YA LE S T U D I E S I N E NG L I S H

A L B E RT S . C OO K , EDI TO R
LV I L

W O R D S WO R T H ’
S T H EO R Y O F
P O ET I C D I C T I O N
A ST U D Y O F THE I
H ST O R C A I L A ND P E R SON A L
B A C K G R O U ND O F T H E L Y R I C A L B A L LA D S

M A RJ OR IE LAT T A BA R ST O W
I NSTR U C TO R I N ENGL I S H I N C ONNE C T I C U T C OLLE G E

NE W H A V E N : YA L E U N I V E R S I TY P R E S S
L O N D O N : H U M P H R EY M I L F O R D
O X F O R D U N I V E R SI TY P R E S S

M D C C CQ X V H
 Y A LE S T U D I E S I N E N GLI SH
W

A L B E RT s . C OO K , ED I TO R
LV I I

W O R D SW O R T H ’
S T H EO R Y O F
P O ET I C D I C T I O N K

A ST U D Y O F THE H I ST O R I C A L A ND P E R SO NA L

B A C K GR O U N D O F T H E L Y R I C A L B A L LA D S

\B Y
M A R J O R I E L A T T A BA R S T O W i infi/
“
’

i
I NSTR U C TO R I N EN GL I S H I N C ONNE CT I C U T C OLLE GE

A D is s e r t a t l o n p r e s e nt e d t o t h e F a c u lt y o f th e a at
Gr d u e Sc h o o l
of Yale U ni v e r s it y , in Cand id ac y f o r the D g
e ree o f

D o c t d ?§ of P hfi p hy
”
"
r
O SO

N E W H AV E N : Y A L E U N I V E R S I T Y P R E S S
LON D ON : H U M P H R EY M I LF O R D -

OX F O R D U N I V E R S I TY P R E S S

M D C C C CX V I I
 P RE FAC E

Th e f o ll o w i ng s t udy w a s u nd e r t ak en a s a d o c to ral d is
s er t a t io n u nd e r t h e di r e c t i o n o f P r o f e s s o r A lb e r t 5 C o o k
.

o f Y al e U niv e r s i t y T o P r o f e s s o r C oo k I e m e s p e ciall y
.

i nd e b t ed no t o nly f o r s t imulat i ng guidanc e in th e fi

, e ld o f

th e E ngli s h lang u ag e in g e n e ral , b u t f o r a m o s t m i nu t e a nd

pains t aki ng c r i t ici s m o f t h e pr o o f T o P r o f e s s o r L an e
.

C o o p er o f C o r nell U niv ef sity I ow e a d eb t l e s s e asy o f

defi nit io n A l t h o ugh h e h a s no t r e ad t h e ma nus crip t o f
.

t hi s b o o k a nd is no t r e s p o ns ibl e f o r par t icular s t a t e m e nt s

,

h e r e i n th e in s pira t i o n a nd th e dir e c t i o n t ha t I r e c e iv e d
,

fr o m him in m y r e ading o f W o r d s w o r t h a s a n u nd e r
,

grad u a t e a t C o r nell h a s b e e n th e m o s t Vi t al e l e m ent in my

s t udy o f t h e p o e t ; i f t h e r e is a ny t hi ng g o o d in t hi s w o r k

o f m in e , it is ul t ima t e ly d e r iv e d fr o m h im . I al s o w i s h t o
m ak e gra t ef u l ackno w l e d g m e nt t o P r o f e s s o r C harl t o n M .

L ew i s f o r cri t ici s m r e c e iv e d fr o m him in his c o ur s e o n

ni ne t ee n th c en t ury p o et s in t he Graduat e S ch o o l o f Y al e
-

Univ e r s i ty .

