"'Tis storm; and hid in mist from hour to hour All day the floods a deepening murmur pour: The sky is veiled and every cheerful sight; Dark is the region as with coming night; But what a sudden burst of overpowering light!

Triumphant on the bosom of the storm, Glances the fire-clad eagle's wheeling form; Eastward, in long prospective glittering shine The wood-crowned cliffs that o'er the lake recline; Those eastern cliffs a hundred streams unfold, At once to pillars turned that flame with gold; Behind his sail the peasant tries to shun The West that burns like one dilated sun, Where in a mighty crucible expire The mountains, glowing hot like coals of fire."

Wordsworth has made only one change in these verses, and that for the worse, by subst.i.tuting "glorious" (which was already implied in "glances"

and "fire-clad") for "wheeling." In later life he would have found it hard to forgive the man who should have made cliffs recline over a lake.

On the whole, what strikes us as most prophetic in these poems is their want of continuity, and the purple patches of true poetry on a texture of unmistakable prose; perhaps we might add the incongruous clothing of prose thoughts in the ceremonial robes of poesy.

During the same year (1793) he wrote, but did not publish, a political tract, in which he avowed himself opposed to monarchy and to the hereditary principle, and desirous of a republic, if it could be had without a revolution. He probably continued to be all his life in favor of that ideal republic "which never was on laud or sea," but fortunately he gave up politics that he might devote himself to his own n.o.bler calling, to which politics are subordinate, and for which he found freedom enough in England as it was.[334] Dr. Wordsworth admits that his uncle's opinions were democratical so late as 1802. I suspect that they remained so in an esoteric way to the end of his days. He had himself suffered by the arbitrary selfishness of a great landholder, and he was born and bred in a part of England where there is a greater social equality than elsewhere. The look and manner of the c.u.mberland people especially are such as recall very vividly to a New-Englander the a.s.sociations of fifty years ago, ere the change from New England to New Ireland had begun. But meanwhile, Want, which makes no distinctions of Monarchist or Republican, was pressing upon him. The debt due to his father's estate had not been paid, and Wordsworth was one of those rare idealists who esteem it the first duty of a friend of humanity to live for, and not on, his neighbor. He at first proposed establishing a periodical journal to be called "The Philanthropist," but luckily went no further with it, for the receipts from an organ of opinion which professed republicanism, and at the same time discountenanced the plans of all existing or defunct republicans, would have been necessarily scanty. There being no appearance of any demand, present or prospective, for philanthropists, he tried to get employment as correspondent of a newspaper. Here also it was impossible that he should succeed; he was too great to be merged in the editorial We, and had too well defined a private opinion on all subjects to be able to express that average of public opinion which const.i.tutes able editorials. But so it is that to the prophet in the wilderness the birds of ill omen are already on the wing with food from heaven; and while Wordsworth's relatives were getting impatient at what they considered his waste of time, while one thought he had gifts enough to make a good parson, and another lamented the rare attorney that was lost in him,[335] the prescient muse guided the hand of Raisley Calvert while he wrote the poet's name in his will for a legacy of 900. By the death of Calvert, in 1795, this timely help came to Wordsworth at the turning point of his life and made it honest for him to write poems that will never die, instead of theatrical critiques as ephemeral as play bills, or leaders that led only to oblivion.

In the autumn of 1795 Wordsworth and his sister took up their abode at Racedown Lodge, near Crewkerne, in Dorsetshire. Here nearly two years were pa.s.sed, chiefly in the study of poetry, and Wordsworth to some extent recovered from the fierce disappointment of his political dreams, and regained that equable tenor of mind which alone is consistent with a healthy productiveness. Here Coleridge, who had contrived to see something more in the "Descriptive Sketches" than the public had discovered there, first made his acquaintance. The sympathy and appreciation of an intellect like Coleridge's supplied him with that external motive to activity which is the chief use of popularity, and justified to him his opinion of his own powers It was now that the tragedy of "The Borderers" was for the most part written, and that plan of the "Lyrical Ballads" suggested which gave Wordsworth a clew to lead him out of the metaphysical labyrinth in which he was entangled. It was agreed between the two young friends, that Wordsworth was to be a philosophic poet, and, by a good fortune uncommon to such conspiracies, Nature had already consented to the arrangement. In July, 1797, the two Wordsworths removed to Allfoxden in Somersetshire, that they might be near Coleridge, who in the mean while had married and settled himself at Nether-Stowey. In November "The Borderers" was finished, and Wordsworth went up to London with his sister to offer it for the stage. The good Genius of the poet again interposing, the play was decisively rejected, and Wordsworth went back to Allfoxden, himself the hero of that first tragi-comedy so common to young authors.

