Immediately behind her moved a lady, shorter, slighter, and perhaps, in all other respects, as different from her in personal characteristics as could have been wished for the most effective contrast. "Her face was of Egyptian brown"; rarely, in a woman of English birth, had I seen a more determinate gipsy tan. Her eyes were not soft, as Mrs. Wordsworth's, nor were they fierce or bold; but they were wild and startling, and hurried in their motion. Her manner was warm and even ardent; her sensibility seemed constitutionally deep; and some subtle fire of impassioned intellect apparently burned within her, which, being alternately pushed forward into a conspicuous expression by the irrepressible instincts of her temperament, and then immediately checked, in obedience to the decorum of her sex and age, and her maidenly condition, gave to her whole demeanour, and to her conversation, an air of embarrassment, and even of self-conflict, that was almost distressing to witness. Even her very utterance and enunciation often suffered, in point of clearness and steadiness, from the agitation of her excessive organic sensibility. At times, the self-counteraction and self-baffling of her feelings caused her even to stammer, and so determinately to stammer that a stranger who should have seen her and quitted her in that state of feeling would have certainly set her down for one plagued with that infirmity of speech as distressingly as Charles Lamb himself. This was Miss Wordsworth, the only sister of the poet—his "Dorothy"; who naturally owed so much to the lifelong intercourse with her great brother in his most solitary and sequestered years; but, on the other hand, to whom he has acknowledged obligations of the profoundest nature; and, in particular, this mighty one, through which we also, the admirers and the worshippers of this great poet, are become equally her debtors—that, whereas the intellect of Wordsworth was, by its original tendency, too stern, too austere, too much enamoured of an ascetic harsh sublimity, she it was—the lady who paced by his side continually through sylvan and mountain tracks, in Highland glens, and in the dim recesses of German charcoal-burners—that first couched his eye to the sense of beauty, humanized him by the gentler charities, and engrafted, with her delicate female touch, those graces upon the ruder growths of his nature which have since clothed the forest of his genius with a foliage corresponding in loveliness and beauty to the strength of its boughs and the massiness of its trunks. The greatest deductions from Miss Wordsworth's attractions, and from the exceeding interest which surrounded her in right of her character, of her history, and of the relation which she fulfilled towards her brother, were the glancing quickness of her motions, and other circumstances in her deportment (such as her stooping attitude when walking), which gave an ungraceful, and even an unsexual character to her appearance when out-of-doors. She did not cultivate the graces which preside over the person and its carriage. But, on the other hand, she was a person of very remarkable endowments intellectually; and, in addition to the other great services which she rendered to her brother, this I may mention, as greater than all the rest, and it was one which equally operated to the benefit of every casual companion in a walk—viz. the exceeding sympathy, always ready and always profound, by which she made all that one could tell her, all that one could describe, all that one could quote from a foreign author, reverberate, as it were, à plusieurs reprises, to one's own feelings, by the manifest impression it made upon hers. The pulses of light are not more quick or more inevitable in their flow and undulation, than were the answering and echoing movements of her sympathizing attention. Her knowledge of literature was irregular, and thoroughly unsystematic. She was content to be ignorant of many things; but what she knew and had really mastered lay where it could not be disturbed—in the temple of her own most fervid heart.
Such were the two ladies who, with himself and two children, and at that time one servant, composed the poet's household. They were both, I believe, about twenty-eight years old; and, if the reader inquires about the single point which I have left untouched in their portraiture—viz. the style of their manners—I may say that it was, in some points, naturally of a plain household simplicity, but every way pleasing, unaffected, and (as respects Mrs. Wordsworth) even dignified. Few persons had seen so little as this lady of the world. She had seen nothing of high life, for she had seen little of any. Consequently, she was unacquainted with the conventional modes of behaviour, prescribed in particular situations by high breeding. But, as these modes are little more than the product of dispassionate good sense, applied to the circumstances of the case, it is surprising how few deficiencies are perceptible, even to the most vigilant eye—or, at least, essential deficiencies—in the general demeanour of any unaffected young woman, acting habitually under a sense of sexual dignity and natural courtesy. Miss Wordsworth had seen more of life, and even of good company; for she had lived, when quite a girl, under the protection of Dr. Cookson, a near relative, canon of Windsor, and a personal favourite of the Royal Family, especially of George III. Consequently, she ought to have been the more polished of the two; and yet, from greater natural aptitudes for refinement of manner in her sister-in-law, and partly, perhaps, from her more quiet and subdued manner, Mrs. Wordsworth would have been pronounced very much the more lady-like person.
