The Poetical Works of William Wordsworth - (Edited by William Knight)
Pages:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28
"Beloved Vale!" I said, "when I shall con,"
we find, in the latest text, the lines--first adopted in 1827:
I stood, of simple shame the blushing Thrall;
So narrow seemed the brooks, the fields so small,
while the early edition of 1807 contains the far happier lines:
To see the Trees, which I had thought so tall,
Mere dwarfs; the Brooks so narrow, Fields so small.
On the other hand, if the earliest text be invariably retained, some of
the best poems will be spoiled (or the improvements lost), since
Wordsworth did usually alter for the better. For example, few persons
will doubt that the form in which the second stanza of the poem 'To the
Cuckoo' (written in 1802) appeared in 1845, is an improvement on all its
predecessors. I give the readings of 1807, 1815, 1820, 1827, and 1845.
While I am lying on the grass,
I hear thy restless shout:
From hill to hill it seems to pass,
About, and all about! 1807.
While I am lying on the grass,
Thy loud note smites my ear!--
From hill to hill it seems to pass,
At once far off and near! 1815.
While I am lying on the grass,
Thy loud note smites my ear!
It seems to fill the whole air's space,
At once far off and near. 1820.
While I am lying on the grass
Thy twofold shout I hear,
That seems to fill the whole air's space,
As loud far off as near. 1827.
While I am lying on the grass
Thy twofold shout I hear,
From hill to hill it seems to pass,
At once far off, and near. 1845.
Similarly, in each of the three poems 'To the Daisy', composed in 1802,
and in the 'Afterthought, to the Duddon', the alterations introduced
into the latest editions were all improvements upon the early version.
It might be urged that these considerations would warrant the
interference of an editor, and justify him in selecting the text which
he thought the best upon the whole; but this must be left to posterity.
When editors can escape the bias of contemporary thought and feeling,
when their judgments are refined by distance and mellowed by the new
literary standards of the intervening years,--when in fact Wordsworth is
as far away from his critics as Shakespeare now is--it may be possible
to adjust a final text. But the task is beyond the power of the present
generation.
It may farther be urged that if this reasoning be valid,--and if, for
the present, one text must be retained uniformly throughout,--the
natural plan is to take the earliest, and not the latest; and this has
some recommendations. It seems more simple, more natural, and certainly
the easiest. We have a natural sequence, if we begin with the earliest
and go on to the latest readings. Then, all the readers of Wordsworth,
who care to possess or to consult the present edition, will doubtless
possess one or other of the complete copies of his works, which contain
his final text; while probably not one in twenty have ever seen the
first edition of any of his poems, with the exception of 'The Prelude'.
It is true that if the reader turns to a footnote to compare the
versions of different years, while he is reading for the sake of the
poetry, he will be so distracted that the effect of the poem as a whole
will be entirely lost; because the critical spirit, which judges of the
text, works apart from the spirit of sympathetic appreciation, in which
all poetry should be read. But it is not necessary to turn to the
footnotes, and to mark what may be called the literary growth of a poem,
while it is being read for its own sake: and these notes are printed in
smaller type, so as not to obtrude themselves on the eye of the reader.
Against the adoption of the earlier text, there is this fatal objection,
that if it is to be done at all, it must be done throughout; and, in the
earliest poems Wordsworth wrote--viz. 'An Evening Walk' and 'Descriptive
Sketches',--the subsequent alterations almost amounted to a cancelling
of the earlier version. His changes were all, or almost all,
unmistakably for the better. Indeed, there was little in these works--in
the form in which they first appeared--to lead to the belief that an
original poet had arisen in England. It is true that Coleridge saw in
them the signs of the dawn of a new era, and wrote thus of 'Descriptive
Sketches', before he knew its author, "Seldom, if ever, was the
emergence of a great and original poetic genius above the literary
horizon more evidently announced." Nevertheless the earliest text of
these 'Sketches' is, in many places, so artificial, prosaic, and dull,
that its reproduction (except as an appendix, or in the form of
footnotes) would be an injustice to Wordsworth. [10] On the other hand,
the passages subsequently cancelled are so numerous, and so long, that
if placed in footnotes the latter would in some instances be more
extensive than the text. The quarto of 1793 will therefore be reprinted
in full as an Appendix to the first volume of this edition. The 'School
Exercise written at Hawkshead' in the poet's fourteenth year, will be
found in vol. viii. Passing over these juvenile efforts, there are
poems--such as 'Guilt and Sorrow', 'Peter Bell', and many others--in
which the earlier text is an inferior one, which was either corrected or
abandoned by Wordsworth in his maturer years. It would be a conspicuous
blunder to print--in the place of honour,--the crude original which was
afterwards repudiated by its author.
