Ode: Intimations of Immortality by William Wordsworth

Context

• Written by William Wordsworth in 1804 and published in 1807, "Ode: Intimations of Immortality" reflects Wordsworth's mature poetic voice.

• Wordsworth experienced personal and societal changes, including the loss of his brother John in a shipwreck and disillusionment with the outcomes of the French Revolution.

  

• The poem reflects his philosophical engagement with childhood, memory, and the natural world, and his sense of a loss of the visionary gleam that characterized his early experiences of nature.

Structure and Form

• The poem is an irregular Pindaric ode, consisting of eleven stanzas of varying lengths and structures.
• The rhyme scheme is irregular but includes rhyme and half rhyme.
• Wordsworth uses a mix of iambic pentameter and other metrical forms to create a musical and reflective tone.
• The shifts in structure and meter reflect the evolving themes and emotional journey of the poem.

Key Themes

Loss of Innocence and Vision

• "There was a time when meadow, grove, and stream, / The earth, and every common sight, / To me did seem / Apparelled in celestial light,"
• Wordsworth reflects on a past when he saw the world with a childlike sense of wonder, which he feels he has lost as he has grown older.

Nature and Memory

• "But there's a Tree, of many, one, / A single field which I have looked upon, / Both of them speak of something that is gone;"
• Specific natural scenes evoke memories and a sense of loss, underscoring the connection between nature and personal history.

Transience and Permanence

• "Our birth is but a sleep and a forgetting: / The Soul that rises with us, our life's Star, / Hath had elsewhere its setting,"
• The idea that human life is temporary and connected to a greater spiritual existence suggests a continuity beyond physical life.

Childhood and Imagination

• "Heaven lies about us in our infancy! / Shades of the prison-house begin to close / Upon the growing Boy,"
• Wordsworth emphasizes the purity and visionary power of childhood, which diminishes as one grows older.

Consolation and Resilience

• "We will grieve not, rather find / Strength in what remains behind;"
• Despite acknowledging loss, Wordsworth finds solace in enduring connections to nature and the persistence of memories.

Similar Poems

• William Blake's "The Sick Rose": Explores themes of hidden decay and the loss of innocence.
• William Wordsworth's "Lines Written in Early Spring": Reflects on the harmony of nature and the human condition.
• George Gordon, Lord Byron's "On This Day I Complete my Thirty-Sixth Year": Shares themes of reflection on mortality and the passage of time.
• Percy Bysshe Shelley's "Ode to the West Wind": Examines the transformative power of nature and the hope for renewal.
• John Keats's "Ode to a Nightingale": Contemplates the fleeting beauty of life and the desire to escape reality through nature.

Line by Line Analysis

Stanza 1

Lines 1-5

There was a time when meadow, grove, and stream, The earth, and every common sight, To me did seem Apparelled in celestial light, The glory and the freshness of a dream.

"There was a time when meadow, grove, and stream, / The earth, and every common sight,"

• The speaker begins by reminiscing about a past time when he perceived the world, including "meadow, grove, and stream," with extraordinary clarity and wonder.
• The mention of "every common sight" suggests that even the most ordinary aspects of nature held profound significance for him.

"To me did seem / Apparelled in celestial light, / The glory and the freshness of a dream."

• The speaker describes how the natural world once appeared "apparelled in celestial light," evoking a sense of divine beauty and brilliance.
• This light imbued the world with "the glory and the freshness of a dream," indicating an ethereal, dream-like quality that made everything seem new and extraordinary.

Lines 6-9

It is not now as it hath been of yore;— Turn wheresoe'er I may, By night or day. The things which I have seen I now can see no more.

"It is not now as it hath been of yore;—"

• The speaker laments that his perception of the world has changed; it is no longer as it was in the past ("of yore").
• This line introduces a sense of loss and nostalgia for the way he once viewed the world.

"Turn wheresoe'er I may, / By night or day."

• The speaker notes that no matter where he turns, whether during the night or day, he is unable to recapture the vision he once had.
• This suggests a pervasive and constant feeling of loss, as his former perception eludes him at all times.

"The things which I have seen I now can see no more."

• The speaker expresses a poignant realization that the things he once saw with such clarity and wonder are no longer visible to him.
• This line encapsulates the central theme of the stanza: the loss of a previous, more vibrant connection with the natural world.

Stanza 2

Lines 10-15

The Rainbow comes and goes, And lovely is the Rose, The Moon doth with delight Look round her when the heavens are bare, Waters on a starry night Are beautiful and fair;

"The Rainbow comes and goes, / And lovely is the Rose,"

• The speaker acknowledges that the beauty of nature, exemplified by the fleeting appearance of a rainbow and the enduring loveliness of a rose, still exists.
• These natural phenomena continue to be beautiful, but the speaker's tone suggests that their impact on him is less profound than it once was.

"The Moon doth with delight / Look round her when the heavens are bare,"

• The speaker personifies the moon, suggesting that it "looks round" with "delight" when the night sky is clear.
• This imagery evokes the tranquil beauty of the night, yet the speaker seems to observe it with a detached appreciation rather than the deep emotional response he once experienced.

