THE GLEANER
(SUGGESTED BY A PICTURE)
Composed 1828.—Published 1829
[This poem was first printed in the annual called The Keepsake. The painter's name I am not sure of, but I think it was Holmes.[567]—I.F.]
In 1832 one of the "Poems of Sentiment and Reflection." Transferred in 1845 to "Miscellaneous Poems."—Ed.
That happy gleam of vernal eyes,
Those locks from summer's golden skies,
That o'er thy brow are shed;
That cheek—a kindling of the morn,
That lip—a rose-bud from the thorn, 5
I saw; and Fancy sped
To scenes Arcadian, whispering, through soft air,
Of bliss that grows without a care,
And[568] happiness that never flies—
(How can it where love never dies?) 10
Whispering of promise,[569] where no blight
Can reach the innocent delight;
Where pity, to the mind conveyed
In pleasure, is the darkest shade
That Time, unwrinkled grandsire, flings 15
From his smoothly gliding wings.
What mortal form, what earthly face
Inspired the pencil, lines to trace,
And mingle colours, that should breed
Such rapture, nor want power to feed; 20
For had thy charge been idle flowers,
Fair Damsel! o'er my captive mind,
To truth and sober reason blind,
'Mid that soft air, those long-lost bowers,
The sweet illusion might have hung, for hours. 25
Thanks to this tell-tale sheaf of corn,
That touchingly bespeaks thee born
Life's daily tasks with them to share
Who, whether from their lowly bed
They rise, or rest the weary head, 30
Ponder the blessing[570] they entreat
From Heaven, and feel what they repeat,
While they give utterance to the prayer
That asks for daily bread.
The year of the publication of this poem in The Keepsake was 1829. It then appeared under the title of The Country Girl, and it was afterwards included in the 1832 edition of the poems.—Ed.
FOOTNOTES:
[567] The painter was J. Holmes, and his picture was engraved by C. Heath.—Ed.
[568] 1837.
Of ... 1829.
[569] 1837.
Of promise whispering, ... 1832.
[570] 1832.
Do weigh the blessing ... 1829.
ON[571] THE POWER OF SOUND
Composed December 1828.—Published 1835
[Written at Rydal Mount. I have often regretted that my tour in Ireland, chiefly performed in the short days of October in a carriage-and-four (I was with Mr. Marshall), supplied my memory with so few images that were new, and with so little motive to write. The lines however in this poem, "Thou too be heard, lone eagle!" were suggested near the Giants' Causeway, or rather at the promontory of Fairhead, where a pair of eagles wheeled above our heads and darted off as if to hide themselves in a blaze of sky made by the setting sun.—I.F.]
One of the "Poems of the Imagination."-Ed.
ARGUMENT
The Ear addressed, as occupied by a spiritual functionary, in communion with sounds, individual, or combined in studied harmony.—Sources and effects of those sounds (to the close of 6th Stanza).—The power of music, whence proceeding, exemplified in the idiot.—Origin of music, and its effect in early ages—how produced (to the middle of 10th Stanza).—The mind recalled to sounds acting casually and severally.—Wish uttered (11th Stanza) that these could be united into a scheme or system for moral interests and intellectual contemplation.—(Stanza 12th.) The Pythagorean theory of numbers and music, with their supposed power over the motions of the universe—imaginations consonant with such a theory.—Wish expressed (in 11th Stanza) realised, in some degree, by the representation of all sounds under the form of thanksgiving to the Creator.—(Last Stanza) the destruction of earth and the planetary system—the survival of audible harmony, and its support in the Divine Nature, as revealed in Holy Writ.
I
Thy functions are ethereal,
As if within thee dwelt a glancing mind,
Organ of vision! And a Spirit aërial
Informs the cell of Hearing, dark and blind;
Intricate labyrinth, more dread for thought 5
To enter than oracular cave;
Strict passage, through which sighs are brought,
And whispers for the heart, their slave;
And shrieks, that revel in abuse
Of shivering flesh; and warbled air, 10
Whose piercing sweetness can unloose
The chains of frenzy, or entice a smile
Into the ambush of despair;
Hosannas pealing down the long-drawn aisle,[572]
And requiems answered by the pulse that beats 15
Devoutly, in life's last retreats!
