line-by-line explanation of the poem Immortality Ode by William Wordsworth
The child is father of the man;
And I could wish my days to be
Bound each to each by natural piety.
(Wordsworth, “My Heart Leaps Up”)
Explanation: The lines come from William Wordsworth’s short poem “My Heart Leaps Up.” In the lines, Wordsworth reflects on the idea that the qualities and experiences of childhood fundamentally shape who we become as adults. He suggests that the innocence, wonder, and spiritual insight we possess as children are crucial to our development and should be preserved throughout life. By expressing a desire for his days to be “bound each to each by natural piety,” Wordsworth conveys his wish to maintain a deep, continuous connection to nature and the simple, profound truths of childhood, believing that this connection brings richness and meaning to life.
Stanza 1
There was a time when meadow, grove, and stream,
The earth, and every common sight,
To me did seem
Apparelled in celestial light,
The glory and the freshness of a dream.
It is not now as it hath been of yore;—
Turn wheresoe’er I may,
By night or day.
The things which I have seen I now can see no more.
Explanation: In this stanza, the poet reflects on a time in his childhood when the natural world—meadows, groves, streams, and everyday sights—seemed to him to be infused with a divine, almost magical light. He describes this feeling as “the glory and the freshness of a dream,” indicating that nature once appeared to him in a way that was both glorious and full of youthful wonder. However, as he has grown older, this sense of wonder has faded, and he laments that he can no longer see the world with the same awe and purity that he once did as a child. The phrase “The things which I have seen I now can see no more” captures this sense of loss, expressing his sorrow that the magical perception of the world he had in his youth is no longer accessible to him.
Poetic Device
Imagery: Wordsworth uses vivid and descriptive language to create visual images of nature, such as “meadow, grove, and stream,” “the earth, and every common sight,” and “apparelled in celestial light.”
These images evoke a sense of the natural world being bathed in a divine or heavenly light, highlighting the poet’s earlier perception of nature’s beauty.
Contrast: The poet contrasts his past experiences with his present feelings. The stanza reflects a shift from a time when everything seemed filled with a “glory and the freshness of a dream” to a time when “the things which I have seen I now can see no more.”
This contrast emphasizes the theme of loss and the fading of childhood wonder.
Metaphor: The phrase “apparelled in celestial light” is a metaphor comparing the natural world to something clothed or dressed in divine or otherworldly light, enhancing the sense of awe and reverence the poet once felt.
Stanza 2
The Rainbow comes and goes,
And lovely is the Rose,
The Moon doth with delight
Look round her when the heavens are bare,
Waters on a starry night
Are beautiful and fair;
The sunshine is a glorious birth;
But yet I know, where’er I go,
That there hath past away a glory from the earth.
Explanation: In this stanza, the poet reflects on the beauty of the natural world, describing the fleeting yet captivating presence of the rainbow, the loveliness of the rose, the moon’s delight in the clear night sky, and the serene beauty of starry waters. He acknowledges that the sunshine itself is a glorious, life-giving force. However, despite recognizing and appreciating this beauty, Wordsworth expresses a deep sense of loss, stating that “there hath past away a glory from the earth.” This suggests that, although nature remains beautiful, the sense of divine wonder and spiritual connection he once felt as a child has diminished. The glory he refers to is the almost mystical perception of the world that came naturally in youth, which now feels distant and unattainable as he grows older.
Poetic Device
Symbolism: The rainbow, rose, moon, waters, and sunshine are symbolic representations of the beauty and transience of nature. Each element symbolizes the fleeting, yet profound, moments of beauty and wonder that the poet once perceived as filled with a deeper, spiritual significance.
The stanza uses these natural symbols to illustrate the theme of lost innocence and the fading of the “glory” that the poet once saw in the world.
Contrast: Wordsworth contrasts the enduring beauty of these natural elements with the sense of loss he feels, noting that despite their continued existence, “there hath past away a glory from the earth.” This contrast highlights the difference between his youthful perception of the world and his current experience.
