year in Somerset. But when in March 1798 she wrote in her journal that ‘A quiet shower of snow was in the air,’ that is a moment, as Pamela Woof has written, that tells you who she was. The snow in Dorothy’s perception is ‘simultaneously both hovering and falling; the silent snow stays and does not stay in the air. Dorothy conveys at once the temporary and the timelessness.’ Those moments of transient beauty were part of her daily experience. She saw ‘the moonshine like herrings in the water’, and the moonlight lying on the hills like snow. Categories blurred: the change of season became an active, animated process: ‘The Fern of the mountain now spreads yellow veins among the trees’; the stars were ‘almost like butterflies or skylarks in motion & lightness’. She heard the ‘unseen birds singing in the mist’ and saw the ‘turf fading into mountain road’. She loved to look for nests in the privet and the roses; everything was part of a naked meeting with an exactly encountered and constantly shifting world.
There was nothing saccharine about this. She loved ‘the strength with which nature has endowed me’, and was indifferent to the demands and limits of femininity, loving solitary walks alone in the moonlight when in her early twenties, not submitting to the kind of ignorance thought suitable for many girls of her class and upbringing, socially engaged, giving money to beggars. She was busy, practical, organising a household around the poet who lived alongside her, broiling the gizzard of a hen with some mutton for his supper, baking bread and pies, sewing and laundering, writing letters, copying out his verses.
Over this entire relationship, of such intimacy and such mutual interpenetration – and with such undisputed dominance of male over female – hangs the question of Annette Vallon and her daughter Caroline. Racedown was a mirror-image of the situation Wordsworth had left behind in France. He and his sister were now living together in Dorset as he and the mother of his child were not in Blois. He was looking after and tending to a young child, Basil Montagu, as he was not his own daughter in France.
Guilt stalks these arrangements, and Dorothy’s unqualified admiration of and service for her brother look like the necessary balm for a man besieged by it. Racedown was a parodic rerunning of the married life William had not begun in France. He had saved both Dorothy and Basil from the isolation and difficulty to which they might otherwise have been condemned, but to save them he had left Annette and Caroline to the same fate.
Did Wordsworth abandon one woman and child to attend to another woman and child? And for his own convenience? Or was it that only with Dorothy, and not with Annette, could he see his way to being the poet he knew he wanted to be? Writing in The Prelude of his years of despair at Racedown – and never admitting in that poem or anywhere else to the existence of Annette or her child – he very nearly said that. Dorothy was his saviour because she saw a poet in him and was prepared to fight for that poet. She was
the belovèd woman in whose sight
Those days were passed – now speaking in a voice
Of sudden admonition like a brook
That did but cross a lonely road; and now
Seen, heard and felt, and caught at every turn,
Companion never lost through many a league –
Maintained for me a saving intercourse
With my true self (for, though impaired, and changed
Much, as it seemed, I was no further changed
Than as a clouded, not waning moon);
She, in the midst of all, preserved me still
A Poet, made me seek beneath that name,
My office upon earth.
It is the most beautiful metaphor of love, of a woman as a mountain brook coming and going along the same valley as the road the poet is taking, bringing her irrigating, generous presence to the drought of his journey and his despair. In later revisions he added the beautiful suggestion that in the darkness of the waning moon, ‘She whispered still that brightness would return’. The moon would wax again. Love is in that line, love given and heard. There is a suggestion, as often in what he would write about her, of suppressed desire, in the physical intimacy of ‘Seen, heard and felt, and caught at every turn’, in the giving liquidity of her presence, in the brook’s gentle washing of him and perhaps even in the atmosphere around ‘intercourse’, which by the late 1790s had already begun to carry the implications of ‘sexual connection’. There is no suggestion of equality between them. She is the servant, he the walking hero; she quietly attends, he struggles with his greatness. He relies on her and dominates her; he uses her and she conforms to the idea that she is there to be used. One version of her usefulness is the strictness with which she can admonish him. Both master and servant are happy for one to be reproved by the other, and to understand that admonition as a form of love.
Here then, on this summer evening in early June 1797, assembled together in the small parlour of Racedown, with the oil cloth on the floor, and an air of warmth and mutual affection and value in the room – all his life Coleridge would remember the welcome they gave him this evening – the sun dropping outside, these three people, each in their varied, multi-layered conditions of longing and despair, genius and trouble, sit down together to talk, to discuss what they have written and seen, what they might write, what they have been and what they might yet be. It is the seeding moment of this year.
Coleridge came to love and revere them both, as one sensibility in two people. Much later, he wrote to Dorothy about their brother, who had come along with him and Wordsworth on a walking tour through the north of England:
Your Br. John is one of you; a man who hath solitary usings of his own Intellect, deep in feeling, with a subtle Tact, a swift instinct of Truth & Beauty.
One of you: as if ‘Wordsworth’ is not the name of a person but a way of being, not entirely communicative to others, with a prompt tactility but unseen depths, both a flickering quickness and an immanence in all of them, as if their dwelling was some way far below the surface, profoundly attractive and curiously removed.
Sit in the valley of the little River Sydeford below the house, in the shadow of its willows and alders, with the evening hatch of olives speckling the yard of air above the water, the cattle grazing in the last sunlight on the sloping fields, their long-bodied shadows patched across the pasture, and an owl announcing itself in the wood across the valley, and it is not difficult to see the three of them there beyond the darkened panes of the parlour windows.
The owl is muted, like a trumpet with a cushion in its mouth. The robins are still singing in the hollies, one on each side of the river, bright as water. Next to them the owl is throaty-chesty. If a cough could sing, it would sound like this.
There is a sheet on the table, for want of a tablecloth. Coleridge is asleep upstairs. Wordsworth at the table looks across to Dorothy, where she is transcribing from his notebooks. Rough pages lie torn out between them, and she is copying in her neater more regular hand from his tragedy The Borderers.
He is looking at her, but there is a vacancy in his eye and he is looking across her, through her, his own pen poised over a notebook, as she is busy copying.
What is this word? she asks. Sublimity?
No, no. Sterility.
They sit there with a kind of contentment between them, no tension, a jointness, ease.
What does this say Will? I am the devil?
No, he
