The Poetical Works of William Wordsworth — Volume 6 (of 8)

APPENDIX [568] 1850. ms. Of wonder, long I watched .    .    . [569] 1850. .    .    . were thronged, but why disown c. Their natural voices .    .    . [570] 1850. .    .    .    .    .    . peace; How strange thought I this orderly release From social noise. What law elsewhere unknown That stillness guards? Then ocean cried, "I drown In solemn sounds; let wonder cease! So through his spiritual ear is man set free From conscious pressure of life's heaviest din, ms. When the .    .    .    .    .    . .    .    .    .    .    . release From social noise, quiet elsewhere unknown: { A spirit whispered } { Then cried a spirit } "Doth not ocean drown In solemn sounds; let wonder cease! ms. So through his overpowering murmurs .    .    .    .    .    . [571] 1850. ms. Deadens—the shocks of { tumult } { passion } FOOTNOTE: [JG] This sonnet was first published in the edition of 1850.— Ed. XXXVII DESULTORY STANZAS, Upon Receiving the Preceding Sheets from the Press Is then the final page before me spread, Nor further outlet left to mind or heart? Presumptuous Book! too forward to be read, How can I give thee licence to depart? 5 One tribute more: unbidden feelings start Forth from their coverts; slighted objects rise; My spirit is the scene of such wild art As on Parnassus rules, when lightning flies, Visibly leading on the thunder's harmonies. 10 All that I saw returns upon my view, All that I heard comes back upon my ear, All that I felt this moment doth renew; And where the foot with no unmanly fear Recoiled—and wings alone could travel—there 15 I move at ease; and meet contending themes That press upon me, crossing the career Of recollections vivid as the dreams Of midnight,—cities, plains, forests, and mighty streams. Where Mortal never breathed I dare to sit 20 Among the interior Alps, gigantic crew, Who triumphed o'er diluvian power!—and yet What are they but a wreck and residue, Whose only business is to perish!—true To which sad course, these wrinkled Sons of Time 25 Labour their proper greatness to subdue; Speaking of death alone, beneath a clime Where life and rapture flow in plenitude sublime. [JH] Fancy hath flung for me an airy bridge Across thy long deep Valley, furious Rhone! 30 Arch that here rests upon the granite ridge Of Monte Rosa— there on frailer stone Of secondary birth, the Jung-frau's cone; And, from that arch, down-looking on the Vale The aspect I behold of every zone; 35 A sea of foliage, tossing with the gale, Blithe Autumn's purple crown, and Winter's icy mail! Far as St. Maurice , from yon eastern Forks , [JI] Down the main avenue my sight can range: And all its branchy vales, and all that lurks 40 Within them, church, and town, and hut, and grange, For my enjoyment meet in vision strange; Snows, torrents;—to the region's utmost bound, Life, Death, in amicable interchange;— But list! the avalanche—the hush profound 45 That follows—yet more awful than that awful sound! [572] Is not the chamois suited to his place? The eagle worthy of her ancestry? —Let Empires fall; but ne'er shall Ye disgrace Your noble birthright, ye that occupy 50 Your council-seats beneath the open sky, [JJ] On Sarnen's Mount, [JK] there judge of fit and right, In simple democratic majesty; Soft breezes fanning your rough brows—the might And purity of nature spread before your sight! 55 From this appropriate Court, renowned Lucerne Calls [573] me to pace her honoured Bridge [JL] —that cheers The Patriot's heart with pictures rude and stern, An uncouth Chronicle of glorious years. Like portraiture, from loftier source, endears 60 That work of kindred frame, which spans the lake Just at the point of issue, where it fears The form and motion of a stream to take; Where it begins to stir, yet voiceless as a snake. [JM] Volumes of sound, from the Cathedral rolled, 65 This long-roofed Vista penetrate—but see, One after one, its tablets, that unfold The whole design of Scripture history; From the first tasting of the fatal Tree, Till the bright Star appeared in eastern skies, 70 Announcing, One was born mankind to free; His acts, his wrongs, his final sacrifice; Lessons for every heart, a Bible for all eyes. Our pride misleads, our timid likings kill. —Long may these homely Works devised of old, 75 These simple efforts of Helvetian skill, Aid, with congenial influence, to uphold The State,—the Country's destiny to mould; Turning, for them who pass, the common dust Of servile opportunity to gold; 80 Filling the soul with sentiments august— The beautiful, the brave, the holy, and the just! No more; Time halts not in his noiseless march— Nor turns, nor winds, as doth the liquid flood; Life slips from underneath us, like that arch 85 Of airy workmanship whereon we stood, [574] Earth stretched below, heaven in our neighbourhood. Go forth, my little Book! pursue thy way; Go forth, and please the gentle and the good; Nor be a whisper stifled, if it say 90 That treasures, yet untouched, may grace some future Lay. Mrs. Wordsworth's Journal of this Continental Tour contains the modest entry, made at "Paris, Monday, Oct. 2nd.