble and rustic life was generally chosen, because, in that condition, the essential passions 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 coexist 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 passions 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 substituted 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 appetites, of their own creation. 1 5 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 formerly 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 the 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 repetition 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 connexion with each other, that the understanding of the Reader must necessarily be in some degree enlightened, and his affections strengthened and purified. 6 It has been said that each of these poems has a purpose. Another circumstance 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. 7 A sense of false modesty shall not prevent me from asserting, 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 multitude 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 accumulation 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 Shakespeare 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. 8 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 circumstances 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 possible, to adopt the very language of men; and assuredly such personifications do not make any natural or regular part of that language. They are, indeed, a figure of speech occasionally prompted by passion, 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 association to overpower. 9 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 class 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 assertion might be demonstrated by innumerable passages from almost all the poetical writings, even of Milton himself. to illustrate 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 space 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 shine, And reddening Phœbus 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. 10 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. 11 By the foregoing quotation it has been shown that the language of Prose may yet be well adapted to Poetry; and it was previously asserted, 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 connexion 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 2 sheds no tears 'such as Angels weep,' but natural and human tears; she can boast of no celestial choir that distinguishes her vital juices from those of prose; the same human blood circulates through the veins of them both. 12 If it be affirmed that rhyme and metrical arrangement of themselves constitute 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 be 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 passions 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 passion naturally suggests: it is sufficient to say that such addition is unnecessary. and, surely, it is more probable that those passages, which with propriety abound with metaphors and figures, will have their due effect, if, upon other occasions where the passions are of a milder character, the style also be subdued and temperate. 13 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 wishing to establish is almost unknown. If my conclusions are admitted, and carried as far as they must be carried if admitted at all, our judgements 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 judgements will, I believe, be corrected and purified. 14 Taking up the subject, then, upon general grounds, let me ask, what is meant by the word Poet? What is a Poet? to whom does he address himself? and what language is to be expected from him?—He is a man speaking to men: a man, it is true, 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; a man pleased with his own passions and volitions, and who rejoices more than other men in the spirit of life that is in him; delighting to contemplate similar volitions and passions as manifested in the goings-on of the Universe, and habitually impelled to create them where he does not find them. to these qualities he has added a disposition to be affected more than other men by absent things as if they were present; an ability of conjuring up in himself passions, which are indeed far from being the same as those produced by real events, yet (especially in those parts of the general sympathy which are pleasing and delightful) do more nearly resemble the passions produced by real events, than anything which, from the motions of their own minds merely, other men are accustomed to feel in themselves:— whence, and from practice, he has acquired a greater readiness and power in expressing what he thinks and feels, and especially those thoughts and feelings which, by his own choice, or from the structure of his own mind, arise in him without immediate external excitement. 15 But whatever portion of this faculty we may suppose even the greatest Poet to possess, there cannot be a doubt that the language which it will suggest to him, must often, in liveliness and truth, fall short of that which is uttered by men in real life, under the actual pressure of those passions, certain shadows of which the Poet thus produces, or feels to be produced, in himself. 16 However exalted a notion we would wish to cherish of the character of a Poet, it is obvious, that while he describes and imitates passions, his employment is in some degree mechanical, compared with the freedom and power of real and substantial action and suffering. So that it will be the wish of the Poet to bring his feelings near to those of the persons whose feelings he describes, nay, for short spaces of time, perhaps, to let himself slip into an entire delusion, and even confound and identify his own feelings with theirs; modifying only the language which is thus suggested to him by a consideration that he describes for a particular purpose, that of giving pleasure. Here, then, he will apply the principle of selection which has been already insisted upon. He will depend upon this for removing what would otherwise be painful or disgusting in the passion; he will feel that there is no necessity to trick out or to elevate nature: and, the more industriously he applies this principle, the deeper will be his faith that no words, which his fancy or imagination can suggest, will be to be compared with those which are the emanations of reality and truth. 