The Poetical Works of William Wordsworth — Volume 3 (of 8) — A Closer Reading
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She was a Phantom of delight When first she gleamed upon my sight; [A] A lovely Apparition, sent To be a moment's ornament; Her eyes as stars of Twilight fair; 5 Like Twilight's, too, her dusky hair; But all things else about her drawn From May-time and the cheerful Dawn; [1] A dancing Shape, an Image gay, To haunt, to startle, and way-lay. 10
I saw her upon nearer view, A Spirit, yet a Woman too! Her household motions light and free, And steps of virgin-liberty; A countenance in which did meet 15 Sweet records, promises as sweet; A Creature not too bright or good For human nature's daily food; For transient sorrows, simple wiles, Praise, blame, love, kisses, tears, and smiles. 20
And now I see with eye serene The very pulse of the machine; A Being breathing thoughtful breath, A Traveller between [2] life and death; The reason firm, the temperate will, 25 Endurance, foresight, strength, and skill; A perfect Woman, [3] nobly planned, To warn, to comfort, and command; And yet a Spirit still, and bright With something of angelic light. [4] 30
From May-time's brightest, liveliest dawn; 1836
The text of 1840 returns to that of 1807.]
... betwixt ... 1807.]
A perfect Woman; ... 1807.]
... of an angel light. 1807.
... angel-light. 1836.]
[Footnote A: Compare two references to Mary Wordsworth in 'The Prelude':
'Another maid there was, who also shed A gladness o'er that season, then to me, By her exulting outside look of youth And placid under-countenance, first endeared;'
'She came, no more a phantom to adorn A moment, but an inmate of the heart, And yet a spirit, there for me enshrined To penetrate the lofty and the low;'
(Book xiv, l. 268).--Ed.]
It is not easy to say what were the "four lines composed as a part of the verses on the 'Highland Girl'" which the Fenwick note tells us was "the germ of this poem." They may be lines now incorporated in those 'To a Highland Girl', vol. ii. p. 389, or they may be lines in the present poem, which Wordsworth wrote at first for the 'Highland Girl', but afterwards transferred to this one. They _may_ have been the first four lines of the later poem. The two should be read consecutively, and compared.
After Wordsworth's death, a writer in the 'Daily News', January 1859--then understood to be Miss Harriet Martineau--wrote thus:
"In the 'Memoirs', by the nephew of the poet, it is said that these verses refer to Mrs. Wordsworth; but for half of Wordsworth's life it was always understood that they referred to some other phantom which 'gleamed upon his sight' before Mary Hutchinson."
This statement is much more than improbable; it is, I think, disproved by the Fenwick note. They cannot refer to the "Lucy" of the Goslar poems; and Wordsworth indicates, as plainly as he chose, to whom they actually do refer. Compare the Hon. Justice Coleridge's account of a conversation with Wordsworth ('Memoirs', vol. ii. p. 306), in which the poet expressly said that the lines were written on his wife. The question was, however, set at rest in a conversation of Wordsworth with Henry Crabb Robinson, who wrote in his 'Diary' on
"May 12 (1842).--Wordsworth said that the poems 'Our walk was far among the ancient trees' [vol. ii. p. 167], then 'She was a Phantom of delight,' [B] and finally the two sonnets 'To a Painter', should be read in succession as exhibiting the different phases of his affection to his wife."
('Diary, Reminiscences, and Correspondence of Henry Crabb Robinson', vol. iii. p. 197.)
The use of the word "machine," in the third stanza of the poem, has been much criticised, but for a similar use of the term, see the sequel to 'The Waggoner' (p. 107):
'Forgive me, then; for I had been On friendly terms with this Machine.'
See also 'Hamlet' (act II. scene ii. l. 124):
'Thine evermore, most dear lady, whilst this machine is to him.'
The progress of mechanical industry in Britain since the beginning of the present century has given a more limited, and purely technical, meaning to the word, than it bore when Wordsworth used it in these two instances.--Ed.
[Footnote B: The poet expressly told me that these verses were on his wife.--H. C. R.]