M y i nd e b t e d nes s t o b o o k s I hav e t ri e d t o i ndi ca t e in

th e f o o tno t es B u t li k e m any o th e r s t ud e n t s o f W o rds
.
,

w o r t h I w i s h t o r e c o rd my e s p e cial appr e cia t i o n o f t h e

,

E a r ly L if e of Willia m Wo wd s ww th by P r o f e s s o r Em il e
L e g o u is . A l t h o ugh , in many i ns t a nc e s I hav e b e e n f o r c e d
,

t o di s ag r e e W i t h t h e c o nclu s i o ns o f M L e g o u is I f e e l t ha t
.
,

W i t h o u t t h e s t i m u la t ing e x ampl e o f his b e a u t i ful w o rk ,

t hi s s t udy w o uld h av e b e e n i m po s s ibl e . I n ackn o w l e dgi ng

m y s p e cial i nd e b t e d ne s s t o b o o k s I w i s h t o mak e gra t e ful
,

m ent i o n o f t h e b e au t i ful c o ll e c t i o n o f Wo r d s w o r t h ia na in

t h e p o s s e s s i o n o f M r s C y nt h ia M o r ga n S t J o h n o f I thaca ,
. .

Ne w Y o r k , Which s h e g e ne r o u s ly plac e d a t my di s p o s al .
iv WORDSWORTH S T H EORY
’
OF P OET I C D I C T I ON

I n ci t ing qu o t at i o ns fr o m th e pr o s e o f C o l e ridg e and th e

p o e t r y o f W o r d s w o r th I hav e t ri e d t o r e t ain th e o ri gi nal
,

punc t ua t i o n a nd s p e llin g , b e c aus e t h ey r epr e s e n t t h e u s ag e

o f th e au t h o r s t h e m s e lv e s
. I n m o st o th e r cas e s it h a s s ee m e d
b e s t t o s t a ndardi z e th e s p elli ng a nd punc t uati o n f o r th e s ak e
o f g r e a t e r cl e arn e s s and s m o o t hn e ss o f r e a d ing
.
 I NT R O D U C T I O N

T ot h o s e wh o r e a d th e p oet r y o f W o rds w o r th in t he light

o f M at t h ew A r n o ld s cri t ici s m , wi t h t h e e nt hu s iasm o f all
’

g oo d Wo r ds w o r thia ns th e p o e t is pri m a r ily a t e ach er , a ,

phil o s o ph e r , a pur e s o ul w i t h a m e s s ag e o f h e ali ng f o r a

f e v e r i s h w o rld S o , ind e e d , h e r e ga r d e d him s e l f
. I wi sh .
‘

he
’1
e i th e r t o b e c o nsid e r e d a s a t e ach e r , o r a s n o t hing ,

w ri t e s a nd h is wi s h has b ee n f u lfi lle d B ut to o o f t e n h e .

is s o c o n s id e r e d t o th e e xclu s i o n o f a pr o p e r i nt e r e s t in
h is m e r i t s a s a s ty lis t , a s a gr e at and p e culiarly s e l f c o n
.
-

s ci o u s a r t i s t in a k ind abs o lu t e ly unb o rr o w e d and h is

‘

own
’
.

T o t h e tw o mo st fi nely gi f t e d cri t ic s o f his o wn g en era

’

t i o n h e p r es ent e d hims e l f in a qui t e di ff e r e nt li gh t I t wa s .

no t Wo r d s w o r th s phil o s o phy t ha t primarily i n

’
t e r es t e d
’

C o l eridg e a nd L amb ; it w a s his s ty le T o h is phil o s o phy .

th ey w e r e b o t h m o r e o r le s s ant ag o ni s t i c C o l e rid g e .

o bj e c t e d t o t h e mi s ty , ra th e r than mys t i c , c onfu s i o n o f

‘

Go d w i t h th e w o rld in p o em s lik e T in t e rn A bb e y , t h o ugh

'

2 ’

a t t h e s am e t im e h e b e li e v e d W o rds w o r th capabl e o f w ri t

in g th e fi r s t g e nuin e phil o s o phi cal p o em in E nglish L amb .

w a s i ncli ne d t o mak e m e rry ov e r W o rd s w o r th s d e v o t i o n

’

t o s t o cks and s t o n es a nd o th e r inanima t e o bj e c t s and t o , ,

ce l ebra t e the s up eri o r at t rac t i o ns of t h e Lo n do n s t r e e t s 3

.