17 But it may be said by those who do not object to the general spirit of these remarks, that, as it is impossible for the Poet to produce upon all occasions language as exquisitely fitted for the passion as that which the real passion itself suggests, it is proper that he should consider himself as in the situation of a translator, who does not scruple to substitute excellencies of another kind for those which are unattainable by him; and endeavours occasionally to surpass his original, in order to make some amends for the general inferiority to which he feels that he must submit. But this would be to encourage idleness and unmanly despair. Further, it is the language of men who speak of what they do not understand; who talk of Poetry as of a matter of amusement and idle pleasure; who will converse with us as gravely about a taste for Poetry, as they express it, as if it were a thing as indifferent as a taste for rope-dancing, or Frontiniac or Sherry. Aristotle, I have been told, has said, that Poetry is the most philosophic of all writing: it is so: its object is truth, not individual and local, but general, and operative; not standing upon external testimony, but carried alive into the heart by passion; truth which is its own testimony, which gives competence and confidence to the tribunal to which it appeals, and receives them from the same tribunal. Poetry is the image of man and nature. The obstacles which stand in the way of the fidelity of the Biographer and Historian, and of their consequent utility, are incalculably greater than those which are to be encountered by the Poet who comprehends the dignity of his art. The Poet writes under one restriction only, namely, the necessity of giving immediate pleasure to a human Being possessed of that information which may be expected from him, not as a lawyer, a physician, a mariner, an astronomer, or a natural philosopher, but as a Man. Except this one restriction, there is no object standing between the Poet and the image of things; between this, and the Biographer and Historian, there are a thousand. 18 Nor let this necessity of producing immediate pleasure be considered as a degradation of the Poet's art. It is far otherwise. It is an acknowledgement of the beauty of the universe, an acknowledgement the more sincere, because not formal, but indirect; it is a task light and easy to him who looks at the world in the spirit of love: further, it is a homage paid to the native and naked dignity of man, to the grand elementary principle of pleasure, by which he knows, and feels, and lives, and moves. We have no sympathy but what is propagated by pleasure: I would not be misunderstood; but wherever we sympathize with pain, it will be found that the sympathy is produced and carried on by subtle combinations with pleasure. We have no knowledge, that is, no general principles drawn from the contemplation of particular facts, but what has been built up by pleasure, and exists in us by pleasure alone. The Man of science, the Chemist and Mathematician, whatever difficulties and disgusts they may have had to struggle with, know and feel this. However painful may be the objects with which the Anatomist's knowledge is connected, he feels that his knowledge is pleasure; and where he has no pleasure he has no knowledge. What then does the Poet? He considers man and the objects that surround him as acting and re-acting upon each other, so as to produce an infinite complexity of pain and pleasure; he considers man in his own nature and in his ordinary life as contemplating this with a certain quantity of immediate knowledge, with certain convictions, intuitions, and deductions, which from habit acquire the quality of intuitions; he considers him as looking upon this complex scene of ideas and sensations, and finding everywhere objects that immediately excite in him sympathies which, from the necessities of his nature, are accompanied by an overbalance of enjoyment. 19 To this knowledge which all men carry about with them, and to these sympathies in which, without any other discipline than that of our daily life, we are fitted to take delight, the Poet principally directs his attention. He considers man and nature as essentially adapted to each other, and the mind of man as naturally the mirror of the fairest and most interesting properties of nature. and thus the Poet, prompted by this feeling of pleasure, which accompanies him through the whole course of his studies, converses with general nature, with affections akin to those, which, through labour and length of time, the Man of science has raised up in himself, by conversing with those particular parts of nature which are the objects of his studies. The knowledge both of the Poet and the Man of science is pleasure; but the knowledge of the one cleaves to us as a necessary part of our existence, our natural and unalienable inheritance; the other is a personal and individual acquisition, slow to come to us, and by no habitual and direct sympathy connecting us with our fellow-beings. The Man of science seeks truth as a remote and unknown benefactor; he cherishes and loves it in his solitude: the Poet, singing a song in which all human beings join with him, rejoices in the presence of truth as our visible friend and hourly companion. Poetry is the breath and finer spirit of all knowledge; it is the impassioned expression which is in the countenance of all Science. Emphatically may it be said of the Poet, as Shakespeare hath said of man, 'that he looks before and after.' He is the rock of defence for human nature; an upholder and preserver, carrying everywhere with him relationship and love. In spite of difference of soil and climate, of language and manners, of laws and customs: in spite of things silently gone out of mind, and things violently destroyed; the Poet binds together by passion and knowledge the vast empire of human society, as it is spread over the whole earth, and over all time. The objects of the Poet's thoughts are everywhere; though the eyes and senses of man are, it is true, his favourite guides, yet he will follow wheresoever he can find an atmosphere of sensation in which to move his wings. Poetry is the first and last of all knowledge—it is as immortal as the heart of man. If the labours of Men of science should ever create any material revolution, direct or indirect, in our condition, and in the impressions which we habitually receive, the Poet will sleep then no more than at present; he will be ready to follow the steps of the Man of science, not only in those general indirect effects, but he will be at his side, carrying sensation into the midst of the objects of the science itself. The remotest discoveries of the Chemist, the Botanist, or Mineralogist, will be as proper objects of the Poet's art as any upon which it can be employed, if the time should ever come when these things shall be familiar to us, and the relations under which they are contemplated by the followers of these respective sciences shall be manifestly and palpably material to us as enjoying and suffering beings. If the time should ever come when what is now called science, thus familiarized to men, shall be ready to put on, as it were, a form of flesh and blood, the Poet will lend his divine spirit to aid the transfiguration, and will welcome the Being thus produced, as a dear and genuine inmate of the household of man.