This is an interesting poem in that, while it has a pastoral setting (the "Vale profound / overflowing with the sound" of the solitary maiden singing), Wordsworth actually suggests that the voice of the maiden is more beautiful even than "the Cucukoo-bird" or "Nightingale." This everyday sight and sound of a girl singing at her work, the poem suggests, is able to reach the sublime in its ordinariness, taking root in the poet:
The music in my heart I bore,
Long after it was heard no more.
Nature, then, does not end, nor reach its pinnacle, with birdsong. On the contrary, this "solitary Highland lass" about her daily business represents perhaps the most beautiful thing in nature. The poet imagines her song, too, to be representative of any and every part of human existence: he wonders if she sings of "old, unhappy, far-off things" or simply "familiar matter of today." He does not discriminate between a song for "battles long ago" or one which deals with familiar matters—this does not affect the beauty of the song. This reflects Wordsworth's own concern, as stated in his Preface to Lyrical Ballads,
to draw his inspiration from what was really around him, rather than from the lofty poetic subjects of death, God, and love only. The sublime song of the "Highland lass" is a representation of how such a mundane lyric can have the power to set nature "overflowing with the sound." The "theme" is unimportant: what is important is that "the Maiden sang / as if her song could have no ending," so imbued with the spirit of her inspiration that the strength of this spirit was than transferred, as it were, into the poet himself.