No More Learning

Here he has added about six most exquisite lines. "

The lines referred to are doubtless the eight (p. 101), beginning

'Say more; for by that power a vein,'

which were added in the edition of 1836.

The following is Sara Coleridge's criticism of 'The Waggoner'. (See
'Biographia Literaria', vol. ii. pp. 183, 184, edition 1847. )

"Due honour is done to 'Peter Bell', at this time, by students of
poetry in general; but some, even of Mr. Wordsworth's greatest
admirers, do not quite satisfy me in their admiration of 'The
Waggoner', a poem which my dear uncle, Mr. Southey, preferred even to
the former. 'Ich will meine Denkungs Art hierin niemandem aufdringen',
as Lessing says: I will force my way of thinking on nobody, but take
the liberty, for my own gratification, to express it. The sketches of
hill and valley in this poem have a lightness, and spirit--an Allegro
touch--distinguishing them from the grave and elevated splendour which
characterises Mr. Wordsworth's representations of Nature in general,
and from the passive tenderness of those in 'The White Doe', while it
harmonises well with the human interest of the piece; indeed it is the
harmonious sweetness of the composition which is most dwelt upon by
its special admirers. In its course it describes, with bold brief
touches, the striking mountain tract from Grasmere to Keswick; it
commences with an evening storm among the mountains, presents a lively
interior of a country inn during midnight, and concludes after
bringing us in sight of St.
John's Vale and the Vale of Keswick seen
by day-break--'Skiddaw touched with rosy light,' and the prospect from
Nathdale Fell 'hoar with the frost-like dews of dawn:' thus giving a
beautiful and well-contrasted Panorama, produced by the most delicate
and masterly strokes of the pencil. Well may Mr. Ruskin, a fine
observer and eloquent describer of various classes of natural
appearances, speak of Mr. Wordsworth as the great poetic landscape
painter of the age. But Mr. Ruskin has found how seldom the great
landscape painters are powerful in expressing human passions and
affections on canvas, or even successful in the introduction of human
figures into their foregrounds; whereas in the poetic paintings of Mr.
Wordsworth the landscape is always subordinate to a higher interest;
certainly, in 'The Waggoner', the little sketch of human nature which
occupies, as it were, the front of that encircling background, the
picture of Benjamin and his temptations, his humble friends and the
mute companions of his way, has a character of its own, combining with
sportiveness a homely pathos, which must ever be delightful to some of
those who are thoroughly conversant with the spirit of Mr.
Wordsworth's poetry. It may be compared with the ale-house scene in
'Tam o'Shanter', parts of Voss's Luise, or Ovid's Baucis and Philemon;
though it differs from each of them as much as they differ from each
other. The Epilogue carries on the feeling of the piece very
beautifully. "

The editor of Southey's 'Life and Correspondence'--his son, the Rev.
Charles Cuthbert Southey--tells us, in a note to a letter from S. T.
Coleridge to his father, that the Waggoner's name was Jackson; and that
"all the circumstances of the poem are accurately correct. " This
Jackson, after retiring from active work as waggoner, became the tenant
of Greta Hall, where first Coleridge, and afterwards Southey lived. The
Hall was divided into two houses, one of which Jackson occupied, and the
other of which he let to Coleridge, who speaks thus of him in the letter
to Southey, dated Greta Hall, Keswick, April 13, 1801:

"My landlord, who dwells next door, has a very respectable library,
which he has put with mine; histories, encyclopedias, and all the
modern poetry, etc.