—It is not, then, to be supposed that any one, who holds that sublime notion of Poetry which I have attempted to convey, will break in upon the sanctity and truth of his pictures by transitory and accidental ornaments, and endeavour to excite admiration of himself by arts, the necessity of which must manifestly depend upon the assumed meanness of his subject. 20 What has been thus far said applies to Poetry in general; but especially to those parts of composition where the Poet speaks through the mouths of his characters; and upon this point it appears to authorize the conclusion that there are few persons of good sense, who would not allow that the dramatic parts of composition are defective, in proportion as they deviate from the real language of nature, and are coloured by a diction of the Poet's own, either peculiar to him as an individual Poet or belonging simply to Poets in general; to a body of men who, from the circumstance of their compositions being in metre, it is expected will employ a particular language. 21 It is not, then, in the dramatic parts of composition that we look for this distinction of language; but still it may be proper and necessary where the Poet speaks to us in his own person and character. to this I answer by referring the Reader to the description before given of a Poet. Among the qualities there enumerated as principally conducing to form a Poet, is implied nothing differing in kind from other men, but only in degree. The sum of what was said is, that the Poet is chiefly distinguished from other men by a greater promptness to think and feel without immediate external excitement, and a greater power in expressing such thoughts and feelings as are produced in him in that manner. But these passions and thoughts and feelings are the general passions and thoughts and feelings of men. and with what are they connected? Undoubtedly with our moral sentiments and animal sensations, and with the causes which excite these; with the operations of the elements, and the appearances of the visible universe; with storm and sunshine, with the revolutions of the seasons, with cold and heat, with loss of friends and kindred, with injuries and resentments, gratitude and hope, with fear and sorrow. These, and the like, are the sensations and objects which the Poet describes, as they are the sensations of other men, and the objects which interest them. The Poet thinks and feels in the spirit of human passions. How, then, can his language differ in any material degree from that of all other men who feel vividly and see clearly? It might be proved that it is impossible. But supposing that this were not the case, the Poet might then be allowed to use a peculiar language when expressing his feelings for his own gratification, or that of men like himself. But Poets do not write for Poets alone, but for men. Unless therefore we are advocates for that admiration which subsists upon ignorance, and that pleasure which arises from hearing what we do not understand, the Poet must descend from this supposed height; and, in order to excite rational sympathy, he must express himself as other men express themselves. to this it may be added, that while he is only selecting from the real language of men, or, which amounts to the same thing, composing accurately in the spirit of such selection, he is treading upon safe ground, and we know what we are to expect from him. Our feelings are the same with respect to metre; for, as it may be proper to remind the Reader, the distinction of metre is regular and uniform, and not, like that which is produced by what is usually called POETIC DICTION, arbitrary, and subject to infinite caprices upon which no calculation whatever can be made. In the one case, the Reader is utterly at the mercy of the Poet, respecting what imagery or diction he may choose to connect with the passion; whereas, in the other, the metre obeys certain laws, to which the Poet and Reader both willingly submit because they are certain, and because no interference is made by them with the passion, but such as the concurring testimony of ages has shown to heighten and improve the pleasure which co-exists with it. 22 It will now be proper to answer an obvious question, namely, Why, professing these opinions, have I written in verse? to this, in addition to such answer as is included in what has been already said, I reply, in the first place, because however I may have restricted myself, there is still left open to me what confessedly constitutes the most valuable object of all writing, whether in prose or verse; the great and universal passions of men, the most general and interesting of their occupations, and the entire world of nature before me—to supply endless combinations of forms and imagery. Now, supposing for a moment that whatever is interesting in these objects may be as vividly described in prose, why should I be condemned for attempting to superadd to such description the charm which, by the consent of all nations, is acknowledged to exist in metrical language? to this, by such as are yet unconvinced, it may be answered that a very small part of the pleasure given by Poetry depends upon the metre, and that it is injudicious to write in metre, unless it be accompanied with the other artificial distinctions of style with which metre is usually accompanied, and that, by such deviation, more will be lost from the shock which will thereby be given to the Reader's associations than will be counterbalanced by any pleasure which he can derive from the general power of numbers. In answer to those who still contend for the necessity of accompanying metre with certain appropriate colours of style in order to the accomplishment of its appropriate end, and who also, in my opinion, greatly underrate the power of metre in itself, it might, perhaps, as far as relates to these Volumes, have been almost sufficient to observe, that poems are extant, written upon more humble subjects, and in a still more naked and simple style, which have continued to give pleasure from generation to generation. Now, if nakedness and simplicity be a defect, the fact here mentioned affords a strong presumption that poems somewhat less naked and simple are capable of affording pleasure at the present day; and, what I wish chiefly to attempt, at present, was to justify myself for having written under the impression of this belief. 