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Lines Composed a Few Miles above Tintern Abbey by William Wordsworth

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Wordsworth returns to a beautiful valley in Wales after five years away and reflects on how the memory of this place helped him stay grounded during the stresses of city life.

Core theme
Growing-up
The PoemFull text

Lines Composed a Few Miles above Tintern Abbey

William Wordsworth

Composed a few Miles above Tintern Abbey, on revisiting the Banks of the Wye during a Tour. July 13, 1798. Five years have passed; five summers, with the length Of five long winters! and again I hear These waters, rolling from their mountain-springs With a sweet inland murmur.—Once again Do I behold these steep and lofty cliffs, Which on a wild secluded scene impress Thoughts of more deep seclusion; and connect The landscape with the quiet of the sky. The day is come when I again repose Here, under this dark sycamore, and view These plots of cottage-ground, these orchard-tufts, Which, at this season, with their unripe fruits, Are clad in one green hue, and lose themselves Among the woods and copses, nor disturb The wild green landscape. Once again I see These hedge-rows, hardly hedge-rows, little lines Of sportive wood run wild; these pastoral farms Green to the very door; and wreaths of smoke Sent up, in silence, from among the trees; With some uncertain notice, as might seem, Of vagrant Dwellers in the houseless woods, Or of some Hermit's cave, where by his fire The Hermit sits alone. Though absent long, These forms of beauty have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and mid the din Of towns and cities, I have owed to them, In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind, With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As may have had no trivial influence On that best portion of a good man's life, His little, nameless, unremembered acts Of kindness and of love. Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. If this Be but a vain belief, yet, oh! how oft, In darkness, and amid the many shapes Of joyless day-light; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart, How oft, in spirit, have I turned to thee, O sylvan Wye! Thou wanderer thro' the woods, How often has my spirit turned to thee! And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope Though changed, no doubt; from what I was, when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. For nature then (The coarser pleasures of my boyish days, And their glad animal movements all gone by,) To me was all in all.—I cannot paint What then I was. The sounding cataract Haunted me like a passion: the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite: a feeling and a love, That had no need of a remoter charm, By thought supplied, or any interest Unborrowed from the eye.—That time is past, And all its aching joys are now no more, And all its dizzy raptures. Not for this Faint I, nor mourn nor murmur; other gifts Have followed, for such loss, I would believe, Abundant recompense. For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still, sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue. And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man: A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. Therefore am I still A lover of the meadows and the woods, And mountains; and of all that we behold From this green earth; of all the mighty world Of eye and ear, both what they half create, And what perceive; well pleased to recognize In nature and the language of the sense, The anchor of my purest thoughts, the nurse, The guide, the guardian of my heart, and soul Of all my moral beings Nor perchance, If I were not thus taught, should I the more Suffer my genial spirits to decay: For thou art with me, here, upon the banks Of this fair river; thou, my dearest Friend, My dear, dear Friend, and in thy voice I catch The language of my former heart, and read My former pleasures in the shooting lights Of thy wild eyes. Oh! yet a little while May I behold in thee what I was once, My dear, dear Sister! And this prayer I make, Knowing that Nature never did betray The heart that loved her; 'tis her privilege, Through all the years of this our life, to lead From joy to joy: for she can so inform The mind that is within us, so impress With quietness and beauty, and so feed With lofty thoughts, that neither evil tongues, Rash judgments, nor the sneers of selfish men, Nor greetings where no kindness is, nor all The dreary intercourse of daily life, Shall e'er prevail against us, or disturb Our cheerful faith that all which we behold Is full of blessings. Therefore let the moon Shine on thee in thy solitary walk; And let the misty mountain winds be free To blow against thee: and, in after years, When these wild ecstasies shall be matured Into a sober pleasure, when thy mind Shall be a mansion for all lovely forms, Thy memory be as a dwelling-place For all sweet sounds and harmonies; Oh! then, If solitude, or fear, or pain, or grief, Should be thy portion, with what healing thoughts Of tender joy wilt thou remember me, And these my exhortations! Nor, perchance, If I should be where I no more can hear Thy voice, nor catch from thy wild eyes these gleams Of past existence, wilt thou then forget That on the banks of this delightful stream We stood together; and that I, so long A worshipper of Nature, hither came, Unwearied in that service: rather say With warmer love, oh! with far deeper zeal Of holier love. Nor wilt thou then forget, That after many wanderings, many years Of absence, these steep woods and lofty cliffs, And this green pastoral landscape, were to me More dear, both for themselves and for thy sake.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Wordsworth returns to a beautiful valley in Wales after five years away and reflects on how the memory of this place helped him stay grounded during the stresses of city life. He also realizes that his relationship with nature has evolved as he's matured — the wild, almost primal excitement he experienced as a boy has now transformed into something more profound and contemplative. In the end, he looks to his sister Dorothy, who is with him, and wishes that nature will bring her the same peace and joy it has brought him.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Five years have passed; five summers, with the length / Of five long winters!

    Editor's note

    Wordsworth starts by emphasizing the number five — five summers, five winters — to convey just how long he’s been away. He returns to the River Wye near Tintern Abbey and describes what he sees: cliffs, orchards, hedgerows, farms, and smoke rising from the trees. That last image of smoke suggests hidden human presence — perhaps a hermit or some vagrants — which adds a touch of mystery and a sense of life to the landscape, rather than turning it into a mere postcard scene.

