302a. ‘The Pine-tree of Monte Mario,’ [II.]
Rescued by Sir G. Beaumont from destruction. Sir G. Beaumont told me that when he first visited Italy, pine-trees of this species abounded; but that on his return thither, which was more than thirty years after, they had disappeared from many places where he had been accustomed to admire them, and had become rare all over the country, especially in and about Rome. Several Roman villas have within these few years passed into the hands of foreigners, who, I observed with pleasure, have taken care to plant this tree, which in course of years will become a great ornament to the city and to the general landscape.
May I venture to add here, that having ascended the Monte Mario I could not resist embracing the trunk of this interesting monument of my departed friend’s feelings for the beauties of nature and the power of that art which he loved so much and in the practice of which he was so distinguished.
[Among the printed Notes is the following — Within a couple of hours of my arrival at Rome, I saw from Monte Pincio the Pine-tree as described in the Sonnet; and while expressing admiration at the beauty of its appearance, I was told by an acquaintance of my fellow-traveller, who happened to join us at the moment, that a price had been paid for it by the late Sir G. Beaumont, upon condition that the proprietor should not act upon his known intention of cutting it down.]
303. ‘Is this, ye gods.’ [III. l. 1.]
Sight is at first a sad enemy to imagination, and to those pleasures belonging to old times with which some exertions of that power will always mingle. Nothing perhaps brings this truth home to the feelings more than the city of Rome, not so much in respect to the impression made at the moment when it is first seen and looked at as a whole, for then the imagination may be invigorated, and the mind’s eye quickened to perceive as much as that of the imagination; but when particular spots or objects are sought out, disappointment is, I believe, invariably felt. Ability to recover from this disappointment will exist in proportion to knowledge, and the power of the mind to reconstruct out of fragments and parts, and to make details in the present subservient to more adequate comprehension of the past.
304. ‘At Rome.’
‘They who have seen the noble Roman’s scorn.’ [VII. l. 1.]
I have a private interest in this sonnet, for I doubt whether it would ever have been written, but for the lively picture given me by Anna Ricketts of what they had witnessed of the indignation and sorrow expressed by some Italian noblemen of their acquaintance upon the surrender, which circumstances had obliged them to make, of the best portion of their family mansions to strangers.
305. At Albano. [IX]
This sonnet is founded on simple fact, and was written to enlarge, if possible, the views of those who can see nothing but evil in the intercessions countenanced by the Church of Rome. That they are in many respects lamentably pernicious must be acknowledged; but, on the other hand, they who reflect while they see and observe cannot but be struck with instances which will prove that it is a great error to condemn in all cases such mediation, as purely idolatrous. This remark bears with especial force upon addresses to the Virgin.
306. Cuckoo at Laverna. [XIV.]
May 25th, 1837. Among a thousand delightful feelings connected in my mind with the voice of the cuckoo, there is a personal one which is rather melancholy. I was first convinced that age had rather dulled my hearing, by not being able to catch the sound at the same distance as the younger companions of my walks; and of this failure I had proof upon the occasion that suggested these verses. I did not hear the sound till Mr. Robinson had twice or thrice directed my attention to it.
307. Camaldoli. [XV.]
This famous sanctuary was the original establishment of Saint Romualdo, (or Rumwald, as our ancestors saxonised the name) in the 11th century, the ground (campo) being given by a Count Maldo. The Camaldolensi, however, have spread wide as a branch of Benedictines, and may therefore be classed among the gentlemen of the monastic orders. The society comprehends two orders, monks and hermits; symbolised by their arms, two doves drinking out of the same cup. The monastery in which the monks here reside is beautifully situated, but a large unattractive edifice, not unlike a factory. The hermitage is placed in a loftier and wilder region of the forest. It comprehends between 20 and 30 distinct residences, each including for its single hermit an inclosed piece of ground and three very small apartments. There are days of indulgence when the hermit may quit his cell, and when old age arrives, he descends from the mountain and takes his abode among the monks.
My companion had, in the year 1831, fallen in with the monk, the subject of these two sonnets, who showed him his abode among the hermits. It is from him that I received the following particulars. He was then about 40 years of age, but his appearance was that of an older man. He had been a painter by profession, but on taking orders changed his name from Santi to Raffaello, perhaps with an unconscious reference as well to the great Sanzio d’Urbino as to the archangel. He assured my friend that he had been 13 years in the hermitage and had never known melancholy or ennui. In the little recess for study and prayer, there was a small collection of books. ‘I read only,’ said he, ‘books of asceticism and mystical theology.’ On being asked the names of the most famous mystics, he enumerated Scaramelli, San Giovanni della Croce, St. Dionysius the Areopayite (supposing the work which bears his name to be really his), and with peculiar emphasis Ricardo di San Vittori. The works of Saint Theresa are also in high repute among ascetics. These names may interest some of my readers.