23 But various causes might be pointed out why, when the style is manly, and the subject of some importance, words metrically arranged will long continue to impart such a pleasure to mankind as he who proves the extent of that pleasure will be desirous to impart. The end of Poetry is to produce excitement in co-existence with an overbalance of pleasure; but, by the supposition, excitement is an unusual and irregular state of the mind; ideas and feelings do not, in that state, succeed each other in accustomed order. If the words, however, by which this excitement is produced be in themselves powerful, or the images and feelings have an undue proportion of pain connected with them, there is some danger that the excitement may be carried beyond its proper bounds. Now the co-presence of something regular, something to which the mind has been accustomed in various moods and in a less excited state, cannot but have great efficacy in tempering and restraining the passion by an intertexture of ordinary feeling, and of feeling not strictly and necessarily connected with the passion. This is unquestionably true; and hence, though the opinion will at first appear paradoxical, from the tendency of metre to divest language, in a certain degree, of its reality, and thus to throw a sort of half-consciousness of unsubstantial existence over the whole composition, there can be little doubt but that more pathetic situations and sentiments, that is, those which have a greater proportion of pain connected with them, may be endured in metrical composition, especially in rhyme, than in prose. The metre of the old ballads is very artless; yet they contain many passages which would illustrate this opinion; and, I hope, if the following Poems be attentively perused, similar instances will be found in them. This opinion may be further illustrated by appealing to the Reader's own experience of the reluctance with which he comes to the reperusal of the distressful parts of Clarissa Harlowe, or The Gamester; while Shakespeare's writings, in the most pathetic scenes, never act upon us, as pathetic, beyond the bounds of pleasure—an effect which, in a much greater degree than might at first be imagined, is to be ascribed to small, but continual and regular impulses of pleasurable surprise from the metrical arrangement.—On the other hand (what it must be allowed will much more frequently happen) if the Poet's words should be incommensurate with the passion, and inadequate to raise the Reader to a height of desirable excitement, then (unless the Poet's choice of his metre has been grossly injudicious), in the feelings of pleasure which the Reader has been accustomed to connect with metre in general, and in the feeling, whether cheerful or melancholy, which he has been accustomed to connect with that particular movement of metre, there will be found something which will greatly contribute to impart passion to the words, and to effect the complex end which the Poet proposes to himself. 24 If I had undertaken a SYSTEMATIC defence of the theory here maintained, it would have been my duty to develop the various causes upon which the pleasure received from metrical language depends. Among the chief of these causes is to be reckoned a principle which must be well known to those who have made any of the Arts the object of accurate reflection; namely, the pleasure which the mind derives from the perception of similitude in dissimilitude. This principle is the great spring of the activity of our minds, and their chief feeder. From this principle the direction of the sexual appetite, and all the passions connected with it, take their origin: it is the life of our ordinary conversation; and upon the accuracy with which similitude in dissimilitude, and dissimilitude in similitude are perceived, depend our taste and our moral feelings. It would not be a useless employment to apply this principle to the consideration of metre, and to show that metre is hence enabled to afford much pleasure, and to point out in what manner that pleasure is produced. But my limits will not permit me to enter upon this subject, and I must content myself with a general summary. 25 I have said that poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity: the emotion is contemplated till, by a species of reaction, the tranquillity gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind. In this mood successful composition generally begins, and in a mood similar to this it is carried on; but the emotion, of whatever kind, and in whatever degree, from various causes, is qualified by various pleasures, so that in describing any passions whatsoever, which are voluntarily described, the mind will, upon the whole, be in a state of enjoyment. If Nature be thus cautious to preserve in a state of enjoyment a being so employed, the Poet ought to profit by the lesson held forth to him, and ought especially to take care, that, whatever passions he communicates to his Reader, those passions, if his Reader's mind be sound and vigorous, should always be accompanied with an overbalance of pleasure. Now the music of harmonious metrical language, the sense of difficulty overcome, and the blind association of pleasure which has been previously received from works of rhyme or metre of the same or similar construction, an indistinct perception perpetually renewed of language closely resembling that of real life, and yet, in the circumstance of metre, differing from it so widely—all these imperceptibly make up a complex feeling of delight, which is of the most important use in tempering the painful feeling always found intermingled with powerful descriptions of the deeper passions. This effect is always produced in pathetic and impassioned poetry; while, in lighter compositions, the ease and gracefulness with which the Poet manages his numbers are themselves confessedly a principal source of the gratification of the Reader. All that it is necessary to say, however, upon this subject, may be effected by affirming, what few persons will deny, that, of two descriptions, either of passions, manners, or characters, each of them equally well executed, the one in prose and the other in verse, the verse will be read a hundred times where the prose is read once. 26 Having thus explained a few of my reasons for writing in verse, and why I have chosen subjects from common life, and endeavoured to bring my language near to the real language of men, if I have been too minute in pleading my own cause, I have at the same time been treating a subject of general interest; and for this reason a few words shall be added with reference solely to these particular poems, and to some defects which will probably be found in them. I am sensible that my associations must have sometimes been particular instead of general, and that, consequently, giving to things a false importance, I may have sometimes written upon unworthy subjects; but I am less apprehensive on this account, than that my language may frequently have suffered from those arbitrary connexions of feelings and ideas with particular words and phrases, from which no man can altogether protect himself. Hence I have no doubt, that, in some instances, feelings, even of the ludicrous, may be given to my Readers by expressions which appeared to me tender and pathetic. Such faulty expressions, were I convinced they were faulty at present, and that they must necessarily continue to be so, I would willingly take all reasonable pains to correct. But it is dangerous to make these alterations on the simple authority of a few individuals, or even of certain classes of men; for where the understanding of an Author is not convinced, or his feelings altered, this cannot be done without great injury to himself: for his own feelings are his stay and support; and, if he set them aside in one instance, he may be induced to repeat this act till his mind shall lose all confidence in itself, and become utterly debilitated. to this it may be added, that the critic ought never to forget that he is himself exposed to the same errors as the Poet, and, perhaps, in a much greater degree: for there can be no presumption in saying of most readers, that it is not probable they will be so well acquainted with the various stages of meaning through which words have passed, or with the fickleness or stability of the relations of particular ideas to each other; and, above all, since they are so much less interested in the subject, they may decide lightly and carelessly. 