B u t b o t h imm e dia t e ly gav e full r e c o gni t i o n and h o m ag e

t o W o r d s w o r th s uni q u e gi f t o f imagina t iv e e xpr e s s i o n
’

t h e o ri gi nal gi f t o f s pr e ading th e t o n e , th e a tm os p h er e
‘

a nd w i t h it th e d e p t h and h e i gh t o f t h e id e al w o rld a r o und

f o r m s i ncid en t s a nd si t ua t i o n s , o f w hich f o r t he c o mm o n
, , ,

vi ew c u s t o m had b e dimm e d all t he lu s t r e, had dri e d up

,

t h e s parkl e and th e d e w dr o p s 4 ’
.

L . W . F . 1 .
33 1 .

B iog r a phia E pis to la m s

’

2 . 1 95 .

3
L e t ter s o f Ch a r les L am b I . 1 90 -
1 91 .

4
B L . . 1 .
59 .
v ii i WORD S W — T H EORY
ORT I I S
’
OF P OE T I C D I C T I ON

gi f t , th ey f el t , e xpr e ss e d it s el f in a d iction hi g hl y
‘
T his
l—
individu a liz e d and c h a r a c t e r is t ic a dic t i o n p e culiarl y ’ ‘

his o wn, a s tyl e whi ch cann o t b e imi t at e d , wi t h

o u t it s b e ing a t o nc e r e c o gni s e d as o r iginatin g in M r .

W o rd s w o r th 2
T hi s s t yl e b o t h C o l er id g e and L amb
.
’

b eli e v e d t h ey c o uld di s t inguish wi th o u t h es i t a t i o n , wh er

‘
e v e r t h ey e nc o un t e r e d it T hat .

U nc er t ai n h e av en r e c e iv e d
I nto th e bo som of th e s t e a dy lak e

I sh o uld hav e r e c o g nis e d anywh e r e wri t e s C o l e rid g e ,

’ 3
,
‘
and h ad I m e t t h e s e lin e s ru nning wil d in th e d e s e rt s
“
o f A rabia I sh o uld h av e instantly s cr e am e d out W o r d s
, ,

L amb s e ems t o h o ld a s imilar o pini o n In .

his charac t eristic r e mar k s o n the e di t i o n o f 1 8 1 5, in

which h e pr o c e e d s fr o m p o e m t o p o e m , c o mm e n t in g
w ith th e r efi ne d E pi cur e an e nj o y m e nt o f a c o nn o i s s e ur
in language on th e lin e s and phras e s that m o st pl e as e
his t ast e, h e con t inuall y impli e s th at W or d sworth h as
“ ”
a di s t i nc t and r e c o gni z abl e ma nn e r L a o damia is .

a v ery o ri ginal p oe m , h e w ri t e s I m e an o ri ginal ’

.
‘

with r e f e r enc e t o y o ur o wn mann er Y o u have nothin g .

li k e it I s h o u ld h av e s e e n it in a s t rang e plac e a nd gr ea tly

.
,

admi r e d it , b ut no t s u s p e c t e d it s d e riva t i o n “ A gain , in .

s p e a k ing o f t h e e x t rac t s fr o m A n E v enin

g W a lk and t h e

D es c r ip tiv e S k e t c hes in clu d e d in th e v o lum e s o f 1 8 1 5, h e

r ema r k s : A ll th e r e s t o f y o ur p oe ms a r e s o m uch o f a
5 ‘

pi e c e , th e y mi gh t h av e b e en w ri t te n in t h e s a m e w e e k ;
t h es e d e cid e dly s p e a k o f an e arli e r p e ri o d T h ey t ell m o r e .

o f W ha t y o u had be e n r e ading
’
.

1
B . L . 1 .
77 .

2
B . L . 1 . 80 .

8
M e m o ir s 1 . 13 9 .

L e t t er s o f Ch a r les L am b 1 .
3 53 .

5
I b id . 1 .
3 54 .
 I NTROD U CTION ix

T hi s highly i ndivid u ali z e d dic t i o n al w ay s t em p t e d C o l e

ridg e s p o w e r s o f analy s i s I nd e e d h e w a s fi
’
. r s t le d t o h is

s p e c ula t i o n o n t h e di ff e r enc e b et w e e n imagi na t i o n a nd

f a ncy by h is a tt e m pt s t o d e hne th e p e culiar quali t y o f
W o rds wo r th s p o e try a s di s t ingui s h e d f r o m v er s e that
’

m igh t s e e m m o r e brillia nt o r cl e v e r o r o bvi o u s ly s kil ful

1
.

