The Prelude: A Spiritual Autobiography of William Wordsworth

Abstract

The aim of this paper is to examine Wordsworth’s poem The Prelude in the sense of being autobiographical. The poem is considered as the longest, noblest and most fruitful illustration of the spiritual frugality of Wordsworth and a handsome anticipation of the modern concept of autobiography. The poem indicates that the autobiographer projects himself in his own literary work and renders his psyche, truthfully and realistically. Through analytical study, this paper tries to shed some light on the autobiographical elements in the poem, and to show how the poem outlines the growth of the poet’s mind throughout the different stages of his life. The study discovers that The Prelude is not an autobiography in the usual sense from the holy pen of the high priest of nature. In it, we have the faithful record of his inner life and emotional experiences enabling us to have a glimpse of the innermost recesses of the poet’s soul. So we may unhesitatingly call it a spiritual or poetical autobiography.

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English Language and Literature Studies; Vol. 5, No. 2; 2015
ISSN 1925-4768 E-ISSN 1925-4776
Published by Canadian Center of Science and Education
146
The Prelude: A Spiritual Autobiography of William Wordsworth
Jamal Subhi Ismail Nafi’1
1 Department of English, Faculty of Arts, Al-Quds University, East Jerusalem, Palestinian Occupied Territory
Correspondence: Jamal Subhi Ismail Nafi’, Department of English, Al-Quds University, East Jerusalem-Abu
Dies, P. O. Box 51000. Tel: 972-598-562-214. E-mail: jamalnafi@gmail.com
Received: April 15, 2015 Accepted: May 3, 2015 Online Published: May 31, 2015
doi:10.5539/ells.v5n2p146 URL: http://dx.doi.org/10.5539/ells.v5n2p146
Abstract
The aim of this paper is to examine Wordsworth’s poem The Prelude in the sense of being autobiographical. The
poem is considered as the longest, noblest and most fruitful illustration of the spiritual frugality of Wordsworth
and a handsome anticipation of the modern concept of autobiography. The poem indicates that the
autobiographer projects himself in his own literary work and renders his psyche, truthfully and realistically.
Through analytical study, this paper tries to shed some light on the autobiographical elements in the poem, and
to show how the poem outlines the growth of the poet’s mind throughout the different stages of his life. The
study discovers that The Prelude is not an autobiography in the usual sense from the holy pen of the high priest of
nature. In it, we have the faithful record of his inner life and emotional experiences enabling us to have a glimpse
of the innermost recesses of the poet’s soul. So we may unhesitatingly call it a spiritual or poetical autobiography.
Keywords: autobiography, childhood, journey, inner, self-representation, soul, spiritual, The Prelude,
Wordsworth
1. Introduction
It has always been a great headache for the critics and problem for readers to treat the facts and incidents
mentioned by William Wordsworth in his poem The Prelude (1850), as truly biographical. Lidenberger (1964),
in his study of the poem, that claims that The Prelude is the longest, noblest and most fruitful illustration of the
“spiritual frugality of William Wordsworth and a handsome anticipation of the modern concept of
autobiography” (p. 316).
In The Prelude Wordsworth states that the aim is the preservation of the spirit of the past “for future restoration”
because the base of human greatness is childhood, which is father of manhood and, indeed, our days are bound
together by the fibred piety, which the poet glances at in the remark that “feeling comes in aid of / feeling and a
diversity of strength attends us / if once we have been strong” (XII. 269-271). Such feelings of childhood, the
great visionary experiences, are “the spots of time to which human mind may return again and again to drink
energy and new vitality, as it were, at an inexhaustible fountain.” Sullivan (2011, p. 214, as cited in Lejeune,
2009, p. 2) admits, all autobiographical writing has a strange relationship to its own genesis, which is no less
than “the past history of its author,” and which needs to be interpreted and commented on for the present or
future self. Thus, and it has been suggested by the various opinions expressed above, any autobiography
whatsoever is affected in one way or another by the past life of its author, and specifically by his/her childhood
experience, Sullivan (Ibid) continues. This can be held true, since The Prelude reflects in one way or another the
growth of its creator’s mind, that is the poet himself. Throughout the poem, Wordsworth refers so often to his
childhood experience, which played a major role in shaping his manhood. Thus the purpose of the poem is
twofold: first, a self-examination, to fathom and find out if he was indeed a real poet and if he was fit enough for
composing a great poem that will stand the test of time; second, a self-expression, enfolding the expression of an
age of renewed nobility and manners. What this paper tries to achieve or determine is whether The Prelude is an
autobiography in the real sense of the word.