"I WANDERED LONELY AS A CLOUD"
Composed 1804.--Published 1807
[Town-end, 1804. The two best lines in it are by Mary. The daffodils grew, and still grow, on the margin of Ullswater, and probably may be seen to this day as beautiful in the month of March, nodding their golden heads beside the dancing and foaming waves.--I. F.]
This was No. VII. in the series of Poems, entitled, in the edition of 1807, "Moods of my own Mind." In 1815, and afterwards, it was classed by Wordsworth among his "Poems of the Imagination."--Ed.
This third volume of William Wordsworth's poetical works, edited by William Angus Knight, concentrates on the year 1804, a pivotal period in the poet's career. The collection includes well-known lyrics such as 'I wandered lonely as a cloud' and 'She was a Phantom of delight,' alongside substantial portions of The Prelude. Knight's editorial apparatus provides context for the poems' composition, often drawing on Wordsworth's own notes and the recollections of his family. The volume offers a window into Wordsworth's creative process, showing how he revised and refined his work over time.
Diction and the 'Phantom'
In 'She was a Phantom of delight,' Wordsworth's diction shifts from ethereal to domestic. The opening lines describe the subject as a 'lovely Apparition' and a 'dancing Shape,' using words like 'gleamed' and 'startle' to suggest an otherworldly presence. But as the poem progresses, the language becomes more concrete: 'household motions light and free,' 'human nature's daily food.' This movement from the supernatural to the everyday mirrors the speaker's growing intimacy. The phrase 'the very pulse of the machine' is striking for its mechanical metaphor, unusual in Wordsworth's work, and it underscores the tension between spirit and body that the poem explores.
The Prelude's Self-Reflexive Voice
The excerpt from The Prelude reveals Wordsworth's self-consciousness about his own poetic development. He recalls a time when 'words in tuneful order' first became 'a passion, and a power' for him, and describes the 'delicious world of poesy' as a 'never-ending show.' The passage is notable for its layered reflection: Wordsworth is not just recounting a youthful experience but analyzing how that experience shaped his adult understanding of poetry. He speaks of 'visionary power' attending 'the motions of the viewless winds, embodied in the mystery of words,' linking natural phenomena directly to the act of writing. This meta-poetic stance is a hallmark of The Prelude and gives the work its distinctive introspective quality.
Editorial Annotations and Textual Variants
Knight's edition includes footnotes that trace Wordsworth's revisions and provide cross-references. For instance, a note on 'She was a Phantom of delight' reveals that the poem's germ was four lines originally part of verses on the Highland Girl. Another footnote compares a passage in The Prelude to Emily Brontë's final poem, suggesting a thematic resonance. These annotations give readers insight into Wordsworth's compositional habits and the literary conversations his work participates in. The volume also presents variant readings, allowing one to see how Wordsworth's diction evolved between drafts.
The 1804 Context and the Ode's Development
Knight's introductory note explains that 1804 was not a year of many new poems, but it was crucial for The Prelude, much of which was dictated on the terrace walk at Lancrigg. The 'Ode: Intimations of Immortality' was also revised during this period, though it did not reach its final form until 1806. This editorial framing emphasizes that Wordsworth's creative energy in 1804 was directed toward long-form autobiographical poetry rather than short lyrics. The volume thus presents 1804 as a year of consolidation and deepening, where the poet's voice turned inward to examine the growth of his own mind.
Readers approaching this volume will benefit from paying attention to the interplay between Wordsworth's poems and Knight's editorial notes. The footnotes often illuminate the poet's own comments on his work, offering a rare glimpse into his intentions. For those interested in the development of Wordsworth's style, comparing the early versions of poems with their final forms can be particularly revealing. This edition serves as a valuable resource for understanding both the poet and the editor's role in shaping his legacy.
I remember how Wordsworth’s daffodils felt less like scenery and more like a quiet companion to my own wandering thoughts. That same lingering presence came back to me with The Years Between — Themes and Context, where time itself feels gentle, almost hand-held. It reminded me how certain moments simply stay, without asking to be remembered. A soft echo, really.
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