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Ode Intimations of Immortality by William Wordsworth

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When Wordsworth was a child, the natural world felt filled with a magical, almost divine light — but as he matured, that light dimmed.

Core theme
Growing-up
The PoemFull text

Ode Intimations of Immortality

William Wordsworth

There was a time when meadow, grove, and stream, The earth, and every common sight, To me did seem Apparelled in celestial light, The glory and the freshness of a dream. It is not now as it hath been of yore;— Turn wheresoe'er I may, By night or day, The things which I have seen I now can see no more. The Rainbow comes and goes, And lovely is the Rose, The Moon doth with delight Look round her when the heavens are bare; Waters on a starry night Are beautiful and fair; The sunshine is a glorious birth; But yet I know, where'er I go, That there hath pass'd away a glory from the earth. Now, while the Birds thus sing a joyous song, And while the young Lambs bound As to the tabor's sound, To me alone there came a thought of grief: A timely utterance gave that thought relief, And I again am strong: The Cataracts blow their trumpets from the steep, No more shall grief of mine the season wrong; I hear the Echoes through the mountains throng, The Winds come to me from the fields of sleep, And all the earth is gay, Land and sea Give themselves up to jollity, And with the heart of May Doth every Beast keep holiday, Thou Child of Joy, Shout round me, let me hear thy shouts, thou happy Shepherd Boy! Ye blessed Creatures, I have heard the call Ye to each other make; I see The heavens laugh with you in your jubilee; My heart is at your festival, My head hath it's coronal, The fullness of your bliss, I feel— I feel it all. Oh evil day! if I were sullen While the Earth herself is adorning, This sweet May-morning, And the Children are pulling, On every side, In a thousand vallies far and wide, Fresh flowers; while the sun shines warm, And the Babe leaps up on his Mother's arm:— I hear, I hear, with joy I hear! —But there's a Tree, of many one, A single Field which I have look'd upon, Both of them speak of something that is gone: The Pansy at my feet Doth the same tale repeat: Whither is fled the visionary gleam? Where is it now, the glory and the dream? Our birth is but a sleep and a forgetting: The Soul that rises with us, our life's Star, Hath had elsewhere it's setting, And cometh from afar: Not in entire forgetfulness, And not in utter nakedness, But trailing clouds of glory do we come From God, who is our home: Heaven lies about us in our infancy! Shades of the prison-house begin to close Upon the growing Boy, But He beholds the light, and whence it flows, He sees it in his joy; The Youth, who daily farther from the East Must travel, still is Nature's Priest, And by the vision splendid Is on his way attended; At length the Man perceives it die away, And fade into the light of common day. Earth fills her lap with pleasures of her own; Yearnings she hath in her own natural kind, And, even with something of a Mother's mind, And no unworthy aim, The homely Nurse doth all she can To make her Foster-child, her Inmate Man, Forget the glories he hath known, And that imperial palace whence he came. Behold the Child among his new-born blisses, A four year's Darling of a pigmy size! See, where mid work of his own hand he lies, Fretted by sallies of his Mother's kisses, With light upon him from his Father's eyes! See, at his feet, some little plan or chart, Some fragment from his dream of human life, Shap'd by himself with newly-learned art; A wedding or a festival, A mourning or a funeral; And this hath now his heart, And unto this he frames his song: Then will he fit his tongue To dialogues of business, love, or strife; But it will not be long Ere this be thrown aside, And with new joy and pride The little Actor cons another part, Filling from time to time his "humourous stage" With all the Persons, down to palsied Age, That Life brings with her in her Equipage; As if his whole vocation Were endless imitation. Thou, whose exterior semblance doth belie Thy Soul's immensity; Thou best Philosopher, who yet dost keep Thy heritage, thou Eye among the blind, That, deaf and silent, read'st the eternal deep, Haunted for ever by the eternal mind,— Mighty Prophet! Seer blest! On whom those truths do rest, Which we are toiling all our lives to find, Thou, over whom thy Immortality Broods like the Day, a Master o'er a Slave, A Presence which is not to be put by; To whom the grave Is but a lonely bed without the sense or sight Of day or the warm light, A place of thought where we in waiting lie; Thou little Child, yet glorious in the might Of untam'd pleasures, on thy Being's height, Why with such earnest pains dost thou provoke The Years to bring the inevitable yoke, Thus blindly with thy blessedness at strife? Full soon thy Soul shall have her earthly freight, And custom lie upon thee with a weight, Heavy as frost, and deep almost as life! O joy! that in our embers Is something that doth live, That nature yet remembers What was so fugitive! The thought of our past years in me doth breed Perpetual benedictions: not indeed For that which is most worthy to be blest; Delight and liberty, the simple creed Of Childhood, whether fluttering or at rest, With new-born hope forever in his breast:— Not for these I raise The song of thanks and praise; But for those obstinate questionings Of sense and outward things, Fallings from us, vanishings; Blank misgivings of a Creature Moving about in worlds not realiz'd, High instincts, before which our mortal Nature Did tremble like a guilty Thing surpriz'd: But for those first affections, Those shadowy recollections, Which, be they what they may, Are yet the fountain light of all our day, Are yet a master light of all our seeing; Uphold us, cherish us, and make Our noisy years seem moments in the being Of the eternal Silence: truths that wake, To perish never; Which neither listlessness, nor mad endeavour, Nor Man nor Boy, Nor all that is at enmity with joy, Can utterly abolish or destroy! Hence, in a season of calm weather, Though inland far we be, Our Souls have sight of that immortal sea Which brought us hither, Can in a moment travel thither, And see the Children sport upon the shore, And hear the mighty waters rolling evermore. Then, sing ye Birds, sing, sing a joyous song! And let the young Lambs bound As to the tabor's sound! We in thought will join your throng, Ye that pipe and ye that play, Ye that through your hearts today Feel the gladness of the May! What though the radiance which was once so bright Be now for ever taken from my sight, Though nothing can bring back the hour Of splendour in the grass, of glory in the flower; We will grieve not, rather find Strength in what remains behind, In the primal sympathy Which having been must ever be, In the soothing thoughts that spring Out of human suffering, In the faith that looks through death, In years that bring the philosophic mind. And oh ye Fountains, Meadows, Hills, and Groves, Forebode not any severing of our loves! Yet in my heart of hearts I feel your might; I only have relinquish'd one delight To live beneath your more habitual sway. I love the Brooks which down their channels fret, Even more than when I tripp'd lightly as they; The innocent brightness of a new-born Day Is lovely yet; The Clouds that gather round the setting sun Do take a sober colouring from an eye That hath kept watch o'er man's mortality; Another race hath been, and other palms are won. Thanks to the human heart by which we live, Thanks to its tenderness, its joys, and fears, To me the meanest flower that blows can give Thoughts that do often lie too deep for tears.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

