Except this one restriction, there is no object standing between the Poet and the image of things; between this, and the Biographer and Historian there are a thousand. Aims of the Preface 1. The principal object, then, proposed in these Poems was to choose incidents and situations from common life, and to relate or describe them, throughout, as far as was possible in a selection of language really used by men, and, at the same time, to throw over them a certain colouring of imagination, whereby ordinary things should be presented to the mind in an unusual aspect; and, further, and above all, to make these incidents and situations interesting by tracing in them, truly though not ostentatiously, the primary laws of our nature: chiefly, as far as regards the manner in which we associate ideas in a state of excitement. The Preface also contains his views on poetic diction. . So, Wordsworth says that poetry is the first and last of all knowledge- it is as immortal as the heart of ma.
His archaic diction seems vivid and new, and allows his contemporary Romantic theme--the reverence for nature in all her wild variety--to speak with the authority of the ages. This is not only an act of justice, but in our decisions upon poetry especially, may conduce in a high degree to the improvement of our own taste: for an accurate taste in poetry, and in all the other arts, as Sir Joshua Reynolds has observed, is an acquired talent, which can only be produced by thought and a long continued intercourse with the best models of composition. The sonnet which I have quoted from Gray, in the Preface, except the lines printed in Italics, consists of little else but this diction, though not of the worst kind; and indeed, if I may be permitted to say so, it is far too common in the best writers, both antient and modern. The end of Poetry is to produce excitement in co-existence with an overbalance of pleasure; but, by the supposition, excitement is an unusual and irregular state of the mind; ideas and feelings do not, in that state, succeed each other in accustomed order. A change in one characteristically brought parallel changes in the others. The view of the moralists is that the writer can and does influence the lives and characters of his readers; and therefore it should try to be a good influence.
So that it will be the wish of the Poet to bring his feelings near to those of the persons whose feelings he describes, nay, for short spaces of time, perhaps, to let himself slip into an entire delusion, and even confound and identify his own feelings with theirs; modifying only the language which is thus suggested to him by a consideration that he describes for a particular purpose, that of giving pleasure. Poetry is the first and last of all knowledgeit is as immortal as the heart of man. I have therefore altogether declined to enter regularly upon this defence; yet I am sensible, that there would be some impropriety in abruptly obtruding upon the Public, without a few words of introduction, Poems so materially different from those, upon which general approbation is at present bestowed. I'm passionate about my area of study. It is like the torch that leads its readers on the dark path.
Their spirits are in heaven! He considers that man and nature are essentially adapted to each other. Why trouble yourself about the species till you have previously decided upon the genus? Coleridge still comes out way ahead of Wordsworth for me, but I am finally starting to get it about Wordsworth, a poet I have always rather disliked. He sees his poetry, in its concerns with the lives of men such as Michael, as an antidote to the artificial portraits of Man presented in eighteenth-century poetry. According to the rules the poets are to depend on reason and arguments. The most effective of these causes are the great national events which are daily taking place, and the increasing accumulation of men in cities, where the uniformity of their occupations produces a craving for extraordinary incident, which the rapid communication of intelligence hourly gratifies. Whence is it to come? This is unquestionably true; and hence, though the opinion will at first appear paradoxical, from the tendency of metre to divest language, in a certain degree, of its reality, and thus to throw a sort of half-consciousness of unsubstantial existence over the whole composition, there can be little doubt but that more pathetic situations and sentiments, that is, those which have a greater proportion of pain connected with them, may be endured in metrical composition, especially in rhyme, than in prose. To this I answer: by referring my Reader to the description which I have before given of a Poet.
I had formed no very inaccurate estimate of the probable effect of those Poems: I flattered myself that they who should be pleased with them would read them with more than common pleasure: and, on the other band, I was well aware, that by those who should dislike them they would be read with more than common dislike. The poet is a teacher and must strive to reveal truth, not through scientific analysis and abstraction, but through an imaginative awareness of persons and things. Moreover, by the power of his creative imagination, the poet creates significant images to sharp our senses ad sensibilities, and to enhance our knowledge about life. So Wordsworth rebelled against the artificial language used by the poets of the preceding sensation, which was known as the Neo-Classical language. It is not, then, in the dramatic parts of composition that we look for this distinction of language; but still it may be proper and necessary where the Poet speaks to us in his own person and character.