—... I shall here close these very imperfect notices, commenced at D.'s request; and with a notion, on my part, that they might be useful when she wrote her Journal: but soon finding that, with such a view, mine was a superfluous labour, I should not have had the resolution to go on, except at Wm.'s desire, and from the feeling that my Daughter, and perhaps her brothers, might one day find pleasure, should they ever have the good fortune to trace our steps, in recognising objects their Mother had seen." See Dorothy Wordsworth's Itinerary of the Tour (Note A), in the Appendix to this volume.— Ed. VARIANTS: [572] 1827. .    .    . heart-striking sound! 1822. Tumult by prompt repose and awful silence crown'd! [573] 1827. 1822. Leads .    .    . [574] 1827. And those surrounding Mountains—but no more; Time creepeth softly as the liquid flood; Life slips from underneath us, like the floor 1822. Of that wide rainbow-arch whereon we stood, FOOTNOTES: [JH] In the third of the Desultory Stanzas I am indebted to Mr. Raymond, who has written with genuine feeling on these subjects.—W. W. 1822. [JI] Les Fourches, the point at which the two chains of mountains part, that enclose the Valais, which terminates at St. Maurice.—W. W. 1822. At the head of the Vallais.—W. W. 1827. [JJ] Compare the sonnet Tynwald Hill , in the "Poems composed or suggested during a Tour in the Summer of 1833."— Ed. [JK] In the edition of 1822 there is the following note, the reference being to "Ye who convoked in Sarnen occupy," a reading which does not occur in that or in any other edition.— Ed. Sarnen, one of the two Capitals of the Canton of Underwalden; the spot here alluded to is close to the town, and is called the Landenberg, from the Tyrant of that name, whose chateau formerly stood there. On the 1st of Jan. 1308, the great day which the confederated Heroes had chosen for the deliverance of their Country, all the Castles of the Governors were taken by force or stratagem; and the Tyrants themselves conducted, with their Creatures, to the frontiers, after having witnessed the destruction of their Strong-holds. From that time the Landenberg has been the place where the Legislators of this division of the Canton assemble. The site, which is well described by Ebel, is one of the most beautiful in Switzerland.—W. W. 1822. "Sarnen, Aug. 14.—... The buildings we have been to visit are Government Houses. There all business relating to the canton is transacted. The meetings are sometimes held in the open air: a green area is set apart, with steps around for this purpose. Marks to shoot at, bowls, etc., are here ready, for the days of festival," etc. (Mrs. Wordsworth's Journal.) [JL] The Bridges of Lucerne are roofed, and open at the sides, so that the Passenger has, at the same time, the benefit of shade, and a view of the magnificent Country. The Pictures are attached to the rafters; those from Scripture History on the Cathedral-bridge, amount, according to my notes, to 240. Subjects from the Old Testament face the Passenger as he goes towards the Cathedral, and those from the New as he returns. The pictures on these Bridges, as well as those in most other parts of Switzerland, are not to be spoken of as works of art; but they are instruments admirably answering the purpose for which they were designed.—W. W. 1822. "Lucerne, 16th Aug.—... Crossed, at the outlet of the Lake, the long covered Bridge , along the roof of which are 240 Paintings from the Scriptures: Subjects from the Old Testament face you, as you walk one way, and from the New as you return. Two other bridges of the same kind, the Chapel-bridge, with paintings from Swiss history. Fine views from the Bridge of the Lake, and mountains," etc. (Mrs. Wordsworth's Journal.) [JM] Compare The Idiot Boy , ll. 405-6— The little birds began to stir, Ed. Though yet their tongues were still. APPENDIX NOTE A The following Itinerary of the Continental Tour of 1820 was appended by Dorothy Wordsworth to the first volume of her Journal of that Tour. I retain her spelling of the names of places.— Ed. London. Rochester. Canterbury. Dover, slept. Calais. Gravelines, 3 postes. Dunkerque, 2½. Furnes, 3¼. Guistelles, 3½. Bruges, 2¾, one night. Ghent, by canal, one night. Quadrecht, 1½. Alost, 2. Brussels, 3½, late arrival, stayed two nights. Genappe, 2½. Sanbreffe, 2½. Namur, 2¾, late arrival. Huy, 3½. Liege, 5¼, two stages. Batiste, 2¾. Aix la Chapelle, 3. Juliers, 3½. Bergheim, 2¾. Cologne, 3, after sunset. Two nights at Cologne. Bonne, 3½. Remagan, 2½. Andernach, 3. Coblentz, 2, late arrival, two nights. Boppart, 2½. St. Goar, 1¾. Bingen, 2. Nieder-Ingelheim, 1½. Mayence, 1½. Wisbaden, 1½. Frankfort, 3½, late arrival. Darmstadt, 1½. Heppenheim, ¾. Weinheim, 1. Heidelberg, 1¾. Bruchsal, 2½. Carlsruhe, 1½, late arrival. Etlingen, ¾. Rastadt, 1. Baden-Baden, ¾. Buhl. Offenberg, 2¼. Gegenbach, 1½. Haslach, 1. Hornberg, about sunset arrived, and departed next day. Schiltach, 1. Villenghen, 1¼, after sunset. Donneschingen, ¾, source of the Danube. Blomberg, 1. Schaffhausen, 1½. Eglisan. Zurich, one