The first two stanzas of the poem quickly establish the problem that Wordsworth, the first-person speaker, faces: “There was a time” when the earth was charged with magnificence in the poet’s eyes when every common element “did seem/ Appareled in celestial light,” but that time has gone.
Since the “Child is the father of the Man,” people should respect the child in them as much as they are bound to their own fathers. The poem begins with an epigraph taken from an earlier poem by Wordsworth: “The Child is the father of the Man / And I could wish my days to be/ Bound each to each by natural piety.” In this section of “My Heart Leaps Up,” the speaker hopes that, in his maturity, he can maintain an intimate connection to the world, similar to the bond that he had in his own childhood. In the title, Wordsworth attempts to summarize and simplify the rich philosophical content of the poem. The 205 lines are divided into eleven stanzas of varying lengths and rhyme schemes. In “Ode: Intimations of Immortality” William Wordsworth writes in the complicated stanza forms and irregular rhythms that are typical of the ode form. The rhymes occasionally alternate lines, fall in couplets, and occasionally occur within a single line (as in “But yet I know, wherever I go” in the second stanza). Wordsworth’s Immortality Ode, as it is often called, is written in eleven variable ode stanzas with variable rhyme schemes, in iambic lines with anything from two to five stressed syllables.
In the tenth stanza, bolstered by this joy, he urges the birds to sing, and urges all creatures to participate in “the gladness of the May.” He says that though he has lost some part of the glory of nature and experience, he will take solace in “primal sympathy,” in memory, and in the fact that the years bring a mature consciousness-“a philosophic mind.” In the final stanza, the speaker says that this mind-which stems from a consciousness of mortality, as opposed to the child’s feeling of immortality-enables him to love nature and natural beauty all the more, for each of nature’s objects can stir him to thought, and even the simplest flower blowing in the wind can raise in him “thoughts that do often lie too deep for tears.” William Wordsworth Form In the ninth stanza, the speaker experiences a surge of joy at the thought that his memories of childhood will always grant him a kind of access to that lost world of instinct, innocence, and exploration. In the eighth stanza, the speaker addresses the child as though he were a mighty prophet of a lost truth, and rhetorically asks him why, when he has access to the glories of his origins, and to the pure experience of nature, he still hurries toward an adult life of custom and “earthly freight.” He sees the boy playing with some imitated fragment of adult life, “some little plan or chart,” imitating “a wedding or a festival” or “a mourning or a funeral.” The speaker imagines that all human life is a similar imitation. In the seventh stanza, the speaker beholds a six-year-old boy and imagines his life, and the love his mother and father feel for him.
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