According to Lee (2014), in The Prelude, Wordsworth seeks to establish a stable poetic identity for himself
through the examination of recollected earlier selves. Books I and II of The Prelude describe the way time
fractures Wordsworth's consciousness in the transitions between a range of temporalities and the way he
attempts to use language to stabilize his identity. However, his “two consciousnesses”—“consciousness of
myself / and of some other Being” (I. 16-17), are further problematized by the experience of the French

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Revolution.
One is reminded of Eliot’s famous remark that it is the pattern which gives meaning to history and pattern is
formed in a selective process of memory as reviewed by the eye of the present. The Prelude, thus, gives a pattern
or meaningful organization of events and experiences, of pleasure and pain, of beauty and fear which have given
significance to the whole process of living and growing, or the evolution of the present out of the past. It is in
this sense that The Prelude is an autobiographical poem. “The great discovery of the 18th century,” says Poulet
(1969), “is to have conceived the prime moment of consciousness as a generative not only of other moments but
also a self which takes shape by and through the means of these very moments” (p. 55).
According to Pascal (1960), “Wordsworth is the first autobiographer to realize that each man constructs out of
his world a unique framework of meaningful events, and that the deepest purpose of autobiography is the
account of a life [emphasis added] as a projection of the real self (personality) on the world” (p. 32). These
words indicate that an autobiographer projects himself in his own literary work and renders his psyche, truthfully
and realistically, in words.
2. Preparatory Poem to be Autobiographical
It’s noteworthy to quote Wordsworth’s own words-relevant words from the Preface to the first edition of The
Excursion in 1814:
Several years ago, when the author retired to his native mountains, with the hope of being enabled to
construct a literary work that might live, it was a reasonable thing that he should take a review of his own
mind and examine how far Nature and Education have qualified him for such employment. As subsidiary to
this preparation, he undertook to record, in verse, the origin and progress of his own powers, as far as he
was acquainted with them … The preparatory poem is biographical, conducts the history of the author’s
mind to the point when he was emboldened to hope that his faculties were sufficiently matured for entering
upon the arduous labor which he had proposed to himself … (pp. 1-2).
As it has been made clear by the above quote, this “preparatory poem” is The Prelude, and the words quoted
above make it crystal clear that it is to be biographical as it is “to record, in verse, the origin and progress of his
own powers.” It was Coleridge, ‘the guardian angel of Wordsworth’s poetical genius’, who guided and inspired
the poet to compose “. . . some philosophic song / Of truth that cherished our daily life” (I. 228-231).
This was to be his greatest poem-The Recluse (1798), “a literary work that might live.” So before undertaking
that arduous task of composing his great ‘philosophic song’ the poet began with the preparatory poem—The
Prelude to serve more or less as a sort of portico to his Gothic Church The Recluse. But the irony of the situation
is that his lofty venture of composing a philosophic song ended in a few hundred lines of The Excursion (1814)
that was published in 1814. Meanwhile, composition of The Prelude went on and was brought to a close in 1805
with his fuller project of a poem including his experience in France and bringing his story down to 1798, when
he felt his genius ripe for expression. The fact is that Wordsworth was a poet first and not a philosopher as the
friend of his heart and genius liked him to be. In this regard, Darbishire (1950) has rightly said:
Wordsworth’s genius could not express itself in Coleridge’s terms; he could not write the true philosophical
poem. Perhaps no poet can. At any rate, he was right to follow his own bent. His poetic thought sprang out
of the living body of experience and could only be delivered through images, incidents and characters
which belonged to the life of man and nature as he knew it: the autobiographic form of The Prelude fitted
his genius (pp. 12-13).
