 | |  |
Notes
Jonathan Wordsworth quite correctly distinguishes William Wordsworth's "quasi-scientific belief in animated matter" from his later views of the "universe permeated by the 'One Life'"—The Music of Humanity (1969), p. 186.
James Averill, ed., An Evening Walk by William Wordsworth (1984), p. 135; Poetical Works, I, 10n.
See note 3. DCMS 9 and 10 are renumberings of manuscripts in the Dove Cottage Library, M.S. Verse 10 and MS Verse 11 respectively. Hereafter I shall refer to them in the text simply as MS 9 and MS 10.
Averill, pp. 13, 140, 167n (a mistake is made here: line 288 is given as the terminus of the passage instead of 287), 191, 219n.
Averill himself seems to say as much (p. 129): "Revision continued on the manuscript [MS 9] both during and shortly after the copying [from MS 10]. . . ." Averill also seems to believe that changes made in the same ink represent immediate changes (p. 199n).
Averill, p. 129. As Averill points out (p. 219n) "the long line through the entire passage [DCMS 9, lines 281-287] was made to indicate deletion from 1820."
"Wordsworth and the Romantic Art of Translation," 17 (1986), 169-174. In conversation in the summer of 1986, Graver told me that Wordsworth's translation of "Blandusian Spring" was much closer to the kind of translations he produced in the 1820's.
W. A. Churchill, Watermarks in Paper (Amsterdam, 1935), p. CCVI, watermark number 233 (Britannia), dated on p. 76. Even the date of 1792 needs qualification, however. Given that particular paper moulds might be used over a number of years and that tracings like those found in Churchill's Watermarks on Paper do not always record nuances that serve to distinguish exemplars of widely used marks, it is only probable that the paper on which MS 9 was written was produced by 1792, not absolutely demonstrable.
| | |