Imagery: The stanza is rich with visual imagery, such as the “Rainbow,” “Rose,” “Moon,” “starry night,” and “sunshine,” which paint a vivid picture of the natural world and evoke the sensory experiences associated with these elements. This imagery enhances the emotional impact of the stanza by making the reader feel the beauty that the poet sees, even as he laments its loss.
Stanza 3
Now, while the birds thus sing a joyous song,
And while the young lambs bound
As to the tabor’s sound,
To me alone there came a thought of grief:
A timely utterance gave that thought relief,
And I again am strong:
The cataracts blow their trumpets from the steep;
No more shall grief of mine the season wrong;
I hear the Echoes through the mountains throng,
The Winds come to me from the fields of sleep,
And all the earth is gay;
Land and sea
Give themselves up to jollity,
And with the heart of May
Doth every Beast keep holiday;—
Thou Child of Joy,
Shout round me, let me hear thy shouts, thou happy Shepherd-boy.
Explanation: In this stanza, the poet observes the vibrant life around him—the joyous song of birds, the playful bounding of young lambs, and the overall sense of celebration in nature. Despite the lively and cheerful atmosphere, he experiences a sudden thought of grief, a reminder of the loss he feels over the fading of his youthful sense of wonder. However, he finds solace in expressing this grief, which brings him relief and strength. As he listens to the powerful sounds of nature, like the trumpeting cataracts and the echoes through the mountains, he decides that his grief will no longer overshadow the beauty of the season. Embracing the joy around him, he acknowledges the earth’s celebration—where land and sea, animals, and even the wind seem to join in a collective holiday. The poet calls out to the “Child of Joy,” asking to hear the happy shouts of the shepherd-boy, symbolizing a desire to reconnect with the pure, untainted joy of childhood.
Poetic Device
Personification: Wordsworth personifies various elements of nature, attributing human characteristics to them. For example, “The cataracts blow their trumpets,” “Echoes through the mountains throng,” and “The Winds come to me from the fields of sleep” all give nature a sense of lively, active participation in the joy of the season.
The personification of nature enhances the idea that the entire natural world is alive, vibrant, and in celebration, reflecting the joyful spirit of spring.
Contrast: The stanza contrasts the joyful, celebratory scene of nature with the poet’s initial feeling of grief. Despite the grief, a “timely utterance” gives him relief, allowing him to reconnect with the strength and joy that nature offers.
Imagery: The stanza is rich in imagery, painting a vivid picture of a world filled with singing birds, bounding lambs, and festive celebrations. This imagery helps the reader visualize and feel the joy that surrounds the poet, despite his internal struggle.
Stanza 4
Ye blessèd creatures, I have heard the call
Ye to each other make; I see
The heavens laugh with you in your jubilee;
My heart is at your festival,
My head hath its coronal,
The fulness of your bliss, I feel—I feel it all.
Oh evil day! if I were sullen
While Earth herself is adorning,
This sweet May-morning,
And the Children are culling
On every side,
In a thousand valleys far and wide,
Fresh flowers; while the sun shines warm,
And the Babe leaps up on his Mother’s arm:—
I hear, I hear, with joy I hear!
—But there’s a Tree, of many, one,
A single field which I have looked upon,
Both of them speak of something that is gone;
The Pansy at my feet
Doth the same tale repeat:
Whither is fled the visionary gleam?
Where is it now, the glory and the dream?
Explanation: In this stanza, the poet reflects on the joyful and harmonious connection among the creatures of nature. He feels a deep sense of unity with them, as if the heavens themselves are laughing and celebrating with the animals and the earth. Wordsworth’s heart is fully immersed in this natural festival, and he feels the fullness of their bliss as if it were his own. He contemplates how wrong it would be to feel sorrow on such a beautiful May morning when the earth is so vibrant and alive, with children gathering fresh flowers and babies joyfully leaping in their mothers’ arms.
However, despite the joy he witnesses, Wordsworth is still haunted by a lingering sense of loss. He notices a tree and a field, each reminding him of something that has passed away—something precious from his childhood that he can no longer fully grasp. The sight of a pansy at his feet also echoes this feeling, prompting him to question where the “visionary gleam” has gone. He wonders what happened to the “glory and the dream” that once filled his life with such wonder and spiritual insight. The lines capture his deep yearning for the lost sense of wonder that characterized his childhood, which now seems distant and elusive despite the beauty of the world around him.