T h i s a naly s i s h e carri e s f ur th e r in h is fa m o u s c r i t ici s m o f

Wo r ds w o r th s s tyl e a nd th eo r y o f s ty l e , in th e B iogr a p hie
’

L it e r a m an .
2 ‘
—
Wo u ld a ny b u t a p o e t a t l e a s t c o uld a ny o ne
'

w i t h o u t b e i ng c o ns ci o u s th a t h e h ad e xp r e s s e d hi m s e l f w i th
—
n o t i c e abl e v iv a c ity hav e d e s crib e d a bi r d s i ngi ng l o ud
t

“ ”
b y , T h e t h rus h i s b u s y i n t he w o o d o r hav e s p o k e n o f
,

—
b o y s w i th a s t r i ng o f club m o s s r o u nd t h e i r ru s t y ha t s a s ,

t e b o ys
h
“
w ith th ei g ee n c o r o a ?
r r n l
”
— o r hav e t ra ns la t e d a
“ ”
b e a u t i f u l M a y day i nt o B o th ea r th a nd s hy k e ep ju bile e ?

o r h av e br o ugh t all t h e di ff e r e n t mark s a nd circ um s t anc e s

o f a s ea l o ch b e f o r e t h e mi nd a s t h e ac t i o ns o f a living and
-
,

ac t i ng p o w e r ? o r hav e r epr es ent e d th e r efl e c t io n o f t h e s k y

“
in th e w at e r a s Th a t u nc er ta in hea v en r e c eiv ed into the
,
”
b o s o m of th e s te a dy la k e ? E v e n t h e g r amma tical c o n
“
s t r u c t i o n is no t un f r e qu e n t ly p e culiar ; a s T h e w ind th e ,

t e m p es t r oa r ing hig h th e tu m u lt of a tr o p ic s k y m igh t

, ,

w ell b e d ange r o us f o o d t o him a y o u th t o w h o m wa s giv en ,

etc . T h er e is a p e c u liari ty in t h e u s e o f t h e d o w dpr m o v

( t ha t is t h e o m i s s 1 o n o f t h e c o nn e c t iv e p ar t i cl e b e f o r e t h e

la s t o f s e v e ra l w o rd s o r s e v e ral s e n t enc e s u s e d g r a m m a t i
,

c ally a s s i ngl e w o rd s all b e i ng in th e s am e ca s e a nd g o v e r n

,

ing o r b e i ng g o v e r ne d by th e s a m e v e r b ) and no t l e s s in t h e
“
‘
c o ns t ru c t i o n o f w o r d s by app o s i t i o n ( t o him a ,

B u t C o l e ridg e s b r illian t a nd s ugg e s t iv e a naly s i s o f t h e

’

—
cha r ac t e r i s t ic f e a t ur e s o f W o r d sw o r th s s tyl e th e uniqu e ’

a nd im a g ina t iv e m e t a ph o r s t h e ri ch a nd o f t e n curi o u s ly
,

f elici t o u s dic t i o n a nd th e p e culiar g r a m m a t ic al s t ruc t ur e

,

1
B . L . 1 . 60 .

2
B . L . 2 . 8 3 84
-
.
x WORDSWORT H S TH EORY ’
OF P OE T I C D I CT I ON

is , af t e r all , ra th e r fragm en t a ry E v e r y r e mar k is a s e e d .

thought which n e e ds d e v e l o pm en t M or eo v e r , th e r e is .

s o m eth ing exasp e rat in g and e v e n mi s l e ading in th e att itud e

t ha t h e ch o s e t o a s sum e t o th e th e o r y o f d i c t i o n which li e s
a t th e ba s i s o f th e L y r ic a l B a lla ds C ol e rid g e , rat h e r t han .