II
The headlong streams and fountains
Serve Thee, invisible Spirit, with untired powers;
Cheering the wakeful tent on Syrian mountains,
They lull perchance ten thousand thousand flowers. 20
That roar, the prowling lion's Here I am,
How fearful to the desert wide!
That bleat, how tender! of the dam
Calling a straggler to her side.
Shout, cuckoo!—let the vernal soul 25
Go with thee to the frozen zone;
Toll from thy loftiest perch, lone bell-bird, toll!
At the still hour to Mercy dear,
Mercy from her twilight throne
Listening to nun's faint throb of holy fear, 30
To sailor's prayer breathed from a darkening sea,
Or widow's cottage-lullaby.
III
Ye Voices, and ye Shadows
And Images of voice—to hound and horn
From rocky steep and rock-bestudded meadows 35
Flung back, and, in the sky's blue caves, reborn—
On with your pastime! till the church-tower bells
A greeting give of measured glee;
And milder echoes from their cells
Repeat the bridal symphony. 40
Then, or far earlier, let us rove
Where mists are breaking up or gone,
And from aloft look down into a cove
Besprinkled with a careless quire,
Happy milk-maids, one by one 45
Scattering a ditty each to her desire,
A liquid concert matchless by nice Art,
A stream as if from one full heart.
IV
Blest be the song that brightens
The blind man's gloom, exalts the veteran's mirth; 50
Unscorned the peasant's whistling breath, that lightens
His duteous toil of furrowing the green earth.
For the tired slave, Song lifts the languid oar,
And bids it aptly fall, with chime
That beautifies the fairest shore, 55
And mitigates the harshest clime.
Yon pilgrims see—in lagging file
They move; but soon the appointed way
A choral Ave Marie shall beguile,
And to their hope the distant shrine 60
Glisten with a livelier ray:
Nor friendless he, the prisoner of the mine,
Who from the well-spring of his own clear breast
Can draw, and sing his griefs to rest.
V
When civic renovation 65
Dawns on a kingdom, and for needful haste
Best eloquence avails not, Inspiration
Mounts with a tune, that travels like a blast
Piping through cave and battlemented tower;
Then starts the sluggard, pleased to meet 70
That voice of Freedom, in its power
Of promises, shrill, wild, and sweet!
Who, from a martial pageant, spreads
Incitements of a battle-day, 74
Thrilling the unweaponed crowd with plumeless heads?—
Even She whose Lydian airs inspire[573]
Peaceful striving, gentle play
Of timid hope and innocent desire
Shot from the dancing Graces, as they move
Fanned by the plausive wings of Love. 80
VI
How oft along thy mazes,
Regent of sound, have dangerous Passions trod!
O Thou, through whom the temple rings with praises,
And blackening clouds in thunder speak of God,
Betray not by the cozenage of sense[574] 85
Thy votaries, wooingly resigned
To a voluptuous influence
That taints the purer, better, mind;
But lead sick Fancy to a harp
That hath in noble tasks been tried; 90
And, if the virtuous feel a pang too sharp,
Soothe it into patience,—stay
The uplifted arm of Suicide;
And let some mood of thine in firm array
Knit every thought the impending issue needs, 95
Ere martyr burns, or patriot bleeds!
VII
As Conscience, to the centre
Of being, smites with irresistible pain
So shall a solemn cadence, if it enter
The mouldy vaults of the dull idiot's brain, 100
Transmute him to a wretch from quiet hurled—
Convulsed as by a jarring din;
And then aghast, as at the world
Of reason partially let in
By concords winding with a sway 105
Terrible for sense and soul!
Or, awed he weeps, struggling to quell dismay.
Point not these mysteries to an Art
Lodged above the starry pole;
Pure modulations flowing from the heart 110
Of divine Love, where Wisdom, Beauty, Truth
With Order dwell, in endless youth?
VIII
Oblivion may not cover
All treasures hoarded by the miser, Time.