From the interest which attaches to anybody so nearly connected as these two ladies with a great poet, I have allowed myself a larger latitude than else might have been justifiable in describing them. I now go on with my narrative:—
I was ushered up a little flight of stairs, fourteen in all, to a little drawing-room, or whatever the reader chooses to call it. Wordsworth himself has described the fireplace of this room as his
"Half-kitchen and half-parlour fire."
It was not fully seven feet six inches high, and, in other respects, pretty nearly of the same dimensions as the rustic hall below. There was, however, in a small recess, a library of perhaps three hundred volumes, which seemed to consecrate the room as the poet's study and composing room; and such occasionally it was. But far oftener he both studied, as I found, and composed, on the high road. I had not been two minutes at the fireside, when in came Wordsworth, returning from his friendly attentions to the travellers below, who, it seemed, had been over-persuaded by hospitable solicitations to stay for this night in Grasmere, and to make out the remaining thirteen miles of their road to Keswick on the following day. Wordsworth entered. And "what-like"—to use a Westmoreland as well as a Scottish expression—"what-like" was Wordsworth? A reviewer in "Tait's Magazine," noticing some recent collection of literary portraits, gives it as his opinion that Charles Lamb's head was the finest among them.[96] This remark may have been justified by the engraved portraits; but, certainly, the critic would have cancelled it, had he seen the original heads—at least, had he seen them in youth or in maturity; for Charles Lamb bore age with less disadvantage to the intellectual expression of his appearance than Wordsworth, in whom a sanguine complexion had, of late years, usurped upon the original bronze-tint; and this change of hue, and change in the quality of skin, had been made fourfold more conspicuous, and more unfavourable in its general effect, by the harsh contrast of grizzled hair which had displaced the original brown. No change in personal appearance ever can have been so unfortunate; for, generally speaking, whatever other disadvantages old age may bring along with it, one effect, at least in male subjects, has a compensating tendency—that it removes any tone of vigour too harsh, and mitigates the expression of power too unsubdued. But, in Wordsworth, the effect of the change has been to substitute an air of animal vigour, or, at least, hardiness, as if derived from constant exposure to the wind and weather, for the fine sombre complexion which he once wore, resembling that of a Venetian senator or a Spanish monk.
Here, however, in describing the personal appearance of Wordsworth, I go back, of course, to the point of time at which I am speaking. He was, upon the whole, not a well-made man. His legs were pointedly condemned by all female connoisseurs in legs; not that they were bad in any way which would force itself upon your notice—there was no absolute deformity about them; and undoubtedly they had been serviceable legs beyond the average standard of human requisition; for I calculate, upon good data, that with these identical legs Wordsworth must have traversed a distance of 175,000 to 180,000 English miles—a mode of exertion which, to him, stood in the stead of alcohol and all other stimulants whatsoever to the animal spirits; to which, indeed, he was indebted for a life of unclouded happiness, and we for much of what is most excellent in his writings. But, useful as they have proved themselves, the Wordsworthian legs were certainly not ornamental; and it was really a pity, as I agreed with a lady in thinking, that he had not another pair for evening dress parties—when no boots lend their friendly aid to mask our imperfections from the eyes of female rigorists—those elegantes formarum spectatrices. A sculptor would certainly have disapproved of their contour. But the worst part of Wordsworth's person was the bust; there was a narrowness and a droop about the shoulders which became striking, and had an effect of meanness, when brought into close juxtaposition with a figure of a more statuesque build. Once on a summer evening, walking in the Vale of Langdale