The Poetical Works of William Wordsworth — Volume 5 (of 8) — Key Ideas to Explore

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Wordsworth, William, 1770-1850, Knight, William Angus, 1836-1916 [Editor] Project Gutenberg 2018 Not confirmed
English poetry -- 19th century; English poetry -- 18th century Readers of public-domain and historical texts
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Words 113,300
Reading time 493 min
Text sections 34

The catalog record for The Poetical Works of William Wordsworth — Volume 5 (of 8) — Key Ideas to Explore provides practical reading context through 113,300 words, 8 hr 13 min estimated reading time, and 34 detected text sections.

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This editorial note examines Wordsworth's diction, dialogue, and descriptive choices in The Excursion, focusing on the churchyard scene's architectural details, the Wanderer's speech patterns, and the interplay of natural and built environments.
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But had I been born in a class which would have deprived me of what is called a liberal education, it is not unlikely that, being strong in body, I should have taken to a way of life such as that in which my Pedlar passed the greater part of his days. At all events, I am here called upon freely to acknowledge that the character I have represented in his person is chiefly an idea of what I fancied my own character might have become in his circumstances. Nevertheless much of what he says and does had an external existence, that fell under my own youthful and subsequent observation.

An individual, named Patrick, by birth and education a Scotchman, followed this humble occupation for many years, and afterwards settled in the town of Kendal.[B] He married a kinswoman of my wife's, and her sister Sarah was brought up from her ninth year under this good man's roof.[C] My own imaginations I was happy to find clothed in reality, and fresh ones suggested, by what she reported of this man's tenderness of heart, his strong and pure imagination, and his solid attainments in literature, chiefly religious, whether in prose or verse. At Hawkshead also, while I was a schoolboy, there occasionally resided a Packman (the name then generally given to persons of this calling), with whom I had frequent conversations upon what had befallen him, and what he had observed, during his wandering life; and, as was natural, we took much to each other; and, upon the subject of _Pedlarism_ in general, as _then_ followed, and its favourableness to an intimate knowledge of human concerns, not merely among the humbler classes of society, I need say nothing here in addition to what is to be found in _The Excursion_, and a note attached to it.

Now for the Solitary. Of him I have much less to say. Not long after we took up our abode at Grasmere, came to reside there, from what motive I either never knew or have forgotten, a Scotchman, a little past the middle of life, who had for many years been chaplain to a Highland regiment. He was in no respect, as far as I know, an interesting character, though in his appearance there was a good deal that attracted attention, as if he had been shattered in fortune, and not happy in mind. Of his quondam position I availed myself to connect with the Wanderer, also a Scotchman, a character suitable to my purpose, the elements of which I drew from several persons with whom I had been connected, and who fell under my observation during frequent residences in London at the beginning of the French Revolution. The chief of these was, one may now say, a Mr. Fawcett, a preacher at a Dissenting meeting-house at the Old Jewry. It happened to me several times to be one of his congregation through my connection with Mr. Nicholson of Cateaton Street, Strand, who, at a time when I had not many acquaintances in London, used often to invite me to dine with him on Sundays; and I took that opportunity (Mr. N. being a Dissenter) of going to hear Fawcett, who was an able and eloquent man. He published a poem on War, which had a good deal of merit, and made me think more about him than I should otherwise have done. But his Christianity was probably never very deeply rooted; and, like many others in those times of like shewy talents, he had not strength of character to withstand the effects of the French Revolution, and of the wild and lax opinions which had done so much towards producing it, and far more in carrying it forward in its extremes. Poor Fawcett, I have been told, became pretty much such a person as I have described, and early disappeared from the stage, having fallen into habits of intemperance, which I have heard (though I will not answer for the fact) hastened his death. Of him I need say no more. There were many like him at that time, which the world will never be without, but which were more numerous then, for reasons too obvious to be dwelt upon.

