Kaitlin Henderson

Lines Composed a Few Miles above Tintern Abbey, On Revisiting the Banks of the Wye during a
Tour. July 13, 1798 by William Wordsworth. I have used yellow and turquoise highlights. Whenever
your see turquoise, you need to attempt an answer. To answer, insert your cursor right after the turquoise
highlighted question. Please type your answer in bold italics (this is to help me find your answers!),

1. Google pictures of Tintern Abbey, select the one you find the most interesting, copy it
and paste it into this document.
2. Google pictures of the Wye River valley, select the one you find the most interesting,
copy it and paste it into this document.
3. The title of this poem is really long and weird: and it even has a date! FYI: July 13 is the
date often used to celebrate Bastille Day in France. What is Bastille Day? Bastille Day
is a day they celebrate the storming of Bastille in Paris, France. This marks the start
of the French Revolution

4. And why was it important to Wordsworth? Remember what I said in class about his
travelling to France in 1791-92 and falling in love and then having to escape France?
What important event happened in 1793? France and England went to war. Now, this
poem is dated on Bastille Day five years after England and France first went to war (the
war will last until 1815). Interesting!

5. The first stanza, printed below is basically just a description of a scene that has been very
memorable for him:

Five years have past; five summers, with the length

Of five long winters! and again I hear
These waters, rolling from their mountain-springs
With a soft inland murmur.—Once again
Do I behold these steep and lofty cliffs,
That on a wild secluded scene impress
Thoughts of more deep seclusion; and connect
The landscape with the quiet of the sky.
The day is come when I again repose
Here, under this dark sycamore, and view 10
These plots of cottage-ground, these orchard-tufts,
Which at this season, with their unripe fruits,
Are clad in one green hue, and lose themselves
'Mid groves and copses. Once again I see
These hedge-rows, hardly hedge-rows, little lines
Of sportive wood run wild: these pastoral farms,
Green to the very door; and wreaths of smoke
Sent up, in silence, from among the trees!
With some uncertain notice, as might seem
Of vagrant dwellers in the houseless woods, 20
Or of some Hermit's cave, whereby his fire
The Hermit sits alone.
 Kaitlin Henderson

Go back through the poem and highlight the twelve nouns that are the things the
speaker sees. Hints: The first one is the waters (or the river) and its sounds and the
last one is the Hermit.

6. The next stanza tells you the effect that the memory of “These beauteous forms” has been
on the speaker when he’s been stuck in “lonely rooms” in towns or cities and is weary.
Look at what I highlight below and jot down answers as you go:

These beauteous forms, Google “Plato’s forms” and jot down

below what you think this means: I
think this means that the amazing
view he just described has been so
present to him in his mind that he
could practically see it while he
was gone.

Through a long absence, have not been to me

As is a landscape to a blind man's eye: What can a blind man see? Nothing

But oft, in lonely rooms, and 'mid the din

Of towns and cities, I have owed to them, To what does “them” refer? The
“beauteous forms”

In hours of weariness, sensations sweet,

Felt in the blood, and felt along the heart; So when he’s weary, he can feel
better because….? He can feel
within him those memories of the
forms

And passing even into my purer mind

With tranquil restoration:—feelings too 30 What is the effect of recalling these
“beauteous forms? It brings him
peace and tranquility, it uplifts
him.

Of unremembered pleasure: such, perhaps,

As have no slight or trivial influence
On that best portion of a good man's life,
His little, nameless, unremembered, acts

Of kindness and of love.
Nor less, I trust,
To them I may have owed another gift,
Of aspect more sublime; that blessed mood,
In which the burthen of the mystery,
In which the heavy and the weary weight
Of all this unintelligible world, 40
Is lightened:—that serene and blessed mood,
In which the affections gently lead us on,—
Until, the breath of this corporeal frame
And even the motion of our human blood
Almost suspended, we are laid asleep
In body, and become a living soul:
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
Kaitlin Henderson
This is interesting: So what are the
best portions of a good man’s life?
Not his great accomplishments,
wealth, status, etc. but what?
Recall the definition of “sublime”
What is he talking about here? What
is mysterious or unintelligible in
human life? The human mind is
impossible to understand and how
life works. There is no handbook
or script given for life you are
steadily trying to figure it out, just
like the functioning of the human
mind.
Note he says that the burden and
weight of these mysterious,
unintelligible things is lightened by
the memory of the scene back at
Tintern Abbey…pretty impressive
function for that memory, wouldn’t
you say?
What do you think he means when
he says we “become a living soul”?
How is this different from being a
living human person? Because a
living soul, unlike a living human,
has no physical body and cannot
be physically seen or touched.
 Kaitlin Henderson

We see into the life of things.
What does this mean, “seeing into
the life of things?” Could it have
something to do with seeing into the
meaning or purpose of one’s life?
Esp. if you are stuck in the city and
are weary. In the next stanza, he
mentions “joyless daylight” and the
“fretful stir unprofitable,” and the
“fever of the world” and at the end of
the poem he lists a number of bad
things that come our way—the
“dreary intercourse of daily life” and
“evil tongues” and “rash judgments”
and “sneers of selfish men” (see
lines 128-130)

7. This little stanza is just there to tell you that he really, really does have those sensations and is
lifted up by the memories.

