Lyrical Ballads 1798


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Lyrical Ballads with a few other poems.



(1798)



A collaboration with Samuel Taylor Coleridge



This collection is generally considered to have marked the beginning of the English Romantic movement in literature. The immediate effect on critics was modest, but it became and remains, a landmark, changing the course of English literature and poetry. Most of the poems in this 1798 edition were written by Wordsworth, with Coleridge contributing only four poems to the collection, including one of his most famous works, "The Rime of the Ancient Mariner".



A second edition was published in 1800, in which Wordsworth included additional poems and a preface detailing the pair's avowed poetical principles. Another edition was published in 1802, Wordsworth added an appendix titled Poetic Diction in which he expanded the ideas set forth in the preface.



It is the honourable characteristic of Poetry that its materials are to be found in every subject which can interest the human mind. The evidence of this fact is to be sought, not in the writings of Critics, but in those of Poets themselves.



The majority of the following poems are to be considered as experiments. They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purposes of poetic pleasure. Readers accustomed to the gaudiness and inane phraseology of many modern writers, if they persist in reading this book to its conclusion, will perhaps frequently have to struggle with feelings of strangeness and awkwardness: they will look round for poetry, and will be induced to enquire by what species of courtesy these attempts can be permitted to assume that title. It is desirable that such readers, for their own sakes, should not suffer the solitary word Poetry, a word of very disputed meaning, to stand in the way of their gratification; but that, while they are perusing this book, they should ask themselves if it contains a natural delineation of human passions, human characters, and human incidents; and if the answer be favoorable to the author's wishes, that they should consent to be pleased in spite of that most dreadful enemy to our pleasures, our own pre-established codes of decision.



Readers of superior judgment may disapprove of the style in which many of these pieces are executed it must be expected that many lines and phrases will not exactly suit their taste. It will perhaps appear to them, that wishing to avoid the prevalent fault of the day, the author has sometimes descended too low, and that many of his expressions are too familiar, and not of sufficient dignity. It is apprehended, that the more conversant the reader is with our elder writers, and with those in modern times who have been the most successful in painting manners and passions, the fewer complaints of this kind will he have to make.



An accurate taste in poetry, and in all the other arts, Sir Joshua Reynolds has observed, is an acquired talent, which can only be produced by severe thought, and a long continued intercourse with the best models of composition. This is mentioned not with so ridiculous a purpose as to prevent the most inexperienced reader from judging for himself; but merely to temper the rashness of decision, and to suggest that if poetry be a subject on which much time has not been bestowed, the judgment may be erroneous, and that in many cases it necessarily will be so.



The tale of Goody Blake and Harry Gill is founded on a well-authenticated fact which happened in Warwickshire. Of the other poems in the collection, it may be proper to say that they are either absolute inventions of the author, or facts which took place within his personal observation or that of his friends. The poem of the Thorn, as the reader will soon discover, is not supposed to be spoken in the author's own person: the character of the loquacious narrator will sufficiently shew itself in the course of the story. The Rime of the Ancyent Marinere was professedly written in imitation of the style, as well as of the spirit of the elder poets; but with a few exceptions, the Author believes that the language adopted in it has been equally intelligible for these three last centuries. The lines entitled Expostulation and Reply, and those which follow, arose out of conversation with a friend who was somewhat unreasonably attached to modern books of moral philosophy.


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A brief analysis of Tintern Abbey

In the poem "Lines Composed a Few Miles above Tintern Abbey" Wordsworth is trying to recapture a feeling about a part of the countryside that he had visited five years before by re-constructing the memory and tracing it over what he sees on this visit. The feeling he has is one of peace, "The day is come when I again repose" and also one of beauty, "The beauteous forms, through a long absence, have not been to me". He explains that he turns to these memories, "O sylvan Wye! thou wanderer through the woods, how often has my spirit turned to thee" and they have helped him appreciate nature as the years have passed since his last visit. Wordsworth also explaining that nature in its purest forms like the scene he is decribing is free of the evils of humanity, "Nature never did betray". He concludes by stating that the hills were, " More dear, both for themselves and for thy sake", which to him joins his pure thoughts with nature.


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