To what is said of the Pastor in the poem, I have little to add but what may be deemed superfluous. It has ever appeared to me highly favourable to the beneficial influence of the Church of England upon all gradations and classes of society, that the patronage of its benefices is in numerous instances attached to the estates of noble families of ancient gentry; and accordingly I am gratified by the opportunity afforded me in _The Excursion_, to pourtray the character of a country clergyman of more than ordinary talents, born and bred in the upper ranks of society so as to partake of their refinements, and at the same time brought by his pastoral office and his love of rural life into intimate connection with the peasantry of his native district.

To illustrate the relation which in my mind this Pastor bore to the Wanderer, and the resemblances between them, or rather the points of community in their nature, I likened one to an oak, and the other to a sycamore; and having here referred to this comparison, I need only add, I had no one individual in my mind, wishing rather to embody this idea than to break in upon the simplicity of it by traits of individual character, or of any peculiarity of opinion.

And now for a few words upon the scene where these interviews and conversations are supposed to occur.

The scene of the first book of the poem is, I must own, laid in a tract of country not sufficiently near to that which soon comes into view in the second book, to agree with the fact. All that relates to Margaret, and the ruined cottage, etc., was taken from observations made in the south-west of England, and certainly it would require more than seven-league boots to stretch in one morning, from a common in Somersetshire, or Dorsetshire, to the heights of Furness Fells, and the deep valleys they embosom. For thus dealing with space, I need make, I trust, no apology; but my friends may be amused by the truth.

In the poem, I suppose that the Pedlar and I ascended from a plain country up the vale of Langdale, and struck off a good way above the chapel to the western side of the vale. We ascended the hill, and thence looked down upon the circular recess in which lies Blea Tarn, chosen by the Solitary for his retreat. After we quit his cottage, passing over a low ridge, we descend into another vale, that of Little Langdale, towards the head of which stands embowered, or partly shaded by yews and other trees, something between a cottage and a mansion, or gentleman's house, such as they once were in this country. This I convert into the parsonage, and at the same time, and as by the waving of a magic wand, I turn the comparatively confined vale of Langdale, its tarn, and the rude chapel which once adorned the valley, into the stately and comparatively spacious vale of Grasmere and its ancient parish church; and upon the side of Loughrigg Fell, at the foot of the lake, and looking down upon it and the whole Vale and its encompassing mountains, the Pastor is supposed by me to stand, when at sunset he addresses his companions in words which I hope my readers will remember,[D] or I should not have taken the trouble of giving so much in detail the materials on which my mind actually worked.

Now for a few particulars of _fact_, respecting the persons whose stories are told or characters described by the different speakers. To Margaret I have already alluded. I will add here that the lines beginning,

She was a woman of a steady mind,

Live on earth a life of happiness,

faithfully delineate, as far as they go, the character possessed in common by many women whom it has been my happiness to know in humble life; and that several of the most touching things which she is represented as saying and doing are taken from actual observation of the distresses and trials under which different persons were suffering, some of them strangers to me, and others daily under my notice.

I was born too late to have a distinct remembrance of the origin of the American war; but the state in which I represent Robert's mind to be, I had frequent opportunities of observing at the commencement of our rupture with France in 1793; opportunities of which I availed myself in the story of the Female Vagrant, as told in the poem on _Guilt and Sorrow_. The account given by the Solitary, towards the close of the second book, in all that belongs to the character of the old man, was taken from a Grasmere pauper, who was boarded in the last house quitting the vale on the road to Ambleside; the character of his hostess, and all that befell the poor man upon the mountain, belongs to Paterdale. The woman I knew well; her name was Ruth Jackson, and she was exactly such a person as I describe. The ruins of the old chapel, among which the old man was found lying, may yet be traced, and stood upon the ridge that divides Paterdale from Boardale and Martindale, having been placed there for the convenience of both districts. The glorious appearance disclosed above and among the mountains, was described partly from what my friend Mr. Luff, who then lived in Paterdale, witnessed upon that melancholy occasion, and partly from what Mary and I had seen, in company with Sir George and Lady Beaumont, above Hartshope Hall, on our way from Paterdale to Ambleside.

