Hours in a Library Volume II Part 10

the great problem of life, that is, as he conceives it, is to secure a continuity between the period at which we are guided by half-conscious instincts, and that in which a man is able to supply the place of these primitive impulses by reasoned convictions. This is the thought which comes over and over again in his deepest poems, and round which all his teaching centred. It supplies the great moral, for example, of the 'Leech-gatherer:'

My whole life I have lived in pleasant thought, As if life's business were a summer mood: As if all needful things would come unsought To genial faith still rich in genial good.

When his faith is tried by harsh experience, the leech-gatherer comes,

Like a man from some far region sent To give me human strength by apt admonishment;

for he shows how the 'genial faith' may be converted into permanent strength by resolution and independence. The verses most commonly quoted, such as--

We poets in our youth begin in gladness, But thereof come in the end despondency and sadness,

give the ordinary view of the sickly school. Wordsworth's aim is to supply an answer worthy not only of a poet, but a man. The same sentiment again is expressed in the grand 'Ode to Duty,' where the

Stern daughter of the voice of G.o.d

is invoked to supply that 'genial sense of youth' which has. .h.i.therto been a sufficient guidance; or in the majestic morality of the 'Happy Warrior;' or in the n.o.ble verses on 'Tintern Abbey;' or, finally, in the great ode which gives most completely the whole theory of that process by which our early intuitions are to be transformed into settled principles of feeling and action.

Wordsworth's philosophical theory, in short, depends upon the a.s.serted ident.i.ty between our childish instincts and our enlightened reason. The doctrine of a state of pre-existence, as it appears in other writers--as, for example, in the Cambridge Platonists[25]--was connected with an obsolete metaphysical system, and the doctrine--exploded in its old form--of innate ideas. Wordsworth does not attribute any such preternatural character to the 'blank misgivings' and 'shadowy recollections' of which he speaks. They are invaluable data of our spiritual experience; but they do not ent.i.tle us to lay down dogmatic propositions independently of experience. They are spontaneous products of a nature in harmony with the universe in which it is placed, and inestimable as a clear indication that such a harmony exists. To interpret and regulate them belongs to the reasoning faculty and the higher imagination of later years. If he does not quite distinguish between the province of reason and emotion--the most difficult of philosophical problems--he keeps clear of the cruder mysticism, because he does not seek to elicit any definite formulae from those admittedly vague forebodings which lie on the border-land between the two sides of our nature. With his invariable sanity of mind, he more than once notices the difficulty of distinguis.h.i.+ng between that which nature teaches us and the interpretations which we impose upon nature.[26] He carefully refrains from pressing the inference too far.

The teaching, indeed, a.s.sumes that view of the universe which is implied in his pantheistic language. The Divinity really reveals Himself in the lonely mountains and the starry heavens. By contemplating them we are able to rise into that 'blessed mood' in which for a time the burden of the mystery is rolled off our souls, and we can 'see into the life of things.' And here we must admit that Wordsworth is not entirely free from the weakness which generally besets thinkers of this tendency. Like Shaftesbury in the previous century, who speaks of the universal harmony as emphatically though not as poetically as Wordsworth, he is tempted to adopt a too facile optimism. He seems at times to have overlooked that dark side of nature which is recognised in theological doctrines of corruption, or in the scientific theories about the fierce struggle for existence. Can we in fact say that these early instincts prove more than the happy const.i.tution of the individual who feels them? Is there not a teaching of nature very apt to suggest horror and despair rather than a complacent brooding over soothing thoughts? Do not the mountains which Wordsworth loved so well, speak of decay and catastrophe in every line of their slopes? Do they not suggest the helplessness and narrow limitations of man, as forcibly as his possible exaltation? The awe which they strike into our souls has its terrible as well as its amiable side; and in moods of depression the darker aspect becomes more conspicuous than the brighter. Nay, if we admit that we have instincts which are the very substance of all that afterwards becomes enn.o.bling, have we not also instincts which suggest a close alliance with the brutes? If the child amidst his newborn blisses suggests a heavenly origin, does he not also show sensual and cruel instincts which imply at least an admixture of baser elements? If man is responsive to all natural influences, how is he to distinguish between the good and the bad, and, in short, to frame a conscience out of the vague instincts which contain the germs of all the possible developments of the future?