His main purpose is to give pleasure by painting out the different branches of knowledge of this vast universe. The poet also describes the real incidents that we are facing daily. Well he was egocentric it seems; he was best in his earlier works; and he unabashedly loved nature. Whate'er the theme, the Maiden sang As if her song could have no ending; I saw her singing at her work, And o'er the sickle bending;-- I listened, motionless and still; And, as I mounted up the hill, The music in my heart I bore, Long after it was heard no more. See 1st Corinthians, Chapter 13th. From what has been said, and from a perusal of the Poems, the Reader will be able clearly to perceive the object which I had in view: he will determine how far it has been attained; and, what is a much more important question, whether it be worth attaining: and upon the decision of these two questions will rest my claim to the approbation of the Public. His Preface to the Lyrical Ballads became the symbol and the instrument of romantic revolt.
The educated would have appreciated what was happening here, but the uneducated would not have even been able to read it never mind afford a copy. However exalted a notion we would wish to cherish of the character of a Poet, it is obvious, that while he describes and imitates passions, his employment is in some degree mechanical, compared with the freedom and power of real and substantial action and suffering. This part of my subject I have not altogether neglected; but it bas been less my present aim to prove, that the interest excited by some other kinds of poetry is less vivid, and less worthy of the nobler powers of the mind, than to offer reasons for presuming, that, if the object which I have proposed to myself were adequately attained, a species of poetry would be produced, which is genuine poetry; in its nature well adapted to interest mankind permanently, and likewise important in the multiplicity and quality of its moral relations. Moreover, they celebrate the joys and power of nature. Our feelings are the same with respect to metre; for, as it may be proper to remind the Reader, the distinction of metre is regular and uniform, and not like that which is produced by what is usually called poetic diction, arbitrary, and subject to infinite caprices upon which no calculation whatever can be made. Therefore he makes an attempt to extend the area of poetry by including subjective elements and describing the natural objects that are contributing silently to our lives and supplying different feelings to our senses and sensibilities.
There are words in both, for example, the Strand, and the town, connected with none but the most familiar ideas; yet the one stanza we admit as admirable, and the other as a fair example of the superlatively contemptible. None of them stood out for me, which was disappointing as after my love of 'What if you slept' as quoted in the preface to Stiefvater's The Dream Thieves! Emphatically may it be said of the Poet, as Shakespeare hath said of man, that he looks before and after. There is a reason why these are the most famous poems from this collection, I think they are clearly the best poems in the collection and the only ones I would choose to read again. Well he was egocentric it seems; he was best in his earlier works; and he unabashedly loved nature. But I still really just couldn't give less of a shit. Stage One: Observation First comesobservation or perception of some object, character or incident which sets up powerful emotions in the mind of the poet. I love the English Romantic Period, and I love Wordsworth.
They are of separate type reflecting only the lives of the Aristocratic people of the society. Now, if nakedness and simplicity be a defect, the fact here mentioned affords a strong presumption that poems somewhat less naked and simple are capable of affording pleasure at the present day; and, what I wish chiefly to attempt, at present, was to justify myself for having written under the impression of this belief. The power of any art is limited; and he will suspect, that, if it be proposed to furnish him with new friends, that can be only upon condition of his abandoning his old friends. What other distinction would we have? Furthermore, he thought the difference between poetry and prose was substantial, and it lay in the different ways they treated the same subject. The earliest Poets of all nations generally wrote from passion excited by real events; they wrote naturally, and as men: feeling powerfully as they did, their language was daring and figurative. I forbear to speak of an incongruity which would shock the intelligent Reader, should the Poet interweave any foreign splendour of his own with that which the passion naturally suggests: it is sufficient to say that such addition is unnecessary.
From such verses the Poems in these volumes will be found distinguished at least by one mark of difference, that each of them has a worthy purpose. Their language is more passionate, more vivid and more emphatic. In the one case, the Reader is utterly at the mercy of the Poet respecting what imagery or diction he may choose to connect with the passion, whereas, in the other, the metre obeys certain laws, to which the Poet and Reader both willingly submit because they are certain, and because no interference is made by them with the passion but such as the concurring testimony of ages has shewn to heighten and improve the pleasure which coexists with it. All the poems have a rustic, backwoods, working class quality to them. It may be safely affirmed, that there neither is, nor can be, any essential difference between the language of prose and metrical composition.