Lines Composed a Few Miles above Tintern Abbey, On Revisiting the Banks of the Wye during a Tour. July 13, 1798 Analysis

Lines Composed a Few Miles above Tintern Abbey, On Revisiting the Banks of the Wye during a Tour. July 13, 1798

By William Wordsworth

Five years have passed, five summers, with the length
of five long winters! and again I hear
these waters, rolling from their mountain‑springs
with a soft inland murmur, once again
do I behold these steep and lofty cliffs,
that on a wild secluded scene impress
thoughts of more deep seclusion; and connect
the landscape with the quiet of the sky.
The day is come when I again repose
here, under this dark sycamore, and view
these plots of cottage‑ground, these orchard‑tufts,
which at this season, with their unripe fruits,
are clad in one green hue, and lose themselves
amid groves and copses. Once again I see
these hedge‑rows, hardly hedge‑rows, little lines
of sportive wood run wild: these pastoral farms,
green to the very door; and wreaths of smoke
sent up, in silence, from among the trees!
With some uncertain notice, as might seem
of vagrant dwellers in the houseless woods,
or of some Hermit’s cave, where by his fire
the Hermit sits alone.
These beautiful forms, through a long absence, have not been to me
as is a landscape to a blind man’s eye;
but oft, in lonely rooms, and amid the din
of towns and cities, I have owed to them,
in hours of weariness, sensations sweet,
felt in the blood, and felt along the heart;
and passing even into my purer mind
with tranquil restoration: feelings too
of unremembered pleasure; such, perhaps,
as have no slight or trivial influence
on that best portion of a good man’s life,
his little, nameless, unremembered, acts
of kindness and of love. Nor less, I trust,
to them I may have owed another gift,
of aspect more sublime; that blessed mood,
in which the burden of the mystery,
in which the heavy and the weary weight
of all this unintelligible world,
is lightened: that serene and blessed mood,
in which the affections gently lead us on,
until, the breath of this corporeal frame
and even the motion of our human blood
almost suspended, we are laid asleep
in body, and become a living soul:
while with an eye made quiet by the power
of harmony, and the deep power of joy,
we see into the life of things.
If this be but a vain belief, yet, oh! how oft—
in darkness and amid the many shapes
of joyless daylight; when the fretful stir
unprofitable, and the fever of the world,
have hung upon the beatings of my heart—
how oft, in spirit, have I turned to thee,
O sylvan Wye! thou wanderer thro’ the woods,
how often has my spirit turned to thee!
And now, with gleams of half‑extinguished thought,
with many recognitions dim and faint,
and somewhat of a sad perplexity,
the picture of the mind revives again:
while here I stand, not only with the sense
of present pleasure, but with pleasing thoughts
that in this moment there is life and food
for future years. And so I dare to hope,
though changed, no doubt, from what I was when first
I came among these hills; when like a roe
I bounded o’er the mountains, by the sides
of the deep rivers, and the lonely streams,
wherever nature led: more like a man
flying from something that he dreads, than one
who sought the thing he loved. For nature then
(the coarser pleasures of my boyish days
and their glad animal movements all gone by)
to me was all in all.—I cannot paint
what then I was. The sounding cataract
haunted me like a passion: the tall rock,
the mountain, and the deep and gloomy wood,
their colours and their forms, were then to me
an appetite; a feeling and a love,
that had no need of a remoter charm,
by thought supplied, nor any interest
unborrowed from the eye.—That time is past,
and all its aching joys are now no more,
and all its dizzy raptures. Not for this
faint I, nor mourn nor murmur; other gifts
have followed; for such loss, I would believe,
abundant recompense. For I have learned
to look on nature, not as in the hour
of thoughtless youth; but hearing oftentimes
the still sad music of humanity,
nor harsh nor grating, though of ample power
to chasten and subdue.—And I have felt
a presence that disturbs me with the joy
of elevated thoughts; a sense sublime
of something far more deeply interfused,
whose dwelling is the light of setting suns,
and the round ocean and the living air,
and the blue sky, and in the mind of man:
a motion and a spirit, that impels
all thinking things, all objects of all thought,
and rolls through all things. Therefore am I still
a lover of the meadows and the woods
and mountains; and of all that we behold
from this green earth; of all the mighty world
of eye, and ear, both what they half create,
and what perceive; well pleased to recognize
in nature and the language of the sense
the anchor of my purest thoughts, the nurse,
the guide, the guardian of my heart, and soul
of all my moral being.
Nor perchance, if I were not thus taught, should I the more
suffer my genial spirits to decay:
for thou art with me here upon the banks
of this fair river; thou my dearest Friend,
my dear, dear Friend; and in thy voice I catch
the language of my former heart, and read
my former pleasures in the shooting lights
of thy wild eyes. Oh! yet a little while
may I behold in thee what I was once,
my dear, dear Sister! and this prayer I make,
knowing that Nature never did betray
the heart that loved her; it’s her privilege,
through all the years of this our life, to lead
from joy to joy: for she can so inform
the mind that is within us, so impress
with quietness and beauty, and so feed
with lofty thoughts, that neither evil tongues,
rash judgments, nor the sneers of selfish men,
nor greetings where no kindness is, nor all
the dreary intercourse of daily life,
shall ever prevail against us, or disturb
our cheerful faith, that all which we behold
is full of blessings. Therefore let the moon
shine on thee in thy solitary walk;
and let the misty mountain‑winds be free
to blow against thee: and, in after years,
when these wild ecstasies shall be matured
into a sober pleasure; when thy mind
shall be a mansion for all lovely forms,
thy memory be as a dwelling‑place
for all sweet sounds and harmonies; oh! then,
if solitude, or fear, or pain, or grief,
should be thy portion, with what healing thoughts
of tender joy wilt thou remember me,
and these my exhortations! Nor, perchance—
if I should be where I no more can hear
thy voice, nor catch from thy wild eyes these gleams
of past existence—wilt thou then forget
that on the banks of this delightful stream
we stood together; and that I, so long
a worshipper of Nature, hither came
unwearied in that service: rather say
with warmer love—oh! with far deeper zeal
of holier love. Nor wilt thou then forget,
that after many wanderings, many years
of absence, these steep woods and lofty cliffs,
and this green pastoral landscape, were to me
more dear, both for themselves and for thy sake!