W o rds wo r th , h ad b ee n r e s ponsibl e f o r th e criti cal p r o pa '

ganda whi ch a s h e s ay s , w a s th e r e a l c a u s e o f W o rd s
1
,

w o r th s u np o pula r i t y 2
T h e P r e fac e t hat h e d o e s no t
’
.

u nd e r s t and w a s hal f a child o f hi s own brain , wri t t e n by 3

W o rd s wo r th t o pl e as e him , and s up e r int end e d and cor l

r e c t e d by him F o rg e t ting all t his , h e pr o c e e d s t o ad o p t

4
.

th e h e si t ating mann e r o f a s t rang e r t o stat e m e n t s t ha t

par tly ori ginat e d in his ow n f er t il e brain , and fails t o suppl y
th e o ne invaluabl e th in g th at h e only could suppl y—a mor e
d etail e d acc o un t o f th e th o ughtful and e ag er dial o g u e s th at
w e r e b ehind W ordsworth s s o m ew ha t inad e qua t e u t te r
’

a nc e s in print H enc e , thou gh t his criti cism by C o l eri d g e

is th e n e c e ssary start in g—
.

p o in t f o r an y inv e s t i gat ion o f

W o rdsw o rth s th eo r y and prac t ic e , he was far from s ay ing
’

th e las t w o rd on th e subj e c t W ords w o r t h h ad m o r e r ea .

s ons th an w o und e d vani ty f o r his dis s a t i s fac t i o n wi t h th e

r emar k s o f his f o rm e r c o ll ab o rator .

D e spit e th e na t ural unwillingn e ss o f l e ss e r m en t o ent er

int o c o mp e ti t ion wi t h C o l e ri d g e an d L amb , it is as t o ni s hing
1
L . W . F .
3 . 121 , 1 52 .

2
B L . . 1 .
50 -
53 .

A ltho ugh Wo r d wo rth s P r e fac e is h al f a ch i ld o f m y o wn

3 ‘
s
’

b rai n nd ar o s o u t o f c o nv e r s a t i o ns s o fr e qu nt th a t W i th f e w
, a e e ,

e xc p t i ns
e w e c o u ld s carc ly i th e r f u s p rh ap s p o s i t iv ly sa y
o , e e o e e
, ,

wh ich fis t s t art e d ny t h o u gh t ( I a m s p e a k i ng o f th e P r e fac e

r a
‘

a it s t oo d in t h e s e c o nd v o lu m e ) y et I a m far fr o m g o i ng a ll
s

l ng t h w i th W r d s wo rt h —L tt e r t o S u th e y Ju ly 1 80 2
,

( L tte
’
e s o e o e rs
.
, .

o f S m u l Ta y l
a C o lem dg e 1
e C leri d g s p e ak s a s i f th e fis t
or
'

. o e r

c ns ci o u s nes s o f th i s d i ffe re nc e in Opi ni o n w er e f elt in 1 80 2

o .

L tt s 1 3 7 5
e er . .

A
4
A u nt of th
h Wor d wo th nd C o ler idg e M S S in th e
cco e s r a .

P o s s es s io n o f M r T N or t o n Lo ng m a n, p
. . . 19 .
 I NTROD U CTION xi

th a t t hi s analy s i s o f W o rd s w o r th s t h eo r y o f p o et ic di c t i o n
’

a s ill u s t ra t e d in h is s t yl e s o ably b e gu n by th e m in t h e p o et s
’

o w nf lif e t im e ,
sh o uld no t hav e b e en ca rr i e d o n m o r e s y s
t e m a t ic al ly by th e many c r i t ic s wh o hav e p r ai s e d W o rd s
w o r th s o w e ll We fi . nd ind ee d a c o n s id e r abl e n u m b e r o f
, ,

s ca tt e r e d o b s e rva t i o ns and brie f s t udi e s o f W o r d s w o r t h s

’

s tyl e w hich a r e hi ghly illu m ina t i ng F o r i ns t a nc e R H. . .

H u t t o n s li t t l e pap e r o n Wor ds w o r th s Tw o S ty les is r e ally

’ ’

S o al s o a r e P ri ncipal S h a ir p s d e licat e
’
di s cri m inat i ng .

app r e cia t i o n o f th e s tyl e o f T h e Whit e D o e of Ry ls t o ne a nd ,

B a g eh o t s e s s ay o n P u r e Or na t e a nd Gr o t es q u e A r t The
’

, , .