"Waters on a starry night / Are beautiful and fair;"

• The speaker describes the sight of water under a starry sky as "beautiful and fair," acknowledging the continuing allure of nature.
• However, the use of the word "fair" may imply a more subdued appreciation, lacking the intense wonder that characterized his earlier experiences.

Lines 16-18

The sunshine is a glorious birth; But yet I know, where'er I go, That there hath past away a glory from the earth.

"The sunshine is a glorious birth;"

• The speaker recognises the splendour of sunshine, describing it as a "glorious birth," which suggests renewal and vitality.
• Despite this, the phrase implies a sense of temporality, as though even the most radiant moments are fleeting.

"But yet I know, where'er I go, / That there hath past away a glory from the earth."

• The speaker concludes by acknowledging a profound sense of loss, stating that no matter where he goes, he is aware that "a glory" has departed from the earth.
• This line reinforces the theme of lost innocence or wonder, as the speaker mourns the diminished sense of beauty and magic that once defined his view of the world.

Stanza 3

Lines 19-24

Now, while the birds thus sing a joyous song, And while the young lambs bound As to the tabor's sound, To me alone there came a thought of grief: A timely utterance gave that thought relief, And I again am strong:

"Now, while the birds thus sing a joyous song, / And while the young lambs bound / As to the tabor's sound,"

• The speaker describes a scene full of life and joy, with birds singing and lambs leaping as if to the rhythm of a tabor (a small drum), symbolising the harmony and exuberance of nature.
• This joyful imagery contrasts with the speaker's internal feelings, hinting at an underlying tension.

"To me alone there came a thought of grief: / A timely utterance gave that thought relief, / And I again am strong:"

• Despite the joyous surroundings, the speaker experiences a sudden "thought of grief," isolating him from the happiness around him.
• However, he finds solace in expressing this grief ("a timely utterance"), which allows him to regain his strength and composure, suggesting that acknowledging sorrow is a necessary part of finding balance.

Lines 25-28

The cataracts blow their trumpets from the steep; No more shall grief of mine the season wrong; I hear the Echoes through the mountains throng, The Winds come to me from the fields of sleep,

"The cataracts blow their trumpets from the steep;"

• The speaker personifies the waterfalls ("cataracts") as blowing trumpets, evoking a powerful and triumphant sound that resonates through the landscape.
• This imagery suggests nature's overwhelming force and vitality, which contrasts with the speaker's earlier moment of grief.

"No more shall grief of mine the season wrong;"

• The speaker resolves not to let his grief taint the joy and beauty of the season, indicating a determination to align himself with the natural world's celebration.
• This line reflects a conscious decision to embrace the positive energy of the season, rather than succumb to sorrow.

"I hear the Echoes through the mountains throng, / The Winds come to me from the fields of sleep,"

• The speaker describes hearing echoes reverberating through the mountains, which enhances the sense of nature's vibrant presence.
• The "Winds come to me from the fields of sleep" suggests a dreamlike quality, as if the winds carry with them the peacefulness of rest, further helping to soothe and rejuvenate the speaker.

Lines 29-35

And all the earth is gay; Land and sea Give themselves up to jollity, And with the heart of May Doth every Beast keep holiday;— Thou Child of Joy, Shout round me, let me hear thy shouts, thou happy Shepherd-boy.

"And all the earth is gay; / Land and sea / Give themselves up to jollity,"

• The speaker observes that the entire earth, including both land and sea, is filled with joy and celebration as if nature itself is in a state of festive exuberance.
• The word "jollity" conveys a sense of carefree merriment, suggesting that nature is in harmony and full of life.

"And with the heart of May / Doth every Beast keep holiday;—"

• The speaker associates this joy with May, a time traditionally linked with spring and renewal when nature is at its most vibrant.
• He imagines that every creature ("Beast") is celebrating, underscoring the universal participation in this seasonal festivity.

"Thou Child of Joy, / Shout round me, let me hear thy shouts, thou happy Shepherd-boy."

• The speaker directly addresses a "Child of Joy," likely a shepherd boy, encouraging him to shout and express his happiness.
• This line invites the child's carefree and spontaneous joy, further emphasizing the contrast between youthful innocence and the speaker's more reflective, adult perspective.

Stanza 4

Lines 36-41

Ye blessèd creatures, I have heard the call Ye to each other make; I see The heavens laugh with you in your jubilee; My heart is at your festival, My head hath its coronal, The fulness of your bliss, I feel—I feel it all.

"Ye blessèd creatures, I have heard the call / Ye to each other make;"

• The speaker addresses the "blessèd creatures" of nature, acknowledging that he has heard their joyful calls to one another.
• This line emphasizes the interconnectedness of all living beings, as well as the speaker's ability to perceive and appreciate this communication within nature.

"I see / The heavens laugh with you in your jubilee;"

• The speaker imagines the heavens themselves joining in the celebration, "laughing" with the creatures in their "jubilee" (a joyous celebration).
• This personification of the heavens suggests that the entire cosmos is in harmony, sharing in the joy of the natural world.