To say that Wordsworth has not given a complete answer to such difficulties, is to say that he has not explained the origin of evil. It may be admitted, however, that he does to a certain extent show a narrowness of conception. The voice of nature, as he says, resembles an echo; but we 'unthinking creatures' listen to 'voices of two different natures.' We do not always distinguish between the echo of our lower pa.s.sions and the 'echoes from beyond the grave.' Wordsworth sometimes fails to recognise the ambiguity of the oracle to which he appeals. The 'blessed mood' in which we get rid of the burden of the world, is too easily confused with the mood in which we simply refuse to attend to it.

He finds lonely meditation so inspiring that he is too indifferent to the troubles of less self-sufficing or clear-sighted human beings. The ambiguity makes itself felt in the sphere of morality. The ethical doctrine that virtue consists in conformity to nature becomes ambiguous with him, as with all its advocates, when we ask for a precise definition of nature. How are we to know which natural forces make for us and which fight against us?

The doctrine of the love of nature, generally regarded as Wordsworth's great lesson to mankind, means, as interpreted by himself and others, a love of the wilder and grander objects of natural scenery; a pa.s.sion for the 'sounding cataract,' the rock, the mountain, and the forest; a preference, therefore, of the country to the town, and of the simpler to the more complex forms of social life. But what is the true value of this sentiment? The unfortunate Solitary in the 'Excursion' is beset by three Wordsworths; for the Wanderer and the Pastor are little more (as Wordsworth indeed intimates) than reflections of himself, seen in different mirrors. The Solitary represents the anti-social lessons to be derived from communion with nature. He has become a misanthrope, and has learnt from 'Candide' the lesson that we clearly do not live in the best of all possible worlds. Instead of learning the true lesson from nature by penetrating its deeper meanings, he manages to feed

Pity and scorn and melancholy pride

by accidental and fanciful a.n.a.logies, and sees in rock pyramids or obelisks a rude mockery of human toils. To confute this sentiment, to upset 'Candide,'

This dull product of a scoffer's pen,

is the purpose of the lofty poetry and versified prose of the long dialogues which ensue. That Wordsworth should call Voltaire dull is a curious example of the proverbial blindness of controversialists; but the moral may be equally good. It is given most pithily in the lines--

We live by admiration, hope, and love; And even as these are well and wisely fused, The dignity of being we ascend.

'But what is Error?' continues the preacher; and the Solitary replies by saying, 'somewhat haughtily,' that love, admiration, and hope are 'mad fancy's favourite va.s.sals.' The distinction between fancy and imagination is, in brief, that fancy deals with the superficial resemblances, and imagination with the deeper truths which underlie them. The purpose, then, of the 'Excursion,' and of Wordsworth's poetry in general, is to show how the higher faculty reveals a harmony which we overlook when, with the Solitary, we

Skim along the surfaces of things.

The rightly prepared mind can recognise the divine harmony which underlies all apparent disorder. The universe is to its perceptions like the sh.e.l.l whose murmur in a child's ear seems to express a mysterious union with the sea. But the mind must be rightly prepared. Everything depends upon the point of view. One man, as he says in an elaborate figure, looking upon a series of ridges in spring from their northern side, sees a waste of snow, and from the south a continuous expanse of green. That view, we must take it, is the right one which is illuminated by the 'ray divine.' But we must train our eyes to recognise its splendour; and the final answer to the Solitary is therefore embodied in a series of narratives, showing by example how our spiritual vision may be purified or obscured. Our philosophy must be finally based, not upon abstract speculation and metaphysical arguments, but on the diffused consciousness of the healthy mind. As Butler sees the universe by the light of conscience, Wordsworth sees it through the wider emotions of awe, reverence, and love, produced in a sound nature.

The pantheistic conception, in short, leads to an unsatisfactory optimism in the general view of nature, and to an equal tolerance of all pa.s.sions as equally 'natural.' To escape from this difficulty we must establish some more discriminative mode of interpreting nature. Man is the instrument played upon by all impulses, good or bad. The music which results may be harmonious or discordant. When the instrument is in tune, the music will be perfect; but when is it in tune, and how are we to know that it is in tune? That problem once solved, we can tell which are the authentic utterances and which are the accidental discords. And by solving it, or by saying what is the right const.i.tution of human beings, we shall discover which is the true philosophy of the universe, and what are the dictates of a sound moral sense. Wordsworth implicitly answers the question by explaining, in his favourite phrase, how we are to build up our moral being.