When Wordsworth was a child, the natural world felt filled with a magical, almost divine light — but as he matured, that light dimmed. The poem wonders where that brilliance went and why we seem to lose it. By the end, Wordsworth discovers a more subtle kind of solace: even if the magic has disappeared, the memories and the profound emotions it evoked still hold value.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. There was a time when meadow, grove, and stream, / The earth, and every common sight,

    Editor's note

    Wordsworth begins by addressing the loss head-on. Everyday elements — fields, trees, rivers — used to shine with a "celestial light," an ethereal glow that felt otherworldly. He quickly reveals that this is no longer the case: "I now can see no more." This opening admission sets the stage for the entire poem.

  2. The Rainbow comes and goes, / And lovely is the Rose,

    Editor's note

    Nature remains beautiful—the rainbow, the rose, moonlight on water. Wordsworth isn't claiming the world is ugly. Instead, he's suggesting that something *extra* has disappeared from it. The beauty still exists; it's the glory that once enhanced that beauty that's now absent. This distinction drives the poem's emotional impact.

  3. Now, while the Birds thus sing a joyous song, / And while the young Lambs bound

    Editor's note

    Spring is in full swing around him—lambs frolicking, waterfalls cascading, winds blowing, and a shepherd boy shouting with joy. Wordsworth tries to shake off his grief and join in the festivities. He nearly manages to do so. The lively energy of this stanza is intentionally vibrant and celebratory, making the underlying sadness feel even more poignant in contrast.

  4. Ye blessed Creatures, I have heard the call / Ye to each other make;

    Editor's note

    He immerses himself in the May-morning festival—children gathering flowers, a baby bouncing in its mother’s arms. He claims to feel the joy. Yet, a lone tree, a single field, a pansy at his feet halt him in his tracks. They "speak of something that is gone." The stanza closes with the pivotal question—"Where is it now, the glory and the dream?"—which is central to the entire poem.

  5. Our birth is but a sleep and a forgetting: / The Soul that rises with us, our life's Star,

    Editor's note

    Here, Wordsworth presents his philosophical perspective, influenced by Platonic concepts of pre-existence. The soul originates from God, accompanied by "clouds of glory," but as we mature, a "prison-house" envelops us. Infants perceive the divine light vividly; youth moves further away from it; by adulthood, it has diminished into "the light of common day." This encapsulates the poem's main argument within a single stanza.

  6. Earth fills her lap with pleasures of her own; / Yearnings she hath in her own natural kind,

    Editor's note

    Earth is portrayed as a nurturing nurse, dedicated to helping us forget our celestial origins. She's not out to harm us; she has "something of a Mother's mind." Her role is to tame us, swapping the "imperial palace" of our pre-birth home for the comforts of this world. It's a subtle yet genuine conspiracy against our spiritual memory.

  7. Behold the Child among his new-born blisses, / A four year's Darling of a pigmy size!

    Editor's note

    Wordsworth observes a small child play-acting various roles in life—weddings, funerals, business, love—like a rehearsal for adulthood. The child is unwittingly hurrying toward the very "yoke" that will dim his imaginative spirit. This scene is gentle yet carries a hint of sorrow: the child's desire to grow up reflects a naive form of self-betrayal.

