On Receipt of My Mother’s Picture by William Cowper | On Receipt of My Mother’s Picture | William Cowper | Explanation | Summary | Key Points | Word Meaning | Questions Answers | Critical Appreciation | Themes | Free PDF Download – Easy Literary Lessons
On Receipt of My Mother’s Picture
(William Cowper)
Oh that those lips had language! Life has pass’d
With me but roughly since I heard thee last.
Those lips are thine—thy own sweet smiles I see,
The same that oft in childhood solaced me;
Voice only fails, else, how distinct they say,
“Grieve not, my child, chase all thy fears away!”
The meek intelligence of those dear eyes
(Blest be the art that can immortalize,
The art that baffles time’s tyrannic claim
To quench it) here shines on me still the same.
Faithful remembrancer of one so dear,
Oh welcome guest, though unexpected, here!
Who bidd’st me honour with an artless song,
Affectionate, a mother lost so long,
I will obey, not willingly alone,
But gladly, as the precept were her own;
And, while that face renews my filial grief,
Fancy shall weave a charm for my relief—
Shall steep me in Elysian reverie,
A momentary dream, that thou art she.
My mother! when I learn’d that thou wast dead,
Say, wast thou conscious of the tears I shed?
Hover’d thy spirit o’er thy sorrowing son,
Wretch even then, life’s journey just begun?
Perhaps thou gav’st me, though unseen, a kiss;
Perhaps a tear, if souls can weep in bliss—
Ah that maternal smile! it answers—Yes.
I heard the bell toll’d on thy burial day,
I saw the hearse that bore thee slow away,
And, turning from my nurs’ry window, drew
A long, long sigh, and wept a last adieu!
But was it such?—It was.—Where thou art gone
Adieus and farewells are a sound unknown.
May I but meet thee on that peaceful shore,
The parting sound shall pass my lips no more!
Thy maidens griev’d themselves at my concern,
Oft gave me promise of a quick return.
What ardently I wish’d, I long believ’d,
And, disappointed still, was still deceiv’d;
By disappointment every day beguil’d,
Dupe of to-morrow even from a child.
Thus many a sad to-morrow came and went,
Till, all my stock of infant sorrow spent,
I learn’d at last submission to my lot;
But, though I less deplor’d thee, ne’er forgot.
Where once we dwelt our name is heard no more,
Children not thine have trod my nurs’ry floor;
And where the gard’ner Robin, day by day,
Drew me to school along the public way,
Delighted with my bauble coach, and wrapt
In scarlet mantle warm, and velvet capt,
‘Tis now become a history little known,
That once we call’d the past’ral house our own.
Short-liv’d possession! but the record fair
That mem’ry keeps of all thy kindness there,
Still outlives many a storm that has effac’d
A thousand other themes less deeply trac’d.
Thy nightly visits to my chamber made,
That thou might’st know me safe and warmly laid;
Thy morning bounties ere I left my home,
The biscuit, or confectionary plum;
The fragrant waters on my cheeks bestow’d
By thy own hand, till fresh they shone and glow’d;
All this, and more endearing still than all,
Thy constant flow of love, that knew no fall,
Ne’er roughen’d by those cataracts and brakes
That humour interpos’d too often makes;
All this still legible in mem’ry’s page,
And still to be so, to my latest age,
Adds joy to duty, makes me glad to pay
Such honours to thee as my numbers may;
Perhaps a frail memorial, but sincere,
Not scorn’d in heav’n, though little notic’d here.
Could time, his flight revers’d, restore the hours,
When, playing with thy vesture’s tissued flow’rs,
The violet, the pink, and jessamine,
I prick’d them into paper with a pin,
(And thou wast happier than myself the while,
Would’st softly speak, and stroke my head and smile)
Could those few pleasant hours again appear,
Might one wish bring them, would I wish them here?
I would not trust my heart—the dear delight
Seems so to be desir’d, perhaps I might.—
But no—what here we call our life is such,
So little to be lov’d, and thou so much,
That I should ill requite thee to constrain
Thy unbound spirit into bonds again.
