Of a too-anxious world, mild pastoral Muse!
That, to the sparkling crown Urania wears,
And to her sister Clio's laurel wreath,[CL]
Prefer'st a garland culled from purple heath,
Or blooming thicket moist with morning dews; 80
Was such bright Spectacle vouchsafed to me?
And was it granted to the simple ear
Of thy contented Votary
Such melody to hear!
_Him_ rather suits it, side by side with thee, 85
Wrapped in a fit of[240] pleasing indolence,
While thy tired lute hangs on the hawthorn-tree,
To lie and listen--till o'er-drowsèd sense
Sinks,[241] hardly conscious of the influence--
To the soft murmur of the vagrant Bee. 90
--A slender sound! yet hoary Time
Doth to the _Soul_ exalt it with the chime
Of all his years;--a company
Of ages coming, ages gone;
(Nations from before them sweeping, 95
Regions in destruction steeping,)
But every awful note in unison[242]
With that faint utterance, which tells
Of treasure sucked from buds and bells,
For the pure keeping of those waxen cells;[243] 100
Where She--a statist prudent to confer
Upon the common[244] weal; a warrior bold,
Radiant all over with unburnished gold,
And armed with living spear for mortal fight;[245]
A cunning forager 105
That spreads no waste; a social builder; one
In whom all busy offices unite
With all fine functions that afford delight--
Safe through the winter[246] storm in quiet dwells!
V
And is She brought within the power 110
Of vision?--o'er this tempting flower
Hovering until the petals stay
Her flight, and take its voice away!--
Observe[247] each wing!--a tiny van!
The structure of her laden thigh, 115
How fragile! yet of ancestry
Mysteriously remote and high;
High as the imperial front of man;
The roseate bloom on woman's cheek;
The soaring eagle's curvèd beak; 120
The white plumes of the floating swan;
Old as the tiger's paw, the lion's mane
Ere shaken by that mood of stern disdain
At which the desert trembles.--Humming Bee! 124
Thy sting was needless then, perchance unknown,
The seeds of malice were not sown;
All creatures met in peace, from fierceness free,
And no pride blended with their dignity.[248]
--Tears had not broken from their source;
Nor Anguish strayed from her Tartarean den; 130
The golden years maintained a course
Not undiversified though smooth and even;
We were not mocked with glimpse and shadow then,
Bright Seraphs mixed familiarly with men; 134
And earth and stars composed a universal heaven!
A MS. copy of this Ode commences with the following stanza, and goes on
to "And what if his presiding breath," stanza iii. text of 1820.--ED.
Forsake me not, Urania, but when Ev'n
Fades into night, resume the enraptur'd song
That shadowed forth the immensity of Heav'n
In music--uttered surely without wrong
(For 'twas thy work) though here the Listener lay
Couch'd on green herbage 'mid the warmth of May
--A parting promise makes a bright farewell:
Empow'r'd to wait for thy return
Voice of the Heav'ns I will not mourn;
Content that holy peace and mute remembrance dwell
Within the bosom of the chorded shell
Tuned 'mid those seats of love and joy, concealed
By day, by night imperfectly revealed;
Thy native mansions that endure
Beyond their present seeming--pure
From taint of dissolution or decay.
--No blights, no wintry desolations,
Affect those blissful habitations,
Built such as hope might gather from the hue
Profound of the celestial blue,
And from the aspect of each radiant orb,
Some fix'd, some wandering, with no timid curb,
Yet both permitted to proclaim
Their Maker's glory with unaltered frame.
ED.
VARIANTS:
[Footnote 220: 1827.
ODE.--1817. 1820.
1st Edition.
ODE. 1820.
2nd Edition.
]
[Footnote 221: 1836.
... that ... 1820.
]
[Footnote 222: 1827.
Poised in the middle region of the air 1820.
]
[Footnote 223: 1827.
Until he reached a rock, of summit bare, 1820.
]
[Footnote 224: 1827.
... summer ... 1820.
]
[Footnote 225: 1836.
Of man's enquiring gaze, and imaged to his hope
(Alas, how faintly!) in the hue 1820.
... but ... 1827.
]
[Footnote 226: 1827.
... orb ... 1820.
]
[Footnote 227: 1827.
... of decline;--
So wills eternal Love, with Power divine. 1820.
]
[Footnote 228: 1840.