"My heart is at your festival, / My head hath its coronal, / The fulness of your bliss, I feel—I feel it all."

• The speaker expresses a deep connection with the natural world, claiming that his heart is part of the festival, indicating emotional participation in nature's joy.
• He imagines wearing a "coronal" (a crown) on his head, symbolizing his honour and unity with nature's celebration.
• The repetition of "I feel" emphasizes the intensity and completeness of his experience, as he fully absorbs the bliss that surrounds him.

Lines 42-49

Oh evil day! if I were sullen While Earth herself is adorning, This sweet May-morning, And the Children are culling On every side, In a thousand valleys far and wide, Fresh flowers; while the sun shines warm, And the Babe leaps up on his Mother's arm:—

"Oh evil day! if I were sullen / While Earth herself is adorning, / This sweet May-morning,"

• The speaker considers it an "evil day" if he were to remain gloomy and disconnected while the earth is beautifully adorned on a sweet May morning.
• This suggests that it would be wrong to be sullen and unappreciative during such a vibrant and joyous time in nature.

"And the Children are culling / On every side, / In a thousand valleys far and wide, / Fresh flowers;"

• The speaker observes children gathering flowers everywhere, in numerous valleys, which symbolizes the innocence and joy of youth as they interact with the natural world.
• This image reinforces the theme of nature's beauty and the natural connection between youth and the environment.

"while the sun shines warm, / And the Babe leaps up on his Mother's arm:—"

• The warm sunlight and the image of a baby joyfully leaping in his mother's arms further emphasize the themes of renewal, innocence, and the pure joy found in nature and familial bonds.
• This idyllic scene contrasts with the speaker's earlier grief, illustrating the healing and uplifting power of nature and life.

Lines 50-57

I hear, I hear, with joy I hear! —But there's a Tree, of many, one, A single field which I have looked upon, Both of them speak of something that is gone; The Pansy at my feet Doth the same tale repeat: Whither is fled the visionary gleam? Where is it now, the glory and the dream?

"I hear, I hear, with joy I hear!"

• The speaker expresses his joy in hearing the sounds of nature and the celebrations around him, indicating his willingness to embrace the present moment.
• This repetition of "I hear" emphasizes the speaker's active engagement with his surroundings.

"—But there's a Tree, of many, one, / A single field which I have looked upon, / Both of them speak of something that is gone;"

• Despite his joy, the speaker is reminded of a sense of loss when he looks at a particular tree and a single field.
• These natural elements evoke memories of something that has been lost, highlighting the contrast between the enduring beauty of nature and the transient nature of human experience.

"The Pansy at my feet / Doth the same tale repeat:"

• The pansy, a flower often associated with thoughts and remembrance, also serves as a reminder of what has been lost.
• This reinforces the speaker's sense of nostalgia and the recurring theme of the fleeting nature of beauty and innocence.

"Whither is fled the visionary gleam? / Where is it now, the glory and the dream?"

• The speaker questions where the "visionary gleam" has gone, referring to the sense of wonder and divine beauty he once perceived in the world.
• The "glory and the dream" represent the lost sense of awe and inspiration that characterized his earlier experiences, emphasizing the poem's meditation on the passage of time and the loss of youthful innocence.

Stanza 5

Lines 58-65

Our birth is but a sleep and a forgetting: The Soul that rises with us, our life's Star, Hath had elsewhere its setting, And cometh from afar: Not in entire forgetfulness, And not in utter nakedness, But trailing clouds of glory do we come From God, who is our home:

"Our birth is but a sleep and a forgetting:"

• The speaker suggests that birth is not a beginning but rather a continuation, where the soul is in a state of "sleep and a forgetting."
• This line introduces the idea that life on earth is a temporary state, with birth acting as a veil that causes us to forget our divine origins.

"The Soul that rises with us, our life's Star, / Hath had elsewhere its setting, / And cometh from afar:"

• The speaker describes the soul as a "life's Star" that accompanies us through life, implying that it has a previous existence before entering the world.
• The soul is said to have "elsewhere its setting," meaning it originated from a distant, divine realm and has journeyed from afar to inhabit the human body.

"Not in entire forgetfulness, / And not in utter nakedness,"

• The speaker asserts that the soul does not enter the world in complete forgetfulness or "utter nakedness" (unpreparedness).
• This suggests that while we may lose some memory of our divine origins, we retain a sense of that connection through innate wisdom or spiritual insight.

"But trailing clouds of glory do we come / From God, who is our home:"

• The soul arrives "trailing clouds of glory," indicating that it brings with it a sense of divine beauty and majesty from its heavenly origin.
• The phrase "From God, who is our home" reinforces the idea that our true home is with God and that earthly life is a temporary journey away from this divine source.

Lines 66-70

Heaven lies about us in our infancy! Shades of the prison-house begin to close Upon the growing Boy, But he beholds the light, and whence it flows, He sees it in his joy;

"Heaven lies about us in our infancy!"

• The speaker asserts that in infancy, we are closest to heaven, surrounded by a sense of divine presence and purity.
• This line highlights the idea that young children are more attuned to the spiritual realm, retaining a stronger connection to their divine origin.

