No More Learning

1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. net

1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.

1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. net),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.

1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.

1. E. 8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "

- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.

- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.

1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.

1. F.

1. F. 1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1. F. 2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1. F. 3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1. F. 4. Except for the limited right of replacement or refund set forth
in paragraph 1. F. 3, this work is provided to you 'AS-IS," WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1. F. 5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1. F. 6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section 2. Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www. pglaf. org.


Section 3. Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf. org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U. S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712. , but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf. org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf. org

For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf. org

Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf. org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U. S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations. To donate, please visit: http://pglaf. org/donate


Section 5. General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U. S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Each eBook is in a subdirectory of the same number as the eBook's
eBook number, often in several formats including plain vanilla ASCII,
compressed (zipped), HTML and others.

Corrected EDITIONS of our eBooks replace the old file and take over
the old filename and etext number. The replaced older file is renamed.
VERSIONS based on separate sources are treated as new eBooks receiving
new filenames and etext numbers.

Most people start at our Web site which has the main PG search facility:

http://www. gutenberg. net

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.

EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
are filed in directories based on their release date. If you want to
download any of these eBooks directly, rather than using the regular
search system you may utilize the following addresses and just
download by the etext year.

http://www. ibiblio. org/gutenberg/etext06

(Or /etext 05, 04, 03, 02, 01, 00, 99,
98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)

EBooks posted since November 2003, with etext numbers OVER #10000, are
filed in a different way. The year of a release date is no longer part
of the directory path. The path is based on the etext number (which is
identical to the filename). The path to the file is made up of single
digits corresponding to all but the last digit in the filename. For
example an eBook of filename 10234 would be found at:

http://www. gutenberg. net/1/0/2/3/10234

or filename 24689 would be found at:
http://www. gutenberg. net/2/4/6/8/24689

An alternative method of locating eBooks:
http://www. gutenberg. net/GUTINDEX. ALL

? The Project Gutenberg EBook of The Poetical Works of William Wordsworth,
Vol. II. , by William Wordsworth

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. net


Title: The Poetical Works of William Wordsworth, Vol. II.

Author: William Wordsworth

Release Date: April 26, 2004 [EBook #12145]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK WORDSWORTH, VOL. II. ***




Produced by Jonathon Ingram, Clytie Siddall and the Online Distributed
Proofreading Team!





THE POETICAL WORKS

OF



WILLIAM WORDSWORTH





EDITED BY
WILLIAM KNIGHT


VOL. II


1896






CONTENTS



Peter Bell

Lines, composed a few miles above Tintern Abbey, on revisiting the Banks
of the Wye during a tour, July 13, 1798

There was a Boy

The Two Thieves; or, the Last Stage of Avarice

Written with a Slate Pencil upon a Stone, the largest of a Heap lying
near a Deserted Quarry, upon one of the Islands at Rydal


1799

Influence of Natural Objects in calling forth and strengthening the
Imagination in Boyhood and Early Youth

The Simplon Pass

Nutting

Written in Germany, on one of the Coldest Days of the Century

A Poet's Epitaph

"Strange fits of passion have I known"

"She dwelt among the untrodden ways"

"I travelled among unknown men"

"Three years she grew in sun and shower"

"A slumber did my spirit seal"

Address to the Scholars of the Village School of----

Matthew

The Two April Mornings

The Fountain

To a Sexton

The Danish Boy

Lucy Gray; or, Solitude

Ruth


1800

"On Nature's invitation do I come"

"Bleak season was it, turbulent and bleak"

Ellen Irwin; or, The Braes of Kirtle

Hart-Leap Well

The Idle Shepherd-Boys; or, Dungeon-Ghyll Force

The Pet-Lamb

The Farmer of Tilsbury Vale


Poems on the Naming of Places:

"It was an April morning: fresh and clear"

To Joanna

"There is an Eminence,--of these our hills"

"A narrow girdle of rough stones and crags"

To M. H.