  8. Thou, whose exterior semblance doth belie / Thy Soul's immensity;

    Editor's note

    This stanza speaks directly to the child, calling them a "Mighty Prophet" and "best Philosopher" — highlighting how the child still holds onto the immortality and divine knowledge that adults have forgotten. Wordsworth seems to plead, questioning why the child is drawn towards the "inevitable yoke" of adulthood. The final image — custom resting on the soul "heavy as frost, and deep almost as life" — stands out as one of the most powerful lines in the poem.

  9. O joy! that in our embers / Is something that doth live,

    Editor's note

    The tone turns to one of comfort. Even as adult awareness fades, something endures. Wordsworth expresses gratitude not just for the simple joys of childhood, but for the "obstinate questionings" and "blank misgivings" that linger from that time—those feelings of uncertainty that hint at deeper truths. These hazy memories are "the fountain light of all our day."

  10. Then, sing ye Birds, sing, sing a joyous song! / And let the young Lambs bound

    Editor's note

    Wordsworth revisits the birds and lambs from stanza three, but this time the mood feels more natural and settled. He acknowledges that the initial glow has faded — "nothing can bring back the hour / Of splendour in the grass" — yet discovers resilience in what persists: a deep connection, insights shaped by pain, and "the faith that looks through death." Grief isn't ignored; it is processed and transformed.

  11. And oh ye Fountains, Meadows, Hills, and Groves, / Forebode not any severing of our loves!

    Editor's note

    The final stanza serves as both a goodbye and a reaffirmation. Wordsworth conveys to nature that he hasn’t forsaken her; rather, he has exchanged one type of love for a richer, more profound one. The setting sun now bears "a sober colouring" as he reflects on human mortality. The poem concludes with the well-known image of the "meanest flower," which inspires thoughts "too deep for tears" — a gentle, hard-won tranquility that takes the place of the faded glory.

§04Tone & mood

How this poem feels

The tone shifts through various registers in the eleven stanzas of the poem. It begins with an elegiac quality—mournful, straightforward, and somewhat stunned. In the middle stanzas, it transitions into a forced celebration, the type of joy you put on to persuade yourself. The philosophical stanzas (five through eight) feel earnest and searching, almost urgent. By the end, the tone evolves into something more elusive: not quite happiness, but a calm and clear-eyed acceptance. Wordsworth earns his sense of consolation; he doesn't merely state it.

§05Symbols & metaphors

Symbols & metaphors

Celestial / visionary light
The "celestial light" and "visionary gleam" represent the soul's direct connection to the divine that Wordsworth believes we are born with. It’s not about literal brightness — it’s more about how we perceive the world, feeling that everything is full of meaning. Its fading reflects the entire journey of human life in the poem.
The prison-house
As the child matures, "shades of the prison-house begin to close" around him. This prison represents the typical adult mindset — filled with habit, routine, and social roles. It doesn’t inflict punishment; it merely dulls the spirit. The image illustrates that growing up, despite its benefits, brings a genuine and irreversible loss of openness.
Clouds of glory
The soul enters the world "trailing clouds of glory" from its divine source. This image is intentionally majestic and evocative — a glory that's genuine yet already fading, much like morning mist. It bestows a cosmic dignity upon the newborn child, something the adult can only recall.
The immortal sea
In stanza nine, the soul can still glimpse "that immortal sea" that gave us life. This sea symbolizes the divine realm before birth — vast, rolling, and eternal. Even adults far from the coast can, during quiet moments, find their thoughts returning to it. It signifies the enduring presence of spiritual memory beneath the surface of everyday life.
The pansy / single tree / single field
These three small, specific images in stanza four achieve what grand rhetoric often fails to: they make the loss feel personal and abrupt. A pansy at his feet, one tree, one field — each quietly conveys that something is missing. Their everyday nature is key; the loss permeates even the tiniest details.
Embers
"In our embers / Is something that doth live" — the ember represents what's left of the original fire of childhood dreams. While it isn't the flame itself, it still radiates warmth. Wordsworth suggests that adult life isn't devoid of spirit; it's simply been reshaped. The memories and questions from childhood continue to provide illumination.

§06Historical context

Historical context

Wordsworth started the Ode in 1802 and completed it in 1804, with its publication in 1807. At the time, he was in his early thirties and had already moved beyond the intense creative collaboration with Coleridge that had led to the Lyrical Ballads in 1798. The poem expresses a genuine anxiety he shared with Coleridge — both felt the visionary power of their youth slipping away. Coleridge's "Dejection: An Ode," also penned in 1802, serves as a near response to Wordsworth's work, articulating the same sense of loss but arriving at a bleaker conclusion. Wordsworth incorporates Platonic concepts of the soul's pre-existence, although he was careful to specify that he didn't intend this as strict theological belief. The Romantic movement held childhood perception and nature as a spiritual force in high regard, and this poem stands as a key expression of both ideas. The phrase "splendour in the grass" has become part of popular culture, famously used as the title of Elia Kazan's 1961 film.

§07FAQ

Questions readers ask

The poem suggests that we come into the world with a nearly divine way of seeing things, but we tend to lose that as we age. However, Wordsworth goes further — he claims that the memories of that perception, along with the profound questions it raises, become a gift that helps carry us through adulthood.

Adjacent texts in the archive