with Wordsworth, his sister, and Mr. J—-, a native Westmoreland clergyman, I remember that Miss Wordsworth was positively mortified by the peculiar illustration which settled upon this defective conformation. Mr. J—-, a fine towering figure, six feet high, massy and columnar in his proportions, happened to be walking, a little in advance, with Wordsworth; Miss Wordsworth and myself being in the rear; and from the nature of the conversation which then prevailed in our front rank, something or other about money, devises, buying and selling, we of the rear-guard thought it requisite to preserve this arrangement for a space of three miles or more; during which time, at intervals, Miss Wordsworth would exclaim, in a tone of vexation, "Is it possible,—can that be William? How very mean he looks!" And she did not conceal a mortification that seemed really painful, until I, for my part, could not forbear laughing outright at the serious interest which she carried into this trifle. She was, however, right, as regarded the mere visual judgment. Wordsworth's figure, with all its defects, was brought into powerful relief by one which had been cast in a more square and massy mould; and in such a case it impressed a spectator with a sense of absolute meanness, more especially when viewed from behind and not counteracted by his countenance; and yet Wordsworth was of a good height (five feet ten), and not a slender man; on the contrary, by the side of Southey, his limbs looked thick, almost in a disproportionate degree. But the total effect of Wordsworth's person was always worst in a state of motion. Meantime, his face—that was one which would have made amends for greater defects of figure. Many such, and finer, I have seen amongst the portraits of Titian, and, in a later period, amongst those of Vandyke, from the great era of Charles I, as also from the court of Elizabeth and of Charles II, but none which has more impressed me in my own time.
Haydon, in his great picture of "Christ's Entry into Jerusalem," has introduced Wordsworth in the character of a disciple attending his Divine Master, and Voltaire in the character of a sneering Jewish elder. This fact is well known; and, as the picture itself is tolerably well known to the public eye, there are multitudes now living who will have seen a very impressive likeness of Wordsworth—some consciously, some not suspecting it. There will, however, always be many who have not seen any portrait at all of Wordsworth; and therefore I will describe its general outline and effect. It was a face of the long order, often falsely classed as oval: but a greater mistake is made by many people in supposing the long face which prevailed so remarkably in the Elizabethan and Carolinian periods to have become extinct in our own. Miss Ferrier, in one of her novels ("Marriage," I think), makes a Highland girl protest that "no Englishman with his round face" shall ever wean her heart from her own country; but England is not the land of round faces; and those have observed little, indeed, who think so: France it is that grows the round face, and in so large a majority of her provinces that it has become one of the national characteristics. And the remarkable impression which an Englishman receives from the eternal recurrence of the orbicular countenance proves of itself, without any conscious testimony, how the fact stands; in the blind sense of a monotony, not felt elsewhere, lies involved an argument that cannot be gainsaid. Besides, even upon an a priori argument, how is it possible that the long face so prevalent in England, by all confession, in certain splendid eras of our history, should have had time, in some five or six generations, to grow extinct? Again, the character of face varies essentially in different provinces. Wales has no connexion in this respect with Devonshire, nor Kent with Yorkshire, nor either with Westmoreland. England, it is true, tends, beyond all known examples, to a general amalgamation of differences, by means of its unrivalled freedom of intercourse. Yet, even in England, law and necessity have opposed as yet such and so many obstacles to the free diffusion of labour that every generation occupies, by at least five-sixths of its numbers, the ground of its ancestors.
