The Poetical Works of William Wordsworth — Volume 2 (of 8) — Background and Themes
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iii. of 'Biographia Literaria' (vol. ii. p. 83 of the edition of 1817).--Ed.]
This poem illustrates the way in which Wordsworth's imagination worked upon a minimum of fact, idealizing a simple story, and adding
'the gleam, The light that never was, on sea or land, The consecration, and the Poet's dream.'
It is the only poem of his referring to Ennerdale; but perhaps the chief association with that dale, to those who visit it after becoming acquainted with this poem, will be the fact that the brothers Ewbank were supposed to have spent their youth under the shadow of the Pillar, and Leonard to have had this conversation, on his return from sea, with the venerable priest of Ennerdale. The district is described with all that local accuracy which Wordsworth invariably showed in idealization. The height whence James Ewbank is supposed to have fallen is not the Pillar-Rock--a crag somewhat difficult to ascend, except by practised climbers, and which has only been accessible since mountaineering became an art and a passion to Englishmen. But, if we suppose the conversation with the priest of Ennerdale to have taken place at the Bridge, below the Lake--as that is the only place where there is both a hamlet and "a churchyard"--the "precipice" will refer to the Pillar "Mountain." Both are alluded to in the poem. The lines,
'You see yon precipice;--it wears the shape Of a vast building made of many crags; And in the midst is one particular rock That rises like a column from the vale, Whence by our shepherds it is called, _The Pillar_,'
are definite enough. The great mass of the Pillar Mountain is first referred to, and then the Rock which is a characteristic spur, halfway up the mountain on its northern side. The "aëry summit crowned with heath," however, on which "the loiterer" "lay stretched at ease," could neither be the top of this "rock" nor the summit of the "mountain": not the former, because there is no heath on it, and it would be impossible for a weary man, loitering behind his companions, to ascend it to rest; not the latter, because no one resting on the summit of the mountain could be "not unnoticed by his comrades," and they would not pass that way over the top of the mountain "on their return" to Ennerdale. This is an instance, therefore, in which precise localization is impossible. Probably Wordsworth did not know either that the pillar "rock" was bare on the summit, or that it had never been ascended in 1800; and he idealised it to suit his imaginative purpose. In connection with this poem, a remark he made to the Hon. Mr. Justice Coleridge may be recalled.
"He said there was some foundation in fact, however slight, for every poem he had written of a narrative kind; ... 'The Brothers' was founded on a young shepherd, in his sleep, having fallen down a crag, his staff remaining suspended mid-way."
(See the 'Memoirs of Wordsworth', by the late Bishop of Lincoln, vol. ii. p. 305.) It should be added that the character of Leonard Ewbank was drawn in large part from that of the poet's brother John--Ed.
THE SEVEN SISTERS; OR, THE SOLITUDE OF BINNORIE [A]
Composed 1800. [B]--Published 1807
The Story of this Poem is from the German of Frederica Brun. [C]--W. W. 1807.
One of the "Poems of the Fancy."--Ed.
I Seven Daughters had Lord Archibald, All children of one mother: You could [1] not say in one short day What love they bore each other. A garland, of seven lilies, wrought! 5 Seven Sisters that together dwell; But he, bold Knight as ever fought, Their Father, took of them no thought, He loved the wars so well. Sing, mournfully, oh! mournfully, 10 The solitude of Binnorie!
II Fresh blows the wind, a western wind, And from the shores of Erin, Across the wave, a Rover brave To Binnorie is steering: 15 Right onward to the Scottish strand The gallant ship is borne; The warriors leap upon the land, And hark! the Leader of the band Hath blown his bugle horn. 20 Sing, mournfully, oh! mournfully, The solitude of Binnorie.
III Beside a grotto of their own, With boughs above them closing, The Seven are laid, and in the shade 25 They lie like fawns reposing. But now, upstarting with affright At noise of man and steed, Away they fly to left, to right-- Of your fair household, Father-knight, 30 Methinks you take small heed! Sing, mournfully, oh! mournfully, The solitude of Binnorie.
This second volume of William Knight's 1896 edition of Wordsworth's poetical works covers poems composed between 1798 and 1803, including 'Peter Bell,' 'Lines written a few miles above Tintern Abbey,' and 'Michael.' The editorial apparatus—prefaces, notes, and extracts from Dorothy Wordsworth's Grasmere Journal—offers unusual access to Wordsworth's compositional process. In the dedicatory letter to Robert Southey, Wordsworth explicitly states that 'Peter Bell' was written to show that imagination can be 'called forth as imperiously' by incidents of 'daily life' as by supernatural agency. This claim situates the volume within a broader Romantic debate about the proper subjects of poetry.
Wordsworth's Defense of the Ordinary
The prefatory material to 'Peter Bell' articulates a central tension in this volume. Wordsworth insists that the imagination does not require 'supernatural agency' to be exercised; rather, 'incidents, within the compass of poetic probability, in the humblest departments of daily life' can produce 'kindred results of pleasure.' This is a pointed rejoinder to poets like Southey, whom Wordsworth acknowledges as a 'Master in that province of the art'—the supernatural. The letter frames the volume as an experiment in poetic method, one that risks being judged by its contrast with more spectacular modes. Wordsworth's phrasing—'whether from contrast or congruity'—leaves open the possibility that his own work and Southey's might be complementary rather than opposed.
The Making of 'Michael': A Two-Month Labor
Knight's notes include a remarkable sequence from Dorothy Wordsworth's Grasmere Journal, tracking the composition of 'Michael' from October 11 to December 9, 1800. The entries record daily progress with unusual candor: 'William composing in the evening'; 'W. composed a little'; 'W. worked all the morning at the sheepfold, but in vain'; 'W. was not successful in composition in the evening.' The sheepfold itself—described as 'built nearly in the form of a heart unequally divided'—becomes a material anchor for the poem's emotional geometry. Knight also quotes Wordsworth's letter to Charles James Fox, where he explains that the poem depicts 'small independent proprietors of land, here called "statesmen"' whose 'domestic affections' are strengthened by their ancestral properties. The poem, Wordsworth says, attempts to 'draw a picture' of affections 'inconceivable by those who have only had an opportunity of observing hired labourers, farmers, and the manufacturing poor.'
Editorial Framing and the Question of Place
Knight's editorial notes repeatedly emphasize the physical sites that inspired the poems. For 'Michael,' he directs readers to 'ascend the ghyll till it almost reaches the top of Fairfield' to 'realize the spirit of the poem'—a gesture that treats landscape as a necessary interpretive key. He also records Wordsworth's remark that the poem was 'founded on the son of an old couple having become dissolute, and run away from his parents.' This biographical kernel, combined with the journal's record of failed and successful days, presents the poem as a slow accretion of observation and revision. The volume thus offers not only the finished poems but a layered record of their making—a feature that distinguishes this edition from a simple collection of texts.
Readers approaching this volume will find that the editorial matter—letters, journal extracts, and notes—functions almost as a second text, shadowing the poems with evidence of their construction. The tension between Wordsworth's stated aims and his actual practice, visible in the laborious composition of 'Michael,' invites a reading that attends as much to process as to product. The volume rewards those who move between poem and apparatus, tracing the connections Wordsworth himself insisted upon between place, affection, and the work of making.
I remember evenings with Wordsworth’s Michael, that quiet faith in simple endurance, and somehow it always brings to mind another old friend, Lyrics of Earth — Text and Context, whose verses feel like stones worn smooth by the same patient stream of years. Both speak of roots holding fast in ordinary ground, a kinship I have treasured.
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