--That image ... 1836.
]
[Footnote 229: 1827.
... divine.
And what if his presiding breath
Impart a sympathetic motion
Unto the gates of life and death,
Throughout the bounds of earth and ocean;
MS. and 1820.
]
[Footnote 230: 1820.
Yet by this ... MS.
]
[Footnote 231: 1820.
... cradle ... MS.
]
[Footnote 232: 1820.
... changeful ... MS.
]
[Footnote 233: 1820.
... fear ... MS.
]
[Footnote 234: 1820.
... tow'rds ... MS.
]
[Footnote 235: 1820.
... numbers? ... MS.
]
[Footnote 236: 1827.
... joyous ... MS. and 1820.
]
[Footnote 237: 1836.
... zephyrs ... MS. and 1820.
]
[Footnote 238: The stanza ends here. MS.]
[Footnote 239: 1827.
Rejoice, O men! ... 1820.
]
[Footnote 240: 1820.
... morning dews;
Oft side by side with some lov'd Votary
Wrapp'd like thyself in ... MS.
]
[Footnote 241: 1820.
... hung on the hawthorn tree
Hast thou sate listening till o'er-drowsèd sense
Sank ... MS.
]
[Footnote 242: 1820.
... ages gone,
{Yet}
{But} each and all in unison MS.
]
[Footnote 243: 1820.
... buds and bells
And stored with frugal care in waxen cells.
(end of stanza) MS.
]
[Footnote 244: 1832.
... public ... 1820.
]
[Footnote 245: 1820.
... buds and bells,
To travel through the pathless air,
Or who consigned with frugal care
To the pure keeping of those waxen cells,
Where, She--a valiant soldier if need were-- MS.
]
[Footnote 246: 1820.
... wintry ... MS.
]
[Footnote 247: 1820.
... by this tempting flower
Observe ... MS.
]
[Footnote 248: 1820.
... majesty. MS.
]
FOOTNOTES:
[Footnote CI: Compare George Eliot's "O may I join the choir invisible"
(_Poems_, p. 240).--ED.]
[Footnote CJ: See Pliny's _Historia Naturalis_, book xi. chap. 1.--ED.]
[Footnote CK: The first eight lines of stanza iii. were added in the
edition of 1836; and in that of 1832 stanzas ii. and iii. were included
in a single one. They were again separated in 1836.--ED.]
[Footnote CL: Urania (the heavenly muse) was usually represented as
crowned with stars, and holding a globe in her hand; while Clio was
crowned with laurel.--ED.]
ODE TO LYCORIS
MAY, 1817
Composed 1817.--Published 1820
[The discerning reader--who is aware that in the poem of _Ellen Irwin_ I
was desirous of throwing the reader at once out of the old ballad, so as
if possible, to preclude a comparison between that mode of dealing with
the subject and the mode I meant to adopt--may here perhaps perceive
that this poem originated in the four last lines of the first stanza.
Those specks of snow, reflected in the lake and so transferred, as it
were, to the subaqueous sky, reminded me of the swans which the fancy of
the ancient classic poets yoked to the car of Venus. Hence the tenor of
the whole first stanza, and the name of Lycoris, which--with some
readers who think my theology and classical allusion too far fetched and
therefore more or less unnatural and affected--will tend to unrealise
the sentiment that pervades these verses. But surely one who has written
so much in verse as I have done may be allowed to retrace his steps in
the regions of fancy which delighted him in his boyhood, when he first
became acquainted with the Greek and Roman poets. Before I read Virgil I
was so strongly attached to Ovid, whose _Metamorphoses_ I read at
school, that I was quite in a passion whenever I found him, in books of
criticism, placed below Virgil. As to Homer, I was never weary of
travelling over the scenes through which he led me. Classical literature
affected me by its own beauty. But the truths of Scripture having been
entrusted to the dead languages, and these fountains having recently
been laid open at the Reformation, an importance and a sanctity were at
that period attached to classical literature that extended, as is
obvious in Milton's _Lycidas_ for example, both to its spirit and form
in a degree that can never be revived. No doubt the hacknied and
lifeless use into which mythology fell towards the close of the 17th
century, and which continued through the 18th, disgusted the general
reader with all allusion to it in modern verse; and though, in deference
to this disgust, and also in a measure participating in it, I abstained
in my earlier writings from all introduction of pagan fable, surely,
even in its humble form, it may ally itself with real sentiment, as I
can truly affirm it did in the present case.--I. F.]
