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tland', in 1803: in the note to the poem, 'At the grave of Burns', p. 382 of this volume.) 'Which _Copland_ scarce had spoke, but quickly every Hill Upon her verge that stands, the neighbouring valleys fill; _Helvillon_ from his height, it through the mountains threw, From whence as soon again, the sound _Dunbalrase_ drew, From whose stone-trophed head, it on the _Wendrosse_ went, Which tow'rds the sea again, resounded it to _Dent_, That _Brodwater_ therewith within her banks astound, In sailing to the sea, told it to _Egremound_, Whose buildings, walks, and streets, with echoes loud and long, Did mightily commend old _Copland_ for her song.' 'Polyolbion', The Thirtieth Song, ll. 155-164. Any one who compares this passage with Wordsworth's 'Joanna' will see the difference between the elaborate fancy of a topographical narrator, and the vivid imagination of a poetical idealist. A somewhat similar instance of indebtedness--in which the debt is repaid by additional insight--is seen when we compare a passage from Sir John Davies's 'Orchestra, or a poem on Dancing' (stanza 49), with one from 'The Ancient Mariner', Part VI. stanzas 2 and 3--although there was more of the true imaginative light in Davies than in Drayton. 'For lo, the sea that fleets about the land, And like a girdle clips her solid waist, Music and measure both doth understand; For his great crystal eye is always cast Up to the moon, and on her fixed fast: And as she danceth in her palid sphere So danceth he about his centre here.' DAVIES 'Still as a slave before his lord, The ocean hath no blast; His great bright eye most silently Up to the moon is cast-- If he may know which way to go; For she guides him smooth or grim. See, brother, see! how graciously She looketh down on him.' COLERIDGE. These extracts show how both Wordsworth and Coleridge assimilated past literary products, and how they glorified them by reproduction. There was little, however, in the poetic imagery of previous centuries that Wordsworth reproduced. His imagination worked in a sphere of its own, free from the trammels of precedent; and he was more original than any other nineteenth century poet in his use of symbol and metaphor. The poem 'To Joanna' was probably composed on August 22, 1800, as the following occurs in Dorothy Wordsworth's Journal under that date: "Willia
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