"Shades of the prison-house begin to close / Upon the growing Boy,"

• As the child grows, the "Shades of the prison-house"—a metaphor for the limitations and constraints of earthly life—begin to encroach.
• This suggests that as we age, we become more confined by the physical world and lose the sense of freedom and connection to the divine that we had in infancy.

"But he beholds the light, and whence it flows, / He sees it in his joy;"

• Despite the encroaching limitations, the boy still perceives the "light" of divine truth and its source, experiencing it through his innate joy and wonder.
• This line emphasizes that while the connection to the divine may be fading, it is still present and recognizable in the joy and innocence of youth.

Lines 71-76

The Youth, who daily farther from the east Must travel, still is Nature's Priest, And by the vision splendid Is on his way attended; At length the Man perceives it die away, And fade into the light of common day.

"The Youth, who daily farther from the east / Must travel, still is Nature's Priest,"

• The speaker observes that as the youth grows older and moves "farther from the east" (a metaphor for moving away from the source of light and spiritual truth), he still retains a priest-like connection to nature.
• The phrase "Nature's Priest" suggests that the youth continues to have a sacred relationship with the natural world, even as he ages.

"And by the vision splendid / Is on his way attended;"

• The "vision splendid" refers to the divine or spiritual insight that continues to accompany the youth, guiding him on his journey through life.
• This vision represents the lingering sense of wonder and connection to the divine that persists into young adulthood.

"At length the Man perceives it die away, / And fade into the light of common day."

• As the youth transitions into manhood, the "vision splendid" begins to fade, gradually being replaced by the mundane reality of everyday life ("the light of common day").
• This marks the loss of the youthful sense of wonder and spiritual connection, as the individual becomes fully absorbed in the material world.

Stanza 6

Lines 77-80

Earth fills her lap with pleasures of her own; Yearnings she hath in her own natural kind, And, even with something of a Mother's mind, And no unworthy aim,

"Earth fills her lap with pleasures of her own;"

• The speaker notes that the earth provides its pleasures, offering a wealth of sensory experiences and delights to those who dwell upon it.
• This line suggests that while the earth is not divine, it still offers its forms of beauty and satisfaction.

"Yearnings she hath in her own natural kind,"

• The earth has its own "yearnings," or desires, that are rooted in its natural state, indicating a drive to nurture and sustain life.
• This personification of the earth highlights its role as a provider and caretaker.

"And, even with something of a Mother's mind, / And no unworthy aim,"

• The earth is compared to a mother, suggesting that it cares for its inhabitants with a nurturing, protective instinct.
• The phrase "no unworthy aim" implies that the earth's intentions are honourable, as it seeks to fulfil its role in sustaining life and providing for its children.

Lines 81-84

The homely Nurse doth all she can To make her Foster-child, her Inmate Man, Forget the glories he hath known, And that imperial palace whence he came.

"The homely Nurse doth all she can / To make her Foster-child, her Inmate Man,"

• The speaker continues the personification of the earth, now describing it as a "homely Nurse" who does her best to care for her "Foster-child," which is mankind.
• The term "Inmate Man" suggests that humans are residents or inhabitants of the earth, emphasizing their temporary and constrained existence here.

"Forget the glories he hath known, / And that imperial palace whence he came."

• The earth, in its nurturing role, seeks to make mankind forget the "glories" of its divine origin and the "imperial palace" (heaven) from which the soul has descended.
• This reflects the tension between the spiritual and the earthly, as the comforts and distractions of the physical world may cause us to lose sight of our divine heritage and ultimate spiritual purpose.

Stanza 7

Lines 85-92

Behold the Child among his new-born blisses, A six years' Darling of a pigmy size! See, where 'mid work of his own hand he lies, Fretted by sallies of his mother's kisses, With light upon him from his father's eyes! See, at his feet, some little plan or chart, Some fragment from his dream of human life, Shaped by himself with newly-learn{e}d art

"Behold the Child among his new-born blisses, / A six years' Darling of a pigmy size!"

• The speaker invites us to observe a young child, who is fully immersed in the joys and wonders of early childhood.
• The child is described as a "six years' Darling," emphasizing his tender age and small stature ("pigmy size"), which highlights his innocence and vulnerability.

"See, where 'mid work of his own hand he lies, / Fretted by sallies of his mother's kisses, / With light upon him from his father's eyes!"

• The child is depicted as being surrounded by the "work of his own hand," indicating that he is engaged in play or creative activities, which are the products of his imagination.
• He is "fretted" (disturbed) by his mother's affectionate kisses, suggesting a playful interaction, while his father's gaze is filled with pride and affection ("light upon him from his father's eyes").
• This scene captures the warmth and security of family life, where the child is nurtured and loved.

"See, at his feet, some little plan or chart, / Some fragment from his dream of human life, / Shaped by himself with newly-learn{e}d art"

• The child is described as creating "some little plan or chart," a representation of his early attempts to understand and organize the world around him.
• This "fragment from his dream of human life" symbolizes the beginning of the child's engagement with the broader world, using his "newly-learn{e}d art" (his developing skills and understanding) to shape his experiences.

