The Prelude (Boat Stealing) by William Wordsworth is an extract from a much larger autobiographical poem in which the speaker explores his childhood. In this section, the speaker (probably a young William Wordsworth) steals a boat and rows out onto Lake Windermere. However, as weather conditions change, the boy realises the power and danger of nature, which causes him to reflect on his emotions and feel shaken.
This study guide is written for students and teachers of English Literature, particularly those studying AQA’s GCSE English Literature Power and Conflict Anthology, Pearson Edexcel’s GCSE Conflict Anthology and OCR’s GCSE Conflict Anthology. For more study guides from this anthology, check out the Power and Conflict page, or the list of poems in the series at the bottom of this guide.
The Prelude
One summer evening (led by her) I found
A little boat tied to a willow tree
Within a rocky cave, its usual home.
Straight I unloosed her chain, and stepping in
Pushed from the shore. It was an act of stealth
And troubled pleasure, nor without the voice
Of mountain-echoes did my boat move on;
Leaving behind her still, on either side,
Small circles glittering idly in the moon,
Until they melted all into one track
Of sparkling light. But now, like one who rows,
Proud of his skill, to reach a chosen point
With an unswerving line, I fixed my view
Upon the summit of a craggy ridge,
The horizon’s utmost boundary; far above
Was nothing but the stars and the grey sky.
She was an elfin pinnace; lustily
I dipped my oars into the silent lake,
And, as I rose upon the stroke, my boat
Went heaving through the water like a swan;
When, from behind that craggy steep till then
The horizon’s bound, a huge peak, black and huge,
As if with voluntary power instinct,
Upreared its head. I struck and struck again
And growing still in stature the grim shape
Towered up between me and the stars, and still,
For so it seemed, with purpose of its own
And measured motion like a living thing,
Strode after me. With trembling oars I turned,
And through the silent water stole my way
Back to the covert of the willow tree;
There in her mooring-place I left my bark,–
And through the meadows homeward went, in grave
And serious mood; but after I had seen
That spectacle, for many days, my brain
Worked with a dim and undetermined sense
Of unknown modes of being; o’er my thoughts
There hung a darkness, call it solitude
Or blank desertion. No familiar shapes
Remained, no pleasant images of trees,
Of sea or sky, no colours of green fields;
But huge and mighty forms, that do not live
Like living men, moved slowly through the mind
By day, and were a trouble to my dreams.
What is 'The Prelude' all about?
This extract from “The Prelude” by William Wordsworth is often referred to as ‘Boat Stealing’. Most people acknowledge this to be autobiographical.
The speaker recounts a summer evening adventure where he discovers a small boat hidden in a rocky cave, tied to a willow tree. He sets it free and begins to row, feeling a mix of excitement and guilt.
As he rows, he focuses on a distant craggy ridge, determined to reach it. However, as he progresses, a massive peak suddenly emerges from behind the ridge, intimidating and seemingly pursuing him. Frightened, he turns back, returning to the safety of the willow tree. This experience leaves him with a sense of unease, as his mind is filled with strange and unsettling thoughts of unknown forms and dimensions. The encounter with the mysterious peak disturbs his thoughts and dreams, leaving him with a feeling of isolation and confusion.
Context of 'The Prelude'
William Wordsworth's life, education and career
After leaving university, Wordsworth embarked on a walking tour of Europe, particularly France, where he became influenced by the ideals of the French Revolution. This period played a significant role in shaping his political and philosophical beliefs.
In 1791, Wordsworth returned to England and settled in the Lake District, where he lived with his sister, Dorothy Wordsworth, and close friend Samuel Taylor Coleridge.
Wordsworth’s breakthrough came with the publication of “Lyrical Ballads” in 1798, a collaborative work with Coleridge. This collection, which included poems like “Lines Composed a Few Miles Above Tintern Abbey” and “The Rime of the Ancient Mariner,” marked a significant departure from the poetic conventions of the time and is considered a cornerstone of Romantic literature.
He remained in the Lake District for much of his life, finding solace and inspiration in its landscapes until his death on April 23, 1850.
Context of 'The Prelude'
Wordsworth began working on “The Prelude” in 1798 and continued to revise it throughout his life. The poem was published posthumously in 1850.
