When and where was this recorded, please?

Listen at minute 26:20 Heiner mentions an article that +Williamson recently
wrote about the William Wordsworth (1770-1850) poem, "Tinturn Abbey,"
which is regarding the effects of nature on a person, experienced in a part
of England, and that  "...here we are in an English garden..."  If you look
up the poem you'll find the following:

Summary

The full title of this poem is “Lines Composed a Few Miles above Tintern Abbey, on Revisiting the Banks of the Wye during a Tour. July 13, 1798.” It opens with the speaker’s declaration that five years have passed since he last visited this location, encountered its tranquil, rustic scenery, and heard the murmuring waters of the river. He recites the objects he sees again, and describes their effect upon him: the “steep and lofty cliffs” impress upon him “thoughts of more deep seclusion”; he leans against the dark sycamore tree and looks at the cottage-grounds and the orchard trees, whose fruit is still unripe. He sees the “wreaths of smoke” rising up from cottage chimneys between the trees, and imagines that they might rise from “vagrant dwellers in the houseless woods,” or from the cave of a hermit in the deep forest.

The speaker then describes how his memory of these “beauteous forms” has worked upon him in his absence from them: when he was alone, or in crowded towns and cities, they provided him with “sensations sweet, / Felt in the blood, and felt along the heart.” The memory of the woods and cottages offered “tranquil restoration” to his mind, and even affected him when he was not aware of the memory, influencing his deeds of kindness and love. He further credits the memory of the scene with offering him access to that mental and spiritual state in which the burden of the world is lightened, in which he becomes a “living soul” with a view into “the life of things.” The speaker then says that his belief that the memory of the woods has affected him so strongly may be “vain”—but if it is, he has still turned to the memory often in times of “fretful stir.”

Even in the present moment, the memory of his past experiences in these surroundings floats over his present view of them, and he feels bittersweet joy in reviving them. He thinks happily, too, that his present experience will provide many happy memories for future years. The speaker acknowledges that he is different now from how he was in those long-ago times, when, as a boy, he “bounded o’er the mountains” and through the streams. In those days, he says, nature made up his whole world: waterfalls, mountains, and woods gave shape to his passions, his appetites, and his love. That time is now past, he says, but he does not mourn it, for though he cannot resume his old relationship with nature, he has been amply compensated by a new set of more mature gifts; for instance, he can now “look on nature, not as in the hour / Of thoughtless youth; but hearing oftentimes / The still, sad music of humanity.” And he can now sense the presence of something far more subtle, powerful, and fundamental in the light of the setting suns, the ocean, the air itself, and even in the mind of man; this energy seems to him “a motion and a spirit that impels / All thinking thoughts.... / And rolls through all things.” For that reason, he says, he still loves nature, still loves mountains and pastures and woods, for they anchor his purest thoughts and guard the heart and soul of his “moral being.”

Etc...
...

Form

“Tintern Abbey” is composed in blank verse, which is a name used to describe unrhymed lines in iambic pentameter. Its style is therefore very fluid and natural; it reads as easily as if it were a prose piece. But of course the poetic structure is tightly constructed; Wordsworth’s slight variations on the stresses of iambic rhythms is remarkable. Lines such as “Here, under this dark sycamore, and view” do not quite conform to the stress-patterns of the meter, but fit into it loosely, helping Wordsworth approximate the sounds of natural speech without grossly breaking his meter. Occasionally, divided lines are used to indicate a kind of paragraph break, when the poet changes subjects or shifts the focus of his discourse.

Commentary

The subject of “Tintern Abbey” is memory—specifically, childhood memories of communion with natural beauty. Both generally and specifically, this subject is hugely important in Wordsworth’s work, reappearing in poems as late as the “Intimations of Immortality” ode. “Tintern Abbey” is the young Wordsworth’s first great statement of his principle (great) theme: that the memory of pure communion with nature in childhood works upon the mind even in adulthood, when access to that pure communion has been lost, and that the maturity of mind present in adulthood offers compensation for the loss of that communion—specifically, the ability to “look on nature” and hear “human music”; that is, to see nature with an eye toward its relationship to human life. In his youth, the poet says, he was thoughtless in his unity with the woods and the river; now, five years since his last viewing of the scene, he is no longer thoughtless, but acutely aware of everything the scene has to offer him. Additionally, the presence of his sister gives him a view of himself as he imagines himself to have been as a youth. Happily, he knows that this current experience will provide both of them with future memories, just as his past experience has provided him with the memories that flicker across his present sight as he travels in the woods.

“Tintern Abbey” is a monologue, imaginatively spoken by a single speaker to himself, referencing the specific objects of its imaginary scene, and occasionally addressing others—once the spirit of nature, occasionally the speaker’s sister. The language of the poem is striking for its simplicity and forthrightness; the young poet is in no way concerned with ostentation. He is instead concerned with speaking from the heart in a plainspoken manner. The poem’s imagery is largely confined to the natural world in which he moves, though there are some castings-out for metaphors ranging from the nautical (the memory is “the anchor” of the poet’s “purest thought”) to the architectural (the mind is a “mansion” of memory).

The poem also has a subtle strain of religious sentiment; though the actual form of the Abbey does not appear in the poem, the idea of the abbey—of a place consecrated to the spirit—suffuses the scene, as though the forest and the fields were themselves the speaker’s abbey. This idea is reinforced by the speaker’s description of the power he feels in the setting sun and in the mind of man, which consciously links the ideas of God, nature, and the human mind—as they will be linked in Wordsworth’s poetry for the rest of his life, from “It is a beauteous evening, calm and free” to the great summation of the Immortality Ode.