The above words suggest that the poem is to be taken literally as an autobiography in the real sense of the word,
but not all aubiographies reveal much about the lives of their creators. This raises the question of how much of
the poet’s self is revealed in the poem.
2.1 Not an Autobiography in the Usual Sense
At the very outset, it must be clear to us that The Prelude is not an autobiography in the usual sense. Of course in
the preface to The Excursion, the poet has told us that the preparatory poem is “biographical.” So, it may be
biographical, but still not so in a straightforward and chronological way. Here events never follow each other in
the order in which they happened. The poet discarded the simply chronological arrangement in favor of one
which would just stress on the essential importance of certain experiences and states of mind. To the poet, the
subjective aspect is much more important that the objective aspect of the poem. So we must be clear in our mind
that the subject is not “My Life,” but “The Making of a Poet,” although Wordsworth has used the phrase “the
story of my life” (639) at the end of Book I. Prof. Garrod (1923) has rightly said that:

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the purpose of ‘The Prelude’ may, indeed, be said to be to search out and seize and hold, among the many
seemingly alien and incongruous images of self cast up by reflection, the image of the poet’s true being, of
his slowly self-realizing individuality, of that in him in virtue of which he is a ‘dedicated spirit.’ (pp.
78-79).
2.2 Poetic Inspiration on His Way to Racedown
Thus in the very “Preamble” of Book I, we can, to a great extent, guess the shape of things to come. An
unexpected legacy (900) of a friend, Raislly Calvert, freed Wordsworth from pecuniary troubles. “Escaped from
the vast city” (p. 7), the poet is on his way to Racedown from Bristol. And with “the sweet breath of heaven” (I.
33) he feels “a correspondent breeze” (Ibid) to inspire his soul with poetic zeal. And very soon he feels himself
to be “a renovated spirit singled out for holy services” (I. 53), and:
… a higher power
Than Fancy gave assurance of some work
Of glory there forthwith to be begun,
Perhaps too there performed. (I. 77-79)
Well, the “work of glory” was never begun or performed there; instead we got The Prelude, the finest fruit of
Wordsworth’s great creative period; a poem which outlived and gave fame to its author.
2.3 Record of Inner Life
So, in The Prelude we get a record-a record of that inner life out of which Wordsworth’s poetry grew. It’s the
full intense life of childhood and youth that the poet tried to capture and record. So in Books I and II we have
Wordsworth’s childhood and boyhood experiences amid the lovely natural surroundings. Herein lies the greater
significance of these two books. And, from the poet, we get that his poetic life began, as it were, on the banks of
the Derwent when he was just a suckling babe. When he found himself “Baffled and plagued by a mind that
every hour / Turns recreant to her task. (I. 257-258). He appeals to the river Derwent- “… Was it for this / That
one of the fairest of all rivers loved, / To blend his murmurs with my nurse’s song. (I. 269-271).
And when the boy Wordsworth was transplanted to that “beloved Vale” of Hawkshead in Esthwaite it began, to
some extent, consciously. The benign influence of Nature to shape and mould his character and poetic
personality had already started. “Fair seed time had my soul, and I grew up / Fostered alike by beauty and by
fear” (I. 301-302). Here we see how nature was to the poet and how much it affected his soul and being. Nature
for Wordsworth was more than a nurse; it was his mother, guide, and his whole being.
3. Awakening of Poet’s Love of Nature
But the awakening of the poet’s love of nature is the most significant element in his early education. At the
early stage it was just a normal and healthy boy’s love for open air sports and pastimes amidst lovely
surroundings of nature. So in Books I and II we get an unforgettable recreation of his childhood involvement in
physical activities and the joys and fears which were their consequence. In the first two Books Wordsworth tells
us of various exciting activities in which he used to take part with all joy and zeal. In the first Book we have the
following—”bathing, bird-snaring, bird-nesting, and expedition in a stolen boat, skating, fishing, kite-sailing,
noughts,-and-crosses and cards.” In the second Book, also we find they still “ran a boisterous course” and their
favorite pastimes were boat-races, boating excursions on the lake, walking tours and riding on horses “through
rough and smooth.”