Poetic Device
Contrast: Wordsworth contrasts the joy and celebration of nature with his own internal sense of loss and nostalgia. He describes how nature—the “blessèd creatures,” the “heavens,” and the “sweet May-morning”—is full of life and happiness, while he is haunted by the realization that something precious has faded. This contrast highlights the tension between the external world of nature, which remains joyful and unchanged, and the poet’s internal world, where the “visionary gleam” and “glory and the dream” have disappeared.
Personification: The poet personifies elements of nature, such as the heavens “laughing” in jubilee, and Earth “adorning” herself on this May morning. This personification emphasizes the liveliness and joy present in the natural world, contrasting with the poet’s reflective mood.
Imagery: Vivid imagery is used to describe the joyous scene in nature, with children culling flowers, the sun shining warmly, and a babe leaping in his mother’s arms. These images create a lively, celebratory atmosphere that contrasts with the poet’s sense of something lost.
Symbolism: The Tree, the single field, and the pansy are symbolic of the poet’s lost connection to the intense, almost mystical experience of nature he had as a child. These symbols represent the fading of that “visionary gleam,” the special way of seeing the world that is lost with the passage of time.
Stanza 5
Our birth is but a sleep and a forgetting:
The Soul that rises with us, our life’s Star,
Hath had elsewhere its setting,
And cometh from afar:
Not in entire forgetfulness,
And not in utter nakedness,
But trailing clouds of glory do we come
From God, who is our home:
Heaven lies about us in our infancy!
Shades of the prison-house begin to close
Upon the growing Boy,
But he beholds the light, and whence it flows,
He sees it in his joy;
The Youth, who daily farther from the east
Must travel, still is Nature’s Priest,
And by the vision splendid
Is on his way attended;
At length the Man perceives it die away,
And fade into the light of common day.
Explanation: In this stanza, the poet explores the idea that human life begins with a connection to a divine source. He suggests that our birth is not a completely fresh start but rather a “sleep and a forgetting,” implying that the soul has existed before and comes into this life with memories of a heavenly existence. The soul, which is described as “our life’s Star,” comes from a distant place, carrying with it “trailing clouds of glory” from God, our true home. In our infancy, we are closest to this divine origin, and the world of heaven surrounds us.
However, as we grow older, the “Shades of the prison-house” begin to close in, symbolizing the limitations and burdens of earthly life that start to obscure our spiritual vision. The growing child, though still able to see the light and feel joy, begins to lose the clear perception of this divine glory. The young person, still connected to nature, continues to hold onto some of this vision, being “Nature’s Priest” and guided by the “vision splendid.” But as time passes and adulthood approaches, this divine vision begins to fade, eventually becoming just a faint memory, overshadowed by the “light of common day”—the ordinary, everyday reality that replaces the spiritual wonder of childhood.
Poetic Device
Metaphor: Wordsworth uses metaphor to describe human life and the soul’s journey. He compares our birth to “a sleep and a forgetting,” suggesting that our soul comes from a divine realm but forgets its origins as we are born into the world. The soul is metaphorically described as “trailing clouds of glory” from God, our true home, as it enters the world, indicating the spiritual and divine essence that accompanies us in infancy.
The “Shades of the prison-house” closing upon the growing boy is another metaphor that represents the gradual loss of spiritual awareness and the encroachment of the material world as we age.
Symbolism: The imagery of “trailing clouds of glory” symbolizes the divine origin and spiritual purity of the soul at birth. The “prison-house” symbolizes the constraints and limitations imposed by the material world as one grows older.
Contrast: The stanza contrasts the spiritual clarity and divine connection experienced in infancy with the gradual loss of this vision as one moves from childhood to adulthood. The “light” that the child perceives symbolizes spiritual insight, which fades as the “Man perceives it die away.”
Personification: Wordsworth personifies the “Shades of the prison-house,” giving them an active role in closing in on the growing boy, thereby illustrating the diminishing spiritual vision as one becomes more entrenched in the physical world.