Lines 93-98

A wedding or a festival, A mourning or a funeral; And this hath now his heart, And unto this he frames his song: Then will he fit his tongue To dialogues of business, love, or strife;

"A wedding or a festival, / A mourning or a funeral; / And this hath now his heart, / And unto this he frames his song:"

• The child is imagined as participating in or re-enacting significant life events, such as a wedding, festival, mourning, or funeral, reflecting his growing awareness of the complexities of human life.
• These events "hath now his heart," indicating that they capture his interest and imagination, and he "frames his song" around them, suggesting that he is beginning to engage with these aspects of life through play and expression.

"Then will he fit his tongue / To dialogues of business, love, or strife;"

• As the child grows, he will begin to mimic adult conversations, including those about business, love, and conflict ("strife").
• This indicates the child's developing understanding of social interactions and the various roles he will eventually play in life.

Lines 99-107

But it will not be long Ere this be thrown aside, And with new joy and pride The little Actor cons another part; Filling from time to time his "humorous stage" With all the Persons, down to palsied Age, That Life brings with her in her equipage; As if his whole vocation Were endless imitation.

"But it will not be long / Ere this be thrown aside, / And with new joy and pride / The little Actor cons another part;"

• The speaker notes that the child will soon grow bored with one role and eagerly take on another, reflecting the restless and ever-changing nature of childhood play.
• The term "little Actor" suggests that the child is already beginning to experiment with different identities and roles, preparing for the varied experiences of adult life.

"Filling from time to time his 'humorous stage' / With all the Persons, down to palsied Age, / That Life brings with her in her equipage;"

• The child's imaginative play is described as a "humorous stage," where he enacts the roles of different people, from youth to old age ("palsied Age").
• This suggests that the child intuitively explores the full spectrum of human life as if preparing himself for all the stages and experiences that life will bring.

"As if his whole vocation / Were endless imitation."

• The speaker observes that the child seems to see his role in life as one of "endless imitation," mimicking the actions and roles of those around him.
• This line captures the essence of childhood, where learning and development are often driven by imitation and play, as the child begins to understand the world by copying what he sees.

Stanza 8

Lines 108-113

Thou, whose exterior semblance doth belie Thy Soul's immensity; Thou best Philosopher, who yet dost keep Thy heritage, thou Eye among the blind, That, deaf and silent, read'st the eternal deep, Haunted for ever by the eternal mind,—

"Thou, whose exterior semblance doth belie / Thy Soul's immensity;"

• The speaker addresses the child directly, noting that although the child appears small and insignificant on the outside ("exterior semblance"), he possesses a soul of great "immensity."
• This line highlights the paradox of childhood: despite their physical and mental immaturity, children have a profound spiritual depth and connection to the divine.

"Thou best Philosopher, who yet dost keep / Thy heritage, thou Eye among the blind,"

• The speaker refers to the child as the "best Philosopher," acknowledging the child's innate wisdom and untainted perception of the world.
• The child is called "thou Eye among the blind," suggesting that, unlike adults who have lost their clear vision of the divine, the child still retains this spiritual sight, seeing the world with fresh, unclouded eyes.

"That, deaf and silent, read'st the eternal deep, / Haunted for ever by the eternal mind,—"

• The speaker imagines that the child, though "deaf and silent" (symbolizing innocence and purity), can still perceive the "eternal deep"—the profound truths of existence.
• The child is "haunted for ever by the eternal mind," implying that even in his innocence, the child is deeply connected to the divine or universal consciousness, which constantly influences his being.

Lines 114-120

Mighty Prophet! Seer blest! On whom those truths do rest, Which we are toiling all our lives to find, In darkness lost, the darkness of the grave; Thou, over whom thy Immortality Broods like the Day, a Master o'er a Slave, A Presence which is not to be put by;

"Mighty Prophet! Seer blest! / On whom those truths do rest, / Which we are toiling all our lives to find,"

• The speaker exalts the child as a "Mighty Prophet" and "Seer blest," acknowledging that the child possesses innate truths that adults spend their entire lives searching for.
• This line emphasizes the idea that children have an intuitive understanding of the divine or spiritual truths that are often obscured by the experiences and distractions of adulthood.

"In darkness lost, the darkness of the grave;"

• The speaker contrasts the child's clear vision with the "darkness" that envelops adults, a metaphor for the confusion and ignorance that often accompany life's journey.
• The "darkness of the grave" refers to the ultimate mystery of death, suggesting that adults, unlike children, are burdened by the fear and uncertainty of mortality.

"Thou, over whom thy Immortality / Broods like the Day, a Master o'er a Slave, / A Presence which is not to be put by;"

• The speaker continues to praise the child, noting that his "Immortality" watches over him "like the Day," providing light and guidance.
• This Immortality is described as a "Master o'er a Slave," implying that it is a dominant force in the child's life, protecting him from the fears and limitations that plague adults.
• The "Presence which is not to be put by" suggests that this divine or spiritual awareness is a constant, undeniable part of the child's existence.

Lines 121-128

Thou little Child, yet glorious in the might Of heaven-born freedom on thy being's height, Why with such earnest pains dost thou provoke The years to bring the inevitable yoke, Thus blindly with thy blessedness at strife? Full soon thy Soul shall have her earthly freight, And custom lie upon thee with a weight, Heavy as frost, and deep almost as life!

"Thou little Child, yet glorious in the might / Of heaven-born freedom on thy being's height,"

• The speaker addresses the child once more, acknowledging his smallness ("little Child") while also celebrating the "glorious" power of his "heaven-born freedom."
• This freedom, which comes from the child's divine origins, elevates him above the constraints of earthly life, placing him on a spiritual "height."

"Why with such earnest pains dost thou provoke / The years to bring the inevitable yoke,"

• The speaker questions why the child, with his pure and unburdened soul, would so eagerly anticipate the coming years, which will inevitably bring the "yoke" of adult responsibilities and limitations.
• This "yoke" symbolizes the burdens of adulthood, which will weigh down the child's spirit and curtail his freedom.

"Thus blindly with thy blessedness at strife?"

• The speaker suggests that the child is unwittingly at odds ("at strife") with his own "blessedness" by hastening toward adulthood.
• This line reflects the speaker's lament that the child, in his innocence, does not realize the value of his current state and is unknowingly moving toward a less free and more constrained existence.

"Full soon thy Soul shall have her earthly freight, / And custom lie upon thee with a weight,"

• The speaker warns that the child's soul will soon be burdened by the "earthly freight"—the weight of worldly experiences, responsibilities, and societal expectations.
• "Custom" refers to the habits and norms of adult life, which will settle upon the child with a heaviness that restricts his innate freedom and spontaneity.

"Heavy as frost, and deep almost as life!"

• The speaker concludes this section by comparing the weight of these burdens to "frost," which is both heavy and pervasive, symbolizing the cold, restrictive nature of adult life.
• The phrase "deep almost as life" suggests that these burdens are nearly as profound and inescapable as life itself, highlighting the inevitability of the child's loss of innocence and freedom as he grows older.

Stanza 9

Lines 129-135

O joy! that in our embers Is something that doth live, That Nature yet remembers What was so fugitive! The thought of our past years in me doth breed Perpetual benediction: not indeed For that which is most worthy to be blest;

"O joy! that in our embers / Is something that doth live, / That Nature yet remembers / What was so fugitive!"

• The speaker expresses joy at the idea that even in the "embers" of our lives—symbolizing the remnants of our youthful vitality—something still endures.
• This suggests that a part of our childhood spirit, which once seemed fleeting and transient ("so fugitive"), continues to live on within us, remembered and sustained by Nature.

"The thought of our past years in me doth breed / Perpetual benediction: not indeed / For that which is most worthy to be blest;"

• Reflecting on past experiences brings the speaker a continuous sense of blessing or "perpetual benediction."
• However, the speaker clarifies that this sense of blessing is not for the most obvious or traditionally valued aspects of childhood (like its innocence or freedom).

Lines 136-144

Delight and liberty, the simple creed Of Childhood, whether busy or at rest, With new-fledged hope still fluttering in his breast:— Not for these I raise The song of thanks and praise But for those obstinate questionings Of sense and outward things, Fallings from us, vanishings; Blank misgivings of a Creature

"Delight and liberty, the simple creed / Of Childhood, whether busy or at rest, / With new-fledged hope still fluttering in his breast:—"

• The speaker acknowledges the "simple creed" of childhood, which includes "delight and liberty"—the joy and freedom that define a child's life, whether they are active ("busy") or still ("at rest").
• The image of "new-fledged hope still fluttering in his breast" suggests the fresh, untested optimism that characterizes youth, full of potential and untainted by the realities of life.

"Not for these I raise / The song of thanks and praise / But for those obstinate questionings / Of sense and outward things, / Fallings from us, vanishings; / Blank misgivings of a Creature"

• The speaker reveals that his gratitude and praise are not for the obvious joys of childhood but for the deeper, more complex experiences—specifically, the "obstinate questionings" of reality and existence that children often grapple with.
• These "fallings from us, vanishings" refer to moments of loss or disillusionment, where something once clear becomes obscured, and "blank misgivings" reflect the doubts and uncertainties that arise as one begins to understand the world.
• The term "Creature" suggests a being that is instinctively seeking meaning, highlighting the existential struggles that even children face.

Lines 145-152

Moving about in worlds not realised, High instincts before which our mortal Nature Did tremble like a guilty thing surprised: But for those first affections, Those shadowy recollections, Which, be they what they may Are yet the fountain-light of all our day, Are yet a master-light of all our seeing;

"Moving about in worlds not realised, / High instincts before which our mortal Nature / Did tremble like a guilty thing surprised:"

• The speaker describes the experience of navigating "worlds not realised," suggesting an exploration of unknown or incomprehensible aspects of existence.
• These "high instincts"—deep, almost primal intuitions—cause the speaker's mortal nature to tremble, as if confronted with something greater and more profound, evoking a sense of awe and guilt.