27 Long as the Reader has been detained, I hope he will permit me to caution him against a mode of false criticism which has been applied to Poetry, in which the language closely resembles that of life and nature. Such verses have been triumphed over in parodies, of which Dr. Johnson's stanza is a fair specimen:— I put my hat upon my head And walked into the Strand, And there I met another man Whose hat was in his hand. 28 Immediately under these lines let us place one of the most justly admired stanzas of the 'Babes in the Wood.' These pretty Babes with hand in hand Went wandering up and down; But never more they saw the Man Approaching from the town. In both these stanzas the words, and the order of the words, in no respect differ from the most unimpassioned conversation. There are words in both, for example, 'the Strand,' and 'the town,' connected with none but the most familiar ideas; yet the one stanza we admit as admirable, and the other as a fair example of the superlatively contemptible. Whence arises this difference? Not from the metre, not from the language, not from the order of the words; but the matter expressed in Dr. Johnson's stanza is contemptible. The proper method of treating trivial and simple verses, to which Dr. Johnson's stanza would be a fair parallelism, is not to say, this is a bad kind of poetry, or, this is not poetry; but, this wants sense; it is neither interesting in itself nor can lead to anything interesting; the images neither originate in that sane state of feeling which arises out of thought, nor can excite thought or feeling in the Reader. This is the only sensible manner of dealing with such verses. Why trouble yourself about the species till you have previously decided upon the genus? Why take pains to prove that an ape is not a Newton, when it is self-evident that he is not a man? 29 One request I must make of my reader, which is, that in judging these Poems he would decide by his own feelings genuinely, and not by reflection upon what will probably be the judgement of others. How common is it to hear a person say, I myself do not object to this style of composition, or this or that expression, but, to such and such classes of people it will appear mean or ludicrous! This mode of criticism, so destructive of all sound unadulterated judgement, is almost universal: let the Reader then abide, independently, by his own feelings, and, if he finds himself affected, let him not suffer such conjectures to interfere with his pleasure. 31 If an Author, by any single composition, has impressed us with respect for his talents, it is useful to consider this as affording a presumption, that on other occasions where we have been displeased, he, nevertheless, may not have written ill or absurdly; and further, to give him so much credit for this one composition as may induce us to review what has displeased us, with more care than we should otherwise have bestowed upon it. This is not only an act of justice, but, in our decisions upon poetry especially, may conduce, in a high degree, to the improvement of our own taste; for an accurate taste in poetry, and in all the other arts, as Sir Joshua Reynolds has observed, is an acquired talent, which can only be produced by thought and a long continued intercourse with the best models of composition. This is mentioned, not with so ridiculous a purpose as to prevent the most inexperienced Reader from judging for himself (I have already said that I wish him to judge for himself), but merely to temper the rashness of decision, and to suggest, that, if Poetry be a subject on which much time has not been bestowed, the judgement may be erroneous; and that, in many cases, it necessarily will be so. 32 Nothing would, I know, have so effectually contributed to further the end which I have in view, as to have shown of what kind the pleasure is, and how that pleasure is produced, which is confessedly produced by metrical composition essentially different from that which I have here endeavoured to recommend: for the Reader will say that he has been pleased by such composition; and what more can be done for him? The power of any art is limited; and he will suspect, that, if it be proposed to furnish him with new friends, that can be only upon condition of his abandoning his old friends. Besides, as I have said, the Reader is himself conscious of the pleasure which he has received from such composition, composition to which he has peculiarly attached the endearing name of Poetry; and all men feel an habitual gratitude, and something of an honourable bigotry, for the objects which have long continued to please them: we not only wish to be pleased, but to be pleased in that particular way in which we have been accustomed to be pleased. There is in these feelings enough to resist a host of arguments; and I should be the less able to combat them successfully, as I am willing to allow, that, in order entirely to enjoy the Poetry which I am recommending, it would be necessary to give up much of what is ordinarily enjoyed. But, would my limits have permitted me to point out how this pleasure is produced, many obstacles might have been removed, and the Reader assisted in perceiving that the powers of language are not so limited as he may suppose; and that it is possible for poetry to give other enjoyments, of a purer, more lasting, and more exquisite nature. This part of the subject has not been altogether neglected, but it has not been so much my present aim to prove, that the interest excited by some other kinds of poetry is less vivid, and less worthy of the nobler powers of the mind, as to offer reasons for presuming, that if my purpose were fulfilled, a species of poetry would be produced, which is genuine poetry; in its nature well adapted to interest mankind permanently, and likewise important in the multiplicity and quality of its moral relations. 33 From what has been said, and from a perusal of the Poems, the Reader will be able clearly to perceive the object which I had in view: he will determine how far it has been attained; and, what is a much more important question, whether it be worth attaining: and upon the decision of these two questions will rest my claim to the approbation of the Public.

