Through primrose tufts, in that green bower,
The periwinkle trails its wreath;
And 'tis my faith that every flower
Enjoys the air it breathes.
The birds around me hopped and played,
Their thoughts I cannot measure;
But the least motion which they made,
It seemed a thrill of pleasure.
The budding twigs spread out their fan,
To catch the breezy air;
And I must think, do all I can
That there was pleasure there.
If this belief from heaven be sent,
If such be Nature's holy plan,
Have I not reason to lament
What man has made of man?
Oh there is blessing in this gentle breeze, A visitant that while it fans my cheek Doth seem half-conscious of the joy it brings From the green fields, and from yon azure sky. Whate'er its mission, the soft breeze can come To none more grateful than to me; escaped From the vast city, where I long had pined A discontented sojourner: now free, Free as a bird to settle where I will.
Like an army defeated
The snow hath retreated,
And now doth fare ill
On the top of the bare hill;
The Ploughboy is whooping — anon — anon!
There's joy in the mountains:
There's life in the fountains;
Small clouds are sailing,
Blue sky prevailing;
The rain is over and gone.
It may be safely affirmed that there neither is, nor can be, any essential difference between the language of prose and metrical composition.... They both speak by and to the same organs; the bodies in which both of them are clothed may be said to be of the same substance, their affections are kindred, and almost identical, not necessarily differing even in degree; Poetry sheds no tears "such as Angels weep," but natural and human tears; she can boast of no celestial ichor that distinguishes her vital juices from those of prose; the same human blood circulates through the veins of them both.
Continuous as the stars that shine And twinkle on the milky way, They stretch'd in never-ending line Along the margin of a bay: Ten thousand saw I at a glance Tossing their heads in sprightly dance.
Those obstinate questionings Of sense and outward things,
Fallings from us, vanishings;
Blank misgivings of a Creature
Moving about in worlds not realised,
High instincts before which our mortal Nature
Did tremble like a guilty thing surprised
Bright was the summer's noon when quickening steps
Followed each other till a dreary moor
Was crossed, a bare ridge clomb, upon whose top
Standing alone, as from a rampart's edge,
I overlooked the bed of Windermere,
Like a vast river, stretching in the sun.
Ah, what a warning for a thoughtless man, Could field or grove, could any spot of earth, Show to his eye an image of the pangs Which it hath witnessed,-render back an echo Of the sad steps by which it hath been trod!
Two voices are there: one is of the deep; It learns the storm-cloud's thunderous melody, Now roars, now murmurs with the changing sea, Now bird-like pipes, now closes soft in sleep: And one is of an old half-witted sheep Which bleats articulate monotony, And indicates that two and one are three, That grass is green, lakes damp, and mountains steep And, Wordsworth, both are thine.