Imagery: The stanza is rich with vivid imagery, such as “clouds of glory,” “light of common day,” and “Shades of the prison-house,” all of which create a powerful visual representation of the soul’s journey from spiritual awareness in infancy to the mundane reality of adulthood.
Stanza 6
Earth fills her lap with pleasures of her own;
Yearnings she hath in her own natural kind,
And, even with something of a Mother’s mind,
And no unworthy aim,
The homely Nurse doth all she can
To make her Foster-child, her Inmate Man,
Forget the glories he hath known,
And that imperial palace whence he came.
Explanation: In this stanza, the poet personifies Earth as a nurturing, motherly figure who provides her own pleasures and satisfactions to humanity. Earth, with a motherly care and purpose, seeks to comfort and nurture “her Foster-child, her Inmate Man”—referring to humans, who are depicted as being raised and sustained by Earth. However, this nurturing also has the effect of causing humans to forget the divine “glories” they knew before birth, when their souls resided in an “imperial palace,” symbolizing their heavenly origin.
Wordsworth suggests that as we become more immersed in the earthly pleasures and experiences that surround us, we gradually lose touch with the spiritual and divine memories that were once so vivid in our infancy. The “homely Nurse”—a metaphor for Earth—does not have a malicious intent but rather a natural aim to help us adapt to and find contentment in the physical world. However, in doing so, she also leads us to forget the greater, more glorious realm from which our souls originally came, emphasizing the theme of loss that runs throughout the poem.
Poetic Device
Personification: Wordsworth personifies Earth as a nurturing, motherly figure who “fills her lap with pleasures of her own” and cares for humanity as a “homely Nurse” and “Foster-child.” By giving Earth human qualities, the poet emphasizes the idea that nature, like a mother, provides for and nurtures humans. Earth does this with a “Mother’s mind” and “no unworthy aim,” seeking to comfort and satisfy her children.
Metaphor: The stanza also uses metaphor by comparing Earth to a mother or nurse who provides care and tries to make humans, her “Foster-child,” forget the “glories” and “imperial palace” from which their souls originated. This metaphor suggests that while nature provides for our physical needs, it also distracts us from our spiritual origins.
Stanza 7
Behold the Child among his new-born blisses,
A six years’ Darling of a pigmy size!
See, where ‘mid work of his own hand he lies,
Fretted by sallies of his mother’s kisses,
With light upon him from his father’s eyes!
See, at his feet, some little plan or chart,
Some fragment from his dream of human life,
Shaped by himself with newly-learn{e}d art
A wedding or a festival,
A mourning or a funeral;
And this hath now his heart,
And unto this he frames his song:
Then will he fit his tongue
To dialogues of business, love, or strife;
But it will not be long
Ere this be thrown aside,
And with new joy and pride
The little Actor cons another part;
Filling from time to time his “humorous stage”
With all the Persons, down to palsied Age,
That Life brings with her in her equipage;
As if his whole vocation
Were endless imitation.
Explanation: In this stanza, the poet vividly describes a young child, around six years old, fully immersed in his innocent joys and imaginative play. The child, though small in stature (“a pigmy size”), is deeply engaged in his own little world, surrounded by the love of his parents—his mother showering him with kisses and his father looking upon him with pride and affection.
The child is depicted as creating and playing out scenes from life, such as a wedding, a festival, or a funeral, using his newly acquired skills and imagination. These activities capture his heart and become the focus of his world, as he joyfully sings and plays. As he engages in these activities, he begins to practice the roles he will one day take on in the adult world, such as business, love, or conflict.
However, Wordsworth notes that the child quickly moves on from one role to another, like a little actor on a stage, constantly shifting and adapting to new parts. This “humorous stage” is filled with all the characters and experiences that life will eventually bring, from youth to old age. The poet suggests that the child’s early life is a continuous process of imitation, where he learns and rehearses the many roles he will play throughout his life. This passage emphasizes the idea that life is a series of stages and roles that we take on, often beginning in childhood as we mimic and practice the behaviors we see around us.