Orphean Insight! truth's undaunted lover, 115
To the first leagues of tutored passion climb,
When Music deigned within this grosser sphere
Her subtle essence to enfold,
And voice and shell drew forth a tear
Softer than Nature's self could mould. 120
Yet strenuous was the infant Age:
Art, daring because souls could feel,
Stirred nowhere but an urgent equipage
Of rapt imagination sped her march
Through the realms of woe and weal: 125
Hell to the lyre bowed low; the upper arch
Rejoiced that clamorous spell and magic verse
Her wan disasters could disperse.[575]
IX
The Gift to king Amphion
That walled a city with its melody 130
Was for belief no dream:[576]—thy skill, Arion!
Could humanise the creatures of the sea,
Where men were monsters.[577] A last grace he craves,
Leave for one chant;—the dulcet sound
Steals from the deck o'er willing waves, 135
And listening dolphins gather round.[578]
Self-cast, as with a desperate course,
'Mid that strange audience, he bestrides
A proud One docile as a managed horse;
And singing, while the accordant hand 140
Sweeps his harp, the Master rides;
So shall he touch at length a friendly strand,
And he, with his preserver, shine star-bright
In memory, through silent night.
X
The pipe of Pan, to shepherds 145
Couched in the shadow of Mænalian pines,[579]
Was passing sweet; the eyeballs of the leopards,
That in high triumph drew the Lord of vines,
How did they sparkle to the cymbal's clang!
While Fauns and Satyrs beat the ground 150
In cadence,[580]—and Silenus swang
This way and that, with wild-flowers crowned.[581]
To life, to life give back thine ear:
Ye who are longing to be rid
Of fable, though to truth subservient, hear 155
The little sprinkling of cold earth that fell
Echoed from the coffin-lid;
The convict's summons in the steeple's knell;
"The vain distress-gun,"[582] from a leeward shore,
Repeated-heard, and heard no more! 160
XI
For terror, joy, or pity,
Vast is the compass and the swell of notes:
From the babe's first cry to voice of regal city,
Rolling a solemn sea-like bass, that floats
Far as the woodlands—with the trill to blend 165
Of that shy songstress,[583] whose love-tale
Might tempt an angel to descend,
While hovering o'er the moonlight vale.
Ye wandering Utterances,[584] has earth no scheme,
No scale of moral music—to unite 170
Powers that survive but in the faintest dream[585]
Of memory?-O that ye[586] might stoop to bear
Chains, such precious chains of sight
As laboured minstrelsies through ages wear!
O for a balance fit the truth to tell 175
Of the Unsubstantial, pondered well!
XII
By one pervading spirit
Of tones and numbers all things are controlled,
As sages taught, where faith was found to merit
Initiation in that mystery old.[587][588] 180
The heavens, whose aspect makes our minds as still
As they themselves appear to be,
Innumerable voices fill
With everlasting harmony;
The towering headlands, crowned with mist, 185
Their feet among the billows, know
That Ocean is a mighty harmonist;[589]
Thy pinions, universal Air,
Ever waving to and fro,
Are delegates of harmony, and bear 190
Strains that support the Seasons in their round;
Stern Winter loves a dirge-like sound.
XIII
Break forth into thanksgiving,
Ye banded instruments of wind and chords;
Unite, to magnify the Ever-living,[590] 195
Your inarticulate notes with the voice of words!
Nor hushed be service from the lowing mead,
Nor mute the forest hum of noon;
Thou too be heard, lone eagle![591] freed
From snowy peak and cloud, attune 200
Thy hungry barkings to the hymn
Of joy, that from her utmost walls
The six-days' Work,[592] by flaming Seraphim
Transmits to Heaven! As Deep to Deep
Shouting through one valley calls, 205
All worlds, all natures, mood and measure keep
For praise and ceaseless gratulation, poured
Into the ear of God, their Lord!
XIV
A Voice to Light gave Being;[593]
To Time, and Man his earth-born chronicler; 210
A Voice shall finish doubt and dim foreseeing,
And sweep away life's visionary stir;
The trumpet (we, intoxicate with pride,
Arm at its blast for deadly wars)
To archangelic lips applied, 215
The grave shall open, quench the stars.[594]
O Silence! are Man's noisy years
No more than moments of thy life?[595]
Is Harmony, blest queen of smiles and tears,
With her smooth tones and discords just, 220
Tempered into rapturous strife,
Thy destined bond-slave? No! though earth be dust
And vanish, though the heavens dissolve, her stay
Is in the Word, that shall not pass away.[596]
FOOTNOTES:
[571] 1836.