The play has fine pa.s.sages, but is as unreal as Jane Eyre. It shares with many of Wordsworth's narrative poems the defect of being written to ill.u.s.trate an abstract moral theory, so that the overbearing thesis is continually thrusting the poetry to the wall. Applied to the drama, such predestination makes all the personages puppets and disenables them for being characters. Wordsworth seems to have felt this when he published "The Borderers" in 1842, and says in a note that it was "at first written ... without any view to its exhibition upon the stage." But he was mistaken. The contemporaneous letters of Coleridge to Cottle show that he was long in giving up the hope of getting it accepted by some theatrical manager.

He now applied himself to the preparation of the first volume of the "Lyrical Ballads" for the press, and it was published toward the close of 1798. The book, which contained also "The Ancient Mariner" of Coleridge, attracted little notice, and that in great part contemptuous. When Mr.

Cottle, the publisher, shortly after sold his copyrights to Mr. Longman, that of the "Lyrical Ballads" was reckoned at _zero_, and it was at last given up to the authors. A few persons were not wanting however, who discovered the dawn-streaks of a new day in that light which the critical fire-brigade thought to extinguish with a few contemptuous spurts of cold water.[336]

Lord Byron describes himself as waking one morning and finding himself famous, and it is quite an ordinary fact, that a blaze may be made with a little saltpetre that will be stared at by thousands who would have thought the sunrise tedious. If we may believe his biographer, Wordsworth might have said that he awoke and found himself in-famous, for the publication of the "Lyrical Ballads" undoubtedly raised him to the distinction of being the least popular poet in England. Parna.s.sus has two peaks; the one where improvising poets cl.u.s.ter; the other where the singer of deep secrets sits alone,--a peak veiled sometimes from the whole morning of a generation by earth-born mists and smoke of kitchen fires, only to glow the more consciously at sunset, and after nightfall to crown itself with imperishable stars. Wordsworth had that self-trust which in the man of genius is sublime, and in the man of talent insufferable. It mattered not to him though all the reviewers had been in a chorus of laughter or conspiracy of silence behind him. He went quietly over to Germany to write more Lyrical Ballads, and to begin a poem on the growth of his own mind, at a time when there were only two men in the world (himself and Coleridge) who were aware that he had one, or at least one anywise differing from those mechanically uniform ones which are stuck drearily, side by side, in the great pin-paper of society.

In Germany Wordsworth dined in company with Klopstock, and after dinner they had a conversation, of which Wordsworth took notes. The respectable old poet, who was pa.s.sing the evening of his days by the chimney-corner, Darby and Joan like, with his respectable Muse, seems to have been rather bewildered by the apparition of a living genius. The record is of value now chiefly for the insight it gives us into Wordsworth's mind. Among other things he said, "that it was the province of a great poet to raise people up to his own level, not to descend to theirs,"--memorable words, the more memorable that a literary life of sixty years was in keeping with them.

It would be instructive to know what were Wordsworth's studies during his winter in Goslar. De Quincey's statement is mere conjecture. It may be guessed fairly enough that he would seek an entrance to the German language by the easy path of the ballad, a course likely to confirm him in his theories as to the language of poetry. The Spinosism with which he has been not unjustly charged was certainly not due to any German influence, for it appears unmistakably in the "Lines composed at Tintern Abbey" in July, 1798. It is more likely to have been derived from his talks with Coleridge in 1797.[337] When Emerson visited him in 1833, he spoke with loathing of "Wilhelm Meister," a part of which he had read in Carlyle's translation apparently. There was some affectation in this, it should seem, for he had read Smollett. On the whole, it may be fairly concluded that the help of Germany in the development of his genius may be reckoned as very small, though there is certainly a marked resemblance both in form and sentiment between some of his earlier lyrics and those of Goethe. His poem of the "Thorn," though vastly more imaginative, may have been suggested by Burger's _Pfarrer's Tochter von Taubenhain_. The little grave _drei Spannen lang_, in its conscientious measurement, certainly recalls a famous couplet in the English poem.