Poetic Device
Imagery: Wordsworth uses vivid imagery to depict the child’s early experiences and activities. Descriptions such as “A six years’ Darling of a pigmy size” and “Fretted by sallies of his mother’s kisses” create a clear and detailed visual picture of the child’s world. The “little plan or chart” and “fragment from his dream of human life” evoke the child’s imaginative play, highlighting the innocence and creativity of youth.
Metaphor: The stanza uses metaphor by referring to the child as an “Actor” on a “humorous stage,” suggesting that the child’s life is like a play in which he takes on different roles. This metaphor emphasizes the child’s role-playing and his imitation of various aspects of adult life.
Personification: The phrase “endless imitation” personifies the child’s play as if it were a lifelong profession or vocation. This highlights the idea that childhood is a time of constant mimicry and learning through imitation.
Stanza 8
Thou, whose exterior semblance doth belie
Thy Soul’s immensity;
Thou best Philosopher, who yet dost keep
Thy heritage, thou Eye among the blind,
That, deaf and silent, read’st the eternal deep,
Haunted for ever by the eternal mind,—
Mighty Prophet! Seer blest!
On whom those truths do rest,
Which we are toiling all our lives to find,
In darkness lost, the darkness of the grave;
Thou, over whom thy Immortality
Broods like the Day, a Master o’er a Slave,
A Presence which is not to be put by;
Thou little Child, yet glorious in the might
Of heaven-born freedom on thy being’s height,
Why with such earnest pains dost thou provoke
The years to bring the inevitable yoke,
Thus blindly with thy blessedness at strife?
Full soon thy Soul shall have her earthly freight,
And custom lie upon thee with a weight,
Heavy as frost, and deep almost as life!
Explanation: In this stanza, the poet addresses the child, recognizing the profound spiritual wisdom that lies within the seemingly simple and innocent exterior. Wordsworth sees the child as possessing an “immensity” of soul, one that belies the child’s small and unassuming appearance. He calls the child the “best Philosopher,” who, unlike adults, still retains a connection to the divine truths and eternal knowledge that we lose as we grow older. The child is described as an “Eye among the blind,” someone who, despite being “deaf and silent,” can perceive the deep, eternal truths that others cannot.
Wordsworth sees the child as a “Mighty Prophet” and a “Seer blest,” holding onto the truths that adults spend their entire lives searching for, often in vain, lost in the darkness of the grave. The child, still close to the divine, is watched over by immortality like a master watch over a slave. This divine presence is something that cannot be dismissed or ignored. The child, though small, is “glorious in the might” of the spiritual freedom that comes from being close to heaven.
The poet then questions why the child, with all this blessedness, seems eager to grow up and take on the burdens of adulthood—what Wordsworth calls the “inevitable yoke.” He wonders why the child, in his innocence and freedom, is so eager to provoke the years that will bring the weight of earthly responsibilities and customs, which will eventually burden the soul “heavy as frost” and as deep as life itself. The passage reflects Wordsworth’s lament that the purity and spiritual insight of childhood are inevitably lost as we grow older and are weighed down by the realities of adult life.
Poetic Device
Apostrophe: The stanza directly addresses the child with phrases like “Thou, whose exterior semblance doth belie” and “Thou best Philosopher.” This rhetorical device is used to speak to the child as if the child were capable of understanding and responding to the speaker’s thoughts. It emphasizes the speaker’s admiration and contemplation of the child’s profound wisdom and spiritual essence.
Metaphor: The child is described with various metaphors such as “Thou Eye among the blind” and “Mighty Prophet! Seer blest!” These metaphors convey the idea that the child possesses an extraordinary spiritual insight and wisdom that surpasses the common human experience. The metaphors compare the child’s perceived purity and innate knowledge to the wisdom of a philosopher and prophet.
Personification: The stanza personifies concepts such as Immortality and Custom, giving them human attributes. For instance, Immortality is described as brooding “like the Day, a Master o’er a Slave,” suggesting a dominant and controlling force over the child’s life, while Custom is portrayed as a weight that will come to burden the child.
Stanza 9
O joy! that in our embers
Is something that doth live,
That Nature yet remembers
What was so fugitive!
