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LINES 143-149 when thy mind Shall be a mansion for all lovely forms, Thy memory be as a dwelling-place For all sweet sounds and harmonies; oh! then, If solitude, or fear, or pain, or grief, Should be thy portion, with what healing thoughts Of tender joy wilt thou remember me, And these my exhortations! Interestingly, the speaker then goes on to describe the transformation his sister will undergo with a metaphor and image that haven’t appeared in the poem up to this point. He says that her “mind / Shall be a mansion for all lovely forms,” and that her “memory [will] be as a dwelling-place / For all sweet sounds and harmonies.” The word “forms” used earlier in the poem, links the sister’s future consciousness to the speaker’s current one, since he appreciates the “beauteous forms”—implicitly the ideal Platonic forms—of the landscape. Meanwhile, the “sweet sounds,” with the sibilance of /s/ sounds, recalls other /s/ sounds in the poem, especially the words “secluded scene” and “serene,” while also evoking the “music of humanity” that the speaker says he has heard. “Harmonies” also conveys this sense of music as well as a kind of equilibrium and balance, suggesting that the sister, too, will recognize the intrinsic harmony and interconnection within nature. Finally, the idea of the sister’s memory as a “dwelling place” recalls the speaker’s description of the “sublime” as “dwelling” in all the natural world. What sets this description apart is the speaker’s description of his sister’s future mind as a “mansion.” For much of the poem, the speaker has juxtaposed nature and rural life (in which the only houses described are “cottages”) with the negative attributes of daily life in urban “towns and cities.” Here, for the first time, he imagines that his sister’s mind will become not closer to nature, exactly, but rather gain the refinement and spaciousness of a house owned by the very wealthy, which might be on a rural estate, but could also be within a city. This image conveys a sense of physical space and architecture, envisioning the sister’s mind as an actual place. But it also works interestingly within the gendered terms of the poem; in keeping within her expected gender roles, the sister, this image implicitly suggests, will inhabit not a “wild,” outdoor space, but a domestic, interior, one—however, it is a domestic space that is sufficiently “lofty” to fit within the framework of the poem as a whole. The speaker goes on to say that when his sister has reached this age and this state of maturity, if “solitude, or fear, or pain, or grief / Should be [her] portion,” she will remember the speaker and his “exhortations” with “healing thoughts / Of tender joy.” The monosyllabic words in the list (“fear,” “pain,” “grief”) imbue these lines with steady rhythm and emphasis. Meanwhile, the linking word “or” subtly recalls the earlier linking words of “and” and “nor.” In this case, the repetition of “or” emphasizes that no matter what the sister goes through, she will be able to recall this memory and be comforted by it. In a sense, then, the projected memory of this current conversation works as a kind of imagined resolution for the sister’s possible disparate and emotionally dissonant experiences. Finally, “portion” and “exhortation” create a sound echo and slight internal rhyme, suggesting that the speaker’s “exhortations,” or what he is saying now, is the inevitable musical reply to whatever his sister’s “portion,” or experience, might be.