—
vari o u s r em ark s o f H u t chin s o n a nd D o w d en th e a c c o m
—
p lis h e d s t u d e nt s o f W o rd s w o r th s t e x t in t h e ir e di t i o n s o f
’

t h e wh o l e o r p ar t s o f his w o r k a r e al w ay s val u abl e M ore .

o v e r , th e d e fi nit iv e t e x t o f W o r d sw o r th s c o mpl e t e p o e ms
’

in t h e O x f o r d e di t i o n a nd t h e C o nc o rda nc e o f P r o f e s s o r
,

L an e C oo p e r hav e fu r ni s h e d th e i ndi s p ens abl e ba s i s f o r a

,

m o r e s c ient ifi c s t udy o f W o r d s w o r t h s p o e t i c di c t i o n and ’

P r o f es s o r Emil e L e g o u is h a s s e t a s hini ng exa m pl e in t h e

d e t ail e d analy s i s o f th e E a r ly P o em s in T h e E a r ly L if e of
Willia m IVor ds wor th Bu t th e s e m o r e s ch o larly e ffo r t s ,
.

add e d t o th e brilliant c om m e nt s o f W o rdsw o r th s innum er ’

abl e c r i t ics fr o m A ubr e y d e V e r e t o P r o f es s o r H arp e r hav e ,

b e en ins u ffi c ient t o di s p e l t h e p o pular mis c o nc e p t i o n s inh e r

it e d fr o m th e r e vi ew e r s Wo r d sw o r th s r e ad e r s t o day
.
— -
’

hav e m o r e sympath y fo r his phil o s o phy than th e M o nth ly

‘ ’

Re vi ew e r o f 1 8 1 5 b ut t h e y h o ld much th e s a m e o pi ni o n s
,

c o nc erning his s ty l e , and h av e s carc e ly m o r e f o u nda t i o n f o r

th e m .

T h e principal r e as o n f o r t hi s ne gl e c t is t ha t t h e w o rld
h a s n e v e r t ak e n W o r d s w o r t h s s o call e d t h e o r y o f p o et ic
’
-

di c t i o n s e ri o u s ly H a v m g Jumpe d t o th e c o nclu s i o n t h a t
.

W o rdsw o r th s prac t ic e wa s inc o n s i s t ent w i th his pri ncipl es

’

m o s t o f his r e ad e r s h av e fail e d e i th e r t o r e c o g ni z e the

s ch o larly backgr o u nd o f much t hat h e h a s t o s a y o r t o ,

p e rc e iv e th e r e al c o mpr eh en s iv ene s s o f h is c o mpl et e id e al

x ii WORDSWORTH S TH EORY ’
OF POETI C DICTIO N

of e xpr e s si o n I n p o in t o f fac t W o r d s w o r t h is no t inc o n

. ,

si s t en t H is m o s t dignifi
.
e d and e lab o ra t e s tyl e is inc o n

sis t ent o nly w i th a s ingl e clau s e o f his d efi nit io n o f t h e

pr o p e r languag e o f p o e t r y w h e n t h at is d et ach e d fr o m it s ,

c o n t ex t a nd arbi trarily t a k e n t o r e pr e s ent t h e wh o l e .

T h e no t i o n t hat p oe t ry in g e ne ral s h o uld e m pl o y th e

language o f th e fi lm er il e a rai ddle gla s s e s p f S g fi ie tyi w a
m
s s . m .
m

n e v e r W o rd s w o r th s id e al a t any tim e I t is o nly his d eh’

.

nit io n o f an e xp e r im e nt t ha t h e ch ose t o t r y in t hir t e e n

1

o u t o f th e ni ne t e e n p o e m s by him in th e fi r s t e di t i o n o f t h e

L y r ic a l B a llad s ; a nd th e fam o u s P r e fac e is li t tl e m o r e than

a s o m ewha t unwilling and frank l y ina d e quat e att e mp t t o
e xplai n t hi s sa m e e xp e rim ent
2
W o rd s w o r t h hi m s e l f s u g .

g es t s t ha t an e xp os i t i o n o f th e wh o l e th eo ry w o uld inv o lv e
a c o mpl e t e hi s t o ry o f li t e r a t ur e and a s o cial p s ych o l o gy 3
.