The voice of nature speaks at first in vague emotions, scarcely distinguishable from mere animal buoyancy. The boy, hooting in mimicry of the owls, receives in his heart the voice of mountain torrents and the solemn imagery of rocks, and woods, and stars. The sportive girl is unconsciously moulded into stateliness and grace by the floating clouds, the bending willow, and even by silent sympathy with the motions of the storm. n.o.body has ever shown, with such exquisite power as Wordsworth, how much of the charm of natural objects in later life is due to early a.s.sociations, thus formed in a mind not yet capable of contemplating its own processes. As old Matthew says in the lines which, however familiar, can never be read without emotion--

My eyes are dim with childish tears, My heart is idly stirred; For the same sound is in my ears Which in those days I heard.

And the strangely beautiful address to the cuckoo might be made into a text for a prolonged commentary by an aesthetic philosopher upon the power of early a.s.sociation. It curiously ill.u.s.trates, for example, the reason of Wordsworth's delight in recalling sounds. The croak of the distant raven, the bleat of the mountain lamb, the splash of the leaping fish in the lonely tarn, are specially delightful to him, because the hearing is the most spiritual of our senses; and these sounds, like the cuckoo's cry, seem to convert the earth into an 'unsubstantial fairy place.' The phrase 'a.s.sociation' indeed implies a certain arbitrariness in the images suggested, which is not quite in accordance with Wordsworth's feeling. Though the echo depends partly upon the hearer, the mountain voices are specially adapted for certain moods. They have, we may say, a spontaneous affinity for the n.o.bler affections. If some early pa.s.sage in our childhood is a.s.sociated with a particular spot, a house or a street will bring back the petty and accidental details: a mountain or a lake will revive the deeper and more permanent elements of feeling. If you have made love in a palace, according to Mr. Disraeli's prescription, the sight of it will recall the splendour of the object's dress or jewellery; if, as Wordsworth would prefer, with a background of mountains, it will appear in later days as if they had absorbed, and were always ready again to radiate forth, the tender and hallowing influences which then for the first time entered your life. The elementary and deepest pa.s.sions are most easily a.s.sociated with the sublime and beautiful in nature.

The primal duties s.h.i.+ne aloft like stars; The charities that soothe, and heal, and bless, Are scattered at the feet of man like flowers.

And, therefore, if you have been happy enough to take delight in these natural and universal objects in the early days, when the most permanent a.s.sociations are formed, the sight of them in later days will bring back by pre-ordained and divine symbolism whatever was most enn.o.bling in your early feelings. The vulgarising a.s.sociations will drop off of themselves, and what was pure and lofty will remain.

From this natural law follows another of Wordsworth's favourite precepts. The mountains are not with him a symbol of anti-social feelings. On the contrary, they are in their proper place as the background of the simple domestic affections. He loves his native hills, not in the Byronic fas.h.i.+on, as a savage wilderness, but as the appropriate framework in which a healthy social order can permanently maintain itself. That, for example, is, as he tells us, the thought which inspired the 'Brothers,' a poem which excels all modern idylls in weight of meaning and depth of feeling, by virtue of the idea thus embodied. The retired valley of Ennerdale, with its grand background of hills, precipitous enough to be fairly called mountains, forces the two lads into closer affection. Shut in by these 'enormous barriers,' and undistracted by the ebb and flow of the outside world, the mutual love becomes concentrated. A tie like that of family blood is involuntarily imposed upon the little community of dalesmen. The image of sheep-tracks and shepherds clad in country grey is stamped upon the elder brother's mind, and comes back to him in tropical calms; he hears the tones of his waterfalls in the piping shrouds; and when he returns, recognises every fresh scar made by winter storms on the mountain sides, and knows by sight every unmarked grave in the little churchyard. The fraternal affection sanctifies the scenery, and the sight of the scenery brings back the affection with overpowering force upon his return. This is everywhere the sentiment inspired in Wordsworth by his beloved hills. It is not so much the love of nature pure and simple, as of nature seen through the deepest human feelings. The light glimmering in a lonely cottage, the one rude house in the deep valley, with its 'small lot of life-supporting fields and guardian rocks,' are necessary to point the moral and to draw to a definite focus the various forces of sentiment.

The two veins of feeling are inseparably blended. The peasant n.o.ble, in the 'Song at the Feast of Brougham Castle,' learns equally from men and nature:--

Love had he found in huts where poor men lie; His daily teachers had been woods and hills, The silence that is in the starry skies, The sleep that is among the lonely hills.