After spending the winter at Goslar, Wordsworth and his sister returned to England in the spring of 1799, and settled at Grasmere in Westmoreland. In 1800, the first edition of the "Lyrical Ballads" being exhausted, it was republished with the addition of another volume, Mr.

Longman paying 100 for the copyright of two editions. The book pa.s.sed to a second edition in 1802, and to a third in 1805.[338] Wordsworth sent a copy of it, with a manly letter, to Mr. Fox, particularly recommending to his attention the poems "Michael" and "The Brothers," as displaying the strength and permanence among a simple and rural population of those domestic affections which were certain to decay gradually under the influence of manufactories and poor houses. Mr. Fox wrote a civil acknowledgment, saying that his favorites among the poems were "Harry Gill," "We are Seven," "The Mad Mother," and "The Idiot," but that he was prepossessed against the use of blank verse for simple subjects. Any political significance in the poems he was apparently unable to see. To this second edition Wordsworth prefixed an argumentative Preface, in which he nailed to the door of the cathedral of English song the critical theses which he was to maintain against all comers in his poetry and his life. It was a new thing for an author to undertake to show the goodness of his verses by the logic and learning of his prose; but Wordsworth carried to the reform of poetry all that fervor and faith which had lost their political object, and it is another proof of the sincerity and greatness of his mind, and of that heroic simplicity which is their concomitant, that he could do so calmly what was sure to seem ludicrous to the greater number of his readers. Fifty years have since demonstrated that the true judgment of one man outweighs any counterpoise of false judgment, and that the faith of mankind is guided to a man only by a well-founded faith in himself. To this _Defensio_ Wordsworth afterward added a supplement, and the two form a treatise of permanent value for philosophic statement and decorous English. Their only ill effect has been, that they have encouraged many otherwise deserving young men to set a Sibylline value on their verses in proportion as they were unsalable.

The strength of an argument for self reliance drawn from the example of a great man depends wholly on the greatness of him who uses it; such arguments being like coats of mail, which, though they serve the strong against arrow-flights and lance-thrusts, may only suffocate the weak or sink him the sooner in the waters of oblivion.

An advertis.e.m.e.nt prefixed to the "Lyrical Ballads," as originally published in one volume, warned the reader that "they were written chiefly with a view to ascertain how far _the language of conversation in the middle and lower cla.s.ses_ of society is adapted to the purposes of poetic pleasure." In his preface to the second edition, in two volumes, Wordsworth already found himself forced to shift his ground a little (perhaps in deference to the wider view and finer sense of Coleridge), and now says of the former volume that "it was published as an experiment which, I hoped, might be of some use to ascertain how far, by fitting to metrical arrangement, _a selection of the real language of men in a state of vivid sensation_, that sort of pleasure and that quant.i.ty of pleasure may be imparted which a poet may _rationally endeavor_ to impart."[339]

Here is evidence of a retreat towards a safer position, though Wordsworth seems to have remained unconvinced at heart, and for many years longer clung obstinately to the pa.s.sages of bald prose into which his original theory had betrayed him. In 1815 his opinions had undergone a still further change, and an a.s.siduous study of the qualities of his own mind and of his own poetic method (the two subjects in which alone he was ever a thorough scholar) had convinced him that poetry was in no sense that appeal to the understanding which is implied by the words "rationally endeavor to impart." In the preface of that year he says, "The observations prefixed to that portion of these volumes which was published many years ago under the t.i.tle of 'Lyrical Ballads' have so little of special application to the greater part of the present enlarged and diversified collection, that they could not with propriety stand as an introduction to it." It is a pity that he could not have become an earlier convert to Coleridge's pithy definition, that "prose was words in their best order and poetry the _best_ words in the best order." But idealization was something that Wordsworth was obliged to learn painfully. It did not come to him naturally as to Spenser and Sh.e.l.ley and to Coleridge in his higher moods. Moreover, it was in the too frequent choice of subjects incapable of being idealized without a manifest jar between theme and treatment that Wordsworth's great mistake lay. For example, in "The Blind Highland Boy" he had originally the following stanzas:--

"Strong is the current, but be mild, Ye waves, and spare the helpless child!

If ye in anger fret or chafe, A bee-hive would be ship as safe As that in which he sails.

"But say, what was it? Thought of fear!