And now for a few words upon the Church, its Monuments, and of the Deceased who are spoken of as lying in the surrounding churchyard. But first for the one picture given by the Pastor and the Wanderer of the Living. In this nothing is introduced but what was taken from nature and real life. The cottage was called Hackett, and stands, as described, on the southern extremity of the ridge which separates the two Langdales. The pair who inhabited it were called Jonathan and Betty Yewdale. Once when our children were ill, of whooping-cough, I think, we took them for change of air to this cottage, and were in the habit of going there to drink tea upon fine summer afternoons, so that we became intimately acquainted with the characters, habits, and lives of these good, and let me say, in the main, wise people. The matron had, in her early youth, been a servant in a house at Hawkshead, where several boys boarded, while I was a schoolboy there. I did not remember her as having served in that capacity; but we had many little anecdotes to tell to each other of remarkable boys, incidents, and adventures, which had made a noise in their day in that small town. These two persons were induced afterwards to settle at Rydal, where they both died.

The church, as already noticed, is that of Grasmere. The interior of it has been improved lately and made warmer by underdrawing the roof, and raising the floor; but the rude and antique majesty of its former appearance has been impaired by painting the rafters; and the oak benches, with a simple rail at the back dividing them from each other, have given way to seats that have more the appearance of pews. It is remarkable that, excepting only the pew belonging to Rydal Hall, that to Rydal Mount, the one to the Parsonage, and I believe another, the men and women still continue, as used to be the custom in Wales, to sit separate from each other. Is this practice as old as the Reformation? and when and how did it originate? In the Jewish synagogues, and in Lady Huntingdon's chapels, the sexes are divided in the same way. In the adjoining churchyard greater changes have taken place. It is now not a little crowded with tombstones; and near the school-house, which stands in the churchyard, is an ugly structure, built to receive the hearse, which is recently come into use. It would not be worth while to allude to this building, or the hearse-vehicle it contains, but that the latter has been the means of introducing a change much to be lamented in the mode of conducting funerals among the mountains. Now, the coffin is lodged in the hearse at the door of the house of the deceased, and the corpse is so conveyed to the churchyard gate. All the solemnity which formerly attended its progress, as described in this poem, is put an end to. So much do I regret this, that I beg to be excused for giving utterance here to a wish that, should it befall me to die at Rydal Mount, my own body may be carried to Grasmere Church after the manner in which, till lately, that of every one was borne to the place of sepulture here, namely, on the shoulders of neighbours; no house being passed without some words of a funeral psalm being sung at the time by the attendants bearing it. When I put into the mouth of the Wanderer, "Many precious rites and customs of our rural ancestry are gone, or stealing from us; this, I hope, will last for ever," and what follows, little did I foresee that the observance and mode of proceeding which had often affected me so much would so soon be superseded.

Having said much of the injury done to this churchyard, let me add, that one is at liberty to look forward to a time when, by the growth of the yew-trees thriving there, a solemnity will be spread over the place that will in some degree make amends for the old simple character which has already been so much encroached upon, and will be still more every year. I will here set down, by way of memorial, that my friend Sir George Beaumont, having long ago purchased the beautiful piece of water called Loughrigg Tarn, on the banks of which he intended to build, I told him that a person in Kendal who was attached to the place wished to purchase it. Sir George, finding the possession of no use to him, consented to part with it, and placed the purchase-money--£20--at my disposal, for any local use which I thought proper. Accordingly, I resolved to plant yew-trees in the churchyard; and had four pretty strong large oak enclosures made, in each of which was planted, under my own eye, and principally if not entirely by my own hand, two young trees, with the intention of leaving the one that throve best to stand. Many years after, Mr. Barber, who will long be remembered in Grasmere, Mr. Greenwood (the chief landed proprietor), and myself, had four other enclosures made in the churchyard at our own expense, in each of which was planted a tree taken from its neighbour, and they all stand thriving admirably, the fences having been removed as no longer necessary. May the trees be taken care of hereafter, when we are all gone; and some of them will perhaps, at some far-distant time, rival in majesty the yew of Lorton, and those which I have described as growing at Borrowdale, where they are still to be seen[E] in grand assemblage.