* Declaration of the Rights of Man and the Citizen

The Representatives of the French people, organized in National Assembly, considering that ignorance, forgetfulness, or contempt of the rights of man are the sole causes of public miseries and the corruption of governments, have resolved to set forth in a solemn declaration the natural, inalienable, and sacred rights of man, so that this declaration, being ever present to all the members of the social body, may unceasingly remind them of their rights and duties... In consequence, the National Assembly recognizes and declares, in the presence and under the auspices of the Supreme Being, the following rights of man and citizen: 1. Men are born free and remain free and equal in rights. Social distinctions can be based only on public utility. 2. The aim of every political association is the preservation of the natural and inalienable rights of man. These rights are liberty, property, security, and resistance to oppression. 3. The sources of all sovereignty resides essentially in the nation; no body, no individual can exercise authority that does not proceed from it in plain terms. 4. Liberty consists in the power to do anything that does not injure others; accordingly, the exercise of the rights of each man has no limits except those that secure the enjoyment of these same rights to the other members of society. These limits can be determined only by law. 5. The law has only the rights to forbid such actions as are injurious to society... 6. Law is the expression of the general will. All citizens have the right to take part personally, or by their representatives, and its formation. It must be the same for all... 7. No man can be accused, arrested, or detained, except in the cases determined by the law and according to the forms it has prescribed... 10. No one should be disturbed on account of his opinions, even religious, provided their manifestation does not upset the public order established by law. 11. The free communication of ideas and opinions is one of the most precious of the rights of man; every citizen can then freely speak, write, and print, subject to responsibility for the abuse of this freedom in the cases is determined by law. 13. A general tax is indispensable for the maintenance of the public force and for the expenses of administration; it ought to be equally apportioned among all citizens according to their means. 15. Society has the right to call for an account of his administration by every public agent. 16. Any society in which the guarantee of the rights is not secured, or the separation of powers not determined, has no constitution at all. 17. Property being a sacred to and inviolable right, no one can be deprived of it, unless legally established pub

Thomas Paine

The Rights of Man (209-213)