The movable part of a population is chiefly the higher part; and it is the lower classes that, in every nation, compose the fundus, in which lies latent the national face, as well as the national character. Each exists here in racy purity and integrity, not disturbed in the one by alien intermarriages, nor in the other by novelties of opinion, or other casual effects, derived from education and reading. Now, look into this fundus, and you will find, in many districts, no such prevalence of the round orbicular face as some people erroneously suppose; and in Westmoreland, especially, the ancient long face of the Elizabethan period, powerfully resembling in all its lineaments the ancient Roman face, and often (though not so uniformly) the face of northern Italy in modern times. The face of Sir Walter Scott, as Irving, the pulpit orator, once remarked to me, was the indigenous face of the Border: the mouth, which was bad, and the entire lower part of the face, are seen repeated in thousands of working-men; or, as Irving chose to illustrate his position, "in thousands of Border horse-jockeys." In like manner, Wordsworth's face was, if not absolutely the indigenous face of the Lake district, at any rate a variety of that face, a modification of that original type. The head was well filled out; and there, to begin with, was a great advantage over the head of Charles Lamb, which was absolutely truncated in the posterior region—sawn off, as it were, by no timid sawyer. The forehead was not remarkably lofty—and, by the way, some artists, in their ardour for realizing their phrenological preconceptions, not suffering nature to surrender quietly and by slow degrees her real alphabet of signs and hieroglyphic characters, but forcing her language prematurely into conformity with their own crude speculations, have given to Sir Walter Scott a pile of forehead which is unpleasing and cataphysical, in fact, a caricature of anything that is ever seen in nature, and would (if real) be esteemed a deformity; in one instance—that which was introduced in some annual or other—the forehead makes about two-thirds of the entire face. Wordsworth's forehead is also liable to caricature misrepresentations in these days of phrenology: but, whatever it may appear to be in any man's fanciful portrait, the real living forehead, as I have been in the habit of seeing it for more than five-and-twenty years, is not remarkable for its height; but it is, perhaps, remarkable for its breadth and expansive development. Neither are the eyes of Wordsworth "large," as is erroneously stated somewhere in "Peter's Letters"[97]; on the contrary, they are (I think) rather small; but that does not interfere with their effect, which at times is fine, and suitable to his intellectual character. At times, I say, for the depth and subtlety of eyes, even their colouring (as to condensation or dilation), varies exceedingly with the state of the stomach; and, if young ladies were aware of the magical transformations which can be wrought in the depth and sweetness of the eye by a few weeks' walking exercise, I fancy we should see their habits in this point altered greatly for the better. I have seen Wordsworth's eyes oftentimes affected powerfully in this respect; his eyes are not, under any circumstances, bright, lustrous, or piercing; but, after a long day's toil in walking, I have seen them assume an appearance the most solemn and spiritual that it is possible for the human eye to wear. The light which resides in them is at no time a superficial light; but, under favourable accidents, it is a light which seems to come from unfathomed depths: in fact, it is more truly entitled to be held "the light that never was on land or sea," a light radiating from some far spiritual world, than any the most idealizing that ever yet a painter's hand created. The nose, a little arched, is large; which, by the way (according to a natural phrenology, existing centuries ago amongst some of the lowest amongst the human species), has always been accounted an unequivocal expression of animal appetites organically strong. And that expressed the simple truth: Wordsworth's intellectual passions were fervent and strong: but they rested upon a basis of preternatural animal sensibility diffused through all the animal passions (or appetites); and something of that will be found to hold of all poets who have been great by original force and power, not (as Virgil) by means of fine management and exquisite artifice of composition applied to their conceptions. The mouth, and the whole circumjacencies of the mouth, composed the strongest feature in Wordsworth's face; there was nothing specially to be noticed that I know of in the mere outline of the lips; but the swell and protrusion of the parts above and around the mouth are both noticeable in themselves, and also because they remind me of a very interesting fact which I discovered about three years after this my first visit to Wordsworth.
Being a great collector of everything relating to Milton, I had naturally possessed myself, whilst yet very young, of Richardson the painter's thick octavo volume of notes on the "Paradise Lost."[98] It happened, however, that my copy, in consequence of that mania for portrait collecting which has stripped so many English classics of their engraved portraits, wanted the portrait of Milton. Subsequently I ascertained that it ought to have had a very good likeness of the great poet; and I never rested until I procured a copy of the book which had not suffered in this respect by the fatal admiration of the amateur. The particular copy offered to me was one which had been priced unusually high, on account of the unusually fine specimen which it contained of the engraved portrait. This, for a particular reason, I was exceedingly anxious to see; and the reason was—that, according to an anecdote reported by Richardson himself, this portrait, of all that were shown to her, was the only one acknowledged by Milton's last surviving daughter to be a strong likeness of her father. And her involuntary gestures concurred with her deliberate words:—for, on seeing all the rest, she was silent and inanimate; but the very instant she beheld that crayon drawing from which is derived the engraved head in Richardson's book, she burst out into a rapture of passionate recognition; exclaiming—"That is my father! that is my dear father!" Naturally, therefore, after such a testimony, so much stronger than any other person in the world could offer to the authentic value of this portrait, I was eager to see it.[99]