We heard that Raffaello was then living in the convent; my friend sought in vain to renew his acquaintance with him. It was probably a day of seclusion. The reader will perceive that these sonnets were supposed to be written when he was a young man.
308. Monk-visitors of Camaldoli.
‘What aim had they the pair of Monks?’ (XVII. l. 1.)
In justice to the Benedictines of Camaldoli, by whom strangers are so hospitably entertained, I feel obliged to notice, that I saw among them no other figures at all resembling, in size and complexion, the two monks described in this Sonnet. What was their office, or the motive which brought them to this place of mortification, which they could not have approached without being carried in this or some other way, a feeling of delicacy prevented me from inquiring. An account has before been given of the hermitage they were about to enter. It was visited by us towards the end of the month of May; yet snow was lying thick under the pine-trees, within a few yards of the gate.
309. At Vallombrosa. [XVIII.]
I must confess, though of course I did not acknowledge it in the few lines I wrote in the strangers’ book kept at the Convent, that I was somewhat disappointed at Vallombrosa. I had expected, as the name implies, a deep and narrow valley, over-shadowed by enclosing hills: but the spot where the convent stands is in fact not a valley at all, but a cove or crescent open to an extensive prospect. In the book before mentioned I read the notice in the English language, that if any one would ascend the steep ground above the convent, and wander over it, he would be abundantly rewarded by magnificent views. I had not time to act upon the recommendation, and only went with my young guide to a point, nearly on a level with the site of the convent, that overlooks the Vale of Arno for some leagues.
To praise great and good men has ever been deemed one of the worthiest employments of poetry; but the objects of admiration vary so much with time and circumstances, and the noblest of mankind have been found, when intimately known, to be of characters so imperfect, that no eulogist can find a subject which he will venture upon with the animation necessary to create sympathy, unless he confines himself to a particular act, or he takes something of a one-sided view of the person he is disposed to celebrate. This is a melancholy truth, and affords a strong reason for the poetic mind being chiefly exercised in works of fiction. The poet can then follow wherever the spirit of admiration leads him, unchecked by such suggestions as will be too apt to cross his way if all that he is prompte
d to utter is to be tested by fact. Something in this spirit I have written in the note attached to the Sonnet on the King of Sweden; and many will think that in this poem, and elsewhere, I have spoken of the author of ‘Paradise Lost’ in a strain of panegyric scarcely justifiable by the tenour of some of his opinions, whether theological or political, and by the temper he carried into public affairs, in which, unfortunately for his genius, he was so much concerned.
[Among the printed Notes is this — The name of Milton is pleasingly connected with Vallombrosa in many ways. The pride with which the Monk, without any previous question from me, pointed out his residence, I shall not readily forget. It may be proper here to defend the Poet from a charge which has been brought against him, in respect to the passage in ‘Paradise Lost’ where this place is mentioned. It is said, that he has erred in speaking of the trees there being deciduous, whereas they are, in fact, pines. The fault-finders are themselves mistaken: the natural woods of the region of Vallombrosa are deciduous and spread to a great extent; those near the convent are, indeed, mostly pines; but they are avenues of trees planted within a few steps of each other, and thus composing large tracts of wood, plots of which are periodically cut down. The appearance of those narrow avenues, upon steep slopes open to the sky, on account of the height which the trees attain by being forced to grow upwards, is often very impressive. My guide, a boy of about fourteen years old, pointed this out to me in several places.]
310. Sonnet at Florence. [XIX.]
‘Under the shadow of a stately pile.’
Upon what evidence the belief rests that this stone was a favourite seat of Dante, I do not know; but a man would little consult his own interest as a traveller, if he should busy himself with doubts as to the fact. The readiness with which traditions of this character are received, and the fidelity with which they are preserved from generation to generation, are an evidence of feelings honourable to our nature. I remember now, during one of my rambles in the course of a college vacation, I was pleased at being shown at — — a seat near a kind of rocky cell at the source of the river — — , on which it was said that Congreve wrote his Old Bachelor. One can scarcely hit on any performance less in harmony with the scene; but it was a local tribute paid to intellect by those who had not troubled themselves to estimate the moral worth of that author’s comedies. And why should they? he was a man distinguished in his day, and the sequestered neighbourhood in which he often resided was perhaps as proud of him as Florence of her Dante. It is the same feeling, though proceeding from persons one cannot bring together in this way without offering some apology to the shade of the great visionary.