Welcome, dear readers, to a journey into one of the most celebrated poems in the English language: William Wordsworth’s “Lines Composed a Few Miles above Tintern Abbey, On Revisiting the Banks of the Wye during a Tour. July 13, 1798.” This magnificent work invites us to explore the profound connection between humanity and the natural world, a theme that resonates deeply even today. Prepare to uncover the layers of meaning, the exquisite language, and the timeless wisdom embedded within these lines.

Summary of Lines Composed a Few Miles above Tintern Abbey

Wordsworth’s “Tintern Abbey” poem, as it is often affectionately known, is a profound meditation on memory, nature, and the passage of time. Composed in 1798, it quickly established Wordsworth as a leading voice of the Romantic movement, a literary era that championed emotion, individualism, and the sublime beauty of the natural world. The poem details the speaker’s return to the picturesque banks of the River Wye in Wales after a five-year absence, a place he visited in his youth.

The central idea of “Lines Composed a Few Miles above Tintern Abbey” is the transformative and enduring power of nature. The speaker initially describes the familiar landscape, noting how the sights and sounds of the Wye have sustained him through years spent in bustling cities. He reflects on how his relationship with nature has evolved: from the “thoughtless youth” who experienced nature with a wild, almost animalistic joy, to the mature individual who now perceives a deeper, more spiritual presence within the natural world. This mature understanding brings a sense of peace and moral guidance, allowing him to see “into the life of things.” The poem concludes with an address to his sister, Dorothy, who accompanies him, expressing a hopeful wish that she too will find similar solace and wisdom in nature’s embrace as she grows older.

This poem is noteworthy for its groundbreaking exploration of subjective experience and the human mind’s interaction with its environment. It suggests that nature is not merely a backdrop, but an active force that shapes our character, offers spiritual nourishment, and provides a wellspring of cherished memories that can sustain us through life’s challenges. It is a testament to the idea that our past experiences with nature continue to live within us, influencing our present and future.

Analysis of Literary Devices Used in Lines Composed a Few Miles above Tintern Abbey

William Wordsworth masterfully employs a rich tapestry of literary devices to convey the poem’s intricate themes and evoke a powerful emotional response from the reader. Let us explore some of these techniques with examples directly from the poem.

Imagery

Wordsworth’s use of vivid sensory imagery is paramount, allowing readers to visualize and feel the natural world he describes. He paints a detailed picture of the landscape, appealing to sight, sound, and even a sense of quietude.

Visual Imagery: The opening lines immediately immerse us in the scene:

do I behold these steep and lofty cliffs,
that on a wild secluded scene impress
thoughts of more deep seclusion; and connect
the landscape with the quiet of the sky.
…
these plots of cottage‑ground, these orchard‑tufts,
which at this season, with their unripe fruits,
are clad in one green hue

These descriptions create a clear mental image of the Wye Valley, emphasizing its natural grandeur and serene beauty.
Auditory Imagery: The sounds of nature are equally important:

and again I hear
these waters, rolling from their mountain‑springs
with a soft inland murmur

The “soft inland murmur” of the waters is a gentle, comforting sound that immediately transports the reader to the riverbank.
Sensory Blending: Wordsworth often blends senses to create a richer experience, as with the “wreaths of smoke / sent up, in silence, from among the trees!” This image combines sight with the implied stillness and quiet of the scene.