“The Prelude” is Wordsworth’s exploration of his own life experiences, particularly his growth as a poet and his spiritual and philosophical development. The poem is divided into 14 books and spans various stages of Wordsworth’s life, from his childhood to his adult years. It delves into his relationship with nature, his encounters with the sublime, his struggles with doubt and despair, and his quest for poetic inspiration and artistic fulfillment.
Romanticism
“The Prelude” is significant not only for its exploration of Wordsworth’s personal journey but also for its portrayal of the broader cultural and intellectual currents of the Romantic period. It reflects the Romantic emphasis on individual experience, emotional expression, and the power of imagination. Additionally, the poem engages with themes such as the relationship between man and nature, the role of memory and imagination, and the quest for spiritual and artistic transcendence.
Line-by-line analysis
One summer evening (led by her) I found
- The setting is established: summertime suggests the freedom, fun and playful enjoyment of children free from school. Warm weather also sets a positive mood.
- First-person narration is used to make clear that the speaker is the main character in the story. Most scholars acknowledge this to be autobiographical, and so the speaker is indeed Wordsworth.
- Personification is used to paint nature (‘her’) as female and as a guiding force for this young speaker.
A little boat tied to a willow tree
- Gentle consonant sounds in this line tell the story of a gentle theft (if such a thing exists). The repeated ‘l’ and ‘t’ sounds are soft and soothing, allowing this detailed narrative to flow. After all, nature led him there … the crime is downplayed! The Romantic voice which argues that emotion and nature are more powerful than logic sounds out here.
Within a rocky cave, its usual home.
- Enjambment is used to run lines into each other, ending on this third line of the section. The effect is both to continue to narrative, giving it a flow and natural conversational tone, as well as to mimic the gentle lapping of the lake water.
- Imagery in phrases like “rocky cave,” “willow tree,” and “sparkling light” paint vivid pictures in the reader’s mind, creating a sensory experience and immersing them in the scene.
- Describing the boat as having a “usual home” gives the boat human-like qualities, fostering a connection between the speaker and the vessel.
Straight I unloosed her chain, and stepping in
- Sibilant repetition of the “s” sound in “Straight … stepping in” adds a soft, soothing quality to the imagery, mimicking the gentle ripples on the water.
- “Straight” suggests this was an instinctive and swift action.
- “Her” is used again, this time to personify the boat as female. This is often the case, where vessels, vehicles etc are personified as female.
Pushed from the shore. It was an act of stealth
- Caesura (a full stop in the middle of a line of poetry) causes the reader to stop and take a pause, and the speaker follows with an explanation of sorts.
- The use of past tense throughout gives a sense of this narrative as true. Here, “it was an act of stealth” suggests the speaker knew what he was doing was wrong, but in an arrogant and/or childish way, he proceeded anyway, enjoying the thrill of the crime.
And troubled pleasure, nor without the voice
- “Troubled pleasure” is a juxtaposition of two contrasting concepts: the pleasure he got from stealing the boat was intensified by the knowledge that it was wrong.
Of mountain-echoes did my boat move on;
- The “mountain-echoes” are personified here in being given a “voice”. Nature is personified throughout the poem.
Leaving behind her still, on either side,
- Again, the boat is spoken of and personified as female, almost an accomplice in this “act of stealth”.
- The adjective “still” is important at this early stage of the poem: nature is peaceful and the boy feels at one with her, guided by her and safe.
Small circles glittering idly in the moon,
- The water is still and calm, and his oar strokes leave small circles, suggesting a very flat lake that evening.
- Sensory imagery paints an image of serenity, but with a sense of foreboding, as the reader knows all too well that large bodies of water can be dangerous. The adverb ‘”idly” is slightly foreboding.
Until they melted all into one track
- The speaker’s oar strokes initially leave an imprint, “small circles” which then melt into “one track” but do not fully disappear while the speaker can see them. This story is one of growing and realising more about nature and the world around you, and these circles or impressions on the water are perhaps to suggest that the action of rowing, or boat stealing, leaves an impression after the immediate action has finished.
Of sparkling light. But now, like one who rows,
- A caesura in the line here takes the reader further into the adventure with the phrase “But now” suggesting a fresh sense of momentum.
Proud of his skill, to reach a chosen point
- The speaker speaks of his pride in reaching a point out on the lake, his goal achieved. He pauses to take in the view, and the beauty of nature.