3.1 Emotions of Pleasure and Pain
The first Book is studded with several impressive incidents showing us the means by which Nature affects her
discipline on young Wordsworth by evoking the emotions of pleasure and fear. Thus on a hot summer day, the
child would have pure animal pleasure by bathing or basking:
Oh, many a time have it a five years’ child,
In a small mill-race severed from his stream.
Made one long bathing of a summer’s day;
Basked in the sun, and plunged and basked again
Alternate, all a summer’s day… (I. 288-292)
And then during his night adventure with the stolen boat, we find how he was overwhelmed with an alarming
sense of panic and fright by the awful sight of a towering peak when the grim shape:

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Towered up between me and the stars, and still,
For so it seemed, with purpose of its own
And measured motion like a living thing,
Strode after me. (I. 382-385)
So the beautiful and sublime objects and images of nature with their benign influence ennobled his emotions and
moulded his mind, and the poet tells us:
… purifying thus
The elements of feeling and of thought,
And sanctifying, by such discipline,
Both pain and fear, until we recognize
A grandeur in the beatings of the heart. (I. 410-414)
3.2 Three Stages of Poet’s Love of Nature
Another very significant aspect that strikes us in The Prelude, especially in the first two Books, is that in it the poet
has traced the three stages of his love of nature. We are able to mark three phases of development. In the first phase,
as a child we find the poet deriving simple animal or sensuous delight in Nature. In the second stage he could have
more mystical and spiritual pleasure from his deep and close contact with Nature. And finally, we find the love of
Nature leading to the love of man, and this change brings about a calmer and sober attitude. Again in Book II, we
are aware of the other three phases in the process by which the transcendental or mystical relationship is
established between Nature and the poet.
4. Wordsworth Writes of Himself
According to Dr. Samuel Johnson, “Every man’s life is best written by himself” (qtd. in Tlueblood, 1974, p. 1).
Wordsworth took the hint and produced what Legouis (1965) describes “the unique autobiographical poem” (p.
32). If these views are to be held true, then Wordsworth’s ‘The Prelude’ is the greatest autobiography in verse in
English. Wordsworth calls it “A poem on my own earlier life” (Letters 3). In the closing lines of Book I, the poet
says that it would form a part of the story of his life which he aspired to record in the following books. It is again in
Book I that Wordsworth tells Coleridge that the poem would help the latter in knowing “how the heart was framed
of him thou lovest” (Wordsworth, I., pp. 627-628).
Wordsworth admitted indeed that it was a thing unprecedented in literary history that a man should talk so much
about himself. “It is not self-conceit,” (Wordsworth, Letters, 1993) he wrote in a letter to George Beaumont in
1805: that induced me to do this, but real humility. I began the work because I was unprepared to treat any more
arduous subject, and diffident of my own powers. Here at least, I hoped that to a certain degree I should be sure of
succeeding, as I had nothing to do but describe what I had felt and thought; therefore could not easily be
bewildered (p. 2).
The above quote suggests the tone and feelings of the poet before he composed the poem. Wordsworth was to a
certain degree sure of his success and though that his achievement would be great and would make him famous.
4.1 Wordsworth’s Poetry and His Personal Experience
The connection between Wordsworth’s poetry and his personal experience is of the closest kind, and he undertook
the writing of The Prelude in a mood of self-examination. The poet aspired to create a literary work that might live;
and he considered it right to examine his powers for such a task before he actually undertook it. The result was The
Prelude. The poem is thus Wordsworth’s assessment of his own powers and a record of those influences that
moulded him. And in this psychological account of the growth of his own mind, and of the most significant of the
influences that shaped it, he has done the biographer’s work once and for all.
According to Herford (2004), his boyhood in: the beloved vale is the most memorable of all poetic boyhoods and
the first two Books of ‘The Prelude’ reach the highest level of spiritual autobiography and touch now and then the
highest levels of English poetry by simply recording with perfect fidelity whatever in it bore upon the growth of his
own mind (p. 272).