Thou, as a gallant bark from Albion’s coast
(The storms all weather’d and the ocean cross’d)
Shoots into port at some well-haven’d isle,
Where spices breathe and brighter seasons smile,
There sits quiescent on the floods that show
Her beauteous form reflected clear below,
While airs impregnated with incense play
Around her, fanning light her streamers gay;
So thou, with sails how swift! hast reach’d the shore
“Where tempests never beat nor billows roar,”
And thy lov’d consort on the dang’rous tide
Of life, long since, has anchor’d at thy side.
But me, scarce hoping to attain that rest,
Always from port withheld, always distress’d—
Me howling winds drive devious, tempest toss’d,
Sails ript, seams op’ning wide, and compass lost,
And day by day some current’s thwarting force
Sets me more distant from a prosp’rous course.
But oh the thought, that thou art safe, and he!
That thought is joy, arrive what may to me.
My boast is not that I deduce my birth
From loins enthron’d, and rulers of the earth;
But higher far my proud pretensions rise—
The son of parents pass’d into the skies.
And now, farewell—time, unrevok’d, has run
His wonted course, yet what I wish’d is done.
By contemplation’s help, not sought in vain,
I seem t’ have liv’d my childhood o’er again;
To have renew’d the joys that once were mine,
Without the sin of violating thine:
And, while the wings of fancy still are free,
And I can view this mimic shew of thee,
Time has but half succeeded in his theft—
Thyself remov’d, thy power to sooth me left.
On Receipt of My Mother’s Picture Analysis
Oh that those lips had language! Life has pass’d
With me but roughly since I heard thee last.
Those lips are thine—thy own sweet smiles I see,
The same that oft in childhood solaced me;
Voice only fails, else, how distinct they say,
“Grieve not, my child, chase all thy fears away!”
The meek intelligence of those dear eyes
(Blest be the art that can immortalize,
The art that baffles time’s tyrannic claim
To quench it) here shines on me still the same.
Explanation: In the opening lines of On Receipt of My Mother’s Picture, William Cowper expresses a deep emotional reaction to the portrait of his mother. He begins by longing for his mother to speak to him, saying, “Oh that those lips had language!” This is a clear expression of his sorrow and his desire to hear his mother’s voice again, even though she has been dead for many years. He then reflects on how his life has been difficult and full of hardship since her death, which is implied by the phrase “Life has pass’d with me but roughly since I heard thee last.”
The next lines describe the image in the portrait, which seems to evoke strong memories of his mother’s love and care. He notes that the lips in the portrait are hers, and he can still see her sweet smile, which once comforted him during his childhood. The smile in the painting is not just an image, but a reminder of the soothing affection she gave him as a child.
Then, Cowper imagines that if the portrait’s lips could speak, they would still give him the same comforting words that his mother might have said to him during his childhood. He imagines that the portrait’s lips would say, “Grieve not, my child, chase all thy fears away!” This is a loving and reassuring phrase, something his mother might have told him when he was upset as a child.
The next lines shift focus to the mother’s eyes in the portrait. Cowper refers to the eyes as having a “meek intelligence,” meaning they reflect kindness, gentleness, and understanding. He praises the artist for having the ability to capture this essence of his mother’s eyes and preserve it in the painting, making it eternal. The “art” of painting, which captures a moment in time, seems to defy the passage of time itself. Cowper admires how the portrait allows his mother’s image to remain, “shines on me still the same,” even though time has passed, and she is no longer physically with him.
Poetic Devices:
Personification: The lips of the portrait are personified when Cowper wishes they had language and could speak to him. He imagines them saying comforting words to him: “Grieve not, my child, chase all thy fears away!” This gives human-like qualities to the portrait.
Imagery: Cowper uses vivid imagery to evoke the memory of his mother. For example, the phrase “those dear eyes” creates an image of warmth and affection. Similarly, “thy own sweet smiles” paints a picture of his mother’s loving expression.
The phrase “meek intelligence of those dear eyes” evokes an image of a mother’s gentle, understanding gaze, which symbolizes her caring nature.