And now for the persons that are selected as lying in the churchyard. But first for the individual whose grave is prepared to receive him.

His story is here truly related. He was a schoolfellow of mine for some years. He came to us when he was at least seventeen years of age, very tall, robust, and full grown. This prevented him from falling into the amusements and games of the school; consequently, he gave more time to books. He was not remarkably bright or quick, but by industry, he made a progress more than respectable. His parents not being wealthy enough to send him to college when he left Hawkshead, he became a schoolmaster, with a view to prepare himself for holy orders. About this time he fell in love, as related in the poem, and everything followed as there described, except that I do not know exactly when and where he died. The number of youths that came to Hawkshead School from the families of the humble yeomanry, to be educated to a certain degree of scholarship, as a preparation for the church, was considerable, and the fortunes of those persons in after life various of course, and some not a little remarkable. I have now one of this class in my eye who became an usher in a preparatory school, and ended in making a large fortune. His manners, when he came to Hawkshead, were as uncouth as well could be; but he had good abilities, with skill to turn them to account; and when the master of the school, to which he was usher, died, he stept into his place and became proprietor of the establishment. He contrived to manage it with such address, and so much to the taste of what is called high society and the fashionable world, that no school of the kind, even till he retired, was in such high request. Ministers of State, the wealthiest gentry, and nobility of the first rank, vied with each other in bespeaking a place for their sons in the seminary of this fortunate teacher.[F] In the solitude of Grasmere, while living as a married man in a cottage of £8 per annum rent, I often used to smile at the tales which reached me of the brilliant career of this quondam clown--for such in reality he was, in manners, and appearance, before he was polished a little by attrition with gentlemen's sons trained at Hawkshead, rough and rude as many of our juveniles were. Not 200 yards from the cottage in Grasmere just mentioned, to which I retired, this gentleman, who many years afterwards purchased a small estate in the neighbourhood, is now erecting a boat-house, with an upper story to be resorted to as an entertaining room when he and his associates may feel inclined to take their pastime on the lake. Every passenger will be disgusted with the sight of this edifice, not merely as a tasteless thing in itself, but as utterly out of place, and peculiarly fitted, as far as it is observed (and it obtrudes itself on notice at every point of view), to mar the beauty and destroy the pastoral simplicity of the vale. For my own part, and that of my household, it is our utter detestation, standing by a shore to which, before the high road was made to pass that way, we used daily and hourly to repair for seclusion and for the shelter of a grove, under which I composed many of my poems--_The Brothers_ especially; and for this reason we gave the grove that name.

That which each man loved And prized in his peculiar nook of earth Dies with him, or is changed.

So much for my old schoolfellow and his exploits. I will only add that, as the foundation has twice failed, from the Lake no doubt being intolerant of the intrusion, there is some ground for hoping that the impertinent structure will not stand. It has been rebuilt in somewhat better taste, and much as one wishes it away, it is not now so very unsightly. The structure is an emblem of the man. Perseverance has conquered difficulties, and given something of form and polish to rudeness.[G]

Wordsworth's The Excursion, as presented in this fifth volume of the Poetical Works, reveals a poet attentive to the precise weight of words in both description and dialogue. The churchyard scene, for instance, is built not through grand pronouncements but through careful enumeration: the church is 'large and massy; for duration built,' its 'naked rafters intricately crossed' compared to 'leafless underboughs.' Such diction grounds the sacred in the organic, a recurring strategy in the poem.

The Wanderer's speech, too, is marked by a measured, almost legalistic cadence—'This said, oft pausing, we pursued our way'—that suggests a mind accustomed to reflection. Wordsworth's editorial notes, included in this volume, further illuminate his compositional process, noting that lines describing Margaret's affliction drew on 'observations made in Dorsetshire' and later at Alfoxden.