night. Baden. Leuzberg, slept. Murgenthal. Herzogenboschee, slept in carriages. Berne, two nights. Thoun. Interlachen, by water. Lauterbrunnen, in char-a-banc . Grindelwald, travelled with three mules. Meiringhen, Do. Handek, and back to M., Do. Meiringhen. Sarnen. Engelberg, in char-a-banc , but walked two leagues. Santz, in char-a-banc . Lucerne, by lake, three nights. Kusnack. Rigi Berg, the top, on foot, one night. Goldau, on foot. Sieven. Schwytz. Brunnen. Fluelan, head of Uri. Altorf. Amstag. Wasen. Hopital. Hospice on St. Gotthard. Airola. Faîdo. Belinzona. Locarno. Luwina. Ponte Tresa. Lugano. Porlezza. Menaggio, one night. Cadenabbia, two nights. Belaggio. Como, one night. Milan, four nights. Cadenabbia. Colico. Fort Fuentes. Porlezza (Lake Lugano, by Menaggio). Lugano. Luvino (by Ponte Tresa). Bavena (Lago Maggiore). Domo d'Ossola. Simplon. Brigg. Tourtemagne (Tourtman). Leuk. Baths of Leuk. Gemmi. Baths of Leuk. Siders. Sion. Martigny. Chamony, by Col de Baume. Trientz. Martigny. St. Maurice. Bex. Villeneuve. Vevay, on foot. Lausanne. Geneva. Gex. La Vattay. Les Rousses. Morez. St. Laurent. Maisoneuve. Champagnole. Poligny. Poligny. Mont-Sous-Vedray. Dole. Auxonne. Genlis. Dijon. Sainte-Seine. Chanceaux. Villeneuve les Couvres. Montbard. Aizy-sur-Armançon. Ancy-le-Franc. Tonnère. Flogny. Sainte Florentin. Esnon. Joigny. Ville-vallier. Villeneuve-sur-Yonne. Sens. Pont-sur-Yonne. Villeneuve-la-Guard. Fossard. Fontainbleau. Chailly. Ponthierry. Essonne. Fromenteau. Ville-juif. Paris. N.B. —At Paris we left our carriage, which was sold some months afterwards for half its cost. Proceeded in the Diligence, after twenty-six days spent at Paris, by Chantilly and Amiens to Boulogne. Set off from Paris at 8 o'clock on Saturday morning, and arrived at Boulogne at about 9 on Sunday night. NOTE B The following are extracts from Henry Crabb Robinson's account of his "Swiss Tour with the Wordsworths." (See Diary, Correspondence , etc., vol. ii. pp. 167-191.)— Ed. I left London on the 1st of August, and reached Lyons on the 9th. On the 15th I went to Solothurn, and an acquaintance began out of which a catastrophe sprang. In the stage between Berne and Solothurn, which takes a circuit through an unpicturesque, flat country, were two very interesting young men, who I soon learned were residing with a Protestant clergyman at Geneva, and completing their education. The elder was an American, aged twenty-one, named Goddard. He had a sickly air, but was intelligent, and not ill-read in English poetry. The other was a fine handsome lad, aged sixteen, of the name of Trotter, son of the then, or late, Secretary to the Admiralty. He was of Scotch descent. They were both genteel and well-behaved young men, with the grace communicated by living in good company. We became at once acquainted,—I being then, as now, young in the facility of forming acquaintance. We spent a very agreeable day and evening together, partly in a walk to a hermitage in the neighbourhood, and took leave of each other at night,—I being bound for Lucerne, they for Zürich. But in the morning I saw, to my surprise, my young friends with their knapsacks in their hands ready to accompany me. Goddard said, with a very amiable modesty, "If you will permit us, we wish to go with you. I am an admirer of Wordsworth's poems, and I should be delighted merely to see him. Of course I expect no more." I was gratified by this proposal, and we had a second day of enjoyment, and this through a very beautiful country. My expectations were not disappointed. I had heard of the Wordsworth party from travellers with whom we met. I found my friends at the Cheval Blanc. From them I had a most cordial reception, and I was in high spirits. Mrs. Wordsworth wrote in her journal: "H. C. R. was drunk with pleasure, and made us drunk too." My companions also were kindly received. Wordsworth and I returned to dinner, and found my young friends already in great favour with the ladies. After dinner we walked through the town, which has no other remarkable feature than the body of water flowing through it, and the several covered wooden bridges. In the angles of the roof of these bridges there are paintings on historical and allegorical subjects. One series from the Bible, another from the Swiss war against Austria, a third called the Dance of Death. The last is improperly called, for Death does not force his partner to an involuntary waltz, as in the famous designs which go by Holbein's name, but appears in all the pictures an unwelcome visitor. There are feeling and truth in many of the conceptions, but the expression is too often ludicrous, and too often coarsely didactic. August 18th. —We sailed on the lake as far as Küsnacht, the two young men being still our companions; and between two and three we began to ascend the Righi, an indispensable achievement in a Swiss tour. We engaged beds at the Staffel, and went on to see the sun set, but we were not fortunate in the weather. Once or twice there were gleams of light on some of the lakes, but there was little charm of colouring. After an early and