Metaphor: Cowper describes the portrait as having the ability to “immortalize” his mother, suggesting that the painting preserves her spirit in a way that transcends the physical death. The portrait is a metaphor for how art can preserve what time tries to erase.
Hyperbole: The idea that the portrait can defy the passage of time and immortalize his mother is an exaggeration, a form of hyperbole. Time, which is described as a “tyrannic claim,” is presented as something that the art of painting can conquer.
Rhetorical Question: “How distinct they say, ‘Grieve not, my child, chase all thy fears away!'” Here, Cowper is rhetorically asking how clearly he can hear his mother’s comforting words, though he knows it is only his imagination.
Contrast: There is a contrast between the “rough” life that Cowper has lived since his mother’s death and the peace he imagines he would feel if he could hear her words again. This highlights the emotional relief he would experience if his mother were still alive.
Faithful remembrancer of one so dear,
Oh welcome guest, though unexpected, here!
Who bidd’st me honour with an artless song,
Affectionate, a mother lost so long,
I will obey, not willingly alone,
But gladly, as the precept were her own;
And, while that face renews my filial grief,
Fancy shall weave a charm for my relief—
Shall steep me in Elysian reverie,
A momentary dream, that thou art she.
Explanation: In this section of the poem, Cowper continues to reflect on the portrait of his mother, personifying it as a “faithful remembrancer” — a keeper of memories of someone so dear to him. He addresses the portrait as if it were a guest who has unexpectedly arrived, but one that is warmly welcomed because it brings him back to a time when he was comforted by his mother’s presence. The portrait, he imagines, invites him to honor his mother by remembering her through this “artless song” (a simple, sincere expression of love).
The phrase “artless song” suggests that Cowper is not composing a highly polished or elaborate poem, but rather an honest and heartfelt tribute. His words are affectionate, aimed at a mother who has been gone for a long time. Despite the long years since her death, the portrait stirs up powerful feelings of love and grief.
He then says that he will obey the call to honor her memory — but not reluctantly or out of obligation. Instead, he will do so gladly, as though his mother herself had given him the command. The deep emotional connection between Cowper and his mother is so strong that he feels compelled to follow her “precept” (instruction or request) with joy, as if her wishes still carry weight even after her death.
As the image of his mother’s face in the portrait brings back his grief, Cowper expresses the role of “fancy” (his imagination) in providing him some comfort. Fancy, or imagination, becomes a source of temporary relief. He imagines that, for a brief moment, he will be transported into a dreamlike state — an “Elysian reverie,” or a pleasant, almost heavenly daydream — in which he can envision his mother as though she were truly present again. This momentary fantasy, even though it is fleeting, allows him to feel her presence again, and it comforts him by renewing his bond with her.
Poetic Devices:
Personification: The portrait is personified as a “faithful remembrancer” and a “welcome guest.” Cowper treats the portrait as if it were an entity that has come to visit him and remind him of his mother, even though it is an inanimate object. This device helps to convey the deep emotional connection Cowper has to the image of his mother.
Metaphor: “Fancy shall weave a charm for my relief” is a metaphor for how Cowper’s imagination will create a sense of comfort for him. He likens his imagination to something that can “weave” a protective or soothing charm, as if it were a spell that could ease his grief.
“Elysian reverie” is another metaphor, referring to a dreamlike state of peace and bliss. “Elysian” refers to Elysium, a place in Greek mythology that was thought to be a peaceful and perfect afterlife. By using this word, Cowper implies that his dream is one of comfort and serenity.
Imagery: The “artless song” evokes an image of simplicity and purity, suggesting that Cowper’s tribute to his mother is not just emotional but also sincere and uncomplicated.
“Elysian reverie” paints an image of a tranquil, dreamlike state, one in which the grief and sorrow of reality are momentarily lifted.
My mother! when I learn’d that thou wast dead,
Say, wast thou conscious of the tears I shed?
Hover’d thy spirit o’er thy sorrowing son,
Wretch even then, life’s journey just begun?
Perhaps thou gav’st me, though unseen, a kiss;
Perhaps a tear, if souls can weep in bliss—
Ah that maternal smile! it answers—Yes.