Stanzas on ... 1835.
[572] Compare Gray's Elegy, l. 39.—Ed.
[573] Compare L'Allegro, II. 135-37—
And ever, against eating cares,
Lap me in soft Lydian airs,
Married to immortal verse.
Ed.
[574] The deception of the senses.—Ed.
[575] Orpheus, is search of his lost Eurydice, gained admittance with his lyre to the infernal regions. Pluto was charmed with his music, the wheel of Ixion stopped, the stone of Sisyphus stood still, Tantalus forgot his thirst, and the Furies relented, while Pluto and Proserpine consented to restore Eurydice. The sequel is well known.—Ed.
[576] The fable of Amphion moving stones and raising the walls of Thebes by his melody is explained by supposing him gifted with an eloquence and power of persuasion that roused the savage people to rise and build the town of Thebes.—Ed.
[577] The story of Arion, lyric poet and musician of Lesbos, was that having gone into Italy, settled there, and grown rich, he wished to revisit his native country, taking some of his fortune with him. The sailors of the ship determined to murder him, and steal his treasure. He asked, as a last favour, that he might play a tune on his lyre. As soon as he began he attracted the creatures of the deep, and leaping into the sea, one of the dolphins carried him, lyre in hand, to the shore.—Ed.
[578] Compare A Midsummer Night's Dream, act II. scene i. l. 150.—Ed.
[579] Mænalus, a mountain in Arcadia, sacred to Pan, covered with pine trees, a favourite haunt of shepherds.—See Virgil, Eclogues, viii. 24; Georgics, i. 17; Ovid, Metamorphoses, i. 216.—Ed.
[580] Compare Gray's Progress of Poesy, ll. 33-35.—Ed.
[581] In his expedition to the East, Bacchus was clothed in a panther's skin. He was accompanied by all the Satyrs, and by Silenus crowned with flowers and almost always intoxicated.—Ed.
[582] I have been unable to trace this quotation.—Ed.
[583] The nightingale.—Ed.
[584] Compare To the Cuckoo, vol. ii. p. 289—
A wandering Voice.—Ed.
[585] 1836.
O for some soul-affecting scheme
Of moral music, to unite
Wanderers whose portion is the faintest dream 1835.
[586] 1836
... they ... 1835.
[587] 1835.
There is a world of spirit,
By tones and numbers guided and controlled;
And glorious privilege have they who merit
Initiation in that mystery old.
MS. copy by Dorothy Wordsworth.
[588] The fundamental idea, both in the intellectual and moral philosophy of the Pythagoreans, was that of harmony or proportion. Their natural science or cosmology was dominated by the same idea, that as the world and all spheres within the universe were constructed symmetrically, and moved around a central focus, the forms and the proportions of things were best expressed by number. All good was due to the principle of order; all evil to disorder. In accordance with the mathematical conception of the universe which ruled the Pythagoreans, justice was equality ([Greek: isotês]ισότης), that is to say it consisted in each one receiving equally according to his deserts. Friendship too was equality of feeling and relationship; harmony being the radical idea, alike in the ethics and in the cosmology of the school.—Ed.
[589] Compare Keats, in a letter to his friend Bailey, in 1817: "The great elements we know of are no mean comforters; the open sky sits upon our senses like a sapphire crown; the air is our robe of state; the earth is our throne; and the sea a mighty minstrel playing before it."—Ed.
[590] Compare The Excursion, book iv. l. 1163 (vol. v. p. 188)—
... choral song, or burst
Sublime of instrumental harmony,
To glorify the Eternal!—Ed.
[591] See the Fenwick note prefixed to this poem.—Ed.
[592] Genesis i.—Ed.
[593] "And God said, Let there be light, and there was light" (Genesis i. 3).
Ed.
[594] 1 Corinthians xv. 52.—Ed.
[595] Compare Ode, Intimations of Immortality, in stanza ix.—
Our noisy years seem moments in the being
Of the eternal Silence.—Ed.
[596] St. Luke xxi. 33.—Ed.