Lyrical Ballads by William Wordsworth (best books to read for students .txt) 📕

passed on: and once again
The Shepherd went about his daily work
With confident and cheerful thoughts; and now
Sometimes when he could find a leisure hour
He to that valley took his way, and there
Wrought at the Sheep-fold. Meantime Luke began
To slacken in his duty; and at length
He in the dissolute city gave himself
To evil courses: ignominy and shame
Fell on him, so that he was driven at last
To seek a hiding-place beyond the seas.

There is a comfort in the strength of love;
’Twill make a thing endurable, which else
Would break the heart:⁠—Old Michael found it so.
I have conversed with more than one who well
Remember the Old Man, and what he was
Years after he had heard this heavy news.
His bodily frame had been from youth to age
Of an unusual strength. Among the rocks
He went, and still looked up upon the sun,
And listened to the wind; and as before
Performed all kinds of labour for his Sheep,
And for the land his small inheritance.
And to that hollow Dell from time to time
Did he repair, to build the Fold of which
His flock had need. ’Tis not forgotten yet
The pity which was then in every heart
For the Old Man⁠—and ’tis believed by all
That many and many a day he thither went,
And never lifted up a single stone.

There, by the Sheep-fold, sometimes was he seen
Sitting alone, with that his faithful Dog,
Then old, beside him, lying at his feet.
The length of full seven years from time to time
He at the building of this Sheep-fold wrought,
And left the work unfinished when he died.
Three years, or little more, did Isabel
Survive her Husband: at her death the estate
Was sold, and went into a Stranger’s hand.
The Cottage which was named The Evening Star
Is gone⁠—the ploughshare has been through the ground
On which it stood; great changes have been wrought
In all the neighbourhood:⁠—yet the Oak is left
That grew beside their Door; and the remains
Of the unfinished Sheep-fold may be seen
Beside the boisterous brook of Green-head Gill.

Appendix

As perhaps I have no right to expect from a Reader of an introduction to a volume of Poems that attentive perusal without which it is impossible, imperfectly as I have been compelled to express my meaning, that what I have said in the Preface should throughout be fully understood, I am the more anxious to give an exact notion of the sense in which I use the phrase poetic diction; and for this purpose I will here add a few words concerning the origin of the phraseology which I have condemned under that name.⁠—The earliest Poets of all nations generally wrote from passion excited by real events; they wrote naturally, and as men: feeling powerfully as they did, their language was daring, and figurative. In succeeding times, Poets, and men ambitious of the fame of Poets, perceiving the influence of such language, and desirous of producing the same effect, without having the same animating passion, set themselves to a mechanical adoption of those figures of speech, and made use of them, sometimes with propriety, but much more frequently applied them to feelings and ideas with which they had no natural connection whatsoever. A language was thus insensibly produced, differing materially from the real language of men in any situation. The Reader or Hearer of this distorted language found himself in a perturbed and unusual state of mind: when affected by the genuine language of passion he had been in a perturbed and unusual state of mind also: in both cases he was willing that his common judgment and understanding should be laid asleep, and he had no instinctive and infallible perception of the true to make him reject the false; the one served as a passport for the other. The agitation and confusion of mind were in both cases delightful, and no wonder if he confounded the one with the other, and believed them both to be produced by the same, or similar causes. Besides, the Poet spake to him in the character of a man to be looked up to, a man of genius and authority. Thus, and from a variety of other causes, this distorted language was received with admiration; and Poets, it is probable, who had before contented themselves for the most part with misapplying only expressions which at first had been dictated by real passion, carried the abuse still further, and introduced phrases composed apparently in the spirit of the original figurative language of passion, yet altogether of their own invention, and distinguished by various degrees of wanton deviation from good sense and nature.

It is indeed true that the language of the earliest Poets was felt to differ materially from ordinary language, because it was the language of extraordinary occasions; but it was really spoken by men, language which the Poet himself had uttered when he had been affected by the events which he described, or which he had heard uttered by those around him. To this language it is probable that metre of some sort or other was early superadded. This separated the genuine language of Poetry still further from common life, so that whoever read or heard the poems of these earliest Poets felt himself moved in a way in which he had not been accustomed to be moved in real life, and by causes manifestly different from those which acted upon him in real life. This was the great temptation to all the corruptions which have followed: under the protection of this feeling succeeding Poets constructed a phraseology which had one thing, it is true, in common with the genuine language of poetry, namely, that it was not heard in ordinary conversation; that it was unusual. But the first Poets, as I have said, spake a language which, though unusual, was still the language of men. This circumstance, however, was disregarded by their successors; they found that they could please by easier means: they became proud of a language which they themselves had invented, and which was uttered only by themselves; and, with the spirit of a fraternity, they arrogated