One of the "Poems of Sentiment and Reflection." In 1847 Wordsworth wrote
to Mr. Fletcher that this poem was "suggested to him one day at
Ullswater, in the year 1817, by seeing two white, snowy clouds reflected
in the lake. 'They looked' (he said), 'like two swans.'"--ED.
I
An age hath been when Earth was proud
Of lustre too intense
To be sustained; and Mortals bowed
The front in self-defence.
Who _then_, if Dian's crescent gleamed, 5
Or Cupid's sparkling arrow streamed
While on the wing the Urchin played,
Could fearlessly approach the shade?
--Enough for one soft vernal day,
If I, a bard of ebbing time, 10
And nurtured in a fickle clime,
May haunt this hornèd bay;[CM]
Whose amorous water multiplies
The flitting halcyon's vivid dyes;[CN]
And smooths her[249] liquid breast--to show 15
These swan-like specks of mountain snow,[CO]
White as the pair that slid along the plains
Of heaven, when Venus held the reins!
II
In youth we love the darksome lawn
Brushed by the owlet's wing; 20
Then, Twilight is preferred to Dawn,
And Autumn to the Spring.[CP]
Sad fancies do we then affect,
In luxury of disrespect
To our own prodigal excess 25
Of too familiar happiness.
Lycoris (if such name befit
Thee, thee my life's celestial sign!)[CQ]
When Nature marks the year's decline,
Be ours to welcome it; 30
Pleased with the harvest hope that runs
Before the path of milder suns;[250]
Pleased while the sylvan world displays
Its ripeness to the feeding gaze;
Pleased when the sullen winds resound the knell
Of the resplendent miracle. 36
III
But something whispers to my heart
That, as we downward tend,
Lycoris! life requires an _art_
To which our souls must bend; 40
A skill--to balance and supply;
And, ere the flowing fount be dry,
As soon it must, a sense to sip,
Or drink, with no fastidious lip.
Then welcome, above all, the Guest 45
Whose smiles, diffused o'er land and sea,
Seem to recal the Deity
Of youth into the breast:[251]
May pensive Autumn ne'er present
A claim to her disparagement! 50
While blossoms and the budding spray
Inspire us in our own decay;
Still, as we nearer draw to life's dark goal,
Be hopeful Spring the favourite of the Soul!
VARIANTS:
[Footnote 249: 1827.
And smoothes its ... 1820.
]
[Footnote 250: 1827.
Pleased with the soil's requited cares;
Pleased with the blue that ether wears; 1820.
]
[Footnote 251: 1837.
Frank greeting, then, to that blithe Guest
Diffusing smiles o'er land and sea
To aid the vernal Deity
Whose home is in the breast! 1820.
]
FOOTNOTES:
[Footnote CM: Probably one of the bays in Rydal Mere.--ED.]
[Footnote CN: The kingfisher.--ED.]
[Footnote CO: Probably on Nab Scar reflected in Rydal water.--ED.]
[Footnote CP: Compare _The Prelude_, book vi. l. 173--
Moods melancholy, ... that loved
The twilight more than dawn, autumn than spring.
ED.
]
[Footnote CQ: Lycoris was the name under which the poet Gallus wrote of
his Cytheris, a freed woman of the senator Volumnius, celebrated for her
beauty and intrigues. See Virgil's reference to her in _Eclogue_ x. 42,
in which he condoles with his friend Gallus for the loss of Lycoris--
Hic gelidi fontes, hic mollia prata, Lycori,
Hic nemus; hic ipso tecum consumerer aevo.
Ovid also refers to her, A. A. iii. 537--"The western and the eastern
lands know of Lycoris." From the tone of the Fenwick note, it would seem
that Wordsworth was doubtful of the fitness of associating the name of
Lycoris with the dominant thought of these stanzas; but there is no
unfitness in the use he makes of it. This poem, with its reference to
the "one soft vernal day," and its prevailing thought of spring, and
the Guest
Whose smiles, diffused o'er land and sea,
Seem to recal the Deity
Of youth into the breast,
appropriately follow the _Vernal Ode_.--ED.]