With an unswerving line, I fixed my view
- The “unswerving line” represents the path taken by the boy and his boat to be able to look back on his “craggy ridge” as the farthest point on the horizon. The adjective “unswerving” emphasises his pride in achieving this.
Upon the summit of a craggy ridge,
- Remember that when you row a boat, you are facing away from the direction of movement. So the boy rows out to a point where he can see his willow tree as the farthest point on the horizon. this changes later, as a new peak looms. There is a great article and illustration here to explain this.
The horizon's utmost boundary; far above
- At this point of the story, the boy has rowed out so that he can see nothing behind him but his craggy ridge and willow tree and the sky above.
Was nothing but the stars and the grey sky.
- The sky here is “grey” reminding us that this young boy is out on the lake in the evening time, and that conditions can change quickly: there is a sense of foreboding in the “grey sky”. Wordsworth uses pathetic fallacy to change the mood slightly.
She was an elfin pinnace; lustily
- “Elfin pinnace” means a boat belonging to an elf. This magical, feminine and diminutive description suggests two interpretations: firstly, that the boat is part of this adventure along with the speaker. “Elfin” suggests something from a myth or fairytale, emphasising the magical enjoyment of this forbidden childhood adventure. The other implication is that it further makes the reader anxious as to its reliability in the middle of a lake at night, making it seem small and fragile.
I dipped my oars into the silent lake,
- This phrase begins on the previous line with the adverb “lustily” giving the reader a sense of the boy’s desire for adventure.
- The verbs in this line and the next: “dipped”, “rose” and “heaving” all convey the sense of action and movement.
And, as I rose upon the stroke, my boat
- The ease with which the boat moves is reflected in the sentence structure, which seems to rise and fall as the boat does, in co-ordinating and sub-ordinating clauses.
Went heaving through the water like a swan;
- “Heaving” conveys both the speed and force of the boat and also the effort required by this young boy.
- The simile “like a swan” adds commentary from the older poet Wordsworth who reflects on this childhood adventure in an adult voice, Romantic, effusive voice.
When, from behind that craggy steep till then
- “When” adds a slight turn in the mood here, as the boys’ adventure moves apace.
The horizon's bound, a huge peak, black and huge,
- Repetition of “huge” emphasises both the scale of the mountain and the vulnerability of the boy.
- This new view of a “huge peak, black and huge” contrasts with the ease of the “small circles glittering idly” from earlier in the poem.
As if with voluntary power instinct,
- The speaker personifies the mountain peak, assigning it power and, in the next line, a head which it can uprear, emphasising his fear and its size.
Upreared its head. I struck and struck again
- The caesura combined with the repetition of “struck” quickens the pace of the story here, creating a sense of fear.
And growing still in stature the grim shape
- The adjective “grim” projects the boy’s emotion onto the mountain.
- Sibilant ‘s’ sounds and alliteration of the ‘g’ in “growing” and “grim” emphasise the emotion of this moment.
Towered up between me and the stars, and still,
- Personification is used in “Towered up” to suggest that the mountain moved, which is a natural interpretation based on the boy’s movement away from the mountain, which emerges from the horizon as the boy’s sight angle towards it changes.
For so it seemed, with purpose of its own
- The personification is extended into this line and the next, this time its intentions are made human. Of course, a mountain has no intention.
And measured motion like a living thing,
- The simile “like a living thing” clarifies, if the reader had been unsure, that the boy is terrified of this monstrous mountain.
- Alliteration of “measured motion” and “like a living thing” add sound and sensory impact.
Strode after me. With trembling oars I turned,
- The verb “strode” suggests that as the boy moved, so the mountain also moved, which again is a logical interpretation given the angles and heights involved in this adventure.
- A pause is created after the caesura of the full stop, allowing the story to move on.
- The adjective “trembling” is a perfect example of the sublime: man’s emotions of fear and terror when faced with raw, rugged and vast natural elements. Romantic poets explored the notion of sublime landscapes, finding opportunities for epiphanies and growing understanding of the world. Mary Shelley’s Frankenstein is replete with examples of the sublime.
And through the silent water stole my way
- The return journey takes quite a different tone from the outward one: now, despite the continuing silence of the water, the speaker is changed.
- The verb ‘stole’ is an apt choice here, as the boy attempts to steal, or move silently and fearfully back to where he started, but we are also reminded of the fact that he has stolen the boat in the first place.