A f te r m o di fying his o ri gi nal s u gg e s t i o n un t il th e language ‘

o f c o nv e rsa t i o n in th e l o w e r and middl e cla s s e s o f s o ci e t y

’

b ecam e , in 1 8 0 0 , a s el e c t i o n o f th e r e al l anguag e o f m en
‘
.

in a s t a t e o f vivid s e nsa t i o n and af t e r s o f t eni ng t his , in ,

’

1 80 2 by a fu r t h e r e mph a s i s up o n th e s e l e c t iv e p o w er o f
,

th e p o e t W o r d s w o rt h fi, na lly m e r ge s h is s p e cial id e al in a

aj o ri t y o f t h e f ll wm g p o em s e t o b e c o ns i d er e d a
Th e m o o ar s

e xp eri m ent s A d v rt i m nt t Ly ic l B lla ds 1 7 98

.
’
e se e o r a a , .

s t i ll m r u nw i lli ng t u nd rt a k e th t a k [ f w ri t i ng
2 ‘
I w as o e o e e s o

a sy t em a t ic d f n
s f t h e t h ry up o n wh ic h t h L y i l B ll d
e e se o eo e r ca a a s

w re wri tt n] b cau
e ea d qua t ly t d i p la y th pi ni o ns nd fully
e se e e o s e o , a

to nf rc t h e argu m nt w u l d r e quir e a pac e wh lly d is p o

e o e e s o s o r

p o t io n t
r t t h e na t ur
a e o f a pr fac I h av t her f o r
e o e e . e e e

a lt g th r d c li n d t nt r r e gu larly up n th i d e f ns e —P r fac
o e e e e o e e o s e .
’
e e

t o t h Ly i l B a ll d o f 1 8 0 0
e r ca a s .

t r a t th e ub j c t w i th th c l arnes nd c o h r nc e f
3 ‘
F t or o e s e e e s a e e ,
o

wh ic h I b li ev e it s u s c ep t ib le it wo u ld b e n c e ar y t o giv e a fu ll
e , e ss

acc o u nt o f t h e pr s ent s t at f pub lic t a t e in t h i c untr y nd t o

e e o s s o , a

d et rm i ne h w far t h i s t a t i h a lth y o d eprav e d ; wh ich agai n

e o s e s e r

c uld n t b e d t rm i ne d w i th u t p i nt i ng u t in wh a t m a nn r
o o e e o o o e

la ng uag nd t h e h u m a n m i nd a t
e a nd r ac t o n e ac h o th e r a nd c a e ,

w i t h o u t r t raci ng t h e r ev o lu t i o n
e no t o f li t ra t ur e a l ne b ut s, e o ,

li k w i f ci ety i t l f I b d °
’
e se o so se .
-
t .
 I NTROD U CTION x iii

g en e r al r e s p e c t f o r th e purity a nd in t e gri t y o f th e E ngli s h

languag e—a ne w a nd m o r e vi t al int e r pr et a t i o n o f tha t
c o rr ec tne s s s o ch e ri s h e d by th e eigh t eenth c ent u ry I n .

th e fi r s t c o ll e c t e d e di t i o n o f h is p o em s in 1 8 1 5 ( whi ch
includ e d th e L y r ic a l B alla ds a nd th e p o e m s o f 1 80 7 w i th ,

a f ew addi t i ons o f la t er o ri gi n) h e r e l e ga t e s h is o r i gi nal ,

pr e fac e t o th e A pp endix a s c o nt a ining li t t l e o f s p ecial r

‘

applica ti o n t o th e g r e at e r pa r t p e r hap s o f th e c o ll e c t i o n 1
, , .
’

Why h a s Wo r ds w o r th s own s tri c t limi t at i o n o f h is th eo ry ’ ‘ ’

t o a f ew p o em s b e e n s o s y s t ema t ically i gn o r e d ?

B u t i f t h e th e o ry , in it s m o r e limi t e d f o rm , w a s m e r ely
an expl ana t i o n o f a s mall g r o up o f p o e m s much m o r e w a s ,

m e ant by it t h an c o mm o nly m ee t s th e ey e o f th e ca s ual

Th e va t i o ns p efix ed t th a t p o rt i o n o f th es e v o lum es
o b s er r o

wh ic h w a pub li h d m a ny y ar g o u nd r t h e t i t le o f L y rica l B l
“
s s e e s a , e a

la d s h av li t t l f p cia l app lica t i n t t h e gr e a t e r par t p e

” “

, e so e o s e o o ,
r

h ap s f t h c o ll c t i o n a s s u b equ ently e nlarg e d a nd div e s ifi

, o e e ed th a t
s r ,

t h e y c u ld n t w i t h
o ny pr pri ty s t a nd
o n i nt r d uc t i o n t o it
a o e as a o .