TO THE SAME
Composed 1817.--Published 1820
[This, as well as the preceding and the two that follow,[CR] were
composed in front of Rydal Mount, and during my walks in the
neighbourhood. Nine-tenths of my verses have been murmured out in the
open air: and here let me repeat what I believe has already appeared in
print. One day a stranger having walked round the garden and grounds of
Rydal Mount asked one of the female servants, who happened to be at the
door, permission to see her master's study. "This," said she, leading
him forward, "is my master's library where he keeps his books, but his
study is out of doors." After a long absence from home it has more than
once happened that some one of my cottage neighbours has said--"Well,
there he is; we are glad to hear him _booing_ about again." Once more in
excuse for so much egotism let me say, these notes are written for my
familiar friends, and at their earnest request. Another time a gentleman
whom James had conducted through the grounds asked him what kind of
plants throve best there: after a little consideration he
answered--"Laurels." "That is," said the stranger, "as it should be;
don't you know that the laurel is the emblem of poetry, and that poets
used on public occasions to be crowned with it?" James stared when the
question was first put, but was doubtless much pleased with the
information.--I.F.]
One of the "Poems of Sentiment and Reflection."--ED.
Enough of climbing toil!--Ambition treads
Here, as 'mid[252] busier scenes, ground steep and rough,
Or slippery even to peril![253] and each step,
As we for most uncertain recompence
Mount toward the empire of the fickle clouds, 5
Each weary step, dwarfing the world below,[254]
Induces, for its old familiar sights,
Unacceptable feelings of contempt,
With wonder mixed--that Man could e'er be tied,
In anxious bondage, to such nice array 10
And formal fellowship of pretty things!
--Oh! 'tis the _heart_ that magnifies this life,
Making a truth and beauty of her own;
And moss-grown alleys, circumscribing shades,
And gurgling rills, assist her in the work 15
More efficaciously than realms outspread,
As in a map, before the adventurer's gaze--
Ocean and Earth contending for regard.
The umbrageous woods are left--how far beneath!
But lo! where darkness seems to guard the mouth 20
Of yon wild cave, whose jaggèd brows are fringed
With flaccid threads of ivy, in the still
And sultry air, depending motionless.
Yet cool the space within, and not uncheered
(As whoso enters shall ere long perceive) 25
By stealthy influx of the timid day
Mingling with night, such twilight to compose
As Numa loved; when, in the Egerian grot,
From the sage Nymph appearing at his wish,
He gained whate'er a regal mind might ask, 30
Or need, of counsel breathed through lips divine.[CS]
Long as the heat shall rage, let that dim cave
Protect us, there deciphering as we may
Diluvian records; or the sighs of Earth
Interpreting; or counting for old Time 35
His minutes, by reiterated drops,
Audible tears,[CT] from some invisible source
That deepens upon fancy--more and more
Drawn toward the centre whence those sighs creep forth
To awe the lightness of humanity. 40
Or, shutting up thyself within thyself,
There[255] let me see thee sink into a mood
Of gentler thought,[256] protracted till thine eye
Be calm as water when the winds are gone,
And no one can tell whither. Dearest Friend![CU] 45
We too have known such happy hours together
That, were power granted to replace them (fetched
From out the pensive shadows where they lie)
In the first warmth of their original sunshine,
Loth should I be to use it: passing sweet 50
Are the domains of tender memory!
The spot described in this sequel to _Lycoris_ is, I think, the bower in
the rock on Nab Scar, alluded to in Dorothy Wordsworth's Grasmere
Journal (see note to _The Waterfall and the Eglantine_, vol. ii. p.
172). The description in that Journal, taken in connection with the text
of this poem, warrants the suggestion that the "Friend" with whom he had
"known such happy hours together" was his own sister Dorothy. The
extreme probability that it was on Nab Scar that the snow patches lay,
which were reflected in Rydal mere, and which his imagination
transformed into the swans that carried Venus' car through heaven, adds
to the likelihood of this conjecture. The following extracts from the
Sister's journal may be compared with passages in the poem:--"We pushed
on to the foot of the Scar. It was very grand when we looked up, very
stony.... Coleridge went to search for something new. We saw him
climbing up towards a rock. He called us, and we found him in a
bower,--the sweetest that was ever seen. The rock on one side is very
high, and all covered with ivy, which hung loosely about, and bore
bunches of brown berries." With this compare--
Yon wild cave, whose jaggèd brows are fringed
With flaccid threads of ivy, in the still
And sultry air, depending motionless.