It may be remembered, in connection with Wordsworth's text, that he
himself said, "I am for the most part uncertain about my success in
altering poems; but, in this case" (he is speaking of an insertion) "I
am sure I have produced a great improvement." ('Memoirs of Wordsworth',
vol. i. p. 174.) [11] Again, in writing to Mr. Dyce in 1830, "You know
what importance I attach to following strictly the last copy of the text
of an author."
It is also worthy of note that the study of their chronology casts some
light on the changes which the poems underwent. The second edition of
"Lyrical Ballads" appeared in 1800. In that edition the text of 1798 is
scarcely altered: but, in the year in which it was published, Wordsworth
was engrossed with his settlement at Grasmere; and, in the springtime of
creative work, he probably never thought of revising his earlier pieces.
In the year 1800, he composed at least twenty-five new poems. The third
edition of "Lyrical Ballads" appeared in 1802; and during that year he
wrote forty-three new poems, many of them amongst the most perfect of
his Lyrics. His critical instinct had become much more delicate since
1800: and it is not surprising to find--as we do find--that between the
text of the "Lyrical Ballads" of 1800, and that of 1802, there are many
important variations. This is seen, for example, in the way in which he
dealt with 'The Female Vagrant', which is altered throughout. Its early
redundance is pruned away; and, in many instances, the final text,
sanctioned in 1845, had been adopted in 1803. Without going into further
detail, it is sufficient to remark that in the year 1803 Wordsworth's
critical faculty, the faculty of censorship, had developed almost step
for step with the creative originality of his genius. In that prolific
year, when week by week, almost day by day, fresh poems were thrown off
with marvellous facility--as we see from his sister's Journal--he had
become a severe, if not a fastidious, critic of his own earlier work. A
further explanation of the absence of critical revision, in the edition
of 1800, may be found in the fact that during that year Wordsworth was
engaged in writing the "Preface" to his Poems; which dealt, in so
remarkable a manner, with the nature of Poetry in general, and with his
own theory of it in particular.
A further reference to the 'Evening Walk' will illustrate Wordsworth's
way of dealing with his earlier text in his later editions. This Poem
showed from the first a minute observation of Nature--not only in her
external form and colour, but also in her suggestiveness--though not in
her symbolism; and we also find the same transition from Nature to Man,
the same interest in rural life, and the same lingering over its
incidents that we see in his maturer poems. Nevertheless, there is much
that is conventional in the first edition of 'An Evening Walk',
published in 1793. I need only mention, as a sample, the use of the
phrase "silent tides" to describe the waters of a lake. When this poem
was revised, in the year 1815--with a view to its insertion in the first
edition of the collected works--Wordsworth merely omitted large portions
of it, and some of its best passages were struck out. He scarcely
amended the text at all. In 1820, however, he pruned and improved it
throughout; so that between this poem, as recast in 1820 (and reproduced
almost 'verbatim' in the next two editions of 1827 and 1832), and his
happiest descriptions of Nature in his most inspired moods, there is no
great difference. But, in 1836, he altered it still further in detail;
and in that state practically left it, apparently not caring to revise
it further. In the edition of 1845, however, there are several changes.
So far as I can judge, there is one alteration for the worse, and one
only. The reading, in the edition of 1793,
In these lone vales, if aught of faith may claim,
Thin silver hairs, and ancient hamlet fame;
When up the hills, as now, retreats the light,
Strange apparitions mock the village sight,
is better than that finally adopted,
In these secluded vales, if village fame,
Confirmed by hoary hairs, belief may claim;
When up the hills, as now, retired the light,
Strange apparitions mocked the shepherd's sight.