The Waterfall and the Eglantine

The Oak and the Broom

"'Tis said, that some have died for love"

The Childless Father

Song for the Wandering Jew

The Brothers

The Seven Sisters; or, The Solitude of Binnorie

Rural Architecture

A Character

Inscription for the spot where the Hermitage stood on St. Herbert's
Island, Derwent-Water

Written with a Pencil upon a Stone in the Wall of the House (an
Out-House), on the Island at Grasmere

Michael


1801

The Sparrow's Nest

"Pelion and Ossa flourish side by side"

Selections from Chaucer Modernised:

The Prioress' Tale

The Cuckoo and the Nightingale

Troilus and Cresida

1802

The Sailor's Mother

Alice Fell; or, Poverty

Beggars

Sequel to the Foregoing

To a Butterfly

The Emigrant Mother

To the Cuckoo

"My heart leaps up when I behold"

Written in March, while resting on the Bridge at the Foot of Brothers
Water

The Redbreast chasing the Butterfly

To a Butterfly

Foresight

To the Small Celandine

To the Same Flower

Stanzas written in my Pocket Copy of Thomson's "Castle of Indolence"

Resolution and Independence

"I grieved for Buonaparte"

A Farewell

"The sun has long been set"

Composed upon Westminster Bridge, September 3, 1802

Composed by the Sea-side, near Calais, August, 1802

Calais, August, 1802

Composed near Calais, on the Road leading to Ardres, August 7, 1802

Calais, August 15, 1802

"It is a beauteous evening, calm and free"

On the Extinction of the Venetian Republic

The King of Sweden

To Toussaint L'Ouverture

Composed in the Valley near Dover, on the Day of Landing

September 1, 1802

September, 1802, near Dover

Written in London, September, 1802

London, 1802

"Great men have been among us; hands that penned"

"It is not to be thought of that the Flood"

"When I have borne in memory what has tamed"

Composed after a Journey across the Hambleton Hills, Yorkshire

To H. C.
To the Daisy

To the Same Flower

To the Daisy

Louisa

To a Young Lady, who had been Reproached for taking Long Walks in the
Country

1803

The Green Linnet

Yew-Trees

"Who fancied what a pretty sight"

"It is no Spirit who from heaven hath flown"

Memorials of a Tour in Scotland:

Departure from the Vale of Grasmere. August, 1803

At the Grave of Burns, 1803. Seven Years after his Death

Thoughts suggested the Day following, on the Banks of Nith, near the
Poet's Residence

To the Sons of Burns, after Visiting the Grave of their Father

To a Highland Girl

Glen-Almain; or, The Narrow Glen

Stepping Westward

The Solitary Reaper

Address to Kilchurn Castle

Rob Roy's Grave

Sonnet composed at----Castle

Yarrow Unvisited

The Matron of Jedborough and her Husband

"Fly, some kind Harbinger, to Grasmere-dale"

The Blind Highland Boy

October, 1803

"There is a bondage worse, far worse, to bear"

October, 1803

"England! the time is come when thou should'st wean"

October, 1803

To the Men of Kent. October, 1803

In the Pass of Killicranky

Anticipation. October, 1803

Lines on the Expected Invasion, 1803





* * * * *





WORDSWORTH'S POETICAL WORKS





* * * * *





PETER BELL: A TALE [A]


Composed 1798. [B]--Published 1819.


'What's in a Name? ' [C]

'Brutus will start a Spirit as soon as Caesar! ' [D]


To ROBERT SOUTHEY, ESQ. , P. L. , ETC. , ETC.

MY DEAR FRIEND--The Tale of 'Peter Bell', which I now introduce to
your notice, and to that of the Public, has, in its Manuscript state,
nearly survived its _minority_:--for it first saw the light in the
summer of 1798. During this long interval, pains have been taken at
different times to make the production less unworthy of a favourable
reception; or, rather, to fit it for filling _permanently_ a station,
however humble, in the Literature of our Country. This has, indeed,
been the aim of all my endeavours in Poetry, which, you know, have
been sufficiently laborious to prove that I deem the Art not lightly
to be approached; and that the attainment of excellence in it, may
laudably be made the principal object of intellectual pursuit by any
man, who, with reasonable consideration of circumstances, has faith in
his own impulses.