Back to the covert of the willow tree;
- “Covert” here, as in secret, ties to the verb “stole” in the previous line – the speaker’s actions are sly and self-preserving which is in stark contrast to the pride and arrogance of his actions at the start.
- In this line, we are back to where the poem started. Neither the setting nor the mountain have moved or changed: they are unerringly the same, yet the change has been within the speaker himself. He has a new-found appreciation of the power of nature.
There in her mooring-place I left my bark,--
- “Bark” means boat. Wordsworth enjoys playing with vocabulary, having already referred to ‘boat’, ‘pinnace’ and now ‘bark’, reflecting the effusive power of the language of the poet.
- Hyphenation here adds pause to the end of the line, which
And through the meadows homeward went, in grave
- The adjectives “grave” here and “serious” in the next line convey the speaker’s emotions very clearly. Interestingly, it is the encounter with nature rather than the theft of the boat that leaves a trail of thought behind for the speaker.
And serious mood; but after I had seen
- The semi-colon in the middle of the line adds some pause for reflection in the midst of the ongoing narrative.
That spectacle, for many days, my brain
- Time moves forward for the speaker, but he is troubled “for many days” by the mountain, which despite being very much unmoved, follows him into his brain and dreams.
Worked with a dim and undetermined sense
- The shadow of the mountain clouds his thinking, emphasised by the heavy consonance of the ‘d’ sound in “dim and undetermined”.
Of unknown modes of being; o'er my thoughts
- “Unknown modes of being” suggests that the speaker is still processing the impact of the adventure. Whether he is still processing it in the time frame of the narrative i.e. a few days later, or whether this sense of “unknown modes” continues into his adulthood as he writes The Prelude, is unclear.
There hung a darkness, call it solitude
- “Darkness” echoes the previous consonance of “dim and undetermined” two lines before.
Or blank desertion. No familiar shapes
- The mid-line pause after the full stop allows reflection for both the speaker and the reader, emphasising the fact that this event has not left him; he has changed, and has grown, and has moved into the darkness of adulthood through this experience. His childhood innocence has left him, along with the list of delicate and easy images of nature listed in the following lines.
Remained, no pleasant images of trees,
- “No pleasant images of trees” is a picturesque image which contrasts with the sublimity of the “black and huge” mountain.
Of sea or sky, no colours of green fields;
- “No” is repeated, emphasising the negative impact of coming of age and the growing awareness of his smallness when compared to the sublime landscapes around him.
But huge and mighty forms, that do not live
- “Huge” echoes back to the description of the mountain.
Like living men, moved slowly through the mind
- This final simile interprets the experience, suggesting that no matter what skill or power man has (for example, the boy’s agility in reaching his goal on the lake in a straight line), it is different to, and meaningless in comparison to the power of nature.
By day, and were a trouble to my dreams.
- The mountain continues to haunt and follow the speaker in his dreams.
- The use of the word ‘trouble’ reminds us of the “troubled pleasure” from the start of the poem. Perhaps, it was his experience of the thrill of a crime, that has caused the boy to grow and change?
Analysis of form and structure
Verse structure
‘The Prelude’ is written in blank verse. This means it is unrhymed iambic pentameter (see rhythm section below for more), a similar form to that used by Shakespeare in many of his plays.
Blank verse first became popular in Italy in the 16th Century as part of the Renaissance of Greek tragedy. It was brought to England and popularised by Henry Howard, Earl of Surrey in his translation of ‘The Aeneid’ by Virgil.
This ‘boat stealing’ extract from The Prelude is written as one long verse, and its shape on the page perhaps reflects the enormity of the mountain which emerges, terrifying the speaker.
In fact, The Prelude is written in 14 sections, of which this extract is from Part 1. You can read the full text of The Prelude here.
Rhyme
“The Prelude” does not follow a regular pattern of end rhymes. Instead, it relies on the musicality of the iambic pentameter and the imagery and language to create poetic effects.
This lack of a fixed rhyme scheme contributes to the poem’s conversational and introspective tone, allowing Wordsworth to focus more on the narrative and thematic elements of his autobiography.