It will be seen, however, from the changes made in the text of this
poem, how Wordsworth's observation of Nature developed, how thoroughly
dissatisfied he soon became with everything conventional, and discarded
every image not drawn directly or at first hand from Nature.
The text adopted in the present edition is, for the reasons stated, that
which was finally sanctioned by Wordsworth himself, in the last edition
of his Poems (1849-50). The earlier readings, occurring in previous
editions, are given in footnotes; and it may be desirable to explain the
way in which these are arranged. It will be seen that whenever the text
has been changed a date is given in the footnote, 'before' the other
readings are added. This date, which accompanies the reference number of
the footnote, indicates the year in which the reading finally retained
was first adopted by Wordsworth. The earlier readings then follow, in
chronological order, with the year to which they belong; [12] and it is
in every case to be assumed that the last of the changes indicated was
continued in all subsequent editions of the works. No direct information
is given as to how long a particular reading was retained, or through
how many editions it ran. It is to be assumed, however, that it was
retained in all intermediate editions till the next change of text is
stated. It would encumber the notes with too many figures if, in every
instance in which a change was made, the corresponding state of the text
in all the other editions was indicated. But if no new reading follows
the text quoted, it is to be taken for granted that the reading in
question was continued in every subsequent edition, until the date which
accompanies the reference figure.
Two illustrations will make this clear. The first is a case in which the
text was only altered once, the second an instance in which it was
altered six times. In the 'Evening Walk' the following lines occur--
The dog, loud barking, 'mid the glittering rocks,
Hunts, where his master points, the intercepted flocks.
And the footnote is as follows:
1836.
That, barking busy 'mid the glittering rocks,
Hunts, where he points, the intercepted flocks; 1793.
In the light of what has been said above, and by reference to the
Bibliography, it will be seen from these two dates that the original
text of 1793--given in the footnote--was continued in the editions of
1820, 1827, and 1832 (it was omitted from the "extract" of 1815); that
it was changed in the year 1836; and that this reading was retained in
the editions of 1843, 1845, and 1849.
Again, in 'Simon Lee', the lines occur:
But what to them avails the land
Which he can till no longer?
And the following are the footnotes:
1845.
But what avails the land to them,
Which they can till no longer? 1798.
"But what," saith he, "avails the land,
Which I can till no longer? 1827.
But what avails it now, the land
Which he can till no longer? 1832.
'Tis his, but what avails the land
Which he can till no longer? 1837.
The time, alas! is come when he
Can till the land no longer. 1840.
The time is also come when he
Can till the land no longer. C.
From this it will be seen that the text adopted in the first edition of
"Lyrical Ballads" in 1798 was retained in the editions of 1800, 1802,
1805, 1815, and 1820; that it was altered in each of the editions of
1827, 1832, 1837, 1840, as also in the MS. readings in Lord Coleridge's
copy of the works, and in the edition of 1845; and that the version of
1845 was retained in the edition of 1849-50. It should be added that
when a verse, or stanza, or line--occurring in one or other of the
earlier editions--was omitted from that of 1849, the footnote simply
contains the extract along with the date of the year or years in which
it occurs; and that, in such cases, the date does not follow the
reference number of the footnote, but is placed for obvious reasons at
the end of the extract.
The same thing is true of 'Descriptive Sketches'. In the year 1827,
there were scarcely any alterations made on the text of the poem, as
printed in 1820; still fewer were added in 1832; but for the edition of
1836 the whole was virtually rewritten, and in that state it was finally
left, although a few significant changes were made in 1845.
Slight changes of spelling which occur in the successive editions, are
not mentioned. When, however, the change is one of transposition,
although the text remains unaltered,--as is largely the case in 'Simon
Lee', for example--it is always indicated.
It will be further observed that, at the beginning of every poem, two
dates are given; the first, on the left-hand side, is the date of
composition; the second, on the right-hand side, is the date of the
first publication. In what class the poem first appeared, and the
changes (if any) which subsequently occurred in its title, are mentioned
in the note appended.
THIRD. In the present edition several suggested changes of text, which
were written by Wordsworth on the margin of a copy of his edition of
1836-7, which he kept beside him at Rydal Mount, are published. These
MS. notes seem to have been written by himself, or dictated to others,
at intervals between the years 1836 and 1850, and they are thus a record
of passing thoughts, or "moods of his own mind," during these years.