                                                If this
Be but a vain belief, yet, oh! how oft— 50
In darkness and amid the many shapes
Of joyless daylight; when the fretful stir
Unprofitable, and the fever of the world,
Have hung upon the beatings of my heart—
How oft, in spirit, have I turned to thee,
O sylvan Wye! thou wanderer thro' the woods,
How often has my spirit turned to thee! So what does he do when he feels
joyless or fretful or fevered? He turns
to his thoughts and feelings of being
at the Wye and viewing the
“beauteous forms”.

8. In this stanza he restates his belief that recalling beautiful scenes in nature that lifted him up is a
way to make it through life.

And now, with gleams of half-extinguished thought,

With many recognitions dim and faint,
And somewhat of a sad perplexity, 60
The picture of the mind revives again:
While here I stand, not only with the sense
Of present pleasure, but with pleasing thoughts
That in this moment there is life and food
For future years. This is a lot like what he tells us in “I
wandered lonely as a cloud:” this is the
“wealth” the memory gives you; in the
 Kaitlin Henderson

future, he can recall this moment and it

will give him “life and [spiritual] food”

And so I dare to hope, So, now, recalling this process of

experiencing nature and its pleasures
and of being able to recall it and being
able to be lifted up by that memory, he
can be hopeful about his future…he has
this gift.

9. At this point in the poem, he indulges in recalling how he has changed over the past five years.
He is different, but he has learned something from these years. This part is a little confusing, so
I’m going to parse it for you:

Though changed, no doubt, from what I was when first Five years ago he was young
and thoughtless,
I came among these hills; when like a roe
I bounded o'er the mountains, by the sides
Of the deep rivers, and the lonely streams,
Wherever nature led: more like a man 70
Flying from something that he dreads, than one He ran around the woods almost
frantically, not really taking in all that
he saw and not really feeling what was
there for him.
Who sought the thing he loved. For nature then
(The coarser pleasures of my boyish days
And their glad animal movements all gone by)
To me was all in all.— Sensual experiences (in nature) were all
he took in or felt he needed, he

I cannot paint
What then I was. The sounding cataract
Haunted me like a passion: the tall rock,
The mountain, and the deep and gloomy wood,
Their colours and their forms, were then to me
An appetite; a feeling and a love, 80
That had no need of a remoter charm,
By thought supplied, not any interest
Unborrowed from the eye.—
All these things—the colors and shapes
of the cataract (that’s a waterfall) and
the mountain and the gloomy woods
were all that he noticed; he didn’t sense
that there was a “remoter charm”— that
is, something deeper, harder to get-- that
comes from thinking about what he’s
seeing and feeling; (and that is more
wonderful and lasting when he does get
it)

That time is past,
And all its aching joys are now no more,
And all its dizzy raptures. Not for this
Faint I, nor mourn nor murmur; other gifts
Have followed; for such loss, I would believe,
Abundant recompense.
For I have learned
To look on nature, not as in the hour
Of thoughtless youth; but hearing oftentimes 90
The still sad music of humanity,
Nor harsh nor grating, though of ample power
To chasten and subdue.—And I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man:
A motion and a spirit, that impels 100
All thinking things, all objects of all thought,
And rolls through all things.
Kaitlin Henderson
He’s five years older, he’s been through
a lot and he is changed.
But something better has replaced what
he lost (the “aching joys” and “dizzy
raptures” of a young man)
So now, he looks on the natural world in
a different way, not thoughtlessly, but
hearing something deeper: “the still sad
music of humanity” What do you think
this means? Go ahead and write
something here:
So, now, we get to the BIG NEWS.
What is that “presence” that “sublime
sense?” And how can you figure out
what it is? Well, look at what he says
next. Where does he feel that presence?
Look at the next few lines.
What are these places like? Why are
these the places where this sublime
presence comes to him? Jot down some
thoughts. These are peaceful and
tranquil. They are places in his mind
from nature.
Here, he tells us more: this presence is a
“motion and a spirit” that moves and

Therefore am I still
A lover of the meadows and the woods
And mountains; and of all that we behold
From this green earth; of all the mighty world
Of eye, and ear,—both what they half create,
And what perceive; well pleased to recognise
In nature and the language of the sense
The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul 110
Of all my moral being.
Kaitlin Henderson
rolls through (and, I think, connects) us
all to each other and to nature. So this is
BIG too. What do you think about this
idea of being connected to all living
things—trees and water and animals and
people? I am not sure what to think. I
believe the concept holds some truth
but I can’t really explain.
A lot of people just notice the part of
this line that references “nature” and
they ignore the part about “the language
of the sense,” but the grammatical
balance of the line tells you that both are
of equal importance. So what in the
world does he mean by “the language of
the sense”? How do you know what
others are feeling? How do you
communicate feelings to other people?
You don’t know what others are
feeling unless they tell you, but you
can generally sense how one is feeling
by their actions and expressions. You
can tell one how you feel verbally or
express it outwardly in you demeanor.
These lines are some of the most famous
in all of Romantic literature and they
clearly tell us what he thought nature
and the language of the sense were for
him, and maybe for you, too: an anchor
of…, nurse, guide, and guardian of…
and soul of…. Think about these lines—
what do they tell you about how this
speaker experiences life? What matters
to him? What does his heart require?
What is a “moral being?” These are big,
big questions. Write what you think
about them, and be thoughtful! This
 Kaitlin Henderson

shows that the speaker experiences

life through nature and that is what
matter to him most. His heart
requires that presence of nature and
all it “beauteous forms” that guide his
soul and calms his soul. His moral
being or in other words, his ability to
be fulfilled, is only in the presence of
nature.

