“The banks,” he says, “of many of the Italian and Swiss lakes are so steep and rocky as not to admit of roads; that of Como, is partly of this character. A small footpath is all the communication by land between one village and another, on the side along which we passed for upwards of thirty miles. We entered upon this path about noon, and owing to the steepness of the banks, were soon unmolested by the sun, which illuminated the woods, rocks, and villages of the opposite shore. The lake is narrow, and the shadows of the mountains were early thrown across it. It was beautiful to watch them travelling up the side of the hills—for several hours, to remark one-half of a village covered with shade, and the other bright with the strongest sunshine. It was with regret that we passed every turn of this charming path, where every new picture was purchased by the loss of another, which we should never have been tired of gazing upon. The shores of the lake consist of steeps, covered with large sweeping woods of chestnut, spotted with villages, some clinging upon the summits of advancing rocks, and others, hiding themselves in their recesses. Nor was the surface of the lake less interesting than its shores; half of it glowing with the richest green and gold, the reflection of the illuminated wood and path, shaded with a soft blue tint. The picture was still further diversified by the number of sails which stole lazily by us, as we passed in the wood above them. After all this, we had the moon. It was impossible not to contrast that repose, that complacency of spirit, produced by these lovely scenes, with the sensations I had experienced two or three days before in passing the Alps. At the lake of Como my mind ran through a thousand dreams of happiness, which might be enjoyed upon its banks, if heightened by conversation, and the exercise of the social affections. Among the more awful scenes of the Alps, I had not a thought of man, or a single created being; my whole soul was turned to Him, who produced the terrible majesty before me.” From Como the tourists proceeded to the country of the Grisons; from thence to Switzerland, and the lakes Lucerne, Zurich, Constance, and the falls of the Rhine. At Basle, a town in Switzerland, upon the Rhine, they bought a boat, and floated down that glorious river, which, as Longfellow says, “rolls through his vineyards, like Bacchus, crowned and drunken,” as far as Cologne, returning home by Calais.
In passing the Alps, the travellers lost their way, and were benighted. They were afterwards indebted for their safety to a peasant; and in speaking of this event, the poet has the following fine passage in the “Prelude:”—
“The melancholy slackening that ensued
Upon these tidings by the peasant given,
Was soon dislodged. Downwards we hurried fast,
And with the half-shaped road which we had missed,
Entered a narrow chasm. The brook and road
Were fellow-travellers in this gloomy strait,
And with them did we journey several hours,
At a slow pace. The immeasurable height
Of woods decaying, never to be decayed,
The stationary blasts of waterfalls,—
And in the narrow rent, at every turn
Winds thwarting winds, bewildered and forlorn,
The torrents shooting from the clear blue sky,
The rocks that muttered close upon our ears,
Black drizzling crags that spake by the wayside,
As if a voice were in them; the sick sight
And giddy prospect of the raving stream,
The unfettered clouds, and region of the Heavens,
Tumult and peace, the darkness of the light—
Were all like workings of one mind, the features
Of the same face, blossoms upon one tree;
Characters of the great Apocalypse,
The types, and symbols of eternity,
Of first, and last, and midst, and without end.”
This Swiss tour furnishes the materials for many autobiographical passages in the “Prelude,” which was written about ten years afterwards—and more immediately for the poem entitled “Descriptive Sketches,” written in 1791-2, and dedicated to Mr. Jones. These sketches, and another poem, called “The Evening Walk,” were published by Johnson, of Cambridge, in 1793. They are, according to De Quincy, who bought up the remainder, in 1805, as presents, and as future curiosities in literature—“forcibly picturesque, and the selection of circumstances is very original and felicitous.” I cannot speak of these poems at first hand, for they were never republished, and only a few extracts are included in the poet’s collected works. De Quincy, however—himself the greatest master of our language, and the highest literary judge in Britain—is good to speak after. “The Evening Walk” is dedicated to the poet’s sister, and was written during his school and college days. It is an ideal representation of the Lake scenery. The “Sketches” were composed chiefly in the poet’s wandering on the banks of the Loire, 1791-2. From the specimens I have seen of them, they appear to be founded, like the earlier pieces already quoted, upon the style of Pope, though they are clothed in high and dignified language, and glow with all the gorgeous colouring which poetry can command and apply. They are totally unlike his mature poems, and have a different artistic base and execution. It will be seen from them, however, that what is called the “meanness” and “poverty” of Wordsworth’s latest effusions, is not the result of incapacity, but of theoretic principle.
The “Sketches” fell into the hands of Samuel Taylor Coleridge, in 1794, and were the means of introduction between these two great men, and of a life-enduring friendship.
“There is in them,” says Coleridge, in his “Biographia,” a harshness and acerbity combined with words and images all aglow, which might recal those products of the vegetable world, where gorgeous blossoms rise out of a hard and thorny rind or shell, within which the rich fruit is elaborating. The language is not only peculiar and strong, but at times knotty and contorted, as by its own impatient strength; while the novelty and struggling crowd of images, acting in conjunction with the difficulties of the style, demand always a greater attention than poetry,—at all events, than descriptive poetry has a right to claim.”
Here is a specimen of this “gorgeous blossomy” style:
“Here half a village shines in gold arrayed,
Bright as the moon; half hides itself in shade;
While from amid the darkened roof, the spire,
Restlessly flashing, seems to mount like fire:
There all unshaded, blazing forests throw
Rich golden verdure on the lake below.
Slow glides the sail along the illumined shore,
And steals into the shade the lazy oar;
Soft bosoms breathe around contagious sighs,
And amorous music on the water dies.”
MORE TOURS, AND FRANCE.
In 1791 Wordsworth graduated, and left the University for London, where he spent four months; and in May of the same year he visited his friend Jones, in Wales, and made a tour through the northern parts of the Principality. A moonlight night on Snowdon is thus finely described in the “Prelude:—