Well may ye tremble when ye hear!

--A household tub like one of those Which women use to wash their clothes, This carried the blind boy."

In endeavoring to get rid of the downright vulgarity of phrase in the last stanza, Wordsworth invents an impossible tortoise-sh.e.l.l, and thus robs his story of the reality which alone gave it a living interest. Any extemporized raft would have floated the boy down to immortality. But Wordsworth never quite learned the distinction between Fact, which suffocates the Muse, and Truth, which is the very breath of her nostrils.

Study and self-culture did much for him, but they never quite satisfied him that he was capable of making a mistake. He yielded silently to friendly remonstrance on certain points, and gave up, for example, the ludicrous exactness of

"I've measured it from side to side, 'T is three feet long and two feet wide."

But I doubt if he was ever really convinced, and to his dying day he could never quite shake off that habit of over-minute detail which renders the narratives of uncultivated people so tedious, and sometimes so distasteful.[340] "Simon Lee," after his latest revision, still contains verses like these:--

"And he is lean and he is sick; His body, dwindled and awry, Rests upon ankles swollen and thick; His legs are thin and dry; * * * * *

"Few months of life he has in store, As he to you will tell, For still, the more he works, the more Do his weak ankles swell,"--

which are not only prose, but _bad_ prose, and moreover guilty of the same fault for which Wordsworth condemned Dr. Johnson's famous parody on the ballad-style,--that their "_matter_ is contemptible." The sonorousness of conviction with which Wordsworth sometimes gives utterance to commonplaces of thought and trivialities of sentiment has a ludicrous effect on the profane and even on the faithful in unguarded moments. We are reminded of a pa.s.sage in the "Excursion":--

"List! I heard From yon huge breast of rock _a solemn bleat, Sent forth as if it were the mountain's voice_."

In 1800 the friendship of Wordsworth with Lamb began, and was thenceforward never interrupted. He continued to live at Grasmere, conscientiously diligent in the composition of poems, secure of finding the materials of glory within and around him; for his genius taught him that inspiration is no product of a foreign sh.o.r.e, and that no adventurer ever found it, though he wandered as long as Ulysses. Meanwhile the appreciation of the best minds and the grat.i.tude of the purest hearts gradually centred more and more towards him. In 1802 he made a short visit to France, in company with Miss Wordsworth, and soon after his return to England was married to Mary Hutchinson, on the 4th of October of the same year. Of the good fortune of this marriage no other proof is needed than the purity and serenity of his poems, and its record is to be sought nowhere else.

On the 18th of June, 1803, his first child, John, was born, and on the 14th of August of the same year he set out with his sister on a foot journey into Scotland Coleridge was their companion during a part of this excursion, of which Miss Wordsworth kept a full diary. In Scotland he made the acquaintance of Scott, who recited to him a part of the "Lay of the Last Minstrel," then in ma.n.u.script. The travellers returned to Grasmere on the 25th of September. It was during this year that Wordsworth's intimacy with the excellent Sir George Beaumont began. Sir George was an amateur painter of considerable merit, and his friendship was undoubtedly of service to Wordsworth in making him familiar with the laws of a sister art and thus contributing to enlarge the sympathies of his criticism, the tendency of which was toward too great exclusiveness.

Sir George Beaumont, dying in 1827, did not forego his regard for the poet, but contrived to hold his affection in mortmain by the legacy of an annuity of 100, to defray the charges of a yearly journey.

In March, 1805, the poet's brother, John, lost his life by the shipwreck of the Abergavenny East-Indiaman, of which he was captain. He was a man of great purity and integrity, and sacrificed himself to his sense of duty by refusing to leave the ship till it was impossible to save him.

Wordsworth was deeply attached to him, and felt such grief at his death as only solitary natures like his are capable of, though mitigated by a sense of the heroism which was the cause of it. The need of mental activity as affording an outlet to intense emotion may account for the great productiveness of this and the following year. He now completed "The Prelude," wrote "The Wagoner," and increased the number of his smaller poems enough to fill two volumes, which were published in 1807.

