No More Learning

Moreover, all
experience shows that posterity takes a great and a growing interest in
exact topographical illustrations of the works of great authors. The
labour recently bestowed upon the places connected with Shakespeare,
Scott, and Burns sufficiently attests this.

The localities in Westmoreland, which are most permanently associated
with Wordsworth, are these: Grasmere, where he lived during the years of
his "poetic prime," and where he is buried; Lower Easdale, where he
passed so many days with his sister by the side of the brook, and on the
terraces at Lancrigg, and where 'The Prelude' was dictated; Rydal Mount,
where he spent the latter half of his life, and where he found one of
the most perfect retreats in England; Great Langdale, and Blea Tarn at
the head of Little Langdale, immortalised in 'The Excursion'; the upper
end of Ullswater, and Kirkstone Pass; and all the mountain tracks and
paths round Grasmere and Rydal, especially the old upper road between
them, under Nab Scar, his favourite walk during his later years, where
he "composed hundreds of verses. " There is scarcely a rock or mountain
summit, a stream or tarn, or even a well, a grove, or forest-side in all
that neighbourhood, which is not imperishably identified with this poet,
who at once interpreted them as they had never been interpreted before,
and added

the gleam,
The light that never was, on sea or land,
The consecration, and the Poet's dream.

It may be worthy of note that Wordsworth himself sanctioned the
principle of tracing out local allusions both by dictating the Fenwick
notes, and by republishing his Essay on the topography of the Lakes,
along with the Duddon Sonnets, in 1820--and also, by itself, in
1822--"from a belief that it would tend materially to illustrate" his
poems.

In this edition the topographical Notes usually follow the Poems to
which they refer. But in the case of the longer Poems, such as 'The
Prelude', 'The Excursion', and others, it seems more convenient to print
them at the foot of the page, than to oblige the reader to turn to the
end of the volume.

From the accident of my having tried long ago--at Principal Shairp's
request--to do what he told me he wished to do, but had failed to carry
out, I have been supposed, quite erroneously, to be an 'authority' on
the subject of "The English Lake District, as interpreted in the Poems
of Wordsworth. " The latter, it is true, is the title of one of the books
which I have written about Wordsworth: but, although I visited the Lakes
in 1860,--"as a pilgrim resolute"--and have re-visited the district
nearly every year for more than a quarter of a century, I may say that I
have only a partial knowledge of it. Others, such as Canon Rawnsley, Mr.
Harry Goodwin, and Mr. Rix, for example, know many parts of it much
better than I do; but, as I have often had to compare my own judgment
with that of such experts as the late Dr. Cradock, Principal of
Brasenose College, Oxford, and others, I may add that, when I differ
from them, it has been only after a re-examination of their evidence, at
the localities themselves.


SIXTH. Several Poems, and fragments of poems, hitherto unpublished--or
published in stray quarters, and in desultory fashion--will find a place
in this edition; but I reserve these fragments, and place them all
together, in an Appendix to the last volume of the "Poetical Works.
" If
it is desirable to print these poems, in such an edition as this, it is
equally desirable to separate them from those which Wordsworth himself
sanctioned in his final edition of 1849-50.

Every great author in the Literature of the World--whether he lives to
old age (when his judgment may possibly be less critical) or dies young
(when it may be relatively more accurate)--should himself determine what
portions of his work ought, and what ought not to survive. At the same
time,--while I do not presume to judge in the case of writers whom I
know less fully than I happen to know Wordsworth and his
contemporaries,--it seems clear that the very greatest men have
occasionally erred as to what parts of their writings might, with most
advantage, survive; and that they have even more frequently erred as to
what MS. letters, etc. ,--casting light on their contemporaries--should,
or should not, be preserved. I am convinced, for example, that if the
Wordsworth household had not destroyed all the letters which Coleridge
sent to them, in the first decade of this century, the world would now
possess much important knowledge which is for ever lost. It may have
been wise, for reasons now unknown, to burn those letters, written by
Coleridge: but the students of the literature of the period would gladly
have them now.

Passing from the question of the preservation of Letters, it is evident
that Wordsworth was very careful in distinguishing between the Verses
which he sent to Newspapers and Magazines, and those Poems which he
included in his published volumes. His anxiety on this point may be
inferred from the way in which he more than once emphasised the fact of
republication, e. g. in 'Peter Bell' (1819) he put the following
prefatory note to four sonnets, which had previously appeared in
'Blackwood's Magazine', and which afterwards (1828) appeared in the
'Poetical Album' of Alaric Watts, "The following Sonnets having lately
appeared in Periodical Publications are here reprinted. "

Some of the poems (or fragments of poems), included in the 'addenda' to
Volume viii. of this edition, I would willingly have left out
(especially the sonnet addressed to Miss Maria Williams); but, since
they have appeared elsewhere, I feel justified in now reprinting even
that trivial youthful effusion, signed "Axiologus. " I rejoice, however,
that there is no likelihood that the "Somersetshire Tragedy" will ever
see the light. When I told Wordsworth's successor in the Laureateship
that I had burned a copy of that poem, sent to me by one to whom it had
been confided, his delight was great. It is the chronicle of a revolting
crime, with nothing in the verse to warrant its publication.