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Wordsworth As Pastoral Poet Wordsworth As Pastoral Poet WORDSWORTH AS PASTORAL POET WORDSWORTH AS PASTORAL POET By ALEXANDER EDWARD SPALDING, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University May 1974 DOCTOR OF PHILOSOPHY (1974) McMASTER UNIVERSITY {English) Hamilton, Ontario. TITLE: Wordsworth as Pastoral Poet AUTHOR: Alexander Edward Spalding, B.A. (Manitoba) M.A. (Manitoba) SUPERVISOR: Professor J. Sigman NUMBER OF PAGES: xi, 325. ABSTRACT Wordsworth is a mythopoeic or mythmaking poet. While the fell-sides, sheep-folds, and mountain roads of Cumberland-Westmorland provide an external reality in which his dramas can unfold, and while the shepherds, fell-folk, and travellers offer him the dramatis personae to people this natural stage, the drama is also, and perhaps even moreso, an inner psychological ritual played upon the stage of Wordsworth's psyche, and the actors are just as much gods and goddesses and titans, represent­ ing the psychic forces which come into play in the various stages of his spiritual progress, as they are people. If one is to see this drama clearly, then, one must adjust one's eyesight as well to the dark inner land­ scape of the psyche in order to realize the full scope and quality of Wordsworth's pastoral. As he plainly warns us in the Preface to the 1814 Excursion, we must look Into our Minds, into the Mind of Man-­ My haunt, and the main region of my song. Those people who, by their own unwitting habit, see only the outer landscape--the outer light of consciousness is so bright that they fail to see the shadows--will have only a one-dimensional view of his poetry, for, like all Titans, Wordsworth is a creature of the caves and mountain bases, ii and a good portion of him is inside and underground. In the earlier and more real part of his poetic career--the period of Lyrical Ballads, the fell-side tragedies, the 1805 Prelude--Wordsworth knows the true source of his energy, speaks and acts like a true son of Mother Earth, like a Prometheus unbound, and defends her interests as he knows how to do. The poetry is rich, insightful, and positive. There is noticeable, however, even as early as the 1805 Prelude, a conflict of allegiance developing in his work in which he reveals a being at odds with himself because his ego--with its illusions about human perfection and its unrealistic evaluation of him­ self as an epic poet with mastery over an external and public order of truth--is totally ignorant of another Words­ worth which is sleeping and unconscious--a source from which he needs to find out that life and people are imper­ fect and from which he could understand that his talents or propensities were better suited to pastoral--an inter­ nal and private order of experience. Such a conflict, if not healed by a fruitful communication between the two parts of his personality, can result in unhealthy polarization and even in disaster for his entire being. Wordsworth may have avoided disaster for a time by taking some cognizance of the pressures of his mortal or animal self and by adjusting his viewpoint to some extent to allow for its needs. But, obviously, iii he has not understood the warning of his unconscious (Dream of the Arab in Book V, and the Simplon Pass passage of Book VI, of The Prelude) soon enough or fully enough, for, instead of compensating for his excess idealism, he turns upon the oracle of his truth as though she were his enemy, and sets up exaggerated ego defences against her, secretly dreading her power. He gains a certain amount of outer security at the price of inner security and the death of his imagination. The Excursion (1814) illustrates the retrogressed and negative view of life he has come to hold as a result of his distrust and fear of the imaginative life, and also reveals him as almost totally unfit for any kind of epic endeavour or poetry aiming at a social and external order of truth. Since Wordsworth, as a poet, presumes to steal fire from heaven while he is grounded in the fire of the inferno-­ . tries to be an epic poet when he is really a pastoral one-­ he is caught at the deadly point of opposition between the warring principles of life, is fused and turned into stone, a Prometheus bound for his presumption, no longer having an inner life of his own or fighting for the truth of suffering humanity, but sounding hollowly as the oracle or propagandist of the otherworldly wisdom of the sky gods or aristocrats. For the balance of his long life, he is nothing but a fallen one, a titan groaning under the weight of the world, a iv "voice of ruin" unable to do anything but echo the barren