Some of these were afterwards introduced into the editions of 1842,
1846, and 1849; others were not made use of. The latter have now a value
of their own, as indicating certain new phases of thought and feeling,
in Wordsworth's later years. I owe my knowledge of them, and the
permission to use them, to the kindness of the late Chief Justice of
England, Lord Coleridge. The following is an extract from a letter from
him:
"FOX GHYLL, AMBLESIDE, '4th October 1881'.
"I have been long intending to write you as to the manuscript notes
and alterations in Wordsworth's poems, which you have had the
opportunity of seeing, and, so far as you thought fit, of using for
your edition. They came into my possession in this way. I saw them
advertised in a catalogue which was sent me, and at my request the
book was very courteously forwarded to me for my inspection. It
appeared to me of sufficient interest and value to induce me to buy
it; and I accordingly became the purchaser.
"It is a copy of the edition in six volumes, the publication of which
began in the year 1836; and of the volume containing the collected
sonnets, which was afterwards printed uniformly with that edition. It
appears to have been the copy which Wordsworth himself used for
correcting, altering, and adding to the poems contained in it. As you
have seen, in some of the poems the Alterations are very large,
amounting sometimes to a complete rewriting of considerable passages.
Many of these alterations have been printed in subsequent editions;
some have not; two or three small poems, as far as I know, have not
been hitherto published. Much of the writing is Wordsworth's own; but
perhaps the larger portion is the hand-writing of others, one or more,
not familiar to me as Wordsworth's is.
"How the volumes came to be sold I do not know.... Such as they are,
and whatever be their interest or value, you are, as far as I am
concerned, heartily welcome to them; and I shall be glad indeed if
they add in the least degree to make your edition more worthy of the
great man for whom my admiration grows every day I live, and my deep
gratitude to whom will cease only with my life, and my reason."
This precious copy of the edition of 1836-7 is now the property of Lady
Coleridge. I re-examined it in 1894, and added several readings, which I
had omitted to note twelve years ago, when Lord Coleridge first showed
it to me. I should add that, since the issue of the volumes of 1882-6,
many other MS. copies of individual Poems have come under my notice; and
that every important variation of text in them is incorporated in this
edition.
As it is impossible to discover the precise year in which the suggested
alterations of text were written by Wordsworth, on the margin of the
edition of 1836, they will be indicated, wherever they occur, by the
initial letter C. Comparatively few changes occur in the poems of early
years.
A copy of the 1814 (quarto) edition of 'The Excursion', now in the
possession of a grandson of the poet, the Rev. John Wordsworth, Gosforth
Rectory, Cumberland--which was the copy Wordsworth kept at Rydal Mount
for annotation and correction, much in the same way as he kept the
edition of 1836-7--has also been kindly sent to me by its present owner,
for examination and use in this edition; and, in it, I have found some
additional readings.
FOURTH. In the present edition all the Notes and Memoranda, explanatory
of the Poems, which Wordsworth dictated to Miss Fenwick, are given in
full. Miss Fenwick lived much at Rydal Mount, during the later years of
the Poet's life; and it is to their friendship, and to her inducing
Wordsworth to dictate these Notes, that we owe most of the information
we possess, as to the occasions and circumstances under which his poems
were composed. These notes were first made use of--although only in a
fragmentary manner--by the late Bishop of Lincoln, in the 'Memoirs' of
his uncle. They were afterwards incorporated in full in the edition of
1857, issued by Mr. Moxon, under the direction of Mr. Carter; and in the
centenary edition. They were subsequently printed in 'The Prose Works of
Wordsworth', edited by Dr. Grosart; and in my edition of 1882-6. I am
uncertain whether it was the original MS., written by Miss Fenwick, or
the copy of it afterwards taken for Miss Quillinan, to which Dr. Grosart
had access. The text of these Notes, as printed in the edition of 1857,
is certainly (in very many cases) widely different from what is given in
'The Prose Works' of 1876. I have made many corrections--from the MS.
which I have examined with care--of errors which exist in all previously
printed copies of these Notes, including my own.