His account of the act of stealth and troubled pleasure about the stolen boat ride in Book I is heart-thrilling and
shows the poet in his boyhood years. The concluding lines are worth quoting. They move the readers because they
record an everlasting impression the sight of a seemingly moving mountain created on the poet:

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… but after I had seen
That spectacle, for many days, my brain
Worked with a dim and undetermined sense
Of unknown modes of being; o'er my thoughts
There hung a darkness, call it solitude
Or blank desertion. No familiar shapes
Remained, no pleasant images of trees,
Of sea or sky, no colours of green fields;
But huge and mighty forms, that do not live
Like living men, moved slowly through the mind
By day, and were a trouble to my dreams. (I. 390-400)
Such experiences, as the poet says, became a part of his very being and make-up.
4.2 Nature Formative Influence: The Growth of the Poet’s Mind
The theme of the influence of Nature on man is the noblest part of Wordsworth’s teaching in poetry, and that is the
theme of The Prelude, Book I. This Book deals with his childhood and school time. The poet has graphically and
sympathetically described his experiences of boyhood amidst nature surroundings. The poet starts the poem with
describing an infant's world, progressing through youth and including such scenes as a girl on a hill and
sympathy for a blind beggar, as stated by Miall (1992, p. 1). And it can be deduced that Wordsworth has received
the education of nature, which was his best teacher. Addressing Derwent, the poet says:
… didst thou,
O Derwent! winding among grassy holms
Where I was looking on, a babe in arms,
Make ceaseless music that composed my thoughts
To more than infant softness, giving me
Amid the fretful dwellings of mankind
A foretaste, a dim earnest, of the calm
That Nature breathes among the hills and groves. (I. 274-281)
Wordsworth in his “fair seed time” had wandered in the company of nature, seen her summer beauties and wintry
colds, and experienced her spring spells and autumn mellowness: he had become, as it were, a part of Nature. In the
same book, he says:
Through half the night,
Scudding away from snare to snare, I plied
That anxious visitation;--moon and stars
Were shining o'er my head. I was alone,
And seemed to be a trouble to the peace
That dwelt among them. (312-317)
Compare the above passage with the following passage from Book V:
There was a Boy: ye knew him well, ye cliffs
And islands of Winander!—many a time
At evening, when the earliest stars began
To move along the edges of the hills,
Rising or setting, would he stand alone
Beneath the trees or by the glimmering lake. (364-69).
Here is the poet’s reference to his boyhood; that boy grew to be a youth: he could not shake off these influences.

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“Mind in infancy is like body in the embryo.” Wor ds w o r th has described the formative influence of Nature on
the unfolding mind of child. This unroofed school of nature attracted him more than the discipline of the classics,
and he learnt more eagerly from flowers and hills, and stars than from his books. His unbound love and
admiration for nature is the outcome of the unceasing influences he received from Nature during his early years,
when he imagined nature speaking to him, and as if it were his fellow friend. Wor d s w o r t h ’s firm belief is that
nature took keen interest in the farming of the human mind.
5. The Prelude: A Key to Wordsw orth ’s Poetry
Thus The Prelude is not to be viewed only as a poem of Wordsworth’s life; it is a key supplied by the poet
himself to unlock the door leading to his poetic chamber. With the help of this long, personal poem, a reader can
understand and interpret the rest of Wor d s w o r t h ’s poetry more intelligently. It is a guide book for understanding
comprehensively the unbroken relationship between human life and nature, without which life to Wor d s w o r t h
was no life. His childhood became responsible for making Wordsworth a great poet of nature. The Prelude is the
essential living document for the interpretation of Wordsworth’s life and poetry.
