ODE ON THE INTIMATION OF IMMORALITY -WORDSWORTH

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                                           ODE ON THE INTIMATION OF IMMORALITY

                                                                                                          -WORDSWORTH

 Summary

     In the first stanza, the speaker says wistfully that there was a time when all of nature seemed dreamlike to him, “apparelled in celestial light,” and that that time is past; “the things I have seen I can see no more.” In the second stanza, he says that he still sees the rainbow and that the rose is still lovely; the moon looks around the sky with delight, and starlight and sunshine are each beautiful. Nonetheless, the speaker feels that glory has passed away from the earth. In the third stanza, the speaker says that, while listening to the birds sing in springtime and watching the young lambs leap and play, he was stricken with a thought of grief; but the sound of nearby waterfalls, the echoes of the mountains, and the gusting of the winds restored him to strength. He declares that his grief will no longer wrong the joy of the season and that all the earth is happy.

     He exhorts a shepherd boy to shout and play around him. In the fourth stanza, he addresses nature’s creatures and says that his heart participates in their joyful festival. He says that it would be wrong to feel sad on such a beautiful May morning, while children play and laugh among the flowers. Nevertheless, a tree and a field that he looks upon make him think of “something that is gone,” and a pansy at his feet does the same. He asks what has happened to “the visionary gleam”: “Where is it now, the glory and the dream?” In the fifth stanza, he proclaims that human life is mere “a sleep and a forgetting”— that human beings dwell in a purer, more glorious realm before they enter the earth. “Heaven,” he says, “lies about us in our infancy!

” As children, we still retain some memory of that place, which causes our experience of the earth to be suffused with its magic—but as the baby passes through boyhood and young adulthood and into manhood, he sees that magic die. In the sixth stanza, the speaker says that the pleasures unique to earth conspire to help the man forget the “glories” whence he came. 

    In the seventh stanza, the speaker beholds a six-year-old boy and imagines his life, and the love his mother and father feel for him. He sees the boy playing with some imitated fragment of adult life, “some little plan or chart,” imitating “a wedding or a festival” or “a mourning or a funeral.” The speaker imagines that all human life is a similar imitation. 

    In the eighth stanza, the speaker addresses the child as though he were a mighty prophet of a lost truth, and rhetorically asks him why, when he has access to the glories of his origins, and to the pure experience of nature, he still hurries toward an adult life of custom and “earthly freight.” In the ninth stanza, the speaker experiences a surge of joy at the thought that his memories of childhood will always grant him a kind of access to that lost world of instinct, innocence, and exploration. In the tenth stanza, bolstered by this joy, he urges the birds to sing, and urges all creatures to participate in “the gladness of the May.” 

    He says that though he has lost some part of the glory of nature and of experience, he will take solace in “primal sympathy,” in memory, and in the fact that the years bring a mature consciousness and “a philosophic mind.” In the final stanza, the speaker says that this mind which stems from a consciousness of mortality, as opposed to the child’s feeling of immortality enables him to love nature and natural beauty all the more, for each of nature’s objects can stir him to thought, and even the simplest flower blowing in the wind can raise in him “thoughts that do often lie too deep for tears.” Form Wordsworth’s Immortality Ode, as it is often called, is written in eleven variable ode stanzas with variable rhyme schemes, in iambic lines with anything from two to five stressed syllables. The rhymes occasionally alternate lines, occasionally fall in couplets, and occasionally occur within a single line (as in “But yet I know, wherever I go” in the second stanza).

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