I heard the bell toll’d on thy burial day,
I saw the hearse that bore thee slow away,
And, turning from my nurs’ry window, drew
A long, long sigh, and wept a last adieu!
But was it such?—It was.—Where thou art gone
Adieus and farewells are a sound unknown.
May I but meet thee on that peaceful shore,
The parting sound shall pass my lips no more!
Thy maidens griev’d themselves at my concern,
Oft gave me promise of a quick return.
What ardently I wish’d, I long believ’d,
And, disappointed still, was still deceiv’d;
By disappointment every day beguil’d,
Dupe of to-morrow even from a child.
Thus many a sad to-morrow came and went,
Till, all my stock of infant sorrow spent,
I learn’d at last submission to my lot;
But, though I less deplor’d thee, ne’er forgot.
Explanation: In these lines of On Receipt of My Mother’s Picture, William Cowper deepens his exploration of grief and mourning as he reflects on the moment when he first learned of his mother’s death. He expresses his profound sadness and questions whether his mother’s spirit was aware of the tears he shed for her. Cowper wonders if his mother’s spirit hovered near him as he mourned, asking whether she could sense his sorrow, even though he was just a child at the time.
The lines “Say, wast thou conscious of the tears I shed?” and “Hover’d thy spirit o’er thy sorrowing son” indicate his deep emotional struggle and the sense of longing he feels for his mother. He still yearns for a connection with her, even beyond death. Cowper then imagines that perhaps, though unseen, his mother might have sent him a kiss or a tear from the afterlife. The idea that souls might weep in bliss reflects the tension between the grief of the living and the peace he hopes his mother has found in the afterlife.
Cowper’s reflection on the “maternal smile” is a poignant moment where he feels that, in his imagination, his mother is still present, and the smile gives him a sense of reassurance — “it answers—Yes.” This moment is a form of comfort for the poet, who longs to feel his mother’s love even after her death.
The next part of the poem shifts to Cowper’s memories of the day his mother was buried. He recalls hearing the bell toll, which signaled her death, and watching the hearse carry her away. His sorrow was so deep that he cried for her while turning away from his window, signaling the finality of the separation. The “long, long sigh” and the “last adieu” are emblematic of the final farewell that Cowper thought he had said to her. However, he immediately questions if this farewell was truly final. The rhetorical question “But was it such?” suggests his reluctance to fully accept her death and the separation that comes with it. His doubt is quickly dispelled with “It was.” Yet, Cowper takes comfort in the belief that once his mother passed on to the afterlife, she was free from the pain of saying farewells, for in heaven there are no “adieu[s] and farewells.” This highlights the idea that in the realm of eternity, there is no parting, and he imagines a reunion with his mother beyond death.
He recalls how the maidens who cared for him as a child (perhaps servants or caregivers) were also saddened by his grief. They promised him that his mother would return soon, perhaps from the afterlife, which Cowper longed to believe. He desperately wished for her return, yet each day brought only disappointment. He was deceived by hope for many years, clinging to the belief that his mother’s return was just around the corner, only to be disappointed again and again.
The line “By disappointment every day beguil’d, Dupe of to-morrow even from a child” captures the poet’s youthful optimism and naive belief that tomorrow would bring his mother back. As time passed, Cowper’s hopes for her return were never fulfilled. This ongoing disappointment eventually wore him down, and he realized, as an adult, that he must accept the reality of her death, even if he could never forget her.
The final lines of this passage show a shift in Cowper’s understanding of grief. Although he learned to accept his mother’s absence, his love for her never faded. His sorrow may have lessened with time, but the memory of her remained a constant part of his life. Even as he grew older and became more resigned to his loss, his mother was never forgotten.
Poetic Devices:
Rhetorical Question: “Say, wast thou conscious of the tears I shed?” and “But was it such?—It was.” These rhetorical questions invite the reader to reflect on the nature of grief and the connection between the living and the dead. Cowper is not necessarily expecting an answer but is expressing his inner turmoil and confusion about the finality of death.