This collection, which contained some of the most beautiful of his shorter pieces, and among others the incomparable Odes to Duty and on Immortality, did not reach a second edition till 1815. The reviewers had another laugh, and rival poets pillaged while they scoffed, particularly Byron, among whose verses a bit of Wordsworth showed as incongruously as a sacred vestment on the back of some buccaneering plunderer of an abbey.[341]

There was a general combination to put him down, but on the other hand there was a powerful party in his favor, consisting of William Wordsworth. He not only continued in good heart himself, but, reversing the order usual on such occasions, kept up the spirits of his friends.[342]

Wordsworth pa.s.sed the winter of 1806-7 in a house of Sir George Beaumont's, at Coleorton in Leicestershire, the cottage at Grasmere having become too small for his increased family. On his return to the Vale of Grasmere he rented the house at Allan Bank, where he lived three years. During this period he appears to have written very little poetry, for which his biographer a.s.signs as a primary reason the smokiness of the Allan Bank chimneys. This will hardly account for the failure of the summer crop, especially as Wordsworth composed chiefly in the open air.

It did not prevent him from writing a pamphlet upon the Convention of Cintra, which was published too late to attract much attention, though Lamb says that its effect upon him was like that which one of Milton's tracts might have had upon a contemporary.[343] It was at Allan Bank that Coleridge dictated "The Friend," and Wordsworth contributed to it two essays, one in answer to a letter of Mathetes[344] (Professor Wilson), and the other on Epitaphs, republished in the Notes to "The Excursion."

Here also he wrote his "Description of the Scenery of the Lakes." Perhaps a truer explanation of the comparative silence of Wordsworth's Muse during these years is to be found in the intense interest which he took in current events, whose variety, picturesqueness, and historical significance were enough to absorb all the energies of his imagination.

In the spring of 1811 Wordsworth removed to the Parsonage at Grasmere.

Here he remained two years, and here he had his second intimate experience of sorrow in the loss of two of his children, Catharine and Thomas, one of whom died 4th June, and the other 1st December, 1812.[345]

Early in 1813 he bought Rydal Mount, and, having removed thither, changed his abode no more during the rest of his life. In March of this year he was appointed Distributor of Stamps for the county of Westmoreland, an office whose receipts rendered him independent, and whose business he was able to do by deputy, thus leaving him ample leisure for n.o.bler duties.

De Quincey speaks of this appointment as an instance of the remarkable good luck which waited upon Wordsworth through his whole life. In our view it is only another ill.u.s.tration of that scripture which describes the righteous as never forsaken. Good luck is the willing handmaid of upright, energetic character, and conscientious observance of duty.

Wordsworth owed his nomination to the friendly exertions of the Earl of Lonsdale, who desired to atone as far as might be for the injustice of the first Earl, and who respected the honesty of the man more than he appreciated the originality of the poet.[346] The Collectorship at Whitehaven (a more lucrative office) was afterwards offered to Wordsworth, and declined. He had enough for independence, and wished nothing more. Still later, on the death of the Stamp-Distributor for c.u.mberland, a part of that district was annexed to Westmoreland, and Wordsworth's income was raised to something more than 1,000 a year.

In 1814 he made his second tour in Scotland, visiting Yarrow in company with the Ettrick Shepherd. During this year "the Excursion" was published, in an edition of five hundred copies, which supplied the demand for six years. Another edition of the same number of copies was published in 1827, and not exhausted till 1834. In 1815 "The White Doe of Rylstone" appeared, and in 1816 "A Letter to a Friend of Burns," in which Wordsworth gives his opinion upon the limits to be observed by the biographers of literary men. It contains many valuable suggestions, but allows hardly scope enough for personal details, to which he was const.i.tutionally indifferent.[347] Nearly the same date may be ascribed to a rhymed translation of the first three books of the Aeneid, a specimen of which was printed in the Cambridge "Philological Museum"

(1832). In 1819 "Peter Bell," written twenty years before, was published, and, perhaps in consequence of the ridicule of the reviewers, found a more rapid sale than any of his previous volumes. "The Wagoner," printed in the same year, was less successful. His next publication was the volume of Sonnets on the river Duddon, with some miscellaneous poems, 1820. A tour on the Continent in 1820 furnished the subjects for another collection, published in 1822. This was followed in the same year by the volume of "Ecclesiastical Sketches." His subsequent publications were "Yarrow Revisited," 1835, and the tragedy of "The Borderers," 1842.

