The Poetical Works of William Wordsworth — Volume 1 (of 8) · Chapter 13The Thorn
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In the editions of 1800-1805, Wordsworth added the following note to this poem:
"This Poem ought to have been preceded by an introductory Poem, which I have been prevented from writing by never having felt myself in a mood when it was probable that I should write it well.—The character which I have here introduced speaking is sufficiently common. The Reader will perhaps have a general notion of it, if he has ever known a man, a Captain of a small trading vessel for example, who being past the middle age of life, had retired upon an annuity or small independent income to some village or country town of which he was not a native, or in which he had not been accustomed to live. Such men having little to do become credulous and talkative from indolence; and from the same cause, and other predisposing causes by which it is probable that such men may have been affected, they are prone to superstition. On which account it appeared to me proper to select a character like this to exhibit some of the general laws by which superstition acts upon the mind. Superstitious men are almost always men of slow faculties and deep feelings; their minds are not loose but adhesive; they have a reasonable share of imagination, by which word I mean the faculty which produces impressive effects out of simple elements; but they are utterly destitute of fancy, the power by which pleasure and surprise are excited by sudden varieties of situation and by accumulated imagery. "It was my wish in this poem to shew the manner in which such men cleave to the same ideas; and to follow the turns of passion, always different, yet not palpably different, by which their conversation is swayed. I had two objects to attain; first, to represent a picture which should not be unimpressive yet consistent with the character that should describe it, secondly, while I adhered to the style in which such persons describe, to take care that words, which in their minds are impregnated with passion, should likewise convey passion to Readers who are not accustomed to sympathize with men feeling in that manner or using such language. It seemed to me that this might be done by calling in the assistance of Lyrical and rapid Metre. It was necessary that the Poem, to be natural, should in reality move slowly; yet I hoped, that, by the aid of the metre, to those who should at all enter into the spirit of the Poem, it would appear to move quickly. The Reader will have the kindness to excuse this note as I am sensible that an introductory Poem is necessary to give this Poem its full effect. "Upon this occasion I will request permission to add a few words closely connected with The Thorn and many other Poems in these Volumes. There is a numerous class of readers who imagine that the same words cannot be repeated without tautology; this is a great error: virtual tautology is much oftener produced by using different words when the meaning is exactly the same. Words, a Poet's words more particularly, ought to be weighed in the balance of feeling and not measured by the space which they occupy upon paper. For the Reader cannot be too often reminded that Poetry is passion: it is the history or science of feelings: now every man must know that an attempt is rarely made to communicate impassioned feelings without something of an accompanying consciousness of the inadequateness of our own powers, or the deficiencies of language. During such efforts there will be a craving in the mind, and as long as it is unsatisfied the Speaker will cling to the same words, or words of the same character. There are also various other reasons why repetition and apparent tautology are frequently beauties of the highest kind. Among the chief of these reasons is the interest which the mind attaches to words, not only as symbols of the passion, but as things, active and efficient, which are of themselves part of the passion. And further, from a spirit of fondness, exultation, and gratitude, the mind luxuriates in the repetition of words which appear successfully to communicate its feelings. The truth of these remarks might be shown by innumerable passages from the Bible and from the impassioned poetry of every nation.
Awake, awake, Deborah! awake, awake, utter a song: Arise Barak, and lead captivity captive, thou Son of Abinoam. At her feet he bowed, he fell, he lay down: at her feet he bowed, he fell: where he bowed there he fell down dead. Why is his Chariot so long in coming? why tarry the Wheels of his Chariot? (Judges, chap. v. verses 12th, 27th, and part of 28th.)
See also the whole of that tumultuous and wonderful Poem. "The poem of 'The Thorn', as the reader will soon discover, is not supposed to be spoken in the author's own person: the character of the loquacious narrator will sufficiently shew itself in the course of the story."