"Ode: On Intimations of Immortality" Wordsworth

There was a time when meadow, grove, and stream, The earth, and every common sight, To me did seem Apparelled in celestial light, The glory and the freshness of a dream. It is not now as it hath been of yore;— Turn wheresoe'er I may, By night or day. The things which I have seen I now can see no more. The Rainbow comes and goes, And lovely is the Rose, The Moon doth with delight Look round her when the heavens are bare, Waters on a starry night Are beautiful and fair; The sunshine is a glorious birth; But yet I know, where'er I go, That there hath past away a glory from the earth. Now, while the birds thus sing a joyous song, And while the young lambs bound As to the tabor's sound, To me alone there came a thought of grief: A timely utterance gave that thought relief, And I again am strong: The cataracts blow their trumpets from the steep; No more shall grief of mine the season wrong; I hear the Echoes through the mountains throng, The Winds come to me from the fields of sleep, And all the earth is gay; Land and sea Give themselves up to jollity, And with the heart of May Doth every Beast keep holiday;— Thou Child of Joy, Shout round me, let me hear thy shouts, thou happy Shepherd-boy. Ye blessèd creatures, I have heard the call Ye to each other make; I see The heavens laugh with you in your jubilee; My heart is at your festival, My head hath its coronal, The fulness of your bliss, I feel—I feel it all. Oh evil day! if I were sullen While Earth herself is adorning, This sweet May-morning, And the Children are culling On every side, In a thousand valleys far and wide, Fresh flowers; while the sun shines warm, And the Babe leaps up on his Mother's arm:— I hear, I hear, with joy I hear! —But there's a Tree, of many, one, A single field which I have looked upon, Both of them speak of something that is gone; The Pansy at my feet Doth the same tale repeat: Whither is fled the visionary gleam? Where is it now, the glory and the dream? Our birth is but a sleep and a forgetting: The Soul that rises with us, our life's Star, Hath had elsewhere its setting, And cometh from afar: Not in entire forgetfulness, And not in utter nakedness, But trailing clouds of glory do we come From God, who is our home: Heaven lies about us in our infancy! Shades of the prison-house begin to close Upon the growing Boy, But he beholds the light, and whence it flows, He sees it in his joy; The Youth, who daily farther from the east Must travel, still is Nature's Priest, And by the vision splendid Is on his way attended; At length the Man perceives it die away, And fade into the light of common day. Earth fills her lap with pleasures of her own; Yearnings she hath in her own natural kind, And, even with something of a Mother's mind, And no unworthy aim, The homely Nurse doth all she can To make her Foster-child, her Inmate Man, Forget the glories he hath known, And that imperial palace whence he came. Behold the Child among his new-born blisses, A six years' Darling of a pigmy size! See, where 'mid work of his own hand he lies, Fretted by sallies of his mother's kisses, With light upon him from his father's eyes! See, at his feet, some little plan or chart, Some fragment from his dream of human life, Shaped by himself with newly-learn{e}d art A wedding or a festival, A mourning or a funeral; And this hath now his heart, And unto this he frames his song: Then will he fit his tongue To dialogues of business, love, or strife; But it will not be long Ere this be thrown aside, And with new joy and pride The little Actor cons another part; Filling from time to time his "humorous stage" With all the Persons, down to palsied Age, That Life brings with her in her equipage; As if his whole vocation Were endless imitation. Thou, whose exterior semblance doth belie Thy Soul's immensity; Thou best Philosopher, who yet dost keep Thy heritage, thou Eye among the blind, That, deaf and silent, read'st the eternal deep, Haunted for ever by the eternal mind,— Mighty Prophet! Seer blest! On whom those truths do rest, Which we are toiling all our lives to find, In darkness lost, the darkness of the grave; Thou, over whom thy Immortality Broods like the Day, a Master o'er a Slave, A Presence which is not to be put by; Thou little Child, yet glorious in the might Of heaven-born freedom on thy being's height, Why with such earnest pains dost thou provoke The years to bring the inevitable yoke, Thus blindly with thy blessedness at strife? Full soon thy Soul shall have her earthly freight, And custom lie upon thee with a weight, Heavy as frost, and deep almost as life! O joy! that in our embers Is something that doth live, That Nature yet remembers What was so fugitive! The thought of our past years in me doth breed Perpetual benediction: not indeed For that which is most worthy to be blest; Delight and liberty, the simple creed Of Childhood, whether busy or at rest, With new-fledged hope still fluttering in his breast:— Not for these I raise The song of thanks and praise But for those obstinate questionings Of sense and outward things, Fallings from us, vanishings; Blank misgivings of a Creature Moving about in worlds not realised, High instincts before which our mortal Nature Did tremble like a guilty thing surprised: But for those first affections, Those shadowy recollections, Which, be they what they may Are yet the fountain-light of all our day, Are yet a master-light of all our seeing; Uphold us, cherish, and have power to make Our noisy years seem moments in the being Of the eternal Silence: truths that wake, To perish never; Which neither listlessness, nor mad endeavour, Nor Man nor Boy, Nor all that is at enmity with joy, Can utterly abolish or destroy! Hence in a season of calm weather Though inland far we be, Our Souls have sight of that immortal sea Which brought us hither, Can in a moment travel thither, And see the Children sport upon the shore, And hear the mighty waters rolling evermore. Then sing, ye Birds, sing, sing a joyous song! And let the young Lambs bound As to the tabor's sound! We in thought will join your throng, Ye that pipe and ye that play, Ye that through your hearts to-day Feel the gladness of the May! What though the radiance which was once so bright Be now for ever taken from my sight, Though nothing can bring back the hour Of splendour in the grass, of glory in the flower; We will grieve not, rather find Strength in what remains behind; In the primal sympathy Which having been must ever be; In the soothing thoughts that spring Out of human suffering; In the faith that looks through death, In years that bring the philosophic mind. And O, ye Fountains, Meadows, Hills, and Groves, Forebode not any severing of our loves! Yet in my heart of hearts I feel your might; I only have relinquished one delight To live beneath your more habitual sway. I love the Brooks which down their channels fret, Even more than when I tripped lightly as they; The innocent brightness of a new-born Day Is lovely yet; The Clouds that gather round the setting sun Do take a sober colouring from an eye That hath kept watch o'er man's mortality; Another race hath been, and other palms are won. Thanks to the human heart by which we live, Thanks to its tenderness, its joys, and fears, To me the meanest flower that blows can give Thoughts that do often lie too deep for tears.

