« ПредишнаНапред »
resided only two years in this house and during the last half of the time, which was after this poem had been written, we lost our two children, Thomas and Catherine. Our sorrow upon these events often brought it to my mind, and cast me upon the support to which the last line of it gives expression
“The appropriate calm of blest eternity.” It is scarcely necessary to add that we still possess the Picture.]
PRAISED be the Art whose subtle power could stay Yon cloud, and fix it in that glorious shape; Nor would permit the thin smoke to escape, Nor those bright sunbeams to forsake the day; Which stopped that band of travellers on their way, Ere they were lost within the shady wood; And showed the Bark upon the glassy flood For ever anchored in her sheltering bay. Soul-soothing Art; whom Morning, Noon-tide, Even, Do serve with all their changeful pageantry; Thou, with ambition modest yet sublime, Here, for the sight of mortal man, has given To one brief moment caught from fleeting time The appropriate calm of blest eternity. Compare the Elegiac Stanzas, suggested by a picture of Peel Castle in a Storm, painted by Sir George Beaumont—especially the first three, and the fifth, sixth, and seventh stanzas.
In the letter written to Sir George Beaumont from Bootle, in 1811-referred to in the note to the previous poem-Wordsworth says, “A few days after I had enjoyed the pleasure of seeing, in different moods of mind, your Coleorton landscape from my fireside, it suggested to me the following sonnet, which—having walked out to the side of Grasmere brook, when it murmurs through the meadows near the Church-I composed immediately
Praised be the Art
“ The images of the smoke and the travellers are taken from your picture; the rest were added, in order to place the thought in a clear point of view, and for the sake of variety.”—Ed.
10 and 1843.
which Morning, Noon-tide, Even, 1815.
The years 1812 and 1813 were even less productive years to Wordsworth than 1811 had been. The first of them was saddened by domestic losses, which deprived him for a time of the very power of work, and almost of interest in the labour to which his life was devoted. Three short pieces are all that belong to 1812 and 1813 respectively.--ED.
SONG FOR THE SPINNING WHEEL.
FOUNDED UPON A BELIEF PREVALENT AMONG THE PASTORAL VALES
Pub. 1820. [The belief on which this is founded I have often heard expressed by an old neighbour of Grasmere.]
SWIFTLY turn the murmuring wheel !
When the flocks are all at rest
Sleeping on the mountain's breast. It was for Sarah Hutchinson that this song was written. She lived for the most part either at Brinsop Court, Herefordshire, or at Rydal Mount, Westmoreland, or at Greta Hall, Keswick. When living at Greta Hall, she acted as Southey's amanuensis. She also frequently transcribed poems for Wordsworth, at Grasmere, Coleorton, and Rydal Mount. The
poem was placed by Wordsworth amongst those of the Fancy. -Ed.
COMPOSED ON THE EVE OF THE MARRIAGE OF A FRIEND IN THE VALE OF GRASMERE, 1812. Comp. 1812.
Faultless does the Maid appear;
This refers to the marriage of Thomas Hutchinson (Mrs Wordsworth's brother) to Mary Monkhouse, sister of the Mr Monkhouse with whom Wordsworth afterwards travelled on the Continent. The marriage took place on November 1, 1812. They lived at Nadnorth
Even for such omen would the Bride display
for eighteen years, and afterwards at Brinsop Court, Herefordshire, for twenty-one years. To their son—the Rev. Thomas Hutchinson of Kimbolton, Leominster, Herefordshire—and to their daughter-Miss Elizabeth Hutchinson of Rock Villa, West Malvern-I am indebted for much information in reference to their uncle and aunts. The portrait of Wordsworth in his forty-seventh year, by Richard Carruthers, is in Mr Hutchinson's possession at the Rectory, Kimbolton.-Ed.
Pub. 1827. [Observed frequently over the lakes of Rydal and Grasmere.] “Let me be allowed the aid of verse to describe the evolutions which
these visitants sometimes perform on a fine day, towards the close of winter.”—Extract from the Author's Book on the Lakes.
MARK how the feathered tenants of the flood,
Hundreds of curves and circles,
Past in a moment—and as faint again !
As if they scorned both resting-place and rest !
See the note to the previous year, 1812.—ED.
VIEW FROM THE TOP OF BLACK COMB.
Comp. 1813. Pub. 1815. [Mrs Wordsworth and I, as mentioned in the “ Epistle to Sir G. Beaumont,” lived sometime under its shadow.]
This Height a ministering Angel might select: