Lines Composed a Few Miles above Tintern Abbey by William Wordsworth

Context

• Written in July 1798, "Lines Composed a Few Miles above Tintern Abbey" reflects William Wordsworth's return to the Wye Valley after five years.
• This period in Wordsworth's life was marked by significant personal growth and philosophical development, heavily influenced by his experiences in nature.
• The poem captures Wordsworth's deep connection to the natural world and his belief in its restorative and spiritual power.
• The poem was included in Lyrical Ballads, a collection co-authored with Samuel Taylor Coleridge, which is considered foundational to the Romantic movement.

Structure and Form

• The poem is written in blank verse.
  • Unrhymed iambic pentameter provides a natural and fluid rhythm, reflecting the contemplative and conversational tone.
• The structure is composed of a single continuous verse paragraph, emphasizing the seamless flow of Wordsworth's thoughts and reflections.
• The poem's length and lack of stanzas mirror the uninterrupted and expansive nature of Wordsworth's meditation on the landscape and his memories.

Key Themes

Nature as a Source of Solace and Inspiration

• "These waters, rolling from their mountain-springs / With a soft inland murmur."
• Describes the calming and soothing presence of the natural landscape.
• Reflects Wordsworth's belief in the restorative power of nature, which provides solace and inspiration.

Memory and the Passage of Time

• "Five years have past; five summers, with the length / Of five long winters!"
• Emphasizes the passage of time and the impact of memory on the present.
• Wordsworth reflects on how his memories of nature have sustained him during his absence.

Spiritual Connection with Nature

• "A presence that disturbs me with the joy / Of elevated thoughts; a sense sublime"
• Highlights Wordsworth's spiritual and transcendent connection with nature.
• Nature evokes profound and elevated thoughts, providing a sense of the sublime.

Growth and Maturity

• "For I have learned / To look on nature, not as in the hour / Of thoughtless youth; but hearing oftentimes / The still, sad music of humanity"
• Reflects Wordsworth's personal growth and maturity in his relationship with nature.
• He now perceives nature with greater depth and understanding, recognizing its connection to human experience.

Interconnectedness of All Life

• "And this green pastoral landscape, were to me / More dear, both for themselves and for thy sake!"
• Expresses the interconnectedness of all life and the profound impact of personal relationships on one's perception of the world.
• The landscape is more meaningful because of the presence of his sister, Dorothy, highlighting the bond between human relationships and nature.

Similar Poems

• "Lines Written in Early Spring": Shares themes of nature, reflection, and the passage of time, focusing on the profound impact of the natural world on the human soul.
• "Ode: Intimations of Immortality": Explores themes of memory, childhood, and the loss of innocence, reflecting on the connection between nature and the human spirit.
• "Ode to the West Wind" by Percy Bysshe Shelley: Examines themes of transformation and renewal, using natural imagery to reflect on human conditions.
• "Ode on a Grecian Urn" by John Keats: Explores themes of beauty, art, and the transient nature of human experience, similar to Wordsworth's contemplation of nature and humanity.

Line by Line Analysis

Stanza 1

Lines 1-6

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

"Five years have past; five summers, with the length / Of five long winters!"

• The speaker begins by reflecting on the passage of time, noting that five years have passed since his last visit to this location.
• The repetition of "five" emphasises the duration, with "summers" and "long winters" indicating the distinct and contrasting experiences of time, suggesting a sense of longing or melancholy.

"and again I hear / These waters, rolling from their mountain-springs / With a soft inland murmur."

• The speaker shifts from the passage of time to the sensory experience of the present moment, specifically the sound of the waters.
• "Rolling from their mountain-springs" evokes a sense of natural continuity and movement, while "soft inland murmur" conveys a peaceful, soothing atmosphere.

"—Once again / Do I behold these steep and lofty cliffs, / That on a wild secluded scene impress"

• The speaker now focuses on the visual experience, describing the "steep and lofty cliffs" that dominate the landscape.
• The cliffs are portrayed as both majestic and imposing, contributing to the "wild secluded scene," which implies a sense of awe and isolation.
• The word "impress" suggests that the scene leaves a significant impact on the speaker, both visually and emotionally, as he reconnects with this familiar yet powerful landscape.

Lines 7-12

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 These plots of cottage-ground, these orchard-tufts, Which at this season, with their unripe fruits,

"Thoughts of more deep seclusion; and connect / The landscape with the quiet of the sky."

• The speaker contemplates the profound sense of seclusion that the landscape inspires, connecting it with the tranquil expanse of the sky.
• This connection between the earth and the sky suggests a unity between the natural world and the speaker's inner thoughts.

"The day is come when I again repose / Here, under this dark sycamore, and view / These plots of cottage-ground, these orchard-tufts,"

• The speaker reflects on the moment of rest or "repose" he now enjoys, indicating a return to a place of peace and reflection.
• He describes the scene before him, including the "cottage-ground" and "orchard-tufts," highlighting the pastoral and serene qualities of the landscape.

"Which at this season, with their unripe fruits,"

• The speaker observes the orchard's unripe fruits, indicating that the scene is set in early summer.
• This detail contributes to the overall sense of a landscape in a state of growth and potential, mirroring the speaker's own reflective and contemplative state.

Lines 13-18

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!

"Are clad in one green hue, and lose themselves / 'Mid groves and copses."

• The speaker notes that the orchard tufts are uniformly green, blending into the surrounding groves and copses, which creates a seamless, natural harmony.
• This imagery of the landscape "losing itself" in the greenery suggests a sense of immersion in nature, where boundaries are blurred.

"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;"

• The speaker describes the hedge-rows, which are so overgrown and "wild" that they barely resemble traditional hedges, emphasising the untamed beauty of the countryside.
• The "pastoral farms" are depicted as lush and vibrant, with greenery extending right up to the doorsteps, reinforcing the idea of nature's abundance.

"and wreaths of smoke / Sent up, in silence, from among the trees!"

• The speaker observes the quiet, almost ethereal image of smoke rising from within the trees, possibly from a distant cottage or farmstead.
• The silence of the scene, combined with the sight of the smoke, adds to the tranquil and almost mystical atmosphere of the landscape.

Lines 19-22

With some uncertain notice, as might seem Of vagrant dwellers in the houseless woods, Or of some Hermit's cave, where by his fire The Hermit sits alone.

"With some uncertain notice, as might seem / Of vagrant dwellers in the houseless woods, / Or of some Hermit's cave,"

• The speaker imagines the smoke as potentially emanating from "vagrant dwellers" or a "Hermit's cave," introducing a hint of mystery and solitude to the scene.
• This imagery of vagrants or a hermit suggests a life lived in isolation, in tune with nature but separate from society.

"where by his fire / The Hermit sits alone."

• The speaker concludes this section with the image of a solitary hermit sitting by his fire, emphasising the themes of seclusion and contemplation.
• The hermit serves as a symbol of introspection and a life dedicated to solitude, mirroring the speaker's reflective mood as he reconnects with this familiar yet remote landscape.

Stanza 2

Lines 23-27

These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them,

"These beauteous forms, / Through a long absence, have not been to me / As is a landscape to a blind man's eye:"

• The speaker asserts that even during his long absence, the memory of these "beauteous forms" has not faded, unlike a landscape that would be invisible to a blind person.
• This comparison underscores the profound impact the landscape has had on the speaker, suggesting that its memory remains vivid and influential.

"But oft, in lonely rooms, and 'mid the din / Of towns and cities, I have owed to them,"

• The speaker reveals that in moments of solitude and amidst the noise of urban life, he has drawn upon the memory of this landscape.
• The phrase "I have owed to them" implies that the recollection of these natural scenes has provided comfort and solace during difficult times.

Lines 28-34

In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life,

"In hours of weariness, sensations sweet, / Felt in the blood, and felt along the heart;"

• The speaker describes how, in moments of fatigue or weariness, recalling the landscape has brought "sensations sweet" that are deeply felt both physically ("in the blood") and emotionally ("along the heart").
• This suggests that the memory of nature has a restorative, almost healing power that influences the speaker on a profound level.

"And passing even into my purer mind / With tranquil restoration:—feelings too / Of unremembered pleasure:"

• The speaker notes that these sensations extend beyond the physical and emotional, reaching into his "purer mind," where they bring "tranquil restoration."
• The "unremembered pleasure" refers to subtle, perhaps subconscious joys that arise from the memory of the landscape, contributing to an overall sense of well-being.

"such, perhaps, / As have no slight or trivial influence / On that best portion of a good man's life,"

• The speaker suggests that these sensations are not insignificant; rather, they have a profound influence on what he considers "the best portion of a good man's life."
• This line emphasises the lasting and meaningful impact of nature's beauty on the speaker's moral and spiritual life.

Lines 35-43

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, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,—

"His little, nameless, unremembered, acts / Of kindness and of love."

• The speaker suggests that these small, often unacknowledged acts of kindness and love are influenced by the deep emotional and spiritual connection to nature.
• These acts are described as "little" and "nameless," highlighting their quiet, yet significant role in a good man's life.

"Nor less, I trust, / To them I may have owed another gift, / Of aspect more sublime;"

• The speaker believes that his connection to nature has also bestowed upon him a "gift" of a more elevated or "sublime" nature, beyond simple acts of kindness.
• This "gift" refers to a deeper spiritual or philosophical insight, suggesting that nature has enriched his understanding of life.

"that blessed mood, / In which the burthen of the mystery, / In which the heavy and the weary weight / Of all this unintelligible world, / Is lightened:"

• The speaker describes a "blessed mood" in which the burdensome mysteries of the world become lighter and more bearable.
• This mood seems to provide a sense of clarity or relief from the "heavy and weary weight" of life's uncertainties, a direct result of his connection to nature.

"that serene and blessed mood, / In which the affections gently lead us on,—"

• This "serene and blessed mood" is characterised by a gentle guiding of the speaker's affections, suggesting a harmonious alignment of emotions and thoughts.
• The repetition of "blessed mood" reinforces its significance, indicating a state of grace or enlightenment brought about by nature's influence.

Lines 44-50

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, We see into the life of things.

"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:"

• The speaker describes a transformative experience where the physical body ("corporeal frame") and even the blood's motion seem to pause, leading to a state of profound stillness.
• In this moment, the speaker feels a separation from the physical world, as if the body falls asleep and the soul awakens, suggesting a deep spiritual or transcendental experience.

"While with an eye made quiet by the power / Of harmony, and the deep power of joy, / We see into the life of things."

• The speaker concludes this section by describing how this state of being allows him to perceive the world with a calm, "quiet" eye, influenced by harmony and joy.
• This newfound vision enables him to "see into the life of things," implying a deep, intuitive understanding of the essence or truth of existence, beyond the superficial.

Stanza 3

Lines 51-56

If this Be but a vain belief, yet, oh! how oft— 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—

"If this / Be but a vain belief, yet, oh! how oft—"

• The speaker introduces a moment of doubt, acknowledging that his deep connection to nature might be a "vain belief," or something illusory.
• Despite this doubt, he expresses how frequently he has relied on this belief, suggesting its importance to him.

"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—"

• The speaker describes the times when he has felt surrounded by "darkness" and "joyless daylight," symbolising periods of despair and emotional emptiness.
• He refers to the "fretful stir" and "unprofitable" nature of the world's demands, suggesting a sense of frustration with the meaningless hustle of life.
• The "fever of the world" metaphorically represents the overwhelming pressures of life that weigh heavily on his heart, indicating emotional and psychological strain.

Lines 57-59

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!

• The speaker reveals that during those challenging times, he has frequently turned to the River Wye in spirit, seeking solace and comfort in its natural beauty.
• By addressing the Wye as a "sylvan" (wooded) "wanderer," the speaker personifies the river, attributing it with a gentle, guiding presence.
• The repetition of "how often has my spirit turned to thee" emphasises the river's significance as a source of spiritual renewal and emotional refuge for the speaker during times of distress.

Stanza 4

Lines 60-67

And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, 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. And so I dare to hope,

"And now, with gleams of half-extinguished thought, / With many recognitions dim and faint, / And somewhat of a sad perplexity,"

• The speaker reflects on the fleeting and unclear memories that come to mind, describing them as "half-extinguished" and "dim and faint."
• These memories bring a sense of "sad perplexity," indicating a mixture of confusion and melancholy as he tries to reconnect with his past experiences.

"The picture of the mind revives again: / While here I stand, not only with the sense / Of present pleasure, but with pleasing thoughts"

• Despite the ambiguity of his memories, the speaker's mind begins to reconstruct the past, allowing him to relive those moments to some extent.
• As he stands in the present, he experiences not only immediate pleasure but also "pleasing thoughts" about the past and the future.

"That in this moment there is life and food / For future years. And so I dare to hope,"

• The speaker finds solace in the idea that the current moment holds "life and food"—sustenance and inspiration—for the years to come.
• This leads him to express cautious optimism, as he dares to hope that the present will continue to nourish his spirit in the future.

Lines 68-74

Though changed, no doubt, from what I was when first 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 Flying from something that he dreads, than one Who sought the thing he loved. For nature then

"Though changed, no doubt, from what I was when first / 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:"

• The speaker acknowledges that he has "changed" since his first visit to these hills, contrasting his current self with his younger, more energetic self.
• He recalls how, in his youth, he moved through nature with the boundless energy of a roe deer, following rivers and streams wherever they led.

"more like a man / Flying from something that he dreads, than one / Who sought the thing he loved. For nature then"

• The speaker reflects that his youthful exuberance was driven more by a desire to escape something rather than by a pursuit of what he loved.
• This suggests a sense of restlessness or unease in his younger self, implying that his relationship with nature was once more about evasion than appreciation.

Lines 75-82

(The coarser pleasures of my boyish days And their glad animal movements all gone by) To me was all in all.—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,

"(The coarser pleasures of my boyish days / And their glad animal movements all gone by)"

• The speaker notes that the simple, physical pleasures of his boyhood—characterised by joyful, "animal" movements—are now behind him.
• This marks a shift from the carefree, physical enjoyment of nature to a more reflective and emotional connection.

"To me was all in all.—I cannot paint / What then I was. The sounding cataract / Haunted me like a passion:"

• The speaker recalls that nature once meant everything to him, although he struggles to fully describe his younger self.
• He was deeply affected by nature, with the "sounding cataract" (a waterfall) symbolising the intense and almost obsessive passion he felt for the natural world.

"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,"

• The speaker describes how the various elements of nature—the rock, mountain, and wood—stimulated an intense "appetite," a profound emotional and aesthetic longing.
• This imagery highlights his deep and almost primal connection to nature, where the physical forms and colours evoke a powerful feeling of love and desire.

Lines 83-90

That had no need of a remoter charm, By thought supplied, nor any interest Unborrowed from the eye.—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

"That had no need of a remoter charm, / By thought supplied, nor any interest / Unborrowed from the eye."

• The speaker reflects that, in his youth, his love for nature was immediate and did not require deeper thought or intellectual reflection to be appreciated.
• The beauty and allure of nature were fully experienced through the senses alone, without the need for abstract contemplation.

"That time is past, / And all its aching joys are now no more, / And all its dizzy raptures."

• The speaker acknowledges that the intense, almost overwhelming emotions he once felt towards nature are now gone.
• The "aching joys" and "dizzy raptures" of his youth have faded, marking a shift in how he experiences the world around him.

"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"

• Despite the loss of his youthful passion, the speaker does not despair or lament this change.
• He believes that "other gifts" have come to replace what he has lost, offering "abundant recompense"—a more mature, reflective understanding of life and nature.
• The speaker implies that he has gained wisdom and insight, which he values as a worthy exchange for the exuberant but fleeting joys of youth.

Lines 91-97

To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes 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

"To look on nature, not as in the hour / Of thoughtless youth; but hearing oftentimes / The still sad music of humanity,"

• The speaker contrasts his current, more reflective view of nature with the "thoughtless" and impulsive way he experienced it in his youth.
• He now perceives the "still sad music of humanity," as a metaphor for the deep, often melancholic understanding of human life and suffering that comes with maturity.

"Nor harsh nor grating, though of ample power / To chasten and subdue."

• The speaker describes this "music of humanity" as neither harsh nor unpleasant, but as having a profound ability to "chasten and subdue"—to teach humility and temper the spirit.
• This reflects the idea that life's challenges and sorrows can lead to personal growth and deeper understanding.

"And I have felt / A presence that disturbs me with the joy / Of elevated thoughts; a sense sublime"

• The speaker acknowledges a "presence" in nature that stirs him, bringing both joy and "elevated thoughts"—ideas that inspire and uplift.
• This "sense sublime" suggests an overwhelming feeling of awe and connection to something greater than himself, evoking both spiritual and intellectual stimulation.

Lines 98-104

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 All thinking things, all objects of all thought, And rolls through all things. Therefore am I still

"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:"

• The speaker describes this "something" as being deeply interwoven with the fabric of the natural world, residing in elements like the light of sunsets, the ocean, the air, and the sky.
• This presence is not only found in nature but also the "mind of man," suggesting a universal spirit or force that connects all living things and thoughts.

"A motion and a spirit, that impels / All thinking things, all objects of all thought, / And rolls through all things."

• The speaker envisions this force as a "motion and a spirit" that drives all thoughts and actions, permeating everything in existence.
• This suggests a belief in a unifying, dynamic force that animates both the natural world and human consciousness, creating an interconnected web of life and thought.

Lines 105-109

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

"A lover of the meadows and the woods / And mountains; and of all that we behold / From this green earth;"

• The speaker identifies himself as a devoted admirer of nature, expressing his love for the meadows, woods, mountains, and all aspects of the natural world.
• His deep connection to the "green earth" suggests a lifelong bond with nature that brings him joy and fulfilment.

"of all the mighty world / Of eye, and ear,—both what they half create, / And what perceive; well pleased to recognise"

• The speaker acknowledges the complex relationship between perception and reality, noting that the "eye, and ear" both perceive and partially create the world around them.
• This reflects the idea that our experience of the world is shaped by both sensory perception and the mind's interpretation, and he finds satisfaction in this recognition.

Lines 110-113

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 Of all my moral being.

"In nature and the language of the sense / The anchor of my purest thoughts, the nurse, / The guide, the guardian of my heart,"

• The speaker views nature as the foundation ("anchor") of his deepest and most genuine thoughts, as well as a nurturing force ("the nurse") that supports his emotional and spiritual well-being.
• Nature serves as a "guide" and "guardian" for his heart, suggesting that it plays a crucial role in shaping his moral and emotional life.

"and soul / Of all my moral being."

• The speaker affirms that nature is the essence ("soul") of his moral existence, indicating that his ethical and spiritual life is deeply rooted in his connection with the natural world.

Stanza 5

Lines 114-122

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

"Nor perchance, / If I were not thus taught, should I the more / Suffer my genial spirits to decay:"

• The speaker reflects that, even without this understanding of nature, his spirits might not necessarily suffer or deteriorate.
• However, he acknowledges that his connection with nature has played a crucial role in maintaining his "genial spirits," or his emotional well-being.

"For thou art with me here upon the banks / Of this fair river; thou my dearest Friend, / My dear, dear Friend;"

• The speaker addresses a companion, likely his sister Dorothy, who is present with him by the river.
• He expresses deep affection, calling her his "dearest Friend," and repeating "dear" to emphasize the closeness of their relationship.

"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."

• The speaker hears in his companion's voice an echo of his own younger self, suggesting that she reminds him of his past joys and emotions.
• He observes the "shooting lights" in her "wild eyes," which rekindle memories of his own former pleasures and youthful energy.

"Oh! yet a little while"

• This line introduces a sense of longing or hope that these shared moments, and the connection they represent, will last a bit longer.

Lines 123-128

May I behold in thee what I was once, My dear, dear Sister! and this prayer I make, Knowing that Nature never did betray 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

"May I behold in thee what I was once, / My dear, dear Sister! and this prayer I make,"

• The speaker expresses a wish that he may see in his sister as a reflection of his youthful self, suggesting a desire to reconnect with his past through her.
• He addresses this hope directly to his sister, emphasizing their close bond by repeating "dear."

"Knowing that Nature never did betray / The heart that loved her; 'tis her privilege,"

• The speaker declares his belief that nature has never betrayed those who love her, asserting that nature is trustworthy and supportive.
• He views this as nature's "privilege," indicating that this nurturing relationship is a special and inherent quality of nature.

"Through all the years of this our life, to lead / From joy to joy:"

• The speaker believes that nature has the power to guide people from one joy to the next throughout their lives.
• This line reflects his deep faith in nature as a source of continual happiness and fulfilment.

"for she can so inform"

• The speaker is about to explain how nature influences and shapes the human mind and spirit, suggesting a transformative and instructive power.

Lines 129-132

The mind that is within us, so impress With quietness and beauty, and so feed With lofty thoughts, that neither evil tongues, Rash judgments, nor the sneers of selfish men,

"The mind that is within us, so impress / With quietness and beauty, and so feed / With lofty thoughts,"

• The speaker describes how nature influences the human mind, filling it with "quietness and beauty" and nurturing "lofty thoughts."
• This suggests that nature fosters a calm, reflective state of mind and inspires higher, more noble thinking.

"that neither evil tongues, / Rash judgments, nor the sneers of selfish men,"

• The speaker lists negative influences—such as malicious speech, hasty judgments, and the scorn of selfish individuals—that cannot disturb the tranquillity and wisdom imparted by nature.
• This implies that nature provides a protective buffer against the negativity and harshness of the world.

Lines 133-138

Nor greetings where no kindness is, nor all The dreary intercourse of daily life, 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;

"Nor greetings where no kindness is, nor all / The dreary intercourse of daily life,"

• The speaker continues to list the challenges of everyday life, such as insincere greetings and the monotonous routines of daily existence, which can feel draining and devoid of warmth.
• These are presented as further examples of the negativity that nature helps to counterbalance.

"Shall e'er prevail against us, or disturb / Our cheerful faith, that all which we behold / Is full of blessings."

• The speaker asserts that these negative forces will never overcome or disrupt their "cheerful faith"—the belief that everything they see is filled with blessings.
• This reflects a deep sense of optimism and gratitude inspired by their connection to nature.

"Therefore let the moon / Shine on thee in thy solitary walk;"

• The speaker closes with a gentle, hopeful image, wishing that the moon will shine on his sister during her solitary walks, symbolizing peace, guidance, and the comforting presence of nature.
• This final blessing underscores the enduring bond between the speaker, his sister, and the natural world.

Lines 139-143

And let the misty mountain-winds be free To blow against thee: and, in after years, When these wild ecstasies shall be matured Into a sober pleasure; when thy mind Shall be a mansion for all lovely forms,

"And let the misty mountain-winds be free / To blow against thee:"

• The speaker wishes for his sister to experience the natural world fully, encouraging the mountain winds to freely blow against her.
• This suggests a desire for her to remain open to the elements of nature, embracing its raw and untamed beauty.