comfortable supper we enjoyed the distant lightning; but it soon became very severe, and some of the rooms of the hotel were flooded with rain. Our rest was disturbed by a noisy party, who, unable to obtain beds for themselves, resolved that no one else should enjoy his. The whole night was spent by them in an incessant din of laughing, singing, and shouting. We were called up between three and four A.M. , but had a very imperfect view from this "dread summit of the Queen of Mountains"—Regina montium. The most beautiful part of the scene was that which arose from the clouds below us. They rose in succession sometimes concealing the country, and then opening to our view dark lakes, and gleams of very brilliant green. They sometimes descended as if into an abyss beneath us. We saw a few of the snow-mountains illuminated by the first rays of the sun. My journal simply says: "After breakfast our young gentlemen left us." I afterwards wrote, "We separated at a spot well suited to the parting of those who were to meet no more. Our party descended through the valley of our 'Lady of the Snow,' and our late companions went to Arth. We hoped to meet in a few weeks at Geneva." I will leave the order of time, and relate now all that appertains to this sad history. The young men gave us their address, and we promised to inform them when we should be at Geneva, on our return. But on that return we found that poor Goddard had perished in the lake of Zürich, on the third day after our leave-taking on the Righi. I heard the story from Trotter on the 23rd of September. They had put themselves in a crazy boat; and a storm arising, the boat overset. It righted itself, but to no purpose. Trotter swam to the shore, but Goddard was not seen again. Trotter was most hospitably received by a Mr. Keller, near whose house the catastrophe took place. The body was cast ashore next day, and afterwards interred in the neighbouring churchyard of Küsnacht. An inscription was placed near the spot where the body was found, and a mural monument erected in the church. At the funeral a pathetic address was delivered by the Protestant clergyman, which I read in the Zürich paper. We were all deeply impressed by the event. Wordsworth, I knew, was not fond of drawing the subjects of his poems from occurrences in themselves interesting, and therefore, though I urged him to write on this tragic incident, I little expected he would. There is, however, a beautiful elegiac poem by him on this subject. [To the later editions there is prefixed a prose introduction. This I wrote. Mr. Wordsworth wrote to me for information, and I drew up the account in the first person.] To go back to the 19th of August, after parting from our young companions we proceeded down the valley in which is the chapel dedicated to our Lady of the Snow, the subject of Wordsworth's nineteenth Poem. The preceding eighteen have to do with objects which had been seen before I joined the party. The elegiac stanzas are placed near the end of the collection, I know not for what reason. The stanzas on the chapel express poetically the thoughts which a prosaic mind like mine might receive from the numerous votive offerings hung on the walls. There are pictures representing accidents,—such as drowning, falling from a horse, and the Mother and the Child are in the clouds,—it being understood that the escape proceeded from her aid. Some crutches with painted inscriptions bear witness to the miracles wrought on the lame. We passed the same day through Goldau, a desolate spot, once a populous village, overwhelmed by the slip from the Rossberg. On the 20th at Schwytz, which Wordsworth calls the "heart" of Switzerland, as Berne is the "head." Passing through Brunnen, we reached Altorf on the 21st, the spot which suggested Wordsworth's twentieth effusion. My prose remark on the people shows the sad difference between observation and fancy. I wrote: "These patriotic recollections are delightful when genuine, but the physiognomy of the people does not speak in favour of their ancestors. The natives of the district have a feeble and melancholy character. The women are afflicted by goître. The children beg, as in other Catholic cantons. The little children, with cross-bows in their hands, sing unintelligible songs. Probably Wilhelm Tell serves, like Henri Quatre, as a name to beg by." We next crossed the St. Gotthard. Wordsworth thinks this pass more beautiful than the more celebrated [a blank here]. We slept successively at Amsteg on the 22nd, Hospenthal on the 23rd, and Airolo on the 24th. On the way we were overtaken by a pedestrian, a young Swiss, who had studied at Heidelberg, and was going to Rome. He had his flute, and played the Ranz des Vaches. Wordsworth begged me to ask him to do this, which I did on condition that he wrote a sonnet on it. It is XXII. of the collection. The young man was intelligent, and expressed pleasure in our company. We were sorry when he took French leave. We were English, and I have no doubt he feared the expense of having such costly companions. He gave a sad account of the German Universities, and