"But for those first affections, / Those shadowy recollections, / Which, be they what they may / Are yet the fountain-light of all our day, / Are yet a master-light of all our seeing;"

• The speaker turns to the "first affections" and "shadowy recollections" of early life, acknowledging them as crucial, even if they are vague or uncertain.
• These early experiences, whether clearly remembered or not, serve as the "fountain-light" (source of inspiration) for our entire lives and act as a "master-light" that guides our perception of the world.
• This suggests that our early emotions and memories, though faint, are foundational to our understanding and experience of life.

Lines 153-160

Uphold us, cherish, and have power to make Our noisy years seem moments in the being Of the eternal Silence: truths that wake, To perish never; Which neither listlessness, nor mad endeavour, Nor Man nor Boy, Nor all that is at enmity with joy, Can utterly abolish or destroy!

"Uphold us, cherish, and have power to make / Our noisy years seem moments in the being / Of the eternal Silence: truths that wake, / To perish never;"

• The speaker praises these early experiences and instincts for their ability to "uphold" and "cherish" us, giving us strength and comfort throughout life.
• These truths have the power to make the "noisy years" of life seem like fleeting moments within the vast "eternal Silence," a metaphor for the timeless, unchanging nature of these deeper truths.
• These are enduring truths, "that wake, / To perish never," suggesting they are eternal and unbreakable, continuing to influence and guide us throughout our lives.

"Which neither listlessness, nor mad endeavour, / Nor Man nor Boy, / Nor all that is at enmity with joy, / Can utterly abolish or destroy!"

• The speaker asserts that these truths are so powerful that they cannot be "abolish[ed] or destroy[ed]" by anything, whether it be "listlessness" (apathy), "mad endeavour" (frantic activity), or any force that opposes joy.
• This line emphasizes the resilience and permanence of these foundational truths and instincts, which remain untouched by the challenges and trials of life.

Lines 161-167

Hence in a season of calm weather Though inland far we be, Our Souls have sight of that immortal sea Which brought us hither, Can in a moment travel thither, And see the Children sport upon the shore, And hear the mighty waters rolling evermore.

"Hence in a season of calm weather / Though inland far we be,"

• The speaker suggests that during peaceful, reflective times ("a season of calm weather"), even if we are physically distant ("inland far"), we can still access deep spiritual insights.
• This "calm weather" represents moments of inner tranquillity, where we are more attuned to our spiritual selves.

"Our Souls have sight of that immortal sea / Which brought us hither, / Can in a moment travel thither,"

• The speaker describes the soul's ability to perceive the "immortal sea" from which we originated, a metaphor for the divine or eternal source of life.
• This suggests that our souls are inherently connected to this eternal source and can return to it in moments of spiritual clarity, regardless of our physical location.

"And see the Children sport upon the shore, / And hear the mighty waters rolling evermore."

• The speaker envisions a scene where the soul witnesses "Children sport upon the shore," symbolizing the innocence and purity of life close to its divine origins.
• The "mighty waters rolling evermore" represent the eternal and unchanging nature of the divine, which continues to flow and exist beyond the confines of time and space.
• This imagery reinforces the idea that, even amid life's noise and distractions, we can still connect with our spiritual origins and find peace in the knowledge of this enduring truth.

Stanza 10

Lines 168-174

Then sing, ye Birds, sing, sing a joyous song! And let the young Lambs bound As to the tabor's sound! We in thought will join your throng, Ye that pipe and ye that play, Ye that through your hearts to-day Feel the gladness of the May!

"Then sing, ye Birds, sing, sing a joyous song! / And let the young Lambs bound / As to the tabor's sound!"

• The speaker calls upon the birds to sing a "joyous song" and encourages the young lambs to leap with joy as if dancing to the beat of a tabor (a small drum).
• This line invites a celebration of nature's vitality and the renewal that comes with spring ("May"), emphasizing a collective joy shared by all living things.

"We in thought will join your throng, / Ye that pipe and ye that play, / Ye that through your hearts to-day / Feel the gladness of the May!"

• The speaker expresses a desire to mentally and emotionally join the "throng" of joyous creatures that are celebrating the arrival of spring.
• The phrase "Ye that pipe and ye that play" refers to the birds and other creatures who express their happiness through song and movement.
• The speaker acknowledges that this gladness is something felt deeply in the heart, connecting all beings in a shared experience of seasonal joy.

Lines 175-178

What though the radiance which was once so bright Be now for ever taken from my sight, Though nothing can bring back the hour Of splendour in the grass, of glory in the flower;

"What though the radiance which was once so bright / Be now for ever taken from my sight,"

• The speaker reflects on the loss of the "radiance" that once illuminated his perception of the world, acknowledging that this brightness is now gone from his view.
• This line suggests a recognition of the inevitability of change and the passing of time, which has dimmed the speaker's former sense of wonder.