311. The Baptist. [XX.]
It was very hot weather during the week we stayed at Florence; and, having never been there before, I went through much hard service, and am not, therefore, ashamed to confess, I fell asleep before this picture, and sitting with my back towards the Venus de Medicis. Buonaparte, in answer to one who had spoken of his being in a sound sleep up to the moment when one of his great battles was to be fought, as a proof of the calmness of his mind and command over anxious thoughts, said frankly, ‘that he slept because, from bodily exhaustion, he could not help it.’ In like manner it is noticed that criminals, on the night previous to their execution, seldom awake before they are called, a proof that the body is the master of us far more than we need be willing to allow.
Should this note by any possible chance be seen by any of my countrymen who might have been in the Gallery at the time (and several persons were there) and witnessed such an indecorum, I hope he will give up the opinion which he might naturally have formed to my prejudice.
312. Florence.
‘Rapt above earth,’ and the following one. [XXI.-II.]
However, at first, these two Sonnets from M. Angelo may seem in their spirit somewhat inconsistent with each other, I have not scrupled to place them side by side as characteristic of their great author, and others with whom he lived. I feel, nevertheless, a wish to know at what periods of his life they were respectively composed. The latter, as it expresses, was written in his advanced years, when it was natural that the Platonism that pervades the one should give way to the Christian feeling that inspired the other. Between both, there is more than poetic affinity.
312a. Among the Ruins of a Convent in the Apennines. [XXIII.]
The political revolutions of our time have multiplied on the Continent objects that unavoidably call forth reflections such as are expressed in these verses, but the ruins in those countries are too recent to exhibit in anything like an equal degree the beauty with which time and Nature have invested the remains of our convents and abbeys. These verses, it will be observed, take up the beauty long before it is matured, as one cannot but wish it may be among some of the desolations of Italy, France, and Germany.
313. Sonnets after leaving Italy. [XXV.]
I had proof in several instances that the Carbonari, if I may still call them so, and their favourers, are opening their eyes to the necessity of patience, and are intent upon spreading knowledge actively, but quietly as they can. May they have resolution to continue in this course, for it is the only one by which they can truly benefit their country.
We left Italy by the way which is called the ‘Nuova Strada d’Allemagna,’ to the east of the high passes of the Alps, which take you at once from Italy into Switzerland. The road leads across several smaller heights, and winds down different vales in succession, so that it was only by the accidental sound of a few German words I was aware we had quitted Italy; and hence the unwelcome shock alluded to in the two or three last lines of the Sonnet with which this imperfect series concludes.
314. Composed at Rydal on May morning, 1838.
This and the following Sonnet [now XXVI.] were composed on what we call the ‘far terrace’ at Rydal Mount, where I have murmured out many thousands of my verses.
315. Pillar of Trajan. [XXVIII.]
These verses had better, perhaps, be transferred to the class of ‘Italian Poems.’ I had observed in the newspaper that ‘The Pillar of Trajan’ was given as a subject for a Prize Poem in English verse. I had a wish, perhaps, that my son, who was then an undergraduate at Oxford, should try his fortune; and I told him so: but he, not having been accustomed to write verse, wisely declined to enter on the task; whereupon I showed him these lines as a proof of what might, without difficulty, be done on such a subject.
316. The Egyptian Maid.
In addition to the short notice prefixed to this poem, it may be worth while here to say, that it rose out of a few words casually used in conversation by my nephew Henry Hutchinson. He was describing with great spirit the appearance and movement of a vessel which he seemed to admire more than any other he had ever seen, and said her name was the Water Lily. This plant has been my delight from my boyhood, as I have seen it floating on the lake; and that conversation put me upon constructing and composing the poem. Had I not heard those words it would never have been written. The form of the stanza is new, and is nothing but a repetition of the first five lines as they were thrown off, and is, perhaps, not well suited to narrative, and certainly would not have been trusted to had I thought at the beginning that the poem would have gone to such a length. [The short note referred to supra is as follows: ‘For the names and persons in the following poem see the History of the Renowned Prince Arthur and his Knights of the Round Table; for the rest the author is answerable; only it may be proper to add that the Lotus, with the bust of the goddess appearing to rise out of the full-blown flower, was suggested by the beautiful work of ancient art once included among the Townley Marbles, and now in the British Museum.’]
XIII. THE RIVER DUDDON: A SERIES OF SONNETS.
317. Introduction.
The River Duddon rises upon Wrynose Fell, on the confines of Westmoreland, Cumberland, and Lancashire: and, having served as a boundary to the two last counties for the space of about twenty-five miles, enters the Irish Sea, between the Isle of Walney and the Lordship o
f Millum.
318. ‘The River Duddon.’
A Poet, whose works are not yet known as they deserve to be, thus enters upon his description of the ‘Ruins of Rome:’
‘The rising Sun Flames on the ruins in the purer air Towering aloft;’
and ends thus —
Delphi Complete Works of William Wordsworth Page 395
