O Tweed! a stranger, that with wand’ring feetThe 'romantick' waving branches is a nice touch; it refers primarily back to actual Romance, but looks forward as well to the Romanticism these poems (via Coleridge, and to a lesser extent Wordsworth) will provoke. And the poem's through-line is easy to follow: the speaker has a heavy heart, but finds solace in the remote natural landscape of the river. He heats its flow as a consoling friend. The (nameless) Something in the speaker's past is paralleled with the social wrong of the Enclosures, leaving deserted villages where once there had been pastoral activity and song. And yet, in a when-you-come-to-think-of-it puzzling final twist, the speaker seems to applaud the forced depopulation of the countryside, since it has had the agreeable side-effect of giving him the elbow-room to sit and muse. I'm not sure, if I think about it, whether the poem squares the circle of its (conventionalised) desire to deplore the Enclosures, and its (more individual) sense that an empty countryside is a beautiful countryside.
O'er hill and dale has journeyed many a mile,
(If so his weary thoughts he might beguile),
Delighted turns thy beauteous scenes to greet.
The waving branches that romantick bend
O'er thy tall banks, a soothing charm bestow;
The murmurs of thy wand’ring wave below
Seem to his ear the pity of a friend.
Delightful stream! tho’ now along thy shore,
When spring returns in all her wonted pride,
The shepherd’s distant pipe is heard no more,
Yet here with pensive peace could I abide,
Far from the stormy world's tumultuous roar,
To muse upon thy banks at eventide.
Something else that strikes me: to what extent is this poem stitched together out of scraps and phrases from elsewhere? 'Wandering feet' is Jeremiah 14:10; 'hill and dale' is Shakespeare (Midsummer Night's Dream; it's also Milton's 'Song on May Morning'); 'beauteous scenes' is a standard poeticism (Google returns pre-1789 hits for Prior and Reynolds); likewise 'soothing charm' ('And now where every other motive fails/The soothing charm of eloquence prevails', 'The Councillor', 1733); 'wonted pride' is Paradise Lost (1:527), 'pensive peace' is from Thomas Warton's 1761 'Cherwell' Ode ('Lo! pensive Peace shall tune your solemn strings,/To saddest airs along my lonely verge'; Warton was Poet Laureate from 1785!); and 'the shepherd’s distant pipe is heard no more' chimes with a hundred pastoral texts (for example: here's the libretto to Handel's Acis and Galatea (1718): 'Stay, shepherd, stay!/See, how thy flocks in yonder valley stray!/What means this melancholy Aria?/No more thy tuneful pipe we hear.') I'm not sure what to make of this single-minded dedication to writing at second-hand. It's like a sort of Waste Land tissue of quotations, only without the larger 'cultural exhaustion' rationale.