The Poem of 'Peter Bell', as the Prologue will show, was composed
under a belief that the Imagination not only does not require for its
exercise the intervention of supernatural agency, but that, though
such agency be excluded, the faculty may be called forth as
imperiously and for kindred results of pleasure, by incidents, within
the compass of poetic probability, in the humblest departments of
daily life. Since that Prologue was written, _you_ have exhibited most
splendid effects of judicious daring, in the opposite and usual
course. Let this acknowledgment make my peace with the lovers of the
supernatural; and I am persuaded it will be admitted, that to you, as
a Master in that province of the art, the following Tale, whether from
contrast or congruity, is not an unappropriate offering. Accept it,
then, as a public testimony of affectionate admiration from one with
whose name yours has been often coupled (to use your own words) for
evil and for good; and believe me to be, with earnest wishes that life
and health may be granted you to complete the many important works in
which you are engaged, and with high respect, Most faithfully yours,

WILLIAM WORDSWORTH.

RYDAL MOUNT, April 7, 1819.


[Written at Alfoxden. Founded upon an anecdote which I read in a
newspaper, of an ass being found hanging his head over a canal in a
wretched posture. Upon examination a dead body was found in the water,
and proved to be the body of its master. The countenance, gait, and
figure of Peter were taken from a wild rover with whom I walked from
Builth, on the river Wye, downwards, nearly as far as the town of Hay.
He told me strange stories. It has always been a pleasure to me through
life, to catch at every opportunity that has occurred in my rambles of
becoming acquainted with this class of people. The number of Peter's
wives was taken from the trespasses, in this way, of a lawless creature,
who lived in the county of Durham, and used to be attended by many
women, sometimes not less than half a dozen, as disorderly as himself,
and a story went in the country that he had been heard to say, while
they were quarrelling, "Why can't ye be quiet, there's none so many of
you? " Benoni, or the child of sorrow, I knew when I was a schoolboy. His
mother had been deserted by a gentleman in the neighbourhood, she
herself being a gentlewoman by birth. The circumstances of her story
were told me by my dear old dame, Ann Tyson, who was her confidante. The
lady died broken-hearted. In the woods of Alfoxden I used to take great
delight in noticing the habits, tricks, and physiognomy of asses; and I
have no doubt that I was thus put upon writing the poem out of liking
for the creature that is often so dreadfully abused. The crescent moon,
which makes such a figure in the prologue, assumed this character one
evening while I was watching its beauty in front of Alfoxden House. I
intended this poem for the volume before spoken of, but it was not
published for more than twenty years afterwards. The worship of the
Methodists, or Ranters, is often heard during the stillness of the
summer evening, in the country, with affecting accompaniments of rural
beauty. In both the psalmody and voice of the preacher there is, not
unfrequently, much solemnity likely to impress the feelings of the
rudest characters under favourable circumstances. --I. F. ]


Classed by Wordsworth among his "Poems of the Imagination. "--ED.



PROLOGUE

There's something in a flying horse,
There's something [1] in a huge balloon;
But through the clouds I'll never float
Until I have a little Boat,
Shaped like [2] the crescent-moon. 5

And now I _have_ a little Boat,
In shape a very crescent-moon:
Fast through the clouds my boat can sail;
But if perchance your faith should fail,
Look up--and you shall see me soon! 10

The woods, my Friends, are round you roaring,
Rocking and roaring like a sea;
The noise of danger's in [3] your ears,
And ye have all a thousand fears
Both for my little Boat and me! 15

Meanwhile untroubled I admire [4]
The pointed horns of my canoe;
And, did not pity touch my breast,
To see how ye are all distrest,
Till my ribs ached, I'd laugh at you! 20

Away we go, my Boat and I--
Frail man ne'er sate in such another;
Whether among the winds we strive,
Or deep into the clouds [5] we dive,
Each is contented with the other. 25