"and, in after years, / When these wild ecstasies shall be matured / Into a sober pleasure;"

• The speaker anticipates that the intense emotions ("wild ecstasies") she feels in her youth will eventually mature into a more "sober pleasure."
• This reflects the natural progression from the passionate enthusiasm of youth to a more measured and reflective appreciation in later years.

"when thy mind / Shall be a mansion for all lovely forms,"

• The speaker envisions his sister's mind as a "mansion," a grand and spacious place where all the beautiful experiences and forms of nature will be preserved.
• This metaphor suggests that her mind will become a repository for the beauty and memories of nature, providing her with enduring comfort and inspiration.

Lines 144-149

Thy memory be as a dwelling-place For all sweet sounds and harmonies; oh! then, If solitude, or fear, or pain, or grief, Should be thy portion, with what healing thoughts Of tender joy wilt thou remember me, And these my exhortations! Nor, perchance—

"Thy memory be as a dwelling-place / For all sweet sounds and harmonies;"

• The speaker hopes that his sister's memory will be a "dwelling-place" filled with the "sweet sounds and harmonies" of nature.
• This imagery reinforces the idea that the beauty of nature will live on in her memory, providing solace and joy.

"oh! then, / If solitude, or fear, or pain, or grief, / Should be thy portion, with what healing thoughts / Of tender joy wilt thou remember me,"

• The speaker imagines that if his sister ever faces solitude, fear, pain, or grief, she will find "healing thoughts" in recalling him and the experiences they shared in nature.
• This suggests that the memories of their time together, and his guidance, will offer her comfort and joy during difficult times.

"And these my exhortations! Nor, perchance—"

• The speaker refers to his words of advice and encouragement ("exhortations"), hoping that they, too, will be remembered and bring her comfort.
• The dash at the end of the line introduces a pause, indicating a shift in thought as the speaker reflects on the possibility of being separated from his sister.

Lines 150-155

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 We stood together; and that I, so long A worshipper of Nature, hither came

"If I should be where I no more can hear / Thy voice, nor catch from thy wild eyes these gleams / Of past existence—"

• The speaker contemplates the possibility of being separated from his sister, perhaps by death, where he can no longer hear her voice or see the "gleams" of youthful energy in her eyes.
• This introduces a poignant moment of reflection, acknowledging the transient nature of life and the inevitable distance that may come between them.

"wilt thou then forget / That on the banks of this delightful stream / We stood together;"

• The speaker wonders if, in his absence, his sister might forget the moments they shared by the river.
• This reflects a concern for the preservation of their shared memories, emphasizing the importance of their bond and their connection to nature.

"and that I, so long / A worshipper of Nature, hither came"

• The speaker reminds his sister that he has been a devoted admirer of nature for a long time and that this riverbank was a place he cherished.
• This line underscores his deep, spiritual connection to nature, which he hopes will be remembered by his sister.

Lines 156-162

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!

"Unwearied in that service: rather say / With warmer love—oh! with far deeper zeal / Of holier love."

• The speaker describes his dedication to nature as "unwearied," suggesting that his devotion has been constant and tireless.
• He urges his sister to see this love as not only enduring but also growing "warmer" and more passionate, with a "far deeper zeal" and "holier love," indicating a sacred and profound connection to nature.

"Nor wilt thou then forget, / That after many wanderings, many years / Of absence, these steep woods and lofty cliffs,"

• The speaker hopes that his sister will remember that after his many wanderings and years of absence, he returned to these beloved woods and cliffs.
• This highlights the importance of this specific landscape to the speaker, as a place of refuge and deep emotional significance.

"And this green pastoral landscape, were to me / More dear, both for themselves and for thy sake!"

• The speaker concludes by affirming that this green pastoral landscape has become even more precious to him, not just for its natural beauty but also because of the shared memories with his sister.
• This final line emphasizes the intertwining of nature's beauty with the bonds of family, suggesting that his love for the landscape is deeply connected to his love for his sister.