"Though nothing can bring back the hour / Of splendour in the grass, of glory in the flower;"

• The speaker laments that nothing can restore the moments of youthful beauty and innocence, symbolized by the "splendour in the grass" and the "glory in the flower."
• This line conveys a poignant sense of loss, as the speaker acknowledges that the intense joy and clarity of his earlier experiences are irretrievably gone.

Lines 179-186

We will grieve not, rather find Strength in what remains behind; In the primal sympathy Which having been must ever be; In the soothing thoughts that spring Out of human suffering; In the faith that looks through death, In years that bring the philosophic mind.

"We will grieve not, rather find / Strength in what remains behind;"

• The speaker resolves not to dwell on grief for what has been lost, but instead to find strength in the enduring aspects of life.
• This suggests a mature acceptance of change and a focus on the lasting values and experiences that continue to provide meaning.

"In the primal sympathy / Which having been must ever be;"

• The speaker refers to a "primal sympathy," an innate and enduring connection to the natural world and to others, which, once experienced, remains a fundamental part of human life.
• This line highlights the idea that certain feelings and connections are eternal, providing a source of comfort and strength.

"In the soothing thoughts that spring / Out of human suffering;"

• The speaker acknowledges that suffering can give rise to "soothing thoughts," suggesting that pain and loss can lead to deeper understanding and emotional resilience.
• This line reflects the speaker's belief in the redemptive power of suffering, which can lead to personal growth and healing.

"In the faith that looks through death, / In years that bring the philosophic mind."

• The speaker finds solace in a "faith that looks through death," indicating a belief in an existence beyond the physical, where death is not the end but a transition.
• As one age, "the philosophic mind" develops, bringing with it wisdom, acceptance, and a deeper understanding of life's complexities.

Lines 187-193

And O, ye Fountains, Meadows, Hills, and Groves, Forebode not any severing of our loves! Yet in my heart of hearts I feel your might; I only have relinquished one delight To live beneath your more habitual sway. I love the Brooks which down their channels fret, Even more than when I tripped lightly as they;

"And O, ye Fountains, Meadows, Hills, and Groves, / Forebode not any severing of our loves!"

• The speaker addresses the elements of nature—fountains, meadows, hills, and groves—imploring them not to "forebode" (predict) any separation of their mutual love.
• This line emphasizes the speaker's deep connection to nature, expressing a hope that this bond will remain unbroken.

"Yet in my heart of hearts I feel your might; / I only have relinquished one delight / To live beneath your more habitual sway."

• The speaker acknowledges the enduring power ("might") of nature within his innermost being ("heart of hearts").
• He admits that he has relinquished the "delight" of youthful exuberance but has gained a deeper, more sustained relationship with nature, living under its "habitual sway"—the steady, constant influence of nature in his life.

"I love the Brooks which down their channels fret, / Even more than when I tripped lightly as they;"

• The speaker expresses a love for the brooks that "fret" (flow restlessly) down their channels, indicating an appreciation for the ongoing, dynamic movement of nature.
• He loves these natural features even more now than he did in his youth, when he "tripped lightly" (skipped) alongside them, suggesting that his connection to nature has deepened with age.

Lines 194-199

The innocent brightness of a new-born Day Is lovely yet; The Clouds that gather round the setting sun Do take a sober colouring from an eye That hath kept watch o'er man's mortality; Another race hath been, and other palms are won.

"The innocent brightness of a new-born Day / Is lovely yet;"

• The speaker finds that the "innocent brightness" of a new day still holds beauty, even as he acknowledges the changes in his perception over time.
• This line reflects a continued appreciation for the simple, pure beauty of the natural world, which remains "lovely yet" despite the passing of years.

"The Clouds that gather round the setting sun / Do take a sober colouring from an eye / That hath kept watch o'er man's mortality;"

• The speaker observes that the clouds surrounding the setting sun take on a "sober colouring," symbolizing a more subdued, reflective beauty that comes with the awareness of mortality.
• This perspective comes from an "eye" that has "kept watch o'er man's mortality," suggesting that the speaker, through experience, has gained a deeper understanding of life's impermanence.

"Another race hath been, and other palms are won."

• The speaker reflects on the passage of time, recognizing that new generations ("another race") have come and gone and that new achievements ("other palms"—a symbol of victory) have been attained.
• This line emphasizes the cyclical nature of life and the continuity of human experience across time.

Lines 200-203

Thanks to the human heart by which we live, Thanks to its tenderness, its joys, and fears, To me the meanest flower that blows can give Thoughts that do often lie too deep for tears.

"Thanks to the human heart by which we live, / Thanks to its tenderness, its joys, and fears,"

• The speaker expresses gratitude for the human heart, which is the source of life's experiences—its tenderness, joys, and fears.
• This line acknowledges the complexity of human emotions and their central role in giving life meaning.

"To me the meanest flower that blows can give / Thoughts that do often lie too deep for tears."

• The speaker concludes by stating that even the simplest flower ("the meanest flower that blows") can inspire profound thoughts and emotions, "too deep for tears."
• This suggests that the beauty and significance of nature, when truly contemplated, can evoke feelings and reflections that transcend ordinary expression, touching the deepest parts of the human soul.