Away we go--and what care we
For treasons, tumults, and for wars?
We are as calm in our delight
As is the crescent-moon so bright
Among the scattered stars. 30

Up goes my Boat among [6] the stars
Through many a breathless field of light,
Through many a long blue field of ether,
Leaving ten thousand stars beneath her:
Up goes my little Boat so bright! 35

The Crab, the Scorpion, and the Bull--
We pry among them all; have shot
High o'er the red-haired race of Mars,
Covered from top to toe with scars;
Such company I like it not! 40

The towns in Saturn are decayed,
And melancholy Spectres throng them;--[7]
The Pleiads, that appear to kiss
Each other in the vast abyss,
With joy I sail among [8] them, 45

Swift Mercury resounds with mirth,
Great Jove is full of stately bowers;
But these, and all that they contain,
What are they to that tiny grain,
That little Earth [9] of ours? 50

Then back to Earth, the dear green Earth:--
Whole ages if I here should roam,
The world for my remarks and me
Would not a whit the better be;
I've left my heart at home. 55

See! there she is, [10] the matchless Earth!
There spreads the famed Pacific Ocean!
Old Andes thrusts yon craggy spear
Through the grey clouds; the Alps are here,
Like waters in commotion! 60

Yon tawny slip is Libya's sands
That silver thread the river Dnieper;
And look, where clothed in brightest green
Is a sweet Isle, of isles the Queen;
Ye fairies, from all evil keep her! 65

And see the town where I was born!
Around those happy fields we span
In boyish gambols;--I was lost
Where I have been, but on this coast
I feel I am a man. 70

Never did fifty things at once
Appear so lovely, never, never;--
How tunefully the forests ring!
To hear the earth's soft murmuring
Thus could I hang for ever! 75

"Shame on you! " cried my little Boat,
"Was ever such a homesick [11] Loon,
Within a living Boat to sit,
And make no better use of it;
A Boat twin-sister of the crescent-moon! 80

[12]

"Ne'er in the breast of full-grown Poet
Fluttered so faint a heart before;--
Was it the music of the spheres
That overpowered your mortal ears?
--Such din shall trouble them no more. 85

"These nether precincts do not lack
Charms of their own;--then come with me;
I want a comrade, and for you
There's nothing that I would not do;
Nought is there that you shall not see. 90

"Haste! and above Siberian snows
We'll sport amid the boreal morning;
Will mingle with her lustres gliding
Among the stars, the stars now hiding,
And now the stars adorning. 95

"I know the secrets of a land
Where human foot did never stray;
Fair is that land [13] as evening skies,
And cool, though in the depth it lies
Of burning Africa. 100

"Or we'll into the realm of Faery,
Among the lovely shades of things;
The shadowy forms of mountains bare,
And streams, and bowers, and ladies fair,
The shades of palaces and kings! 105

"Or, if you thirst with hardy zeal
Less quiet regions to explore,
Prompt voyage shall to you reveal
How earth and heaven are taught to feel
The might of magic lore! " 110

"My little vagrant Form of light,
My gay and beautiful Canoe,
Well have you played your friendly part;
As kindly take what from my heart
Experience forces--then adieu! 115

"Temptation lurks among your words;
But, while these pleasures you're pursuing
Without impediment or let,
No wonder if you quite forget [14]
What on the earth is doing. 120

"There was a time when all mankind
Did listen with a faith sincere
To tuneful tongues in mystery versed;
_Then_ Poets fearlessly rehearsed
The wonders of a wild career. 125

"Go--(but the world's a sleepy world,
And 'tis, I fear, an age too late)
Take with you some ambitious Youth!
For, restless Wanderer! I, in truth, [15]
Am all unfit to be your mate. 130

"Long have I loved what I behold,
The night that calms, the day that cheers;
The common growth of mother-earth
Suffices me--her tears, her mirth,
Her humblest mirth and tears. 135

"The dragon's wing, the magic ring,
I shall not covet for my dower,
If I along that lowly way
With sympathetic heart may stray,
And with a soul of power. 140