The thought of our past years in me doth breed
Perpetual benediction: not indeed
For that which is most worthy to be blest;
Delight and liberty, the simple creed
Of Childhood, whether busy or at rest,
With new-fledged hope still fluttering in his breast:—
Not for these I raise
The song of thanks and praise
But for those obstinate questionings
Of sense and outward things,
Fallings from us, vanishings;
Blank misgivings of a Creature
Moving about in worlds not realised,
High instincts before which our mortal Nature
Did tremble like a guilty thing surprised:
But for those first affections,
Those shadowy recollections,
Which, be they what they may
Are yet the fountain-light of all our day,
Are yet a master-light of all our seeing;
Uphold us, cherish, and have power to make
Our noisy years seem moments in the being
Of the eternal Silence: truths that wake,
To perish never;
Which neither listlessness, nor mad endeavour,
Nor Man nor Boy,
Nor all that is at enmity with joy,
Can utterly abolish or destroy!
Hence in a season of calm weather
Though inland far we be,
Our Souls have sight of that immortal sea
Which brought us hither,
Can in a moment travel thither,
And see the Children sport upon the shore,
And hear the mighty waters rolling evermore.
Explanation: In this stanza, the poet expresses a deep sense of joy and gratitude for the lingering spiritual presence that remains within us, even as we grow older and the vivid experiences of childhood fade. He celebrates the idea that something essential from our early years continues to live on in the “embers” of our adult lives—something that nature itself remembers, even though it may seem fleeting and distant.
Wordsworth acknowledges that while childhood is filled with delight, freedom, and hope, these are not the primary reasons for his gratitude. Instead, he gives thanks for the “obstinate questionings” and “shadowy recollections” that persist throughout life. These are the remnants of a deeper, spiritual understanding that we carry from our earliest days, even as we lose sight of it over time. These instincts and memories, though vague and elusive, serve as a guiding “fountain-light” that illuminates our lives, helping us to find meaning and connection to something greater.
These “first affections” and “shadowy recollections” have the power to transform our perception of time, making the “noisy years” of life seem like mere moments within the vastness of eternal silence. They represent eternal truths that remain with us, unshaken by the struggles and distractions of life. Wordsworth believes that these truths, rooted in our early experiences, cannot be destroyed by the passage of time, indifference, or any opposition to joy.
In a moment of calm reflection, even when far removed from the innocence of childhood, our souls can still connect with that “immortal sea” from which we came—symbolizing the divine origin of our existence. In these moments, we can once again feel the presence of the eternal, hear the “mighty waters” of the past, and remember the joy and purity of our earliest days, which continue to influence and uplift us throughout our lives.
Poetic Device
Apostrophe: The speaker addresses abstract concepts directly, such as “O joy!” and “But for those obstinate questionings.” This device personifies abstract ideas, making them more tangible and engaging for the reader.
Metaphor: The “fountain-light” and “master-light” are metaphors for the deep, guiding insights and emotions that come from childhood memories and experiences. These metaphors suggest that these recollections illuminate and guide our lives, providing profound understanding and meaning.
Imagery: The stanza employs vivid imagery to evoke the sense of timelessness and eternal beauty. For example, phrases like “immortal sea” and “mighty waters rolling evermore” create powerful visual and sensory images that reflect the continuity and majesty of the natural world and our connection to it.
Symbolism: The “immortal sea” symbolizes the eternal and unchanging aspects of existence that transcend individual lifetimes. It represents the eternal truths and memories that persist beyond our immediate experiences and the passage of time.
Stanza 10
Then sing, ye Birds, sing, sing a joyous song!
And let the young Lambs bound
As to the tabor’s sound!
We in thought will join your throng,
Ye that pipe and ye that play,
Ye that through your hearts to-day
Feel the gladness of the May!
What though the radiance which was once so bright
Be now for ever taken from my sight,
Though nothing can bring back the hour
Of splendour in the grass, of glory in the flower;
We will grieve not, rather find
Strength in what remains behind;
In the primal sympathy
Which having been must ever be;
In the soothing thoughts that spring
Out of human suffering;
In the faith that looks through death,
In years that bring the philosophic mind.
