Wordsworth 's Ode: Intimations on Immortality reads:
And O, ye fountains, Meadows, Hills, and Groves,
Forebode not any severing of our loves!
Yet in my heart of hearts I feel your might;
I only have relinquished one delight
To live beneath your more habitual sway.
I love the Brooks which down their channels fret,
Even more than when I tripped lightly as they;
The innocent brightness of a new-born Day
Is lovely yet;
The Clouds that gather round the setting sun
Do take a sober colouring from an eye
That hath kept watch o'er man's mortality;
Another race hath been, and other palms are won.
Thanks to the human heart by which we live,
Thanks to its tenderness, its joys, and fears,
To me the meanest flower that blows can give
Thoughts that do often lie too deep for tears.
(Wordsworth, Ode: Intimations on Immortality, eleventh stanza)
Ruskin 's comparison of Rubens 's 'open breezy sunshine' with Titian 's 'opalescent twilight which has as much of human emotion as of imitative truth in it' anticipates his discussion of what he terms the pathetic fallacy in art in Modern Painters III. Ruskin illustrates this phenomenon of attributing human life and human emotions to the object-world in quoting from Wordsworth 's Ode, in which clouds are imbued with the 'sober colouring of human mortality'. But Titian's and Wordsworth's imputation of human feelings to inanimate objects conforms to the higher of the two forms of pathetic fallacy which Ruskin distinguishes: to an excited state of the artist's emotions rather than to a calculated, unfeeling and therefore reprehensible, attempt at stylistic effect.