Imagery: The “long, long sigh” and “last adieu” create a vivid image of the sorrow Cowper felt at his mother’s death. The sound of the tolling bell and the sight of the hearse are sensory images that convey the finality and sadness of the moment.
“A long, long sigh” also suggests a lingering grief, one that continues over time.
Personification: “Hover’d thy spirit o’er thy sorrowing son” personifies the spirit of his mother, suggesting that it was still near him, watching over him as he mourned her. This makes the separation feel less final and implies that some part of his mother’s presence continues to comfort him.
Alliteration: “Disappointment every day beguil’d” — The repetition of the “d” sound in “disappointment” and “day” adds a rhythmic quality to the lines, emphasizing the ongoing disappointment Cowper experienced as he held on to the hope of his mother’s return.
Metaphor: “Dupe of to-morrow even from a child” — Cowper describes himself as a “dupe” (a deceived person), and “to-morrow” is metaphorically presented as something that deceives him. This represents his childlike belief that the future might bring his mother back, only to be constantly disappointed.
Symbolism: The “bell toll’d on thy burial day” symbolizes the end of life, marking the moment of death. Similarly, the “hearse that bore thee slow away” symbolizes the physical departure of his mother and the inevitability of death.
The “last adieu” symbolizes the final farewell, a moment of closure, but also the pain of finality.
Where once we dwelt our name is heard no more,
Children not thine have trod my nurs’ry floor;
And where the gard’ner Robin, day by day,
Drew me to school along the public way,
Delighted with my bauble coach, and wrapt
In scarlet mantle warm, and velvet capt,
‘Tis now become a history little known,
That once we call’d the past’ral house our own.
Short-liv’d possession! but the record fair
That mem’ry keeps of all thy kindness there,
Still outlives many a storm that has effac’d
A thousand other themes less deeply trac’d.
Thy nightly visits to my chamber made,
That thou might’st know me safe and warmly laid;
Thy morning bounties ere I left my home,
The biscuit, or confectionary plum;
The fragrant waters on my cheeks bestow’d
By thy own hand, till fresh they shone and glow’d;
All this, and more endearing still than all,
Thy constant flow of love, that knew no fall,
Ne’er roughen’d by those cataracts and brakes
That humour interpos’d too often makes;
All this still legible in mem’ry’s page,
And still to be so, to my latest age,
Adds joy to duty, makes me glad to pay
Such honours to thee as my numbers may;
Perhaps a frail memorial, but sincere,
Not scorn’d in heav’n, though little notic’d here.
Explanation: In these lines, Cowper reflects on the impermanence of his childhood home and the passing of time. He begins by noting that the place where he once lived, the house that was once filled with his family, is no longer associated with his name. His childhood home has lost its connection to the past, and it is now inhabited by strangers. “Children not thine have trod my nurs’ry floor” expresses that other families have moved in, and the house is no longer part of the Cowper family’s legacy.
The poet recalls how he was once led by the gardener, Robin, along the public way to school every day, with youthful joy and pride. The phrase “Delighted with my bauble coach, and wrapt / In scarlet mantle warm, and velvet cap” evokes a picture of his childhood self, dressed in fine clothes, perhaps with a toy coach and feeling special. This image contrasts sharply with the present, where all those memories have faded into the past. The house itself has become a “history little known,” suggesting that no one remembers it as part of his life anymore.
Cowper continues to mourn the brevity of his time in the house, calling the possession of it “short-lived.” Despite this, the memory of his mother’s care and love remains. He acknowledges that even though the house is no longer theirs, the memories of his mother’s kindness will outlast the house itself. The “record fair that memory keeps” refers to the beautiful, lasting impression that his mother’s love and attention left on him, something that cannot be erased by time or hardship. These memories, though they may not be noticed or valued by others, will remain a part of him forever.
The poet fondly recalls specific memories of his mother’s care. She would visit him at night to ensure that he was safe and warm in bed. In the mornings, she would prepare small, comforting treats like biscuits or confectionary plums before he left for school. She would also tend to him with “fragrant waters,” perhaps a form of personal care like washing his face or administering some kind of refreshment. These moments of affection and attentiveness are etched in Cowper’s memory, and he cherishes them deeply.