5.1 Nature and Man in Wordsworth
“Wordsworth had his passion for Nature fixed in his blood,” observed De Quincy (1970). “It was a necessity of
his being like that of the mulberry leaf to the silkworm, and through his commerce with Nature did he love and
breathe.” (p. 22). Hence it was from the truth of his love that his knowledge grew. If Wor dsworth had a favorite
subject, it was Nature, and when he treated of man it was essentially in relation to Nature. It was the love of
Nature that led him to the love of man. In the words of Pater (2001), “Wordsworth approached the spectacle of
human life through Nature. When he thought of man, it was as in the presence and under the influence of
effective natural objects and linked to them by many associations” (p. 12). These words indicate how Nature and
Wor d s w o r t h used to interact faithfully and innocently with each other. And the solace and calmness the poet
received from Nature positively affected his later relationships with human beings.
This theme of the influence of Nature on man is the noblest part of Wor d s w o r t h ’s teaching in poetry. Nature is
the best educator, and she is ever interested in Man and tries to impress human mind from its earliest dawn. The
following words from Book I can clearly and faithfully illustrate this point:
I believe
That Nature, often times, when she would frame
A favour’d Being, from his earliest dawn
Of infancy doth open up the clouds
As at the touch of lightening, seeking him
With great visitation. (362-367).
If we consider the above quotation carefully, we will realize how nature made the poet love human kind in
general, and how the poet found solace when his soul was troubled.
Three things must impress even the casual reader of The Prelude: first, Wo r d s w o r t h ’s love to be alone, he is
never lonely with nature. Second, like every other child, who spends much time in the woods and fields, he feels
the presence of some living spirit, real though unseen, and companionable though silent. Finally, His early
impressions make him what he, later on, becomes: “The child is the father of man” (Wordsworth, My Heart
Leaps Up, p. 7)
6. The Prelude and Wor dswo r th’s Poetic Genius
The Prelude Book I offers an instructive deep in the workshop of the poet. Through Wor d s w o r t h ’s own mouth,
we hear of his mind’s desire to “gladly grapple with some noble theme,” and how the mind finding impediments
“from day to day renewed” (I. 131) was content “to yield up those lofty hopes” (I. 133). A touching reference is
made to his “unmanageable thoughts” (I. 139) .We are informed that he possessed all that was “needful to build
up a poet’s praise” (I. 157). He had the “first great gift: the vital soul,” “general truth. Nor was he naked in forms,
images and numerous other aids which are “won perhaps with toil.” The poet was invaded by doubts. Had he the
strength to assume so awful a burden? Would it not be wiser to await those “mellower years” that “bring a riper
mind.” Are his misgivings valid, or are they mere timidity and laziness, a subtle form of selfishness cloaked in
humility and modest awe?
But from this awful burthen I full soon
Tak e refuge, and beguile myself with truth

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That mellower years will bring a riper mind
And clearer insight. Thus from day to day
I live, a mockery of the brotherhood
Of vice and virtue, with no skill to part
Vag u e longing that is bred by want of power
From paramount impulse not to be withstood
A timorous capacity from prudence;
From circumspection, infinite delay.
Humility and modest awe themselves
Betray me, serving often to cloak
To a more subtle selfishness, that now
Doth Lock my functions up in a blank reserve
Now dupes me by an over-anxious eye
That with a false activity beats off
Simplicity and self presented truth….
… for either still I find
Some imperfection in the chosen theme,
Or see of absolute accomplishment
Much wanting, so much wanting in myself.
That I recoil and droop. (I. 234-255)
We find poems in their finished form, but Wordsworth has described what pains a poet has to undergo and what
periods of uncertainties he has to go through. Thus “poetic experience itself becomes the subject of The Prelude,
the “Presiding genius” of the poem.
Besides the great influence that Nature exercised over the poet’s mind, we are told in Book V of Word swor th’s
debt to literature and learning. It is true that the Book does not deal in detail with the books on which
Wor d s w o r t h had fed in his early years. But Arabian Nights (1706), Spenser’s The Faerie Queene (1590) and
Othello (1603) are mentioned as his favorite books. Influence of Dorothy and Coleridge on him should not be
lost sight of.