Rhythm
“The Prelude,” is written in iambic pentameter, which consists of lines with ten syllables each, organised into five pairs of unstressed and stressed syllables (iambic feet). Let’s take a look at the first few lines to examine the rhythm further (the bold, underlined syllables are the stressed syllables):
One sum/mer eve/ning (led/ by her)/ I found/
A li/ttle boat/ tied to/ a wil/low tree/
Within/ a ro/cky cave,/ its u/sual home./
Straight I/ unloosed/ her chain,/ and step/ping in/
This meter gives the poem a natural, rhythmic flow, resembling the pattern of everyday speech.
Themes in 'The Prelude'
Nature and the Sublime:
Wordsworth’s deep reverence for nature is the central theme of the poem, as he embarks on a clandestine boat ride on a silent lake surrounded by rocky caves and willow trees. The description of the serene landscape, with the moonlight reflecting on the water and the small circles glittering idly, emphasises the sublime beauty and tranquillity of the natural world. In this extract, he is terrified by the power of nature which causes him to tremble, a classic sublime response to nature. The extract vividly portrays Wordsworth’s deep connection with nature.
Individual Experience and Growth:
“The Prelude” is essentially an autobiographical poem, chronicling Wordsworth’s personal journey from childhood to adulthood. This extract focuses on a specific moment in Wordsworth’s youth, capturing his sense of adventure, curiosity, and moral ambiguity as he steals a boat and ventures out onto the lake. It reflects his desire for exploration and his willingness to break rules to satisfy his curiosity, highlighting his individualistic spirit and his journey towards self-discovery.
Imagination and Creativity:
The act of stealing the boat and rowing into the silent lake demonstrates Wordsworth’s imaginative and creative impulses. Despite the illicit nature of his actions, there is a sense of excitement and pleasure in the adventure, as he revels in the freedom and the opportunity to experience the natural world in a new and intimate way.
Quiz
Quiz on The Prelude (Boat Stealing) by William Wordsworth
Test your knowledge of the poem 'The Prelude (Boat Stealing)' by William Wordsworth
Comprehension Questions
- What is the setting described at the beginning of the extract?
- Why does the speaker describe untying the boat from the willow tree as an “act of stealth”?
- How does the speaker feel as they push the boat from the shore?
- What effect does the moonlight have on the water as the speaker rows away?
- How does the poet use personification in describing the boat in the extract?
- Identify and explain the significance of the simile used to describe the movement of the boat through the water.
- What role do the mountain-echoes play in the atmosphere of the scene described?
- How does the poet create a sense of foreboding and tension as the peak emerges behind the craggy steep?
- Discuss the symbolic significance of the peak’s pursuit of the speaker in relation to the theme of the power of nature on man.
- How does the speaker’s reaction to the peak’s pursuit reflect a broader Romantic view of humanity’s relationship with the natural world?
- Explore the contrast between the speaker’s initial feelings of pleasure and adventure and the eventual sense of unease and foreboding in the extract.
- How does the poet use imagery to convey the power and majesty of nature in the scene described?
- Discuss the significance of the moonlight and its reflection on the water in the context of the theme of the power of nature on man.
- Consider the extract’s portrayal of the natural landscape as a character in its own right. How does this contribute to the theme of the power of nature on man?
- Which poem which also focuses on the power of nature (from your anthology) would you choose to compare and contrast with this extract from “The Prelude”? Plan an essay response using bullet points, considering key points and key quotations that you could use for each paragraph.
Other poems from the AQA Power and Conflict Anthology to pair with 'The Prelude'
Both “The Prelude” and “Storm on the Island” depict the power of nature and man’s vulnerability. In “The Prelude,” nature’s power is portrayed through the serene setting of a lake disrupted by the sudden appearance of a threatening peak, evoking feelings of isolation and apprehension. Meanwhile, in “Storm on the Island,” the islanders face the direct threat of a fierce storm, highlighting their helplessness in the face of nature’s fury. While both poems explore similar themes, they do so with different tones, forms and imagery, giving students plenty to contrast.
In “Ozymandias,” Shelley uses the crumbling statue of a once-great king to illustrate the inevitable decay of empires and the futility of human ambition when faced with the destructive power of nature and time. Contrastingly, in the extract from “The Prelude,” Wordsworth reflects on a personal experience of youthful adventure interrupted by the imposing presence of nature. “Ozymandias” focuses on the ruins of past glory and “The Prelude” delves into the individual’s confrontation with the forces of nature.