What appears in this volume is printed from a MS., which Miss Quillinan
gave me to examine and copy, and which she assured me was the original
one. The proper place for these Fenwick Notes is doubtless that which
was assigned to them by the editor of 1857, viz. before the poems which
they respectively illustrate.
FIFTH. Topographical Notes, explanatory of the allusions made by
Wordsworth to the localities in the English Lake District, and
elsewhere, are added throughout the volumes. This has already been
attempted to some extent by several writers, but a good deal more
remains to be done; and I may repeat what I wrote on this subject, in
1878.
Many of Wordsworth's allusions to Place are obscure, and the exact
localities difficult to identify. It is doubtful if he cared whether
they could be afterwards traced out or not; and in reference to one
particular rock, referred to in the "Poems on the Naming of Places,"
when asked by a friend to localise it, he declined; replying to the
question, "Yes, that--or any other that will suit!" There is no doubt
that, in many instances, his allusions to place are intentionally vague;
and, in some of his most realistic passages, he avowedly weaves together
a description of localities remote from each other.
It is true that "Poems of Places" are not meant to be photographs; and
were they simply to reproduce the features of a particular district, and
be an exact transcript of reality, they would be literary photographs,
and not poems. Poetry cannot, in the nature of things, be a mere
register of phenomena appealing to the eye or the ear. No imaginative
writer, however, in the whole range of English Literature, is so
peculiarly identified with locality as Wordsworth is; and there is not
one on the roll of poets, the appreciation of whose writings is more
aided by an intimate knowledge of the district in which he lived. The
wish to be able to identify his allusions to those places, which he so
specially interpreted, is natural to every one who has ever felt the
spell of his genius; and it is indispensable to all who would know the
special charm of a region, which he described as "a national property,"
and of which he, beyond all other men, may be said to have effected the
literary "conveyance" to posterity.
But it has been asked--and will doubtless be asked again--what is the
use of a minute identification of all these places? Is not the general
fact that Wordsworth described this district of mountain, vale, and
mere, sufficient, without any further attempt at localisation? The
question is more important, and has wider bearings, than appears upon
the surface.
It must be admitted, on the one hand, that the discovery of the precise
point in every local allusion is not necessary to an understanding or
appreciation of the Poems. But, it must be remembered, on the other
hand, that Wordsworth was never contented with simply copying what he
saw in Nature. Of the 'Evening Walk'--written in his eighteenth year--he
says that the plan of the poem
"has not been confined to a particular walk or an individual place; a
proof (of which I was unconscious at the time) of my unwillingness to
submit the poetic spirit to the chains of fact and real circumstance.
The country is idealised rather than described in any one of its local
aspects."[13]
Again, he says of the 'Lines written while Sailing in a Boat at Evening':
"It was during a solitary walk on the banks of the Cam that I was
first struck with this appearance, and applied it to my own feelings
in the manner here expressed, changing the scene to the Thames, near
Windsor"; [14]
and of 'Guilt and Sorrow', he said,
"To obviate some distraction in the minds of those who are well
acquainted with Salisbury Plain, it may be proper to say, that of the
features described as belonging to it, one or two are taken from other
desolate parts of England." [15]
In 'The Excursion' he passes from Langdale to Grasmere, over to
Patterdale, back to Grasmere, and again to Hawes Water, without warning;
and even in the case of the "Duddon Sonnets" he introduces a description
taken direct from Rydal. Mr. Aubrey de Vere tells of a conversation he
had with Wordsworth, in which he vehemently condemned the
ultra-realistic poet, who goes to Nature with
"pencil and note-book, and jots down whatever strikes him most,"
adding, "Nature does not permit an inventory to be made of her charms!
He should have left his pencil and note-book at home; fixed his eye as
he walked with a reverent attention on all that surrounded him, and
taken all into a heart that could understand and enjoy. Afterwards he
would have discovered that while much of what he had admired was
preserved to him, much was also most wisely obliterated. _That which
remained, the picture surviving in his mind, would have presented the
ideal and essential truth of the scene, and done so in large part by
discarding much which, though in itself striking, was not
characteristic._ In every scene, many of the most brilliant details
are but accidental."