"These given, what more need I desire
To stir, to soothe, or elevate?
What nobler marvels than the mind
May in life's daily prospect find,
May find or there create? 145

"A potent wand doth Sorrow wield;
What spell so strong as guilty Fear!
Repentance is a tender Sprite;
If aught on earth have heavenly might,
'Tis lodged within her silent tear. 150

"But grant my wishes,--let us now
Descend from this ethereal height;
Then take thy way, adventurous Skiff,
More daring far than Hippogriff,
And be thy own delight! 155

"To the stone-table in my garden,
Loved haunt of many a summer hour, [E]
The Squire is come: his daughter Bess
Beside him in the cool recess
Sits blooming like a flower. 160

"With these are many more convened;
They know not I have been so far;--
I see them there, in number nine,
Beneath the spreading Weymouth-pine!
I see them--there they are! 165

"There sits the Vicar and his Dame;
And there my good friend, Stephen Otter;
And, ere the light of evening fail,
To them I must relate the Tale
Of Peter Bell the Potter. " 170

Off flew the Boat--away she flees,
Spurning her freight with indignation! [16]
"And I, as well as I was able,
On two poor legs, toward my stone-table
Limped on with sore vexation. [17] 175

"O, here he is! " cried little Bess--
She saw me at the garden-door;
"We've waited anxiously and long,"
They cried, and all around me throng,
Full nine of them or more! 180

"Reproach me not--your fears be still--
Be thankful we again have met;--
Resume, my Friends! within the shade
Your seats, and quickly [18] shall be paid
The well-remembered debt. " 185

I spake with faltering voice, like one
Not wholly rescued from the pale
Of a wild dream, or worse illusion;
But, straight, to cover my confusion,
Began the promised Tale. [19] 190



PART FIRST

All by the moonlight river side
Groaned the poor Beast--alas! in vain;
The staff was raised to loftier height,
And the blows fell with heavier weight
As Peter struck--and struck again. [20] 195

[21]

"Hold! " cried the Squire, "against the rules
Of common sense you're surely sinning;
This leap is for us all too bold; [22]
Who Peter was, let that be told,
And start from the beginning. " 200

--"A Potter, [F] Sir, he was by trade,"
Said I, becoming quite collected;
"And wheresoever he appeared,
Full twenty times was Peter feared
For once that Peter was respected. 205

"He two-and-thirty years or more,
Had been a wild and woodland rover;
Had heard the Atlantic surges roar
On farthest Cornwall's rocky shore,
And trod the cliffs of Dover. 210

"And he had seen Caernarvon's towers,
And well he knew the spire of Sarum;
And he had been where Lincoln bell
Flings o'er the fen that ponderous knell--
A far-renowned alarum. [23] 215

"At Doncaster, at York, and Leeds,
And merry Carlisle had he been;
And all along the Lowlands fair,
All through the bonny shire of Ayr;
And far as Aberdeen. 220

"And he had been at Inverness;
And Peter, by the mountain-rills,
Had danced his round with Highland lasses;
And he had lain beside his asses
On lofty Cheviot Hills: 225

"And he had trudged through Yorkshire dales,
Among the rocks and winding _scars_;
Where deep and low the hamlets lie
Beneath their little patch of sky
And little lot of stars: 230

"And all along the indented coast,
Bespattered with the salt-sea foam;
Where'er a knot of houses lay
On headland, or in hollow bay;--
Sure never man like him did roam! 235

"As well might Peter, in the Fleet,
Have been fast bound, a begging debtor;--
He travelled here, he travelled there;--
But not the value of a hair
Was heart or head the better. 240

"He roved among the vales and streams,
In the green wood and hollow dell;
They were his dwellings night and day,--
But nature ne'er could find the way
Into the heart of Peter Bell. 245

"In vain, through every changeful year,
Did Nature lead him as before;
A primrose by a river's brim
A yellow primrose was to him,
And it was nothing more. 250

"Small change it made in Peter's heart
To see his gentle panniered train
With more than vernal pleasure feeding,
Where'er the tender grass was leading
Its earliest green along the lane. 255