Personification

Giving human qualities or abilities to inanimate objects or abstract ideas deepens the connection between the speaker and nature, making the natural world seem alive and responsive.

The River Wye is directly addressed and given human characteristics:

O sylvan Wye! thou wanderer thro’ the woods,
how often has my spirit turned to thee!

By calling the river a “wanderer,” the speaker imbues it with a sense of purpose and movement akin to a human journey.
Nature itself is portrayed as a benevolent, guiding entity:

knowing that Nature never did betray
the heart that loved her; it’s her privilege,
through all the years of this our life, to lead
from joy to joy

Here, Nature is given the capacity to “betray” or “lead,” suggesting a conscious, caring presence.

Simile

Similes create vivid comparisons using “like” or “as,” helping to illustrate the intensity of the speaker’s past and present feelings.

Describing his youthful passion for nature:

when like a roe
I bounded o’er the mountains, by the sides
of the deep rivers, and the lonely streams,
wherever nature led

This simile vividly conveys the speaker’s youthful energy and uninhibited connection to nature, comparing his movements to a graceful, wild deer.
The powerful impact of a natural phenomenon:

The sounding cataract
haunted me like a passion

This comparison emphasizes the overwhelming, almost obsessive, nature of his youthful fascination with the waterfall.

Metaphor

Metaphors make direct comparisons, stating that one thing *is* another, revealing deeper layers of meaning and understanding about nature’s role.

Nature as a fundamental support and guide:

In nature and the language of the sense
The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul
Of all my moral being.

These powerful metaphors illustrate how nature provides stability (“anchor”), sustenance (“nurse”), direction (“guide”), protection (“guardian”), and the very essence (“soul”) of his moral existence. Nature is not just beautiful; it is foundational to his identity.
The mind as a receptive space:

when thy mind
shall be a mansion for all lovely forms,
thy memory be as a dwelling‑place
for all sweet sounds and harmonies

The mind and memory are metaphorically described as grand, welcoming structures, capable of holding and preserving beautiful experiences.

Apostrophe

Apostrophe is a direct address to an absent person, an abstract entity, or an inanimate object. It heightens the emotional intensity and personal connection.

The speaker directly addresses the River Wye, treating it as a confidant:

how oft, in spirit, have I turned to thee,
O sylvan Wye! thou wanderer thro’ the woods,
how often has my spirit turned to thee!

This direct address underscores the profound, almost spiritual, relationship the speaker has with the river.
He also addresses his sister, Dorothy, directly in the latter part of the poem, sharing his insights and hopes for her future connection with nature.

Alliteration and Assonance

These sound devices add musicality and emphasize certain words or phrases, enhancing the poem’s lyrical quality.

Alliteration (repetition of initial consonant sounds):

of five long winters!

The repetition of the ‘f’ and ‘w’ sounds creates a flowing, almost mournful rhythm, emphasizing the passage of time.

on a wild secluded scene impress
thoughts of more deep seclusion

The ‘s’ sound here creates a hushed, tranquil atmosphere, mirroring the quiet of the scene.
Assonance (repetition of vowel sounds within words):

in hours of weariness, sensations sweet,
felt in the blood, and felt along the heart;

The repeated ‘e’ sound creates a gentle, flowing rhythm, reflecting the soothing nature of the memories.

we see into the life of things.

The long ‘e’ and short ‘i’ sounds contribute to the contemplative and insightful tone.

Symbolism

Elements within the poem often carry symbolic weight, representing larger ideas or concepts.

The River Wye: Symbolizes continuity, the flow of time, and the enduring presence of nature. It is a constant against the changing human experience.
Tintern Abbey: Though only mentioned in the title and not directly described, the ruined abbey symbolizes the passage of time, the decay of human structures, and perhaps the contrast between human impermanence and nature’s eternal renewal.
The “sounding cataract”: Represents the wild, untamed, and almost overwhelming power of nature that captivated the speaker in his youth.

Analysis of Poetic Devices Used in Lines Composed a Few Miles above Tintern Abbey

Beyond the figures of speech, Wordsworth carefully crafts the poem’s structure, rhythm, and language to create its distinctive voice and impact.

Blank Verse

Unlike many poems of its era, “Tintern Abbey” is written in blank verse, which means it uses unrhymed lines of iambic pentameter. Iambic pentameter consists of ten syllables per line, with an alternating pattern of unstressed and stressed syllables (da-DUM da-DUM da-DUM da-DUM da-DUM). This choice is crucial to the poem’s effect.