Architectural Description and Natural Analogy

Wordsworth's description of the village church in Book Sixth relies on a vocabulary of solidity and age: 'large and massy; for duration built.' The interior is rendered through tactile and visual details—'pillars crowded,' 'naked rafters intricately crossed'—that evoke a sense of weight and enclosure. The comparison of rafters to 'leafless underboughs, in some thick wood, / All withered by the depth of shade above' is a striking instance of the poet's habit of reading the built environment through natural forms. This analogy does not merely decorate; it suggests a continuity between human construction and the organic world, a theme that recurs throughout The Excursion. The 'admonitory texts' on the walls, each 'in its ornamental scroll, enclosed,' and the 'rudely-painted Cherubim' further emphasize a space where the sacred is mediated through the handmade and the imperfect.

The Wanderer's Diction and Cadence

The Wanderer's speech is characterized by a deliberate, almost judicial pacing. The line 'This said, oft pausing, we pursued our way' captures a rhythm of reflection and movement that defines his role as guide and commentator. His observations are often introduced with phrases like 'I read,—how in his manhood's earlier day,' which frame the act of reading as a form of moral inquiry. Wordsworth's own note on the character, included in the preface, describes the Wanderer as a figure for whom 'Books were in fact his passion,' a detail that aligns with the poem's emphasis on textual interpretation—whether of epitaphs, landscapes, or human faces. The Wanderer's voice is not merely expository; it carries a weight of experience, as when he deciphers 'the ordinary chronicle of birth, / Office, alliance, and promotion—all / Ending in dust,' a line that compresses a life's trajectory into a single, somber cadence.

The Solitary's Posture and Silence

In contrast to the Wanderer's verbosity, the Solitary is introduced through a striking tableau of stillness. He stands 'apart; with curvèd arm reclined / On the baptismal font; his pallid face / Upturned, as if his mind were rapt, or lost / In some abstraction.' The description emphasizes posture and pose: 'gracefully he stood, / The semblance bearing of a sculptured form / That leans upon a monumental urn.' This visual simile aligns the living man with funerary art, hinting at his despondency without explicit statement. The Sexton's entrance—'humming carelessly a tune'—provides a jarring contrast, a mundane interruption that breaks the Solitary's reverie. Wordsworth's choice to present the Solitary through physical attitude rather than dialogue in this passage is a deliberate narrative strategy, allowing the reader to infer his inner state from external signs.

Epitaphic Voices and Historical Layering

The churchyard's 'marble monuments' and 'sepulchral stones' are not merely decorative; they are texts to be read, each offering a compressed narrative. Wordsworth's speaker reads 'the ordinary chronicle of birth, / Office, alliance, and promotion' and encounters specific histories: a page of Henry VIII, a knight 'tried in the sea-fights of the second Charles,' and a father who found solace in marriage during 'intestine war.' These epitaphs create a layered historical texture, juxtaposing personal and national events. The 'brazen plate, / Not easily deciphered' and the 'faded narrative' of other inscriptions underscore the fragility of memory. Wordsworth's own notes reveal that the poem's composition spanned from 1795 to 1814, a period of political upheaval, and the epitaphic voices in The Excursion can be read as an attempt to anchor individual lives against the backdrop of historical change.

Readers approaching this volume will find that Wordsworth's editorial apparatus—his prefaces and notes—offers a rare window into his compositional choices, from the dating of specific passages to the geographical origins of his observations. The poem rewards attention to its verbal textures: the way a simile can link a rafter to a bough, or a posture can speak louder than speech. These are not incidental details but the very fabric of Wordsworth's poetic method.

Wordsworth’s wanderer in that fifth volume speaks of stone and moss as if they held a human hush. I have long felt that quiet kinship in A Book for Kids — Reading Notes, where small corners of a room become worlds. Both understand that the simplest architecture, noticed slowly, teaches the heart its gentlest lessons.

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