"In vain, through water, earth, and air,
The soul of happy sound was spread,
When Peter on some April morn,
Beneath the broom or budding thorn,
Made the warm earth his lazy bed. 260

"At noon, when, by the forest's edge
He lay beneath the branches high,
The soft blue sky did never melt
Into his heart; he never felt
The witchery of the soft blue sky! 265

"On a fair prospect some have looked
And felt, as I have heard them say,
As if the moving time had been
A thing as steadfast as the scene
On which they gazed themselves away. 270

"Within the breast of Peter Bell
These silent raptures found no place; [24]
He was a Carl as wild and rude
As ever hue-and-cry pursued,
As ever ran a felon's race. 275

"Of all that lead a lawless life,
Of all that love their lawless lives,
In city or in village small,
He was the wildest far of all;--
He had a dozen wedded wives. 280

"Nay, start not! --wedded wives--and twelve!
But how one wife could e'er come near him,
In simple truth I cannot tell;
For, be it said of Peter Bell,
To see him was to fear him. 285

"Though Nature could not touch his heart
By lovely forms, and silent [25] weather,
And tender sounds, yet you might see
At once, that Peter Bell and she
Had often been together. 290

"A savage wildness round him hung
As of a dweller out of doors;
In his whole figure and his mien
A savage character was seen
Of mountains and of dreary moors. 295

"To all the unshaped half-human thoughts
Which solitary Nature feeds
'Mid summer storms or winter's ice,
Had Peter joined whatever vice
The cruel city breeds. 300

"His face was keen as is the wind
That cuts along the hawthorn-fence;
Of courage you saw little there,
But, in its stead, a medley air
Of cunning and of impudence. 305

"He had a dark and sidelong walk,
And long and slouching was his gait;
Beneath his looks so bare and bold,
You might perceive, his spirit cold
Was playing with some inward bait. 310

"His forehead wrinkled was and furred;
A work, one half of which was done
By thinking of his '_whens_,' and '_hows_';
And half, by knitting of his brows
Beneath the glaring sun. 315

"There was a hardness in his cheek,
There was a hardness in his eye,
As if the man had fixed his face,
In many a solitary place,
Against the wind and open sky! " 320


* * * * *


One night, (and now my little Bess!
We've reached at last the promised Tale;)
One beautiful November night,
When the full moon was shining bright
Upon the rapid river Swale, 325

Along the river's winding banks
Peter was travelling all alone;
Whether to buy or sell, or led
By pleasure running in his head,
To me was never known. 330

He trudged along through copse and brake,
He trudged along o'er hill and dale;
Nor for the moon cared he a tittle,
And for the stars he cared as little,
And for the murmuring river Swale. 335

But, chancing to espy a path
That promised to cut short the way;
As many a wiser man hath done,
He left a trusty guide for one
That might his steps betray. 340

To a thick wood he soon is brought
Where cheerily [26] his course he weaves,
And whistling loud may yet be heard,
Though often buried, like a bird
Darkling, among the boughs and leaves. 345

But quickly Peter's mood is changed,
And on he drives with cheeks that burn
In downright fury and in wrath;--
There's little sign the treacherous path
Will to the road return! 350

The path grows dim, and dimmer still;
Now up, now down, the Rover wends,
With all the sail that he can carry,
Till brought to a deserted quarry--[27]
And there the pathway ends. 355

[28]

He paused--for shadows of strange shape,
Massy and black, before him lay;
But through the dark, and through the cold, [29]
And through the yawning fissures old,
Did Peter boldly press his way 360

Right through the quarry;--and behold
A scene of soft and lovely hue!
Where blue and grey, and tender green,
Together make [30] as sweet a scene
As ever human eye did view. 365

Beneath the clear blue sky he saw
A little field of meadow ground;
But field or meadow name it not;
Call it of earth a small green plot,
With rocks encompassed round. 370

The Swale flowed under the grey rocks,
But he flowed quiet and unseen;--
You need a strong and stormy gale
To bring the noises of the Swale
To that green spot, so calm and green! 375

[31]