W. W. Advertisement to "Lyrical Ballads," 1798.
Alfoxden, 1798. Arose out of my observing, on the ridge of Quantock Hill, on a stormy day, a thorn, which I had often past in calm and bright weather, without noticing it. I said to myself, "Cannot I by some invention do as much to make this Thorn permanently as an impressive object as the storm has made it to my eyes at this moment?" I began the poem accordingly, and composed it with great rapidity. Sir George Beaumont painted a picture from it, which Wilkie thought his best. He gave it me: though when he saw it several times at Rydal Mount afterwards, he said, 'I could make a better, and would like to paint the same subject over again.' The sky in this picture is nobly done, but it reminds one too much of Wilson. The only fault, however, of any consequence is the female figure, which is too old and decrepit for one likely to frequent an eminence on such a call.—I. F.
The Thorn
was always placed among the "Poems of the Imagination."—Ed.
Compare The Heart of Midlothian (vol. iii. chap. v. edition of 1818):
"Are ye sure ye ken the way ye are taking us?" said Jeanie, who began to imagine that she was getting deeper into the woods, and more remote from the highroad. "Do I ken the road? Wasna I mony a day living here, and what for shouldna I ken the road? I might hae forgotten, too, for it was afore my accident; but there are some things ane can never forget, let them try it as muckle as they like." By this time they had gained the deepest part of a patch of woodland. The trees were a little separated from each other, and at the foot of one of them, a beautiful poplar, was a hillock of moss, such as the poet of Grasmere has described in the motto to our chapter. So soon as she arrived at this spot, Madge Wildfire, joining her hands above her head, with a loud scream that resembled laughter, flung herself all at once upon the spot, and remained there lying motionless. Jeanie's first idea was to take the opportunity of flight; but her desire to escape yielded for a moment to apprehension for the poor insane being, who, she thought, might perish for want of relief. With an effort, which, in her circumstances, might be termed heroic, she stooped down, spoke in a soothing tone, and tried to raise up the forlorn creature. She effected this with difficulty, and as she placed her against the tree in a sitting posture, she observed with surprise, that her complexion, usually florid, was now deadly pale, and that her face was bathed in tears. Notwithstanding her own extreme danger, Jeanie was affected by the situation of her companion; and the rather that, through the whole train of her wavering and inconsistent state of mind and line of conduct, she discerned a general colour of kindness towards herself, for which she felt gratitude. "Let me alane!—let me alane!" said the poor young woman, as her paroxysm of sorrow began to abate. "Let me alane; it does me good to weep. I canna shed tears but maybe anes or twice a-year, and I aye come to wet this turf with them, that the flowers may grow fair, and the grass may be green." "But what is the matter with you?" said Jeanie. "Why do you weep so bitterly?" "There's matter enow," replied the lunatic; "mair than ae puir mind can bear, I trow. Stay a bit, and I'll tell you a' about it; for I like ye, Jeanie Deans; a'body spoke weel about ye when we lived in the Pleasaunts. And I mind aye the drink o' milk ye gae me yon day, when I had been on Arthur's Seat for four-and-twenty hours, looking for the ship that somebody was sailing in."
Ed.
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In the editions 1798 to 1815.
Nay rack your brain—'tis all in vain, I'll tell you every thing I know; But to the thorn, and to the pond Which is a little step beyond, I wish that you would go: Perhaps when you are at the place You something of her tale may trace. XI I'll give you the best help I can: Before you up the mountain go, Up to the dreary mountain-top, I'll tell you all I know.
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The edition of 1815 returns to the text of 1798.
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Footnote A:
"March 19, 1798. William and Basil and I walked to the hill tops. A very cold bleak day. William wrote some lines describing a stunted Thorn"
(Dorothy Wordsworth's Alfoxden Journal).—Ed.
"April 20. Walked in the evening up the hill dividing the coombes. Came home the Crookham way, by the Thorn, and the little muddy pond"
(Dorothy Wordsworth's Alfoxden Journal).—Ed.
Sub-Footnote i:
Compare in Bürger's
Pfarrer's Tochter
, "drei Spannen lang," and see
—Ed.