He emphasizes that his mother’s love was constant and unchanging, “Ne’er roughened by those cataracts and brakes / That humour interpos’d too often makes.” This contrasts her steady, unconditional love with the inconsistency often introduced by human emotions, such as mood swings or anger. Cowper’s mother, in his memory, is a symbol of pure, unshakable love, unaffected by life’s trials.
Finally, Cowper reflects on the role of memory. “All this still legible in memory’s page” suggests that although the physical house and its inhabitants are gone, the loving acts of his mother remain vividly recorded in his mind. Even as he ages, these memories will continue to bring him comfort and joy. Cowper expresses gratitude for the opportunity to honor his mother through his poem, even if his tribute is “a frail memorial.” He acknowledges that the poem may not be widely noticed or appreciated in the world, but he believes that it will not be scorned in heaven. The love and honor expressed through his words are sincere, and he hopes they are recognized in the afterlife.
Poetic Devices:
Imagery: “Bauble coach, and wrapt / In scarlet mantle warm, and velvet cap” creates a vivid picture of Cowper as a child, dressed in fine clothing and surrounded by material comforts. The image is one of innocence and pride, which contrasts with the loss of those material possessions in adulthood.
“Fragrant waters on my cheeks bestow’d / By thy own hand” evokes a sensory memory of a mother’s tenderness, and the fragrance of the water symbolizes care and love.
Metaphor: “Record fair that memory keeps” is a metaphor for how memories act as a lasting record or ledger of the past, preserving the beautiful acts of love and care that might otherwise be forgotten. It compares the memory of his mother’s love to a permanent record that time cannot erase.
“Memory’s page” is another metaphor that suggests his memories are written down in a book, in this case, a book that Cowper can revisit at any time, allowing him to relive those moments of tenderness and care.
Personification: The “memory’s page” is personified as something that is legible, something that can be read and understood. It suggests that the memory of his mother’s love is clear and permanent, almost as if it has a life of its own.
Contrast: The poet contrasts the “short-lived possession” of the house with the lasting “record fair” of his mother’s love. While the house has been taken over by others and forgotten, the love his mother gave him remains clear and cherished.
Could time, his flight revers’d, restore the hours,
When, playing with thy vesture’s tissued flow’rs,
The violet, the pink, and jessamine,
I prick’d them into paper with a pin,
(And thou wast happier than myself the while,
Would’st softly speak, and stroke my head and smile)
Could those few pleasant hours again appear,
Might one wish bring them, would I wish them here?
I would not trust my heart—the dear delight
Seems so to be desir’d, perhaps I might.—
But no—what here we call our life is such,
So little to be lov’d, and thou so much,
That I should ill requite thee to constrain
Thy unbound spirit into bonds again.
Explanation: In these lines from On Receipt of My Mother’s Picture, Cowper contemplates the possibility of reversing time and reliving the moments of childhood spent with his mother. He imagines going back to a time when he was a child, playing with the flowers of his mother’s dress — “the violet, the pink, and jessamine” — and pricking them into paper with a pin. This activity symbolizes the innocent and joyful moments they shared together. Cowper remembers his mother fondly during this time, describing how she would speak softly, stroke his head, and smile. These actions represent the tender love and nurturing care she gave him as a child.
The poet then poses a hypothetical question: “Could those few pleasant hours again appear, / Might one wish bring them, would I wish them here?” He wonders if it would be possible to go back to those days. He recognizes how much he desires to experience that happiness again, and even admits that perhaps, in his longing, he would wish for those moments to return. However, he quickly questions his own feelings: “I would not trust my heart—the dear delight / Seems so to be desir’d, perhaps I might.” This suggests that while he may want to relive those moments, he is not entirely certain if it would be the best decision. The joy of childhood and his mother’s presence seem so desirable, but he is hesitant to act on this wish because it might not bring the fulfillment he expects.
