"Some mounds near the tower are thought to have been used as butts for archers; and there are traces of a strong wall, running from the tower to the edge of a deep glen, whence a ditch runs to another ravine. This was once a pond, used by the Nortons for detaining the red deer within the township of Rylstone, which they asserted was not within the forest of Skipton, and consequently that the Cliffords had no right to hunt therein. The Cliffords eventually became lords of all the Norton lands here."

In January 1816, Wordsworth wrote thus to his friend Archdeacon Wrangham.

"Of The White Doe I have little to say, but that I hope it will be acceptable to the intelligent, for whom alone it is written. It starts from a high point of imagination, and comes round, through various wanderings of that faculty, to a still higher—nothing less than the apotheosis of the animal who gives the first of the two titles to the poem. And as the poem thus begins and ends with pure and lofty imagination, every motive and impetus that actuates the persons introduced is from the same source; a kindred spirit pervades, and is intended to harmonise, the whole. Throughout objects (the banner, for instance) derive their influence, not from properties inherent in them, not from what they are actually in themselves, but from such as are bestowed upon them by the minds of those who are conversant with, or affected by, these objects. Thus the poetry, if there be any in the work, proceeds, as it ought to do, from the soul of man, communicating its creative energies to the images of the external world."

The following is from a letter to Southey in the same year:—"Do you know who reviewed The White Doe in the 'Quarterly'? After having asserted that Mr. W. uses his words without any regard to their sense, the writer says that on no other principle can he explain that Emily is always called 'the consecrated Emily.' Now, the name Emily occurs just fifteen times in the poem; and out of these fifteen, the epithet is attached to it once, and that for the express purpose of recalling the scene in which she had been consecrated by her brother's solemn adjuration, that she would fulfil her destiny, and become a soul,

The point upon which the whole moral interest of the piece hinges, when that speech is closed, occurs in this line,—

And to bring back this to the reader, I repeated the epithet."

In a letter to Wordsworth about The Waggoner, Charles Lamb wrote, June 7, 1819, "I re-read The White Doe of Rylstone; the title should be always written at length, as Mary Sabilla Novello, a very nice woman of our acquaintance, always signs hers at the bottom of the shortest note.... Manning had just sent it home, and it came as fresh to me as the immortal creature it speaks of. M. sent it home with a note, having this passage in it: 'I cannot help writing to you while I am reading Wordsworth's poem.... 'Tis broad, noble, poetical, with a masterly scanning of human actions, absolutely above common readers.'" (See The Letters of Charles Lamb, edited by Alfred Ainger, vol. ii. pp. 25, 26.)

Henry Crabb Robinson's judgment, as given in his Diary, June 1815, is interesting. (See vol. i. p. 484.)

The following is from Principal Shairp's estimate of The White Doe of Rylstone in his Oxford Lectures, Aspects of Poetry (chapter xii. pp. 373-76). "What is it that gives to it" (the poem) "its chief power and charm? Is it not the imaginative use which the poet has made of the White Doe? With her appearance the poem opens, with her re-appearance it closes. And the passages in which she is introduced are radiant with the purest light of poetry. A mere floating tradition she was, which the historian of Craven had preserved. How much does the poet bring out of how little! It was a high stroke of genius to seize on this slight traditionary incident, and make it the organ of so much. What were the objects which he had to describe and blend into one harmonious whole. They were these:

"1. The last expiring gleam of feudal chivalry, ending in the ruin of an ancient race, and the desolation of an ancestral home.

"2. The sole survivor, purified and exalted by the sufferings she had to undergo.

"3. The pathos of the decaying sanctities of Bolton, after wrong and outrage, abandoned to the healing of nature and time.

"4. Lastly, the beautiful scenery of pastoral Wharfdale, and of the fells around Bolton, which blend so well with these affecting memories.

"All these were before him—they had melted into his imagination, and waited to be woven into one harmonious creation. He takes the White Doe, and makes her the exponent, the symbol, the embodiment of them all. The one central aim—to represent the beatification of the heroine—how was this to be attained? Had it been a drama, the poet would have made the heroine give forth in speeches, her hidden mind and character. But this was a romantic narrative. Was the poet to make her soliloquise, analyse her own feelings, lay bare her heart in metaphysical monologue? This might have been done by some modern poets, but it was not Wordsworth's way of exhibiting character, reflective though he was. When he analyses feelings they are generally his own, not those of his characters. To shadow forth that which is invisible, the sanctity of Emily's chastened soul, he lays hold of this sensible image—a creature, the purest, most innocent, most beautiful in the whole realm of nature—and makes her the vehicle in which he embodies the saintliness which is a thing invisible. It is the hardest of all tasks to make spiritual things sensuous, without degrading them. I know not where this difficulty has been more happily met; for we are made to feel that, before the poem closes, the Doe has ceased to be a mere animal, or a physical creature at all, but in the light of the poet's imagination, has been transfigured into a heavenly apparition—a type of all that is pure, and affecting, and saintly. And not only the chastened soul of her mistress, but the beautiful Priory of Bolton, the whole Vale of Wharfe, and all the surrounding scenery, are illumined by the glory which she makes; her presence irradiates them all with a beauty and an interest more than the eye discovers. Seen through her as an imaginative transparency, they become spiritualized; in fact, she and they alike become the symbol and expression of the sentiment which pervades the poem—a sentiment broad and deep as the world. And yet, any one who visits these scenes, in a mellow autumnal day, will feel that she is no alien or adventitious image, imported by the caprice of the poet, but altogether native to the place, one which gathers up and concentrates all the undefined spirit and sentiment which lie spread around it. She both glorifies the scenery by her presence, and herself seems to be a natural growth of the scenery, so that it finds in her its most appropriate utterance. This power of imagination to divine and project the very corporeal image which suits and expresses the image of a scene, Wordsworth has many times shown....

"And so the poem has no definite end, but passes off, as it were, into the illimitable. It rises out of the perturbations of time and transitory things, and, passing upward itself, takes our thoughts with it to calm places and eternal sunshine."—Ed.

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