10. I have often thought that the poem could end with the passage above. But it doesn’t, Wordsworth
has one more move. In this stanza, he turns to his companion—he hasn’t made it clear before
now that he isn’t alone. But he isn’t. He’s with his sister. And Wordsworth’s sister, Dorothy,
was his dearest friend; she also served as his poetical counselor and secretary. He often used her
journals to remind himself about things they saw and felt. Here’ he turns to her and portrays her
as younger and less experienced than he is. She hasn’t been to France or had a disastrous
separation from the person she loves. And he hopes that this scene will mean something
important to her, too. He tells her “nature never did betray the heart that loved her.”

                                       Nor perchance,

If I were not thus taught, should I the more
Suffer my genial spirits to decay:
For thou art with me here upon the banks
Of this fair river; thou my dearest Friend,
My dear, dear Friend; and in thy voice I catch
The language of my former heart, and read
My former pleasures in the shooting lights
Of thy wild eyes. Oh! yet a little while
May I behold in thee what I was once, 120
My dear, dear Sister! and this prayer I make,
Knowing that Nature never did betray Here’s that famous line
The heart that loved her; 'tis her privilege,
Through all the years of this our life, to lead
From joy to joy: for she can so inform
The mind that is within us, so impress
With quietness and beauty, and so feed The three things nature can do
With lofty thoughts, that neither evil tongues, And in so doing, nature can
protect a person from all the
unhappy things in human life:
Rash judgments, nor the sneers of selfish men,
Nor greetings where no kindness is, nor all 130
The dreary intercourse of daily life, Have you ever experienced any
of these things? Briefly make a
list here: (for example: have
you been gossiped about? Have
people been nice to your face
but unkind behind your back? I
 Kaitlin Henderson

have experienced it all, fake

friends who used me, and
talked about me behind my
back. As well as been kind to
people who weren’t kind in
return.

What are some of the dreary

things you have to do in life—
not counting studying poetry
with Dr. Ross) Wash clothes
and clean the house. Working
for a living, and just
surviving.

Shall e'er prevail against us, or disturb

Our cheerful faith, that all which we behold
Is full of blessings. Therefore let the moon
Shine on thee in thy solitary walk;
And let the misty mountain-winds be free
To blow against thee: and, in after years,
When these wild ecstasies shall be matured Here he clarifies that he thinks
he’s still pretty young and
innocent and hasn’t’ “matured”
or “sobered” yet
Into a sober pleasure; when thy mind
Shall be a mansion for all lovely forms, 140
Thy memory be as a dwelling-place
For all sweet sounds and harmonies; oh! then, She will, like he had in the past
and will now have again,
powerful memories of this
scene, and they will help her.
If solitude, or fear, or pain, or grief,
Should be thy portion, with what healing thoughts
Of tender joy wilt thou remember me, So if she feels lonely, fearful, is
in pain or feeling grief…what
will she do and what will be the
effect? She will think of her
memories with him and the
beauteous forms and it should
calm her down and make her
feel better.
And these my exhortations! Nor, perchance—
If I should be where I no more can hear
Thy voice, nor catch from thy wild eyes these gleams
Of past existence—wilt thou then forget
That on the banks of this delightful stream 150
We stood together; and that I, so long
A worshipper of Nature, hither came
Unwearied in that service: rather say

With warmer love—oh! with far deeper zeal
Of holier love. Nor wilt thou then forget,
That after many wanderings, many years
Of absence, these steep woods, and lofty cliffs,
And this green pastoral landscape, were to me
More dear, both for themselves and for thy sake!
Kaitlin Henderson
I hope that this language might
call to your mind what he said
earlier about feeling a
“presence” and a sublime sense
of connectedness. And when it
does, you might detect that he is
talking a rather “religious”
language. Some readers at the
time the poem was published
accused him of being a
“pantheist” What is a pantheist?
A pantheist is a person that
doesn’t believe in a distinct or
anthropomorthic God. They
believe that the universe or
nature is the totality of
everything.
Rather than a good Anglican.
Any thoughts about that? I
think that it is kind of weird. I
understand how nature can
influence ones mood and
feelings but not equivalent to
divinity.
And the poem ends with a
gesture of sharing both his
learning about what nature can
be and mean and do for a person
and also recognition of what
they have just shared and the
expectation that it will have
meaning for both of them in the
future. Keep this turning to the
other person—to share a lesson
—in mind when we read “The
Rime of the Ancient Mariner.”