And is there no one dwelling here,
No hermit with his beads and glass?
And does no little cottage look
Upon this soft and fertile nook?
Does no one live near this green grass? 380

Across the [32] deep and quiet spot
Is Peter driving through the grass--
And now has reached the skirting trees; [33]
When, turning round his head, he sees
A solitary Ass. 385

[34]

"A prize! " cries Peter--but he first
Must spy about him far and near: [35]
There's not a single house in sight,
No woodman's hut, no cottage light--
Peter, you need not fear! 390

There's nothing to be seen but woods,
And rocks that spread a hoary gleam,
And this one Beast, that from the bed
Of the green meadow hangs his head
Over the silent stream. 395

His head is with a halter bound;
The halter seizing, Peter leapt
Upon the Creature's back, [36] and plied
With ready heels his shaggy side; [37]
But still the Ass his station kept. 400

[38]

Then Peter gave a sudden jerk,
A jerk that from a dungeon-floor
Would have pulled up an iron ring;
But still the heavy-headed Thing
Stood just as he had stood before! 405

Quoth Peter, leaping from his seat,
"There is some plot against me laid";
Once more the little meadow-ground
And all the hoary cliffs around
He cautiously surveyed. 410

All, all is silent--rocks and woods,
All still and silent--far and near!
Only the Ass, with motion dull,
Upon the pivot of his skull
Turns round his long left ear. 415

Thought Peter, What can mean all this?
Some ugly witchcraft must be here!
--Once more the Ass, with motion dull,
Upon the pivot of his skull
Turned round his long left ear. 420

Suspicion ripened into dread;
Yet with deliberate action slow,
His staff high-raising, in the pride
Of skill, upon the sounding hide, [39]
He dealt a sturdy blow. 425

The poor Ass staggered with the shock;
And then, as if to take his ease, [40]
In quiet uncomplaining mood,
Upon the spot where he had stood,
Dropped gently down upon his knees; 430

As gently on [41] his side he fell;
And by the river's brink did lie;
And, while [42] he lay like one that mourned,
The patient Beast on Peter turned
His shining hazel eye. [43] 435

'Twas but one mild, reproachful look,
A look more tender than severe;
And straight in sorrow, not in dread,
He turned the eye-ball in his head
Towards the smooth river [44] deep and clear. 440

Upon the Beast the sapling rings;
His lank sides heaved, [45] his limbs they stirred;
He gave a groan, and then another,
Of that which went before the brother,
And then he gave a third. 445

All by the moonlight river side
He gave three miserable groans;
And not till now hath Peter seen
How gaunt the Creature is,--how lean
And sharp his staring bones! [46] 450

With legs stretched out and stiff he lay:--
No word of kind commiseration
Fell at the sight from Peter's tongue;
With hard contempt his heart was wrung,
With hatred and vexation. 455

The meagre beast lay still as death;
And Peter's lips with fury quiver;
Quoth he, "You little mulish dog,
I'll fling your carcass like a log
Head-foremost down the river! " 460

An impious oath confirmed the threat--
Whereat from the earth on which he lay [47]
To all the echoes, south and north,
And east and west, the Ass sent forth
A long and clamorous bray! [48] 465

This outcry, on the heart of Peter,
Seems like a note of joy to strike,--
Joy at [49] the heart of Peter knocks;
But in the echo of the rocks
Was something Peter did not like. 470

Whether to cheer his coward breast,
Or that he could not break the chain,
In this serene and solemn hour,
Twined round him by demoniac power,
To the blind work he turned again. 475

Among the rocks and winding crags;
Among the mountains far away;
Once more the Ass did lengthen out
More ruefully a deep-drawn shout,
The hard dry see-saw of his horrible bray! [50] 480

What is there now in Peter's heart!
Or whence the might of this strange sound?
The moon uneasy looked and dimmer,
The broad blue heavens appeared to glimmer,
And the rocks staggered all around--485

From Peter's hand the sapling dropped!
Threat has he none to execute;
"If any one should come and see
That I am here, they'll think," quoth he,
"I'm helping this poor dying brute. " 490