Cowper then shifts his perspective, realizing that the life they have now — the life of the living — is so fleeting and full of hardship that it is not worth returning to the past. He reflects on the nature of life and death, and how, in comparison to his mother’s eternal and peaceful existence, the life he leads is full of sorrow and struggle. “What here we call our life is such, / So little to be lov’d, and thou so much” highlights the contrast between the suffering of life and the peace that death brings. His mother, in her afterlife, is free from the struggles of the living world, while he remains here, still bound by life’s hardships.
Finally, Cowper makes a selfless decision. He decides that it would be wrong to bring his mother’s “unbound spirit” back into the turmoil of life. Her spirit is now free, unconfined by earthly limitations, and it would be unfair to bring her back into the suffering of this world. He acknowledges that her peace and freedom are more important than his longing to have her back in his life. By letting go of his desire to reverse time, he shows deep love and respect for her and her eternal peace.
Poetic Devices:
Imagery: “Playing with thy vesture’s tissued flow’rs” — This line paints a vivid picture of a child playing with his mother’s clothes, pricking flowers into paper. It evokes innocence and the beauty of childhood moments.
“Violet, the pink, and jessamine” — The flowers mentioned here symbolize the delicate, fleeting nature of life and the beauty of those early moments with his mother.
“Thy unbound spirit” — This image suggests the idea of freedom and release, highlighting the contrast between his mother’s peaceful afterlife and the struggles of living.
Rhetorical Question: “Could those few pleasant hours again appear, / Might one wish bring them, would I wish them here?” — Cowper poses a hypothetical question about whether he would wish to relive those moments of joy with his mother. This rhetorical question adds depth to the poet’s internal struggle and longing for the past.
Contrast: Cowper contrasts the life he now leads — full of difficulty and impermanence — with the eternal peace his mother now enjoys. “What here we call our life is such, / So little to be lov’d, and thou so much” highlights the disparity between earthly existence and the serenity of death.
Metaphor: “Unbound spirit” — The idea of an “unbound spirit” is a metaphor for the freedom of the soul after death. It symbolizes the release from earthly constraints and suffering.
Personification: Cowper personifies time and life itself by referring to them as being “such,” implying that life is not something to be loved or desired. This gives life a negative connotation, contrasting it with the peaceful afterlife his mother now enjoys.
Thou, as a gallant bark from Albion’s coast
(The storms all weather’d and the ocean cross’d)
Shoots into port at some well-haven’d isle,
Where spices breathe and brighter seasons smile,
There sits quiescent on the floods that show
Her beauteous form reflected clear below,
While airs impregnated with incense play
Around her, fanning light her streamers gay;
So thou, with sails how swift! hast reach’d the shore
“Where tempests never beat nor billows roar,”
And thy lov’d consort on the dang’rous tide
Of life, long since, has anchor’d at thy side.
But me, scarce hoping to attain that rest,
Always from port withheld, always distress’d—
Me howling winds drive devious, tempest toss’d,
Sails ript, seams op’ning wide, and compass lost,
And day by day some current’s thwarting force
Sets me more distant from a prosp’rous course.
But oh the thought, that thou art safe, and he!
That thought is joy, arrive what may to me.
My boast is not that I deduce my birth
From loins enthron’d, and rulers of the earth;
But higher far my proud pretensions rise—
The son of parents pass’d into the skies.
And now, farewell—time, unrevok’d, has run
His wonted course, yet what I wish’d is done.
By contemplation’s help, not sought in vain,
I seem t’ have liv’d my childhood o’er again;
To have renew’d the joys that once were mine,
Without the sin of violating thine:
And, while the wings of fancy still are free,
And I can view this mimic shew of thee,
Time has but half succeeded in his theft—
Thyself remov’d, thy power to sooth me left.
Explanation: In these final lines of On Receipt of My Mother’s Picture, Cowper continues his emotional meditation on his mother’s death and his own grief, but now he also reflects on the sense of peace he feels knowing that his mother is in a better place. The poem moves toward a spiritual conclusion, where the poet draws a comparison between his mother’s soul and a ship that has safely reached its destination, in contrast to his own turbulent journey through life.