7. Two Versions of The Prelude as Indications of the Growth of the Poet’s Mind
A comparison of the 1805 and 1850 texts gives us further information about the growth of the poet’s mind
between the two dates. The critics are not agreed as to which of the two editions is better than the other; but the
changes made in the original text indicate a change in Wo r d s w o r t h’s mental powers: (1) Bald simplicity (of 1805)
gives place to more decorative, more conventionally literary form. (2) Rough and crude expression is smoothed
and clarified; faults of ambiguity and loose repetition are carefully amended. (3) “The most vital changes lie
deeper still,” says Darbishire (1950, p. 7), “they touch what we should now call the psychology of the poem”
(Ibid). In the early The Prelude Wor d s w o r t h told of the inner workings of his mind as nakedly and truthfully as
he could. The changes most to be deplored in his later text are those which overlay and obscure that native
expression; they often mar the poetry; more often disguise the truth. Thus in the former version the feeling is
more genuine and spontaneous, less cautious; in the latter the style is generally speaking stronger and more
finished. The first reveals personality more genuinely, the second reveals him as an artist.
It is generally when an autobiography deals with the author’s childhood and first beginning that he most often
succeeds in reaching the hearts of many of his readers. Wor d s w o r t h ’s life which, to many of his readers,
appeared to be a monotonous affair, comes out in The Prelude as a life, of “pure energy from the beginning,
wakeful, alert, self-willed” (Ker, 1903, p. 11). It is true that the poem is a story of the poet’s own life. But its
story, by itself, is not so important. The poem is the study of the origin of Wo r d s w o r t h ’s poetic power: The
Prelude is less a narrative than a study of origin, less the history of man than the philosophy of mind. In order to
appraise the poetic genius of Word sw o r t h , let one read The Prelude in which the sources of his poetic inspiration
are to be found.

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8. And in the End All Gratulant
Thus after tracing the growth of the poet’s mind through various stages of his life with all ups and downs, with
its storms and stress, the optimistic mind of the poet feels elated as this history is brought to a close. The poet is
no longer a prey to his doubts and diffidence; he has fully regained his confidence in his own powers as a poet
for “building up a work that shall endure.” Hence he feels himself raised as if a bird on wings and his poems
seems to him like the enchanting song of a lark:
. . . and hence this song, which like a lark
I have protracted, in the unwearied Heavens
Singing, and often with more plaintive voice
Attempted to the sorrows of the earth;
Yet centering all in love, and in the end
All gratulent if rightly understood. (XIV. 382-387).
Cazamian (1927) has noted that the opening lines of Book II of The Prelude force the readers to notice “A note
of personal tenderness, an almost elegiac inclination to evoke the memories of his own childhood, make ‘The
Prelude’ the most admirable record of a soul’s progress towards the full possession of self, which is implied in
the apostolate of a poetic calling” (p. 202).
9. Conclusion
Thus in The Prelude we find the poet first trying to recapture and record the full intense life which he lived
through his senses as a child and youth. Wor dsworth had the extraordinary power to “live intensely in the past,
he could revive and recreate; and it is a chief part of his purpose in ‘The Prelude’ to recall and quicken into
permanent life those pregnant moments. For they were, he well knew, the making of him as a poet” (Moorman,
1957, p. 22).
We may now conclude without any reservation that The Prelude is not an autobiography in the usual sense from
the holy pen of the “high priest of nature.” Although it may, to a fairly good extent, be a source of information
about the poet and a guide to the significant events in Wo r d s w o r t h ’s early life. In it we have the faithful record of
his inner life and emotional experiences enabling us to have a glimpse of the innermost recesses of the poet’s
soul. So we may unhesitatingly call it a spiritual or poetical autobiography. Prof. Read (2006) has justly observed:
“‘The Prelude,’ undoubtedly places before us Wordsworth-the revolutionary; Wordsworth-the man;
Wordsworth-the poet; and finally, Wo r d s w o r t h - t h e high priest of nature” (p. 25). This quote suggests that the
poem reveals before us the great poet of nature, and Word s worth as man and child, whose soul has truthfully
been laid naked. Hence we may without the least hesitation discard the idea of treating The Prelude as mere
autobiography and accept it as a great poetically autobiographical poem without any reservation.
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