He scans the Ass from limb to limb,
And ventures now to uplift his eyes;
More steady looks the moon, and clear,
More like themselves the rocks appear
And touch more quiet skies. [51] 495

His scorn returns--his hate revives;
He stoops the Ass's neck to seize
With malice--that again takes flight;
For in the pool a startling sight
Meets him, among the inverted trees. [52] 500

Is it the moon's distorted face?
The ghost-like image of a cloud?
Is it a gallows [53] there portrayed?
Is Peter of himself afraid?
Is it a coffin,--or a shroud? 505

A grisly idol hewn in stone?
Or imp from witch's lap let fall?
Perhaps a ring of shining fairies?
Such as pursue their feared vagaries [54]
In sylvan bower, or haunted hall? 510

Is it a fiend that to a stake
Of fire his desperate self is tethering?
Or stubborn spirit doomed to yell
In solitary ward or cell,
Ten thousand miles from all his brethren? 515

[55]

Never did pulse so quickly throb,
And never heart so loudly panted; [56]
He looks, he cannot choose but look;
Like some one reading in a book--[57]
A book that is enchanted. 520

Ah, well-a-day for Peter Bell!
He will be turned to iron soon,
Meet Statue for the court of Fear!
His hat is up--and every hair
Bristles, and whitens in the moon! 525

He looks, he ponders, looks again;
He sees a motion--hears a groan;
His eyes will burst--his heart will break--
He gives a loud and frightful shriek,
And back he falls, [58] as if his life were flown! 530


PART SECOND

We left our Hero in a trance,
Beneath the alders, near the river;
The Ass is by the river-side,
And, where the feeble breezes glide,
Upon the stream the moonbeams quiver. 535

A happy respite! but at length
He feels the glimmering of the moon;
Wakes with glazed eye, and feebly sighing--
To sink, perhaps, where he is lying,
Into a second swoon! [59] 540

He lifts his head, he sees his staff;
He touches--'tis to him a treasure!
Faint recollection seems to tell
That he is yet where mortals dwell--
A thought received with languid pleasure! 545

His head upon his elbow propped,
Becoming less and less perplexed,
Sky-ward he looks--to rock and wood--
And then--upon the glassy [60] flood
His wandering eye is fixed. 550

Thought he, that is the face of one
In his last sleep securely bound!
So toward the stream his head he bent,
And downward thrust his staff, intent
The river's depth to sound. [61] 555

_Now_--like a tempest-shattered bark,
That overwhelmed and prostrate lies,
And in a moment to the verge
Is lifted of a foaming surge--
Full suddenly the Ass doth rise! 560

His staring bones all shake with joy,
And close by Peter's side he stands:
While Peter o'er the river bends,
The little Ass his neck extends,
And fondly licks his hands. 565

Such life is in the Ass's eyes,
Such life is in his limbs and ears;
That Peter Bell, if he had been
The veriest coward ever seen,
Must now have thrown aside his fears. 570

The Ass looks on--and to his work
Is Peter quietly resigned;
He touches here--he touches there--
And now among the dead man's hair
His sapling Peter has entwined. 575

He pulls--and looks--and pulls again;
And he whom the poor Ass had lost,
The man who had been four days dead,
Head-foremost from the river's bed
Uprises like a ghost! [G] 580

And Peter draws him to dry land;
And through the brain of Peter pass
Some poignant twitches, fast and faster;
"No doubt," quoth he, "he is the Master
Of this poor miserable Ass! " 585

The meagre shadow that looks on--
What would he now? [62] what is he doing?
His sudden fit of joy is flown,--
He on his knees hath laid him down,
As if he were his grief renewing; 590

But no--that Peter on his back
Must mount, he shows well as he can: [63]
Thought Peter then, come weal or woe
I'll do what he would have me do,
In pity to this poor drowned man. 595

With that resolve he boldly mounts [64]
Upon the pleased and thankful Ass;
And then, without a moment's stay,
That [65] earnest Creature turned away,
Leaving the body on the grass.