said that Sand, the murderer of Kotzebue, had many apologists among the students. We then proceeded on our half-walk and half-drive, and slept on the 25th at Bellinzona, the first decidedly Italian town. On the 27th we had a row to Luino, on the Lago Maggiore, a walk to Ponte Tresa, and then a row to Lugano, where we went to an excellent hotel, kept by a man of the name of Rossi. On the 28th we took an early walk up the mountain San Salvador, which produced No. XXIV. of Wordsworth's Memorial Poems. Though the weather was by no means favourable, we enjoyed a much finer view than from the Righi. The mountains in the neighbourhood are beautiful, but the charm of the prospect lies in a glimpse of distant mountains. We saw a most elegant pyramid, literally in the sky, partly black, and partly shining like silver. It was the Simplon, Mont Blanc and Monte Rosa were seen in parts. Clouds concealed the bases, and too soon also the summits. This splendid vision lasted but a few minutes. The plains of Piedmont were hardly visible, owing to the black clouds which covered this part of the horizon. We could, however, see in the midst of a dark surface a narrow ribbon of white, which we were told was the Po. We were told the direction in which Milan lay, but could not see the cathedral. The same day we went on to Menaggio, on the Lake Como. This, in Wordsworth's estimation, is the most beautiful of the lakes. On the 29th and 30th we slept at Cadenabbia. I wrote in my journal: "This day has been spent on the lake, and so much exquisite pleasure I never had on water. The tour, or rather excursion, we have been making surpasses in scenery all that I have ever made; and Wordsworth asserts the same. I write now from an inn where we have been served with all the promptitude of an English hotel, and with a neatness equal to that of Holland. But the pleasure can hardly be recorded. It consists in the contemplation of scenes absolutely indescribable by words, and in sensations for which no words have been even invented. We were lucky in meeting two honest fellows of watermen, who have been attentive and not extortionate. I will not enumerate the points of view and villas we visited. We saw nothing the guide-books do not speak of." On the 31st we slept at Como, and next day went to Milan. At the Ambrosian Library we inspected the famous copy of Virgil which belonged to Petrarch. It has in the poet's own handwriting a note, stating when and where he first saw Laura. Wordsworth was deeply interested in this entry, and would certainly have requested a copy, if he had not been satisfied that he should find it in print. The custos told us that when Buonaparte came here first, and the book was shown him, he seized it, exclaiming, "This is mine." He had it bound, and his own N. marked on it. It came back when the other plunder was restored. Another curiosity was a large book by Leonardo da Vinci, full of mechanical studies. Wordsworth was much struck with the fact that a man who had produced works of so great beauty and sublimity, had prepared himself by intense and laborious study of scientific and mathematical details. It was not till late that he ventured on beauty as exhibited in the human form. But the great attraction of this neighbourhood is the celebrated picture of Leonardo da Vinci in the refectory of the Convent of Maria della Grazia. After sustaining every injury from Italian monks, French soldiers, wet, and the appropriation of the building to secular purposes, this picture is now protected by the public sense of its excellence from further injury. And more remains of the original than from Goethe's dissertation I expected to see. The face of our Saviour appears to have suffered less than any other part. And the countenance has in it exquisite feeling; it is all sweetness and dignity. Some of the Apostles have a somewhat caricature expression, which has been far better preserved in the several copies existing, as well as in the engraving of Raphael Morgen. There is a sort of mawkish sentimentality in the copies of St. John, which always offended me. There is less of it in the original. That and St. Andrew are the best preserved next to the face of Christ. On the 5th of September the Wordsworths went back to the lake of Como, in order to gratify Miss Wordsworth, who wished to see every spot which her brother saw in his first journey,—a journey made when he was young. We rejoined the Wordsworths at Baveno on the 8th. Then we crossed the Simplon, resting successively on the 9th at Domo d'Ossola, 10th Simplon, 11th Turtman, and the 12th and 13th at the baths of Leuk. From this place we walked up the Gemmi, by far the most wonderful of all the passes of Switzerland I had ever, or have now ever, crossed. The most striking part is a mountain wall 1600 feet in perpendicular height, and having up it a zigzag path broad enough to enable a horse to ascend. The road is hardly visible from below. A parapet in the more dangerous parts renders it safe. Here my journal mentions our seeing men employed in picking up bees in a torpid state from the cold. The