Without the love, the silence and the sleep would have had no spiritual meaning. They are valuable as giving intensity and solemnity to the positive emotion.

The same remark is to be made upon Wordsworth's favourite teaching of the advantages of the contemplative life. He is fond of enforcing the doctrine of the familiar lines, that we can feed our minds 'in a wise pa.s.siveness,' and that

One impulse from the vernal wood Can teach you more of man, Of moral evil and of good, Than all the sages can.

And, according to some commentators, this would seem to express the doctrine that the ultimate end of life is the cultivation of tender emotions without reference to action. The doctrine, thus absolutely stated, would be immoral and illogical. To recommend contemplation in preference to action is like preferring sleeping to waking; or saying, as a full expression of the truth, that silence is golden and speech silvern. Like that familiar phrase, Wordsworth's teaching is not to be interpreted literally. The essence of such maxims is to be one-sided.

They are paradoxical in order to be emphatic. To have seasons of contemplation, of withdrawal from the world and from books, of calm surrendering of ourselves to the influences of nature, is a practice commended in one form or other by all moral teachers. It is a sanitary rule, resting upon obvious principles. The mind which is always occupied in a multiplicity of small observations, or the regulation of practical details, loses the power of seeing general principles and of a.s.sociating all objects with the central emotions of 'admiration, hope, and love.'

The philosophic mind is that which habitually sees the general in the particular, and finds food for the deepest thought in the simplest objects. It requires, therefore, periods of repose, in which the fragmentary and complex atoms of distracted feeling which make up the incessant whirl of daily life may have time to crystallise round the central thoughts. But it must feed in order to a.s.similate; and each process implies the other as its correlative. A constant interest, therefore, in the joys and sorrows of our neighbours is as essential as quiet, self-centred rumination. It is when the eye 'has kept watch o'er man's mortality,' and by virtue of the tender sympathies of 'the human heart by which we live,' that to us

The meanest flower which blows can give Thoughts that do often lie too deep for tears.

The solitude which implies severance from natural sympathies and affections is poisonous. The happiness of the heart which lives alone,

Housed in a dream, an outcast from the kind,

Is to be pitied, for 'tis surely blind.

Wordsworth's meditations upon flowers or animal life are impressive because they have been touched by this constant sympathy. The sermon is always in his mind, and therefore every stone may serve for a text. His contemplation enables him to see the pathetic side of the small pains and pleasures which we are generally in too great a hurry to notice.

There are times, of course, when this moralising tendency leads him to the regions of the namby-pamby or sheer prosaic plat.i.tude. On the other hand, no one approaches him in the power of touching some rich chord of feeling by help of the pettiest incident. The old man going to the fox-hunt with a tear on his cheek, and saying to himself,

The key I must take, for my Helen is dead;

or the mother carrying home her dead sailor's bird; the village schoolmaster, in whom a rift in the clouds revives the memory of his little daughter; the old huntsman unable to cut through the stump of rotten wood--touch our hearts at once and for ever. The secret is given in the rather prosaic apology for not relating a tale about poor Simon Lee:

O reader! had you in your mind Such stores as silent thought can bring, O gentle reader! you would find A tale in everything.

The value of silent thought is so to cultivate the primitive emotions that they may flow spontaneously upon every common incident, and that every familiar object becomes symbolic of them. It is a familiar remark that a philosopher or man of science who has devoted himself to meditation upon some principle or law of nature, is always finding new ill.u.s.trations in the most unexpected quarters. He cannot take up a novel or walk across the street without hitting upon appropriate instances.

Wordsworth would apply the principle to the building up of our 'moral being.' Admiration, hope, and love should be so constantly in our thoughts, that innumerable sights and sounds which are meaningless to the world should become to us a language incessantly suggestive of the deepest topics of thought.

This explains his dislike to science, as he understood the word, and his denunciations of the 'world.' The man of science is one who cuts up nature into fragments, and not only neglects their possible significance for our higher feelings, but refrains on principle from taking it into account. The primrose suggests to him some new device in cla.s.sification, and he would be worried by the suggestion of any spiritual significance as an annoying distraction. Viewing all objects 'in disconnection, dead and spiritless,' we are thus really waging

An impious warfare with the very life Of our own souls.

We are putting the letter in place of the spirit, and dealing with nature as a mere grammarian deals with a poem. When we have learnt to a.s.sociate every object with some lesson

Of human suffering or of human joy;