In the final verse she looks forward to the sea. Now out of the sheltered lane, she feels the wind gusting funnelled between the hills. The metaphor ‘slapping' should be harsh, but is not, because it is ‘phantom laundry' that catches her face - a down to earth description of being beaten by washing on the washing line. The hills are personified as too green to have ‘tasted salt'. She follows a sheep path, and the ‘face' of the hills is a cliff of ‘orange rock' looking north. From plentiful detail - there is nothing, nothing = ‘a great space' - the repetition signifies the size and sameness of the sea. The sea too has beauty - described as metal - ‘white and pewter lights', waves and greyness. The noise of the sea ‘din' as though ‘silversmiths' beat the metal without any cause - it is ‘intractable'. There is a fearful and cold ending to the poem which before held so much warmth with images rich with images and colour.
The poem can be seen as simply as poem describing the beauty of nature - or conversely, a reflection of her life - the enjoyment of beauty, but also a vision of underlying pain (final verse) from which she could not escape
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