bees had swarmed four days before. It does not mention what I well recollect, and Wordsworth has made the subject of a sonnet, the continued barking of a dog irritated by the echo of his own voice . In human life this is perpetually occurring. It is said that a dog has been known to contract an illness by the continued labour of barking at his own echo. In the present instance the barking lasted while we were on the spot. I say nothing of Chamouni, where we slept two nights, the 15th and 16th; nor of the roads to it, but that the Tête Noire, by which we returned, is still more interesting than the Col de Balme, by which we went. Again at Martigny on the 17th. I should not have omitted to mention that, to add to the sadness produced by the Valais, Wordsworth remarked that there the Alps themselves were in a state of decay—crumbling to pieces. His is the line:— The human soul craves something that endures. On the 18th we were at Villeneuve, and on the 19th and 20th at Lausanne. At Paris I renewed my old acquaintances, and saw the old sights. On the 8th I left the Wordsworths, who were intending to prolong their stay. On the 9th I slept at Amiens; on the 10th was on the road; on the 11th reached Dover; and on the 12th of October slept in my own chambers. "And so," my journal says, "I concluded my tour in excellent health and spirits, having travelled farther, and seen a greater number and a greater variety of sublime and beautiful objects, and in company better calculated to make me feel the worth of these objects, than any it has been my good fortune to enjoy." ADDENDUM See p. 8, note [A] , line 6. In this note, of which the date is 1827, Wordsworth combined two separate ones, in the editions of 1815 and 1820.— Ed. END OF VOL. VI Printed by R. & R. Clark, Limited , Edinburgh Transcriber's notes: P.134. 'recal', leave as is, this word is in another volume. P.171. Variant [318] numbering corrected. P.211. 'Winchilsea' should be 'Winchelsea', changed. P.230. 'Bandusia' should be 'Blandusia', changed. *** END OF THE PROJECT GUTENBERG EBOOK THE POETICAL WORKS OF WILLIAM WORDSWORTH — VOLUME 6 (OF 8) *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG™ LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works 1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg 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 in the United States and most other parts of the world 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.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (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 trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg 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 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 License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg. 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 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 work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), 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 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 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 electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg 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™ 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™ 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™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ 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 works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ 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 1.F.3. 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 MERCHANTABILITY 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™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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 work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg Project Gutenberg 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 are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg 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 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 information page at www.gutenberg.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. 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 business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread 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 www.gutenberg.org/donate . 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 checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg electronic works Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support. Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org . This website includes information about Project Gutenberg, 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.

Related documents

• The Poetical Works of William Wordsworth — Volume 5 (of 8)#57005
• The Poetical Works of William Wordsworth — Volume 7 (of 8)#53005
• The Poetical Works of William Wordsworth — Volume 2 (of 8)#36803
• The Poetical Works of William Wordsworth — Volume 4 (of 8)#46221
• The Poetical Works of William Wordsworth — Volume 8 (of 8)#55487