(Elsewhere on the same site is found this:)
...Wordsworth became the dominant force in English poetry while still quite a young man, and he lived to be quite old; his later years were marked by an increasing aristocratic temperament and a general alienation from the younger Romantics whose work he had inspired.  Byron—the only important poet to become more popular than Wordsworth during Wordsworth’s lifetime—in particular saw him as a kind of sell-out, writing in his sardonic preface to Don Juan that the once-liberal Wordsworth had “turned out a Tory” at last. The last decades of Wordsworth’s life, however, were spent as Poet Laureate of England, and until his death he was widely considered the most important author in England.


This above is not written by +Williamson, though.  Perhaps someone can find
the article that the Bishop wrote?? (I am not finding it...)

The Bishop's interest here is in a poet who lived and wrote two centuries ago,
but this reminds us of the enduring value of the written word.  Someone may
give a GREAT speech, but unless his voice and inflection is enduringly recorded
for future audiences, "the spoken word flies" and can no longer be found.  In
great poetry, however, a variety of interpretations are valid and true, and
the poem itself provides the "form" or the "roadmap" giving structure to what
the orator may develop into his own delivery, of the same words.  Poetry does
different things to different readers, and they in turn do different things to
different listeners, but in all cases, poetry is properly read aloud, not silently.

It seems to me that +Williamson, a native Briton and most diligent student of
the English language, enjoys finding a remnant of the Catholic spirit in the
prominent authors of his homeland, even while the 'official' religion slaughtered
the Catholic faith there, historically.  He likely hopes for the day when the true
spirit of Catholicism can be revived and this greatness restored for his
countrymen to enjoy.  If you are a reader of his periodical installments, which
are most recently called Eleison Comments, and before that Dinoscopus, and
before that the Seminary Letter from Winona, you may have noticed that his
controlled passion is to give the maximum efficacy of which he is humanly
capable to the printed word, for I have no idea how else he could be so
effective at achieving such an abstract and elusive objective by anything other
than a focused aim in that specific direction.

One cannot help but think that the Bishop's love for poetry has had an enormous
impact on his ability to make a lot of content fit into few words in his letters.  I
have often wondered what amount of time is required for him to write one, e.g.,
one week's EC.  Can he do it in 15 minutes?  Does he need to make a rough
draft first and then wait a day?  Does he set down one paragraph at a time?  
Does he make revisions?  Or, which is rather unlikely, but nonetheless possible:
does he compose the whole thing in his mind, as Mozart did his symphonies, and
then writing them down becomes a mere act of clerical execution?  The original
manuscripts of Mozart have nothing crossed out, but are as those charicature
drawings of cartoon artists whose pen is put to paper once and the only marks
are all permanent and error-free.


In sum, I cannot hide that I am a serious fan of Bishop Richard Williamson, in
this context, regarding his literary potency.  He is a teacher of the Faith
primarily, and his orthodoxy is most prominent in his actions and his words.
I therefore am all the more deeply offended and stirred to arise from out of
my erstwhile inactivity when I hear or see the words Bishop Fellay hurls as
egregious accusations and insidious calumny against his own brother bishop.
I can't help but wonder if +Fellay only fails to control his envy because in
everything he writes, his effect is diametrically in contrast to those effects to
which I have briefly and inadequately alluded.  +Fellay writes and writes and
writes, or speaks and speaks and speaks, and says so very little.  And then
he has the temerity to pretend he is "sad" - well, I'd be sad, too, if I was so
inept at doing what I so eagerly pretend to be doing.  

The expansion of ABL's mission into England would be quite an interesting study because it would bring into focus the state of true Catholicism there, what it was like during the immediate post-war period and how the English reacted to the Council.  Maybe Bp. W was ideally placed to fully understand with some detachment the nature of the growing vacuum here although most of his time has been spent abroad with different Catholic histories. Even so, if the bishop cannot have much impact on the disposition of souls in his own backyard, that unique qualification he has will be to no avail except in part as an eccentric Englishman abroad.

I'm not very familiar with all the missions of +Williamson, but have only read/listened to his sermons/interviews on the internet and I'm yet to find anything that he's done that's disagreeable......on the contrary, I clearly see that he speaks the "truth" whether its a matter of opinion or a matter of faith. To those that aren't interested in hearing the Truth, I wouldn't be surprised if they catagorized him in much more worse terms than an eccentric Englishman abroad.

If anyone (Catholic or not) was sincerely honest and were deliberately searching in finding the "Truth" (God's Truth), they'd find it as God will Bless with the necessary Graces to find it and it wouldn't really matter "if the bishop cannot have much impact on the disposition of souls in his own backyard" or anybody elses backyard. Of course, any true Bishop will certainly have to do his "Bishoply" duties, but it will be to no avail if man has not first turned to God in finding His Truth.
Methinks, we should not expect miracles from +Williamson, but rather he be the faithful guide in directing the scattered flock.  

What were those websites he recommended??

I still have to visit these sites and these are the links I Googled (the names of some of the people). Please correct me if my Google search was incorrect.

http://www.jsmineset.com/

http://www.321gold.com/

http://peterschiffblog.blogspot.com/