Natural Flow: The absence of rhyme allows the language to flow more naturally, mimicking the rhythm of human speech and thought. This creates an intimate, conversational tone, as if the speaker is sharing his deepest reflections directly with the reader. For example, consider the opening lines:

Five years have passed, five summers, with the length
of five long winters! and again I hear

The regular meter provides a subtle structure, while the lack of rhyme prevents it from feeling too rigid or artificial, allowing for profound philosophical musings.
Emphasis on Content: By foregoing rhyme, Wordsworth places the emphasis squarely on the poem’s ideas, imagery, and emotional depth, rather than on the cleverness of rhyming words.

Diction

Wordsworth’s choice of words, or diction, is carefully selected to elevate the poem’s themes while remaining accessible. He blends everyday language with more formal or philosophical terms.

Elevated Language: Words like “corporeal frame,” “unintelligible world,” “sublime,” and “recompense” contribute to the poem’s serious, contemplative tone, suggesting the profound nature of the speaker’s thoughts.

in which the burden of the mystery,
in which the heavy and the weary weight
of all this unintelligible world,
is lightened: that serene and blessed mood,
in which the affections gently lead us on,
until, the breath of this corporeal frame
and even the motion of our human blood
almost suspended, we are laid asleep
in body, and become a living soul

This elevated diction underscores the spiritual and philosophical depth of the experience.
Simple, Evocative Language: Alongside the elevated terms, Wordsworth uses simple, concrete words to describe the natural world, such as “cliffs,” “waters,” “hedge-rows,” and “smoke,” grounding the abstract ideas in tangible reality. This blend makes the poem both intellectually stimulating and emotionally resonant.

Tone

The tone of “Tintern Abbey” evolves throughout the poem, reflecting the speaker’s journey of reflection and understanding.

Nostalgic and Reflective: Initially, the tone is one of gentle nostalgia as the speaker recalls his past visits and the memories that have sustained him.

That time is past,
and all its aching joys are now no more,
and all its dizzy raptures.

These lines convey a wistful remembrance of a bygone era.
Philosophical and Serene: As the poem progresses, the tone shifts to a more philosophical and serene contemplation of nature’s deeper influence.

For I have learned
to look on nature, not as in the hour
of thoughtless youth; but hearing oftentimes
the still sad music of humanity

Here, the tone becomes more mature and insightful, reflecting a deeper understanding.
Hopeful and Exhortative: In the final section, addressing his sister, the tone becomes tender, hopeful, and almost instructional, as he shares his wisdom and wishes for her future.

Therefore let the moon
shine on thee in thy solitary walk;
and let the misty mountain‑winds be free
to blow against thee

This concluding section carries a tone of loving guidance and enduring faith in nature’s power.

Structure and Stanza

The poem is structured as a dramatic monologue, a single, sustained utterance from the speaker. It is divided into five distinct verse paragraphs (often referred to as stanzas in a broader sense, though they are not uniform in length or rhyme scheme like traditional stanzas), each marking a progression in the speaker’s thought.

First Section (Lines 1-22): Describes the immediate scene and the joy of revisiting it.
Second Section (Lines 22-49): Reflects on how memories of nature have provided solace and spiritual insight during his absence.
Third Section (Lines 49-111): Contrasts his youthful, passionate relationship with nature with his current, more mature and philosophical understanding. This is where he describes feeling “a presence that disturbs me with the joy of elevated thoughts.”
Fourth Section (Lines 111-159): Addresses his sister, Dorothy, recognizing her youthful connection to nature and expressing his hope that she will also find enduring wisdom and comfort in it.
Fifth Section (Lines 159-177): A concluding prayer and exhortation to his sister, emphasizing the lasting power of their shared experience and nature’s ability to protect against life’s hardships.

This organic structure allows Wordsworth to develop a complex argument about the stages of human development and the evolving relationship with the natural world, mirroring the natural flow of thought and memory.

The Enduring Legacy of Tintern Abbey

“Lines Composed a Few Miles above Tintern Abbey” remains a cornerstone of Romantic poetry, celebrated for its lyrical beauty, profound philosophical insights, and innovative use of language. It invites us to pause, reflect on our own connections to nature, and consider how our past experiences shape who we become. By exploring the poem’s rich tapestry of literary and poetic devices, we gain a deeper appreciation for Wordsworth’s genius and the timeless message that the natural world offers not just beauty, but also solace, wisdom, and a profound sense of belonging. May this guide inspire you to revisit “Tintern Abbey” and discover its enduring power for yourself.