clich6s of reactionary authority. v TO WALTER SWAYZE, A GOOD FRIEND vi ---------- PREFACE My purpose in adding a preface to this thesis is simply to state that, in working through Wordsworth's spiritual odyssey, I discovered that he had lived through or acted out at least three ancient pastoral myths, namely, the wars of the gods and the giants, the singing or piping contest between Apollo and Pan, and the binding of Prometheus. Whether Wordsworth was or was not familiar with these myths from classic sources, or whether or not he was even conscious of them, is beside the point. He may very well have known the accounts of the wars of the gods and the giants in Hesiod, Apollodorus, Pausanius, or Ovid, and he may also have known the accounts of the singing contest between Apollo and Pan or Apollo and Harsyas in Ovid, Apollodorus, and Hyginus, and he most likely knew Aeschylus's Prometheus Bound, but the mere conscious know­ ledge of the classic sources could never have permitted him to adapt these myths so perfectly to his own needs had there not been an underlying psychological necessity for him to do so. The myths are eternal (as eternal, that is, as men are) , and, even if Wordsworth or his poetic descendants had never heard of the Greek sources, they would have discovered them anyway, simply by struggling and journeying vii in the realm of their own spirits. Although many, per­ haps most, moderns consider them as "fictions" or "pretty stories" concocted by dreamers or fanciful poets attempt­ ing to while away the hours for bored children or leisured aristocratic ladies, myths are actually projections of psychic phenomena and psychic experience, and, since the human mind has a common structure everywhere, and goes through the same basic process and development whatever the period or the clime, the myths are continually relived and reproduced as long as there are human personalities reaching towards the sun of enlightenment.· Wordsworth's reproduction of the myth of the wars of the gods and giants is not a conscious thing but repre­ sents the earlier and dynamic stages of his individuation process when he was making an exuberant fight for psychic stability and when the relation between his ego and his unconscious was developing in a positive, forthright, and healthy manner. From this earlier period, we have the great fell-side tragedies, the greatest sections of The Prelude, and many of the other great lyrics. His reproduction of the myth of the singing contest between Apollo and Pan, no less unconscious, on the other hand, is a much less fortunate aspect of his psychic devel­ opment, representing the retrogression or decline of his imaginative life in the later period when he sees it as an enemy to be exterminated or held at bay, and over which he viii must exercise the most strict and authoritarian conscious control. This period begets such dubious works as The Excursion and productions of that quality. Finally, the myth of Prometheus bound is enacted when Wordsworth, in his attempt to write epic, reaches for supernal fire while grounded in the fire of the inferno, and is struck by a thunderbolt for his presumption. Psychologically, this is a disaster, a total and sudden reversal of the flow of his psychic energy, which catches him at the deadly point between the opposites, between the positive and negative poles of the personality, and elec­ trocutes him and turns him to stone so that he can no longer be the vital champion of suffering man or suffering Mother Earth but can now only groan hollowly and unfruitfully from the caves of earth, as barren and inhuman as the mountain winds. I would like, here, to express my thanks to Profess­ ors Joseph Sigman and Graham Roebuck, of McMaster University, for the aid given me in their reading of the work and suggesting corrections. ix TABLE OF CONTENTS CHAPTER PAGE ABSTRACT ii PREFACE vii LIST OF ABBREVIATIONS xi 1. PASTORAL IN LYRICAL BALLADS AND POEMS TO 1807 1 2. PASTORAL IN THE PRELUDE OF 1805 99 3. PASTORAL IN THE EXCURSION 230 APPENDIX A 312 BIBLIOGRAPHY 320 X ABBREVIATIONS Biog. Lit. S.T. Coleridge, Biographia Literaria, (New York: Dutton, 1967). c.w. The Collected Works of C.G. Jung, Bollingen Ed1t1on. eds. Sir Herbert Read, Dr. Michael Fordham, Dr. Gerhard Adler. trans. R.F.C. Hull. (Princeton, N.J.: Princeton University Press) • E.Y. Letters of William and Dorothy Wordsworth: 1787--1805, ed. E. de Sel1ncourt. Second Edition, revised by Chester L. Shaver, (Oxford, 1967). M.Y. Letters of William and Dorothy Wordsworth: 1812--1820, ed. E. de Sel1ncourt. Second Edit1on~evised by Mary Moorman and A.G.
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