And with the following, "We looked down on the Ambleside vale, that
seemed to wind away from us, the village lying under the hill,"
compare--
Mount toward the empire of the fickle clouds,
Each weary step, dwarfing the world below.
With the following, "It is scarce a bower, a little parlour only, not
enclosed by walls, but shaped out for a resting-place by the rocks, and
the ground rising about it. It had a sweet moss carpet," compare l. 14--
Moss-grown alleys, circumscribing shades.
Doubtless Wordsworth drew on his imagination, "making a truth and beauty
of his own," in this, as in every other description of place, which has
a local colouring in it; but to connect "the dim cave" of the _Ode to
Lycoris_ with these conversations between Coleridge and the
Wordsworths--mentioned in the Grasmere Journal of the latter, and hinted
at in the closing passage of the Ode--is certainly permissible.--ED.
VARIANTS:
[Footnote 252: 1827.
Here, as in ... 1820.
]
[Footnote 253: 1827.
Oft perilous, always tiresome; ... 1820.
]
[Footnote 254: 1827.
As we for most uncertain gain ascend
Toward the clouds, dwarfing the world below, 1820.
]
[Footnote 255: 1827.
... contending for regard!
Lo! there a dim Egerian grotto fringed
With ivy-twine, profusely from its brows
Dependant,--enter without further aim;
And ... 1820.
]
[Footnote 256: 1827.
Of quiet thought-- ... 1820.
]
FOOTNOTES:
[Footnote CR: As the Fenwick notes have no regard to chronological
order, but refer to the poems as arranged by Wordsworth himself, it may
be noted that the "preceding" is the _Ode to Lycoris_; "the two that
follow" are _September 1819_, and its sequel entitled _Upon the same
Occasion_.--ED.]
[Footnote CS: Numa Pompilius, the second king of Rome. "He was
renowned," says Niebuhr (_History of Rome_, I. 237), "as the author of
the Roman ceremonial law. Instructed by the Camena Egeria, who led him
into the assemblies of her sisters in the sacred grove, he regulated the
whole hierarchy, the pontiffs, the augurs, the flamens," etc.--ED.]
[Footnote CT: Compare Walter Savage Landor's _Count Julian_, v. 3--
The very tear ... drops audible.
ED.
]
[Footnote CU: Possibly this refers to his sister Dorothy. Among the
poems on the Tour of 1833 is one _To a Friend_. This friend was the
poet's son, pastor at Brigham, Cockermouth. See the note appended to the
present poem.--ED.]
THE LONGEST DAY
ADDRESSED TO MY DAUGHTER, DORA[257]
Composed 1817.--Published 1820
[Suggested by the sight of my daughter (Dora) playing in front of Rydal
Mount; and composed in a great measure the same afternoon. I have often
wished to pair this poem upon the _longest_, with one upon the
_shortest_, day, and regret even now that it has not been done.--I. F.]
One of the "Poems referring to the Period of Childhood."--ED.
Let us quit the leafy arbour,
And the torrent murmuring by;
For the sun is in his harbour,[258]
Weary of the open sky.
Evening now unbinds the fetters 5
Fashioned by the glowing light;
All that breathe are thankful debtors
To the harbinger of night.
Yet by some grave thoughts attended
Eve renews her calm career; 10
For the day that now is ended,
Is the longest of the year.
Dora![259] sport, as now thou sportest,
On this platform, light and free;
Take thy bliss, while longest, shortest, 15
Are indifferent to thee!
Who would check the happy feeling
That inspires the linnet's song?
Who would stop the swallow, wheeling
On her pinions swift and strong? 20
Yet at this impressive season,
Words which tenderness can speak
From the truths of homely reason,
Might exalt the loveliest cheek;
And, while shades to shades succeeding 25
Steal the landscape from the sight,
I would urge this moral pleading,
Last forerunner of "Good-night!"
Summer ebbs;--each day that follows
Is a reflux from on high, 30
Tending to the darksome hollows
Where the frosts of winter lie.
He who governs the creation,
In his providence, assigned
Such a gradual declination 35
To the life of human kind.
Yet we mark it not;--fruits redden,
Fresh flowers blow, as flowers have blown,
And the heart is loth to deaden
Hopes that she so long hath known. 40
Be thou wiser, youthful Maiden!