Cowper first compares his mother to a “gallant bark from Albion’s coast” — an elegant and powerful ship from England (Albion being an ancient name for Britain). The ship has weathered storms, crossed the vast ocean, and reached a calm, peaceful island where the air is fragrant with spices and the seasons are eternally bright. This island represents the peaceful afterlife, free from the storms and struggles of life. The ship sits “quiescent on the floods”, its reflection visible in the calm waters, symbolizing the serenity and eternal peace his mother has now attained.
The poet continues to elaborate on the beauty and stillness of this place, describing how incense-scented winds fan the ship’s sails. His mother, having crossed the turbulent waters of life and death, has found a peaceful harbor. Cowper then shifts to contrast his own journey, describing himself as a ship still caught in the tempest of life. Unlike his mother, who has reached her safe haven, he is “always from port withheld, always distress’d”. He is tossed by the howling winds, his sails ripped, seams opening, and compass lost — all metaphors for the emotional turmoil and uncertainty of his own existence.
However, Cowper takes comfort in the thought that his mother is now safe. His personal suffering is alleviated by the joy of knowing that she is at peace, and even the thought of her well-being provides him solace in the midst of his own distress. He expresses a humble pride not in any earthly lineage or noble birth, but in being the son of parents who have passed into heaven, which elevates his soul and gives him a sense of spiritual worth.
The final stanza reveals a sense of acceptance. Cowper recognizes that time has passed, and while he can never truly reclaim the moments of his childhood or his mother’s presence, he has found comfort in the memories and in the power of contemplation. By reflecting on his mother’s image, he feels as though he has relived his childhood without “the sin of violating thine” — meaning he has revisited the past without dishonoring her memory or longing to undo her peaceful departure. He concludes that though time has removed his mother from his sight, it has not taken away the comfort her image provides him. The memory of her love and the sense of her spiritual presence continue to soothe him, and her “power to soothe me left” is the most important comfort he will ever know.
Poetic Devices:
Metaphor: The comparison of the mother’s soul to a “gallant bark” is a metaphor that describes her as a ship that has safely reached a peaceful shore. This metaphor illustrates her passage from life to death as a journey across tumultuous seas to calm, eternal rest.
The image of Cowper as a ship “howling winds drive devious, tempest-toss’d” is a metaphor for his own ongoing struggle in life, tossed by emotional and spiritual turmoil.
Imagery: “Where spices breathe and brighter seasons smile” — This imagery evokes the sensory experience of the peaceful afterlife. The sweet fragrances of spices and the bright seasons symbolize eternal serenity and happiness.
“Sails ript, seams op’ning wide, and compass lost” — This image paints a picture of a ship in distress, symbolizing Cowper’s own turbulent emotional state.
“Incense play / Around her, fanning light her streamers gay” — This further enriches the serene, almost divine imagery of the afterlife, with incense and gentle winds surrounding the mother’s spirit.
Personification: Cowper personifies time by saying it has run its “wonted course”, meaning time has passed as it always does, and there is no way to reverse it. Time itself becomes an entity that moves steadily forward, without regard for the poet’s wishes.
Similarly, the “current’s thwarting force” represents the forces in life that divert his path and make his journey difficult. The currents are given the power to obstruct his course, much like the trials and tribulations of human existence.
Contrast: The contrast between the peaceful afterlife and the stormy, tumultuous life Cowper still endures is central to the poem. The peaceful shore his mother has reached is contrasted with the chaotic sea of life he still navigates.
Cowper contrasts his own earthly pride in being the son of parents who have passed into heaven with the hollow pride of worldly nobility. He takes comfort in the spiritual legacy of his parents, elevating his own sense of self-worth.
Allusion: The “tempests never beat nor billows roar” is a reference to a line in the hymn “Jerusalem the Golden”, which describes a place of eternal peace. This allusion reinforces the idea of the mother’s journey to a calm, safe harbor after life’s struggles.
Symbolism: The “gallant bark” symbolizes not just the physical journey of his mother’s death, but also her spiritual journey to eternal rest. It represents a transition from the earthly realm to the heavenly realm, where peace and safety reign.