Wordsworth "The Tables Turned"

Up! up! my Friend, and quit your books; Or surely you'll grow double: Up! up! my Friend, and clear your looks; Why all this toil and trouble? The sun above the mountain's head, A freshening lustre mellow Through all the long green fields has spread, His first sweet evening yellow. Books! 'tis a dull and endless strife: Come, hear the woodland linnet, How sweet his music! on my life, There's more of wisdom in it. And hark! how blithe the throstle sings! He, too, is no mean preacher: Come forth into the light of things, Let Nature be your teacher. She has a world of ready wealth, Our minds and hearts to bless— Spontaneous wisdom breathed by health, Truth breathed by cheerfulness. One impulse from a vernal wood May teach you more of man, Of moral evil and of good, Than all the sages can. Sweet is the lore which Nature brings; Our meddling intellect Mis-shapes the beauteous forms of things:— We murder to dissect. Enough of Science and of Art; Close up those barren leaves; Come forth, and bring with you a heart That watches and receives.

William Godwin

excerpt from An Enquiry Concerning Political Justice

Mary Wollstonecraft

excerpt from Vindication of the Rights of Men

Charlotte Smith, "The Dead Beggar

poet Charlotte Smith#334 on top 500 poetsPoet's PagePoemsQuotesCommentsStatsE-BooksBiographyShare on FacebookShare on Twitter Poems by Charlotte Smith : 105 / 126« prev. poemnext poem » The Dead Beggar - Poem by Charlotte Smith 00:07 / 01:49 Autoplay next video AN ELEGY. Addressed to a Lady, who was affected at seeing the Funeral of a nameless Pauper, buried at the ex- pense of the Parish, in the Church-Yard at Bright- helmstone, in November 1792. SWELLS then thy feeling heart, and streams thine eye O'er the deserted being, poor and old, Whom cold, reluctant, parish charity Consigns to mingle with his kindred mould? Mourn'st thou, that here the time-worn sufferer ends Those evil days still threatening woes to come; Here, where the friendless feel no want of friends, Where even the houseless wanderer finds a home! What though no kindred crowd in sable forth, And sigh, or seem to sigh, around his bier; Though o'er his coffin with the humid earth No children drop the unavailing tear? Rather rejoice that here his sorrows cease, Whom sickness, age, and poverty oppress'd; Where death, the leveller, restores to peace The wretch who living knew not where to rest. Rejoice, that though an outcast spurn'd by fate, Through penury's rugged path his race he ran; In earth's cold bosom, equall'd with the great, Death vindicates the insulted rights of man. Rejoice, that though severe his earthly doom, And rude, and sown with thorns the way he trod, Now, (where unfeeling fortune cannot come) He rests upon the mercies of his God.

Wordsworth, We are Seven

———A simple Child, That lightly draws its breath, And feels its life in every limb, What should it know of death? I met a little cottage Girl: She was eight years old, she said; Her hair was thick with many a curl That clustered round her head. She had a rustic, woodland air, And she was wildly clad: Her eyes were fair, and very fair; —Her beauty made me glad. "Sisters and brothers, little Maid, How many may you be?" "How many? Seven in all," she said, And wondering looked at me. "And where are they? I pray you tell." She answered, "Seven are we; And two of us at Conway dwell, And two are gone to sea. "Two of us in the church-yard lie, My sister and my brother; And, in the church-yard cottage, I Dwell near them with my mother." "You say that two at Conway dwell, And two are gone to sea, Yet ye are seven! I pray you tell, Sweet Maid, how this may be." Then did the little Maid reply, "Seven boys and girls are we; Two of us in the church-yard lie, Beneath the church-yard tree." "You run about, my little Maid, Your limbs they are alive; If two are in the church-yard laid, Then ye are only five." "Their graves are green, they may be seen," The little Maid replied, "Twelve steps or more from my mother's door, And they are side by side. "My stockings there I often knit, My kerchief there I hem; And there upon the ground I sit, And sing a song to them. "And often after sun-set, Sir, When it is light and fair, I take my little porringer, And eat my supper there. "The first that died was sister Jane; In bed she moaning lay, Till God released her of her pain; And then she went away. "So in the church-yard she was laid; And, when the grass was dry, Together round her grave we played, My brother John and I. "And when the ground was white with snow, And I could run and slide, My brother John was forced to go, And he lies by her side." "How many are you, then," said I, "If they two are in heaven?" Quick was the little Maid's reply, "O Master! we are seven." "But they are dead; those two are dead! Their spirits are in heaven!" 'Twas throwing words away; for still The little Maid would have her will, And said, "Nay, we are seven!"