And when thy decline shall come,
Let not flowers, or boughs fruit-laden,
Hide the knowledge of thy doom.
Now, even now, ere wrapped in slumber, 45
Fix thine eyes[260] upon the sea
That absorbs time, space, and number;
Look thou to Eternity![261]
Follow thou the flowing river
On whose breast are thither borne 50
All deceived, and each deceiver,
Through the gates of night and morn;
Through the year's successive portals;
Through the bounds which many a star
Marks, not mindless of frail mortals, 55
When his[262] light returns from far.
Thus when thou with Time hast travelled
Toward[263] the mighty gulf of things,
And the mazy stream unravelled[264]
With thy best imaginings;[265] 60
Think, if thou on beauty leanest,
Think how pitiful that stay,
Did not virtue give the meanest
Charms superior to decay.
Duty, like a strict[266] preceptor, 65
Sometimes frowns, or seems to frown;
Choose her thistle for thy sceptre,
While youth's roses are thy crown.[267]
Grasp it,--if thou shrink and tremble,
Fairest damsel of the green, 70
Thou wilt lack the only symbol
That proclaims a genuine queen;
And ensure those palms of honour
Which selected spirits wear,
Bending low before the Donor, 75
Lord of heaven's unchanging year!
VARIANTS:
[Footnote 257: 1849.
Addressed to ----, On the longest day. 1820.
]
[Footnote 258: 1845.
Sol has dropped into his harbour, MS. and 1820.
]
[Footnote 259: 1845.
Laura! ... MS. and 1820.
]
[Footnote 260: 1820.
Fix thy thoughts ... MS.
]
[Footnote 261: 1836.
Look towards Eternity! ... MS. and 1820.
]
[Footnote 262: 1820.
... her ... MS.
]
[Footnote 263: 1832.
Tow'rds ... 1820.
]
[Footnote 264: 1820.
From mysterious springs ...
And his mazes has unravelled MS.
]
[Footnote 265: This stanza is an interpolation by the poet in the MS.]
[Footnote 266: 1820.
... true ... MS.
]
HINT FROM THE MOUNTAINS,
FOR CERTAIN POLITICAL PRETENDERS[268]
Composed 1817.--Published 1820
[Bunches of fern may often be seen wheeling about in the wind as here
described. The particular bunch that suggested these verses was noticed
in the Pass of Dunmail Raise. The verses were composed in 1817, but the
application is for all times and places.--I. F.]
Included among the "Poems of the Fancy."--ED.
"Who but hails the sight with pleasure[269]
When the wings of genius rise,
Their ability to measure
With great enterprise;
But in man was ne'er such daring 5
As yon Hawk exhibits, pairing
His brave spirit with the war in
The stormy skies!
"Mark him, how his power he uses,
Lays it by, at will resumes! 10
Mark, ere for his haunt he chooses
Clouds and utter glooms!
There, he wheels in downward mazes;
Sunward now his flight he raises,
Catches fire, as seems, and blazes 15
With uninjured plumes!"--
ANSWER
"Stranger,[270] 'tis no act of courage
Which aloft thou dost discern;
No bold _bird_ gone forth to forage
'Mid the tempest stern; 20
But such mockery as the nations
See, when public perturbations[271]
Lift men from their native stations,
Like yon TUFT OF FERN;
"Such it is; the aspiring creature[272] 25
Soaring on undaunted wing,
(So you fancied) is by nature
A dull helpless thing,[273]
Dry and withered, light and yellow;--
_That_ to be the tempest's fellow! 30
Wait--and you shall see how hollow
Its endeavouring!"
VARIANTS:
[Footnote 267: 1845.
While thy brow youth's roses crown. MS. and 1820.
]
[Footnote 268: 1827.
... political aspirants. 1820.
]
[Footnote 269: 1827.
Stranger, 'tis a sight of pleasure 1820.
]
[Footnote 270: 1827.
Traveller, ... 1820.
]
[Footnote 271: 1827.
See, when Commonwealth-vexations 1820.
]
[Footnote 272: 1827.
Such it is, and not a Haggard 1820.
]
[Footnote 273: 1827.
'Tis by nature dull and laggard,
A poor helpless Thing, 1820.
]
THE PASS OF KIRKSTONE[CV]
Composed June 27, 1817.--Published 1820