During all these years his fame was increasing slowly but steadily, and his age gathered to itself the reverence and the troops of friends which his poems and the n.o.bly simple life reflected in them deserved. Public honors followed private appreciation. In 1838 the University of Dublin conferred upon him the degree of D.C.L. In 1839 Oxford did the same, and the reception of the poet (now in his seventieth year) at the University was enthusiastic. In 1842 he resigned his office of Stamp-Distributor, and Sir Robert Peel had the honor of putting him upon the civil list for a pension of 300. In 1843 he was appointed Laureate, with the express understanding that it was a tribute of respect, involving no duties except such as might be self-imposed. His only official production was an Ode for the installation of Prince Albert as Chancellor of the University of Cambridge. His life was prolonged yet seven years, almost, it should seem, that he might receive that honor which he had truly conquered for himself by the unflinching bravery of a literary life of half a century, unparalleled for the scorn with which its labors were received, and the victorious acknowledgment which at last crowned them. Surviving nearly all his contemporaries, he had, if ever any man had, a foretaste of immortality, enjoying in a sort his own posthumous renown, for the hardy slowness of its growth gave a safe pledge of its durability. He died on the 23d of April, 1850, the anniversary of the death of Shakespeare.

We have thus briefly sketched the life of Wordsworth,--a life uneventful even for a man of letters, a life like that of an oak, of quiet self development, throwing out stronger roots toward the side whence the prevailing storm-blasts blow, and of tougher fibre in proportion to the rocky nature of the soil in which it grows. The life and growth of his mind, and the influences which shaped it, are to be looked for, even more than is the case with most poets, in his works, for he deliberately recorded them there.

Of his personal characteristics little is related. He was somewhat above the middle height, but, according to De Quincey, of indifferent figure, the shoulders being narrow and drooping. His finest feature was the eye, which was gray and full of spiritual light. Leigh Hunt says: "I never beheld eyes that looked so inspired, so supernatural. They were like fires, half burning, half smouldering, with a sort of acrid fixture of regard. One might imagine Ezekiel or Isaiah to have had such eyes."

Southey tells us that he had no sense of smell, and Haydon that he had none of form. The best likeness of him, in De Quincey's judgment, is the portrait of Milton prefixed to Richardson's notes on Paradise Lost. He was active in his habits, composing in the open air, and generally dictating his poems. His daily life was regular, simple, and frugal; his manners were dignified and kindly; and in his letters and recorded conversations it is remarkable how little that was personal entered into his judgment of contemporaries.

The true rank of Wordsworth among poets is, perhaps, not even yet to be fairly estimated, so hard is it to escape into the quiet hall of judgment uninflamed by the tumult of partisanship which besets the doors.

Coming to manhood, predetermined to be a great poet, at a time when the artificial school of poetry was enthroned with all the authority of long succession and undisputed legitimacy, it was almost inevitable that Wordsworth, who, both by nature and judgment was a rebel against the existing order, should become a partisan. Unfortunately, he became not only the partisan of a system, but of William Wordsworth as its representative. Right in general principle, he thus necessarily became wrong in particulars. Justly convinced that greatness only achieves its ends by implicitly obeying its own instincts, he perhaps reduced the following his instincts too much to a system, mistook his own resentments for the promptings of his natural genius, and, compelling principle to the measure of his own temperament or even of the controversial exigency of the moment, fell sometimes into the error of making naturalness itself artificial. If a poet resolve to be original, it will end commonly in his being merely peculiar.

Wordsworth himself departed more and more in practice, as he grew older, from the theories which he had laid down in his prefaces;[348] but those theories undoubtedly had a great effect in r.e.t.a.r.ding the growth of his fame. He had carefully constructed a pair of spectacles through which his earlier poems were to be studied, and the public insisted on looking through them at his mature works, and were consequently unable to see fairly what required a different focus. He forced his readers to come to his poetry with a certain amount of conscious preparation, and thus gave them beforehand the impression of something like mechanical artifice, and deprived them of the contented repose of implicit faith. To the child a watch seems to be a living creature; but Wordsworth would not let his readers be children, and did injustice to himself by giving them an uneasy doubt whether creations which really throbbed with the very heart's-blood of genius, and were alive with nature's life of life, were not contrivances of wheels and springs. A naturalness which we are told to expect has lost the crowning grace of nature. The men who walked in Cornelius Agrippa's visionary gardens had probably no more pleasurable emotion than that of a shallow wonder, or an equally shallow self-satisfaction in thinking they had hit upon the secret of the thaumaturgy; but to a tree that has grown as G.o.d willed we come without a theory and with no botanical predilections, enjoying it simply and thankfully; or the Imagination recreates for us its past summers and winters, the birds that have nested and sung in it, the sheep that have cl.u.s.tered in its shade, the winds that have visited it, the cloud-bergs that have drifted over it, and the snows that have ermined it in winter.

