The Making of Poetry. Adam Nicolson
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poetry, allied to the language of the real, can do what politics and revolution can never manage: make vivid and present the reality of suffering, of human experience, for which no exaggerated language or theatrics are required.
No graph of a life pursues a single line, and the man Coleridge had come to see and be with, to admire and encourage, is a hazy compound of mentalities and influences. With his hair cut short in the republican manner, and a heavy stubble on his cheek, there was an intense, haunted and self-possessed air to him. The artist Benjamin Robert Haydon later said that there was something ‘lecherous, animal & devouring’ in Wordsworth’s laugh, and there is no doubt of the almost predatory power that hung about him. He would always control anyone who came into his orbit. And his erotic life was real and vivid. When, later, after ten years of marriage, he was away from his wife for a few days, he wrote to her: ‘I tremble with sensations that almost overpower me,’ his mind filled with images and memories of ‘thy limbs as they are stretched upon the soft earth’ and ‘thy own involuntary sighs and ejaculations’.
The writing of poetry could take hold of him in what he called ‘the fit’, the need to get it down before it left his mind. His sister Dorothy watched him one morning at breakfast:
he, with his Basin of Broth before him untouched & a little plate of Bread & butter.
He had not slept well, but the idea of a poem had come to him.
He ate not a morsel, nor put on his stockings but sate with his shirt neck unbuttoned, & his waistcoat open while he did it. The thought first came upon him as we were talking about the pleasure we both always feel at the sight of a Butterfly. I told him that I used to chase them a little, but I was afraid of brushing the dust off their wings, & did not catch them – He told me how they used to kill all the white ones when he went to school because they were Frenchmen …
Uniforms in the armies of Bourbon France had been white, decorated with golden fleur-de-lis, and any right-thinking English boy in the 1770s would have pursued them with a vengeance. Wordsworth was remembering that from the other side of a revolution that had replaced the white with the tri-colour, but in this tiny scene, away from public view or the need to present himself as he might have wanted to be known, something of the undressed Wordsworth appears: quietly and gently witty, preoccupied, getting up late, needing to catch the moment of writing a poem before it fled, his memories and the present moment interacting as two dimensions of one life, calmly there in the room but, in the writing of that poem, entirely removed, alone.
One further element reflects on Wordsworth in the late 1790s. In the archive at Dove Cottage in Westmorland is the extraordinary and rare survival of some of his clothes. His waistcoats and breeches from the last years of the eighteenth century open a shutter on to this gentleman-poet, governor-radical, man of the people who was also a man, in his own mind, set far above them. Much of the poetry he would write this year was intended, as he said, ‘to shew that men who did not wear fine cloaths can feel deeply’, and one might imagine that a poet who wrote those words might also wear the fustian and the grosgrain of the working man.
He did not. In Grasmere you can find his cream waistcoat with linen back and silk front, with a kind of spreading collar and decorated with embroidered flowers, its pockets edged with red braid, its twelve fabric-covered metal buttons each decorated with a flower. Beside it is a matching suit of waistcoat and breeches also in cream silk, this waistcoat with a stand-up collar, two small pockets with scallop-edged flaps, and eleven small buttons covered in fabric. The breeches are knee-length, gathered into a band at the knee and secured by four fabric-covered buttons and a strap fastening. A third waistcoat is in ivory silk, decorated in careful pale-blue, red and white embroidery, scattering his chest and stomach with perfect, crystalline lilies of the valley.
Are these really the clothes of the man who would write The Prelude? Was Wordsworth a dandy? In Germany late in 1798, according to his sister, he went out ‘walking by moonlight in his fur gown and a black fur cap in which he looks like any grand Signior’. The gown was green, ‘lined throughout with Fox’s skin’. At other moments he would appear in ‘a blue spencer’, a short double-breasted overcoat without tails, and a new pair of pantaloons. Perhaps one can see in this elegance and this air of distinction, this distance from mud and toil, a picture of the man who was living in Racedown and considering his position as an un-acknowledged legislator of the world, preparing to convey to that world his vision of completeness and authority. ‘The Poet binds together by passion and knowledge the vast empire of human society, as it is spread over the whole earth …’, he would write a year or two later. There is no retreat in those magnificent words to a cosy provincial irrelevance. The ambition is explicitly imperial. Here is a man who wanted to establish a form of poetry whose ligatures would bind up the whole of existence.
His sister Dorothy, part-hidden, is at the centre of this year. There is a surviving silhouette of her: small and bright, sharp, attentive, slight-bodied. Her hair is bound up, her whole being taut. A high lace collar, curly hair on her brow. Delicate, poised, a small bosom, half-open lips, drawn in this silhouette with all the expectations of femininity, her presence almost toylike, but nothing skittish or girlish: careful, exact, intelligent, enquiring.
Coleridge described her in a letter written a few weeks after he had arrived at Racedown:
Wordsworth & his exquisite Sister are with me – She is a woman indeed! – in mind, I mean, & heart – for her person is such, that if you expected to see a pretty woman, you would think her ordinary – if you expected to find an ordinary woman, you would think her pretty! – But her manners are simple, ardent, impressive –
Above all they noticed each other’s eyes. Hers were ‘watchful in minutest observation of nature – and her taste a perfect electrometer – it bends, protrudes, and draws in, at subtlest beauties & most recondite faults’. His were large and grey, lit and sparkling when animated, sometimes half-absent, as if he had sunk a quarter of an inch below the surface of the skin, but otherwise rolling bright towards you, as if the sight within them were not a receptive faculty but active, coming and reaching out to grasp his hearers. The lower part of his face could look somehow unbuttoned. His mouth was always hanging half open – he couldn’t breathe through his nose. ‘I have the brow of an angel, and the mouth of a beast,’ he used to say, the repeated binary vision of himself, great and weak, good and bad, never ceasing to oscillate between its poles.
She saw a poet in him. ‘He is a wonderful man,’ she wrote to her great friend Mary Hutchinson, who had been staying with them at Racedown and had left only a day or two earlier.
His conversation teems with soul, mind, and spirit. Then he is so benevolent, so good tempered and cheerful, and, like William, interests himself so much about every little trifle. At first I thought him very plain, that is, for about three minutes: he is pale and thin, has a wide mouth, thick lips, and not very good teeth, longish loose-growing half-curling rough black hair. But if you hear him speak for five minutes you think no more of them. His eye is large and full, and not dark but grey; such an eye as would receive from a heavy soul the dullest expression; but it speaks every emotion of his animated mind: it has more of ‘the poet’s eye in a fine frenzy rolling’ than I ever witnessed. He has fine dark eyebrows, and an overhanging forehead.
In return she sparkled with her own sharp-edged, discontinuous brilliance, a flashing light in her eyes, her mind not a grand instrument of connection like Coleridge’s, nor vastly present to itself like Wordsworth’s, but full of bright remembered visions, exactly recalled, seen in detail: the sky-blue hedge sparrows’ eggs in a childhood nest, the bilberries in the bowl of a black porringer. She had the gift of what Keats would later call ‘that trembling delicate and snail-horn perception of Beauty’, precise and sensitive, alert to variation. The sensitivity meant, as Coleridge noticed, that her horns would draw in at the slightest touch, and she would easily weep at things seen or remembered. She often felt her heart was full. Her separation from her brothers in childhood meant that she had been ‘put out of the way of many recollections in common’, and that separation only served to heighten the value of closeness for her. She and Wordsworth now shared their everyday life, but they also shared the experience