  2. Though absent long, / These forms of beauty have not been to me / As is a landscape to a blind man's eye:

    Editor's note

    Here, Wordsworth suggests that his memories of this place weren't just idle thoughts during his time in the city. They provided him with genuine, physical comfort — 'felt in the blood, and felt along the heart.' He goes on to say that these memories might have subtly influenced him to become a kinder person, guiding him toward small, unnamed acts of goodness. At their strongest, they created a near-mystical experience where his body felt still and his mind seemed to connect with something universal — 'we see into the life of things.'

  3. And now, with gleams of half-extinguished thought, / With many recognitions dim and faint,

    Editor's note

    Standing at the river once more, Wordsworth reflects on the mixed feelings of his return — a blend of recognition and 'sad perplexity.' He gazes back at his younger self, who raced through these hills like a wild creature, driven by pure emotion instead of comprehension. He candidly acknowledges that the boy he once was didn't truly *seek* nature; instead, he was escaping from something unnamed. That youthful fervor — the 'aching joys' and 'dizzy raptures' — has faded, and he claims he doesn’t grieve it.

  4. For I have learned / To look on nature, not as in the hour / Of thoughtless youth;

    Editor's note

    This is the philosophical core of the poem. The adult Wordsworth perceives 'the still, sad music of humanity' in the landscape — nature now holds both the burden of human suffering and beauty. He refers to a 'presence' that flows through everything: sunsets, oceans, the sky, and the human mind. This comes close to a religious sentiment for him — a pantheistic belief that a single spirit links all things. Because of this, he states that he remains a devoted lover of nature.

  5. Nor perchance, / If I were not thus taught, should I the more / Suffer my genial spirits to decay:

    Editor's note

    Wordsworth now speaks to Dorothy directly, calling her "my dear, dear Sister." He expresses that he sees his younger self mirrored in her eyes and her excitement for the scene. The poem's final movement feels like a blessing: he hopes nature will safeguard her as it has safeguarded him, and that during tough times ahead, she will recall this day and this place — and think of him. The closing lines subtly recognize that he might be gone when she reflects on this moment.

§04Tone & mood

How this poem feels

The tone is reflective and personal—this is a man contemplating his thoughts, processing them as he goes. It shifts between gratitude, nostalgia, and a gentle sadness without falling into self-pity. In the final section, Wordsworth’s tender words to Dorothy add warmth to the poem. The overall impression is one of hard-earned peace: someone who has lost the vibrant joy of youth but discovered a steadier sense of fulfillment in its absence.

§05Symbols & metaphors

Symbols & metaphors

The River Wye
The Wye isn't just a spot on the map—it's a vibrant link between Wordsworth's past and present. Its ongoing journey through the landscape reflects how memory weaves through our lives, always present even when we’re not consciously aware of it.
The wreaths of smoke
The smoke rising quietly from the trees hints at the presence of people — perhaps hermits or wanderers — without revealing anyone. It prevents the landscape from feeling deserted while maintaining its wild character, suggesting lives that exist beyond the bounds of society.
Dorothy's 'wild eyes'
Dorothy's eyes reflect a younger, more instinctive version of Wordsworth himself. They embody the direct, passionate connection with nature that he has moved beyond but still cherishes and hopes to preserve in her.
The 'still, sad music of humanity'
This phrase reflects Wordsworth's deep awareness of human suffering that he now perceives in the natural world. It marks the transition from youthful, sensory enjoyment to an adult realization that beauty and sorrow go hand in hand.
The dark sycamore
The tree where Wordsworth rests anchors the poem in a tangible moment. Its darkness implies shade and shelter, but it also reflects the passage of time — trees grow slowly, and this one has stood here throughout his five years of absence.
The 'anchor'
Wordsworth refers to nature as 'the anchor of my purest thoughts.' This metaphor is intentionally grounding — amidst the urban noise, moral uncertainty, and social pressures, nature serves as the steady point that keeps him from drifting away.

§06Historical context

Historical context

Wordsworth wrote this poem on July 13, 1798, after finishing a walking tour of the Wye Valley with his sister Dorothy. He composed most of it in his mind during the walk and jotted it down right afterward—he claimed that not a single line was changed. The poem was included at the end of *Lyrical Ballads*, the collection he co-published with Samuel Taylor Coleridge that same year, which is often regarded as the starting point of English Romanticism. Wordsworth had first visited the Wye in 1793, a tumultuous time for him: he had just returned from France, where he had a child with Annette Vallon, and the French Revolution was descending into the Terror. The five years between visits, along with the differences between his younger and older selves, create the poem's main tension. The Romantics held nature in high regard as a source of spiritual and moral truth, and this poem stands out as one of the clearest expressions of that belief ever written.

§07FAQ

Questions readers ask

On the surface, this is about revisiting a beautiful spot in Wales after being away for five years. But at its core, it explores how we change as we grow up and what we lose and gain along the way. Wordsworth reflects on his relationship with nature, moving from carefree boyhood joy to a more thoughtful adult appreciation — and he questions whether that trade-off was worth it.

Adjacent texts in the archive