The Imagination is a faculty that flouts at foreordination, and Wordsworth seemed to do all he could to cheat his readers of her company by laying out paths with a peremptory _Do not step off the gravel!_ at the opening of each, and preparing pitfalls for every conceivable emotion, with guide-boards to tell each when and where it must be caught.

But if these things stood in the way of immediate appreciation, he had another theory which interferes more seriously with the total and permanent effect of his poems. He was theoretically determined not only to be a philosophic poet, but to be a _great_ philosophic poet, and to this end he must produce an epic. Leaving aside the question whether the epic be obsolete or not, it may be doubted whether the history of a single man's mind is universal enough in its interest to furnish all the requirements of the epic machinery, and it may be more than doubted whether a poet's philosophy be ordinary metaphysics, divisible into chapter and section. It is rather something which is more energetic in a word than in a whole treatise, and our hearts unclose themselves instinctively at its simple _Open sesame!_ while they would stand firm against the reading of the whole body of philosophy. In point of fact, the one element of greatness which "The Excursion" possesses indisputably is heaviness. It is only the episodes that are universally read, and the effect of these is diluted by the connecting and accompanying lectures on metaphysics. Wordsworth had his epic mould to fill, and, like Benvenuto Cellini in casting his Perseus, was forced to throw in everything, debasing the metal, lest it should run short. Separated from the rest, the episodes are perfect poems in their kind, and without example in the language.

Wordsworth, like most solitary men of strong minds, was a good critic of the substance of poetry, but somewhat n.i.g.g.ardly in the allowance he made for those subsidiary qualities which make it the charmer of leisure and the employment of minds without definite object. It may be doubted, indeed, whether he set much store by any contemporary writing but his own, and whether he did not look upon poetry too exclusively as an exercise rather of the intellect than as a nepenthe of the imagination.[349] He says of himself, speaking of his youth:--

"In fine, I was a better judge of thoughts than words, Misled in estimating words, not only By common inexperience of youth, But by the trade in cla.s.sic niceties, The dangerous craft of culling term and phrase From languages that want the living voice To carry meaning to the natural heart; To tell us what is pa.s.sion, what is truth, What reason, what simplicity and sense."[350]

Though he here speaks in the preterite tense, this was always true of him, and his thought seems often to lean upon a word too weak to bear its weight. No reader of adequate insight can help regretting that he did not earlier give himself to "the trade of cla.s.sic niceties." It was precisely this which gives to the blank-verse of Landor the severe dignity and reserved force which alone among later poets recall the tune of Milton, and to which Wordsworth never attained. Indeed, Wordsworth's blank-verse (though the pa.s.sion be profounder) is always essentially that of Cowper.

They were alike also in their love of outward nature and of simple things. The main difference between them is one of scenery rather than of sentiment, between the life-long familiar of the mountains and the dweller on the plain.

It cannot be denied that in Wordsworth the very highest powers of the poetic mind were a.s.sociated with a certain tendency to the diffuse and commonplace. It is in the understanding (always prosaic) that the great golden veins of his imagination are imbedded.[351] He wrote too much to write always well; for it is not a great Xerxes-army of words, but a compact Greek ten thousand, that march safely down to posterity. He set tasks to his divine faculty, which is much the same as trying to make Jove's eagle do the service of a clucking hen. Throughout "The Prelude"

and "The Excursion" he seems striving to bind the wizard Imagination with the sand-ropes of dry disquisition, and to have forgotten the potent spell-word which would make the particles cohere. There is an arenaceous quality in the style which makes progress wearisome. Yet with what splendors as of mountain-sunsets are we rewarded! what golden rounds of verse do we not see stretching heavenward with angels ascending and descending! what haunting harmonies hover around us deep and eternal like the undying barytone of the sea! and if we are compelled to fare through sands and desert wildernesses, how often do we not hear airy shapes that syllable our names with a startling personal appeal to our highest consciousness and our n.o.blest aspiration, such as we wait for in vain in any other poet!