Lines Composed a Few Miles above Tintern Abbey, On Revisiting the Banks of the Wye during a Tour. July 13, 1798 Related Poem Content Details
BY WILLIAM WORDSWORTH
Five years have past; five summers, with the length Of five long winters! and again I hear These waters, rolling from their mountain-springs With a soft inland murmur.—Once again Do I behold these steep and lofty cliffs, That on a wild secluded scene impress Thoughts of more deep seclusion; and connect The landscape with the quiet of the sky. The day is come when I again repose Here, under this dark sycamore, and view These plots of cottage-ground, these orchard-tufts, Which at this season, with their unripe fruits, Are clad in one green hue, and lose themselves 'Mid groves and copses. Once again I see These hedge-rows, hardly hedge-rows, little lines Of sportive wood run wild: these pastoral farms, Green to the very door; and wreaths of smoke Sent up, in silence, from among the trees! With some uncertain notice, as might seem Of vagrant dwellers in the houseless woods, Or of some Hermit's cave, where by his fire The Hermit sits alone.
These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them, In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love. Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things.
If this Be but a vain belief, yet, oh! how oft— In darkness and amid the many shapes Of joyless daylight; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart— How oft, in spirit, have I turned to thee, O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee!
And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. For nature then (The coarser pleasures of my boyish days
No longer mourn for me when I am dead Than you shall hear the surly sullen bell Give warning to the world that I am fled From this vile world with vildest worms to dwell. Nay, if you read this line, remember not The hand that writ it, for I love you so That I in your sweet thoughts would be forgot, If thinking on me then should make you woe. O, if, I say, you look upon this verse, When I perhaps compounded am with clay, Do not so much as my poor name rehearse, But let your love even with my life decay,
Lest the wise world should look into your moan, And mock you with me after I am gone.
The force that through the green fuse drives the flower Drives my green age; that blasts the roots of trees Is my destroyer. And I am dumb to tell the crooked rose My youth is bent by the same wintry fever.
The force that drives the water through the rocks Drives my red blood; that dries the mouthing streams Turns mine to wax. And I am dumb to mouth unto my veins How at the mountain spring the same mouth sucks.
>>218 > To be in a passion you good may do, > But no good if a passion is in you. > の句における最初のpassionは「ひとつの苦難・受難の経験」であり > あとのpassionは「激情」であると思う これはどうしてそう思ったのでしょうか？ 受難の経験にいる間は良いけれども、激情に駆られては良くない、と解釈しているのですか・・・？
>>220 > To be in a passion you good may do, > But no good if a passion is in you. ここではお作法として、対句の中で同じpassionという単語を取り巻いて good/no goodの対比と to be in a passion/ a passion is inという徹底して対比した句になっています ここまでの詩で、常に一見かかわりのない苦しむ動物や民衆/天地が避けるという対比の続いてきた詩です もしここだけ、passionを受難/劇情と全く別の意味を表わす言葉遊びに変えてしまうなら、他の対比もすべて意味を変えなくてはなりません この詩はアレゴリカルな詩であって、苦しむ動物と天地の変化はきちんとつながっているロジカルな詩です それは詩の読解の破格が突然ここに現れるという根拠を持っているのか、とお聞きしました
''Want of money and the distress of a thief can never be alleged as the cause of his thieving, for many honest people endure greater hardships with fortitude. We must therefore seek the cause elsewhere than in want of money, for that is the miser's passion, not the thief's.''
From "The Letters of William Blake"
''Men are admitted into Heaven not because they have curbed & governed their passions or have no passions, but because they have cultivated their understandings. The treasures of Heaven are not negations of passion, but realities of intellect, from which all the passions emanate uncurbed in their eternal glory. The fool shall not enter into Heaven let him be ever so holy.''
From "A Vision of the Last Judgement (1810)"
“The Auguries of Innocence” is a series of couplets that most Blake scholars and biographers agree were written in no particular order, but just gathered as such for printing in about 1803, a decade after “Songs of Innocence and Experience.” The interconnecting theme between the collection of couplets is universal interdependence, the principle idea that there exist a correspondence between equivalent entities that lie on completely different planes. Scandinavian mystic and poet Swedenborg was the major influence to this philosophical belief. In other words, there is a wisdom, or vision (“augury”) in seeing the world through two eyes instead of with one eye.
Summary of Auguries of Innocence
The poet proffers the argument that the natural world can be regenerated in time and that nature itself can be an augury to the lost vision of innocence. The phrasing of the title is the strongest example of this theme, for here, the word “innocence” signifies man in the unfallen state.
The first quatrain is where this theme of seeing the world through different means is set forth. The infinite (“Heaven”) can be seen through something that is not human, but still life (“through a Wildflower”). This “wildflower” is a symbol for free love. Heaven is seen though love, the world is seen through the intellect, and the imagination is that which bridges the two. In the same sense, that which is not life nor human, the dehumanized world, is capable of revealing “infinity.” It may be worth noting the famous Blake line from The Marriage of Heaven and Hell: "If the doors of perception were cleansed every thing would appear to man as it is, infinite. For man has closed himself up, till he sees all things through narrow chinks of his cavern."
The remainder of the poem is basic imagery, each animal representing a different part of the humanized world. Below is a list of a few of the key associations:
Dog – the beggar Horse – the slave Cock – the soldier Singing – an inward, spiritual possession Lamb’s submission – Jesus’ sacrifice for mankind Bat – human spectre Owl – humankind lost in the darkness, fearing an unknown God Caterpillar – humankind emerging from nature’s womb, the exit from Eden Pass the polar bar – enter a new world Waves – the sea of time and space Emmet and Eagle – perception from close and afar; physical and imaginative perception