Explanation: In this stanza, the poet invites the birds to sing joyfully and the young lambs to leap as if dancing to the sound of a tabor, a small drum. He expresses a desire to join them in spirit, sharing in their celebration of the vibrant energy of May. Despite the joy around him, Wordsworth acknowledges the profound loss of the radiant beauty and spiritual splendor he once experienced in his youth—the “splendour in the grass” and “glory in the flower” that he can no longer see or feel as he once did.
However, rather than dwelling on this loss, Wordsworth resolves not to grieve but to find strength in what remains. He finds solace in the “primal sympathy,” the deep, enduring connection to nature and the human experience that persists throughout life. He also takes comfort in the “soothing thoughts” that arise from human suffering and in the “faith that looks through death,” suggesting a belief in something greater that transcends our mortal existence.
As he reflects on the passage of time, Wordsworth finds wisdom in the years that bring “the philosophic mind,” which allows him to understand and accept the changes that come with age. The poet ultimately embraces a mature perspective, finding peace in the enduring truths and connections that remain, even as the bright radiance of childhood fades.
Poetic Device
Apostrophe: The speaker directly addresses the birds and lambs, as in “Then sing, ye Birds, sing, sing a joyous song!” This device engages the reader and emphasizes the contrast between the natural joy of these creatures and the speaker’s own feelings of loss.
Contrast: The stanza contrasts the past “radiance” and “splendour” with the present state of loss and diminished vision. This contrast highlights the shift from the idealized past to the more somber present, yet it also reflects a sense of acceptance and adaptation.
Symbolism: “Splendour in the grass” and “glory in the flower” symbolize the vibrant, ephemeral beauty of youth and nature, which the speaker acknowledges as having passed. These symbols represent the ideal and the reality of human experience.
Stanza 11
And O, ye Fountains, Meadows, Hills, and Groves,
Forebode not any severing of our loves!
Yet in my heart of hearts I feel your might;
I only have relinquished one delight
To live beneath your more habitual sway.
I love the Brooks which down their channels fret,
Even more than when I tripped lightly as they;
The innocent brightness of a new-born Day
Is lovely yet;
The Clouds that gather round the setting sun
Do take a sober colouring from an eye
That hath kept watch o’er man’s mortality;
Another race hath been, and other palms are won.
Thanks to the human heart by which we live,
Thanks to its tenderness, its joys, and fears,
To me the meanest flower that blows can give
Thoughts that do often lie too deep for tears.
Explanation: In this concluding stanza, the poet addresses the natural world—fountains, meadows, hills, and groves—urging them not to fear that his love for them will fade. Despite feeling the profound power of nature within his heart, he acknowledges that he has had to relinquish some of the intense, childlike delight he once felt in order to live under the “more habitual sway” of the natural world as an adult.
Wordsworth expresses a deepening love for nature, appreciating the brooks, the brightness of a new day, and the beauty of the setting sun even more than he did in his youth. The clouds that gather around the setting sun are now seen through eyes that have experienced the realities of life and mortality, giving them a more sober, reflective beauty.
He recognizes that life is cyclical, with new generations (“another race”) coming forth and achieving their own victories (“other palms are won”). Yet, he finds profound gratitude in the simple, enduring aspects of life—the human heart, with its capacity for tenderness, joy, and fear. Even the smallest flower can evoke thoughts and emotions that are so deep they transcend words, often bringing feelings that lie “too deep for tears.” This passage reflects Wordsworth’s mature acceptance of the passage of time and the wisdom and emotional depth that come with age, finding solace in the enduring beauty and significance of the natural world and human experience.
Poetic Device
Apostrophe: The speaker directly addresses the natural elements, such as “O, ye Fountains, Meadows, Hills, and Groves,” as if they can understand and respond to his sentiments. This device emphasizes the speaker’s deep connection to nature and its enduring impact on him.
Personification: Nature is personified through expressions like “the innocent brightness of a new-born Day” and “the Clouds that gather round the setting sun.” This personification attributes human-like qualities to natural elements, enhancing their emotional significance and the speaker’s sense of loss and appreciation.
Contrast: The stanza contrasts past and present experiences. The speaker reflects on how his perception and enjoyment of nature have changed over time. He finds a deeper, more meaningful connection with nature now, despite having lost some of the youthful delight.