No t d eem i ng it h o w e v r e xp d i nt t o s uppr es s t h a t xp o s i t i o n,
, e , e e e

s li g h t nd i m p erf c t a it is o f t h e f e li ng wh ic h h a d d et er m i ne d
a e s , e s

th ch o ic f ubj c t a nd th e p ri ncip l wh ic h h d r gula t d t h e

e e o s e s, es a e e

c m p o s i t i o n f t h s e P ec I h av e t ra n f err d it t th e end o f th e
o o o i es , s e o

s e c nd v lu m e
o t o b e a tt e nd d t o o
o , no t t th p lea s ur o f t h e , r , a e e e

r a d r I n ll th c o m p l t d i t i ns b et w een 1 8 1 5 a nd 1 845 th i
e e .
’
a e e e e o s

f rm e d t h e fi t paragrap h o f th e P r e fac e wh ich w r epri nte d fro m

o rs as

t h e v o lu m e s o f 1 8 1 5 n i nt r o d uc t i o n t o t h e c o nt i nua lly in r
, as a c ea s

ing c o lle c t i o n o f Wo r d s w r th s p o m s Wh n th i pr fac w o

’
e . e s e e as

t ra n f err e d t o t h e A pp nd ix in t h
s d i t i o n o f 1 845 t h paragrap h
e e e , e

j u s t quo t e d wa r p lac d b y th e f o ll wi ng n t e : I th e ucc e d i ng

s e e o o
‘
h s e

editi o n wh en t hs, c o ll c t i o n w m uch enlarg d nd di e s ifie d

e e as e a v r ,

th i sP r fac [ th P r fac t t h e Ly i i B ll d ] w
e e e e et ra ns f err e d
o r ca a a s as

t o th nd o f th e v lu m
e e a h avi ng li t t l o f s p cia l app lica t i o n t o
o es , s e e

th c nt nt
e o I n t h e r e pri nt of th P r fac
e s .
’
f 1 8 1 5 by G t
s e e e o r o sa r ,

K nigh t G rg , nd N o w ll S m i th t h la t e d i t i n h
eo e, a na t ura lly
e , e s o as

b n f ll w d ; nd f o th i s r a n th e i m p o r ta nt i ntr d uc t o r y para
ee o o e a r e so o

grap h i k no wn o nly t th s wh o h av acc s t n arly d i t i o n

s o o e e es o a e e .

Wh n th cri t ica l d i t i on f Wo r d sw rth s li t rary cri t ici s m wh ich

e e e o o
’
e , ,

d e pi t t h ff rt f N o w ll S m i th is s t i ll a d e i d era t u m s h all
s e e e o s o e , s ,

app ar it i t b h p d t h a t s o i m p o rta nt n u t t era nc w i ll b e

e , s o e o e a e

r t r d
es o e .
 WORDSWORT H S T H EORY ’
OF P OETI C DI CTION

r e ad er I t was not a singl e isolat e d utte ranc e . I t ha d th e

.

w id e backgr o und o f E ngli s h po e t r y a nd cri t ici s m f o r t wo

c ent u r i e s , and th e narr o w e r bac k gr o und of s o m e v e r y ea r
n e s t li t erary e xpe rim en t a nd s t ud y o n th e part , no t o f
W o r d s wo r th al o n e , b u t o f a n e n t ir e gr o up o f w ri t e rs wh o
w e r e publi s hing in tha t o p en mind e d p e ri o dical , Th e -

M onthly M a g a zih e C hi e f am o ng t h e s e w e r e C o l e rid g e an d

.

L amb No t t ill w e r e ali z e wha t C o l e ridg e br o ugh t w ith

.

him fr o m L am b t o th o s e m e m o rabl e c o nv e rs at i o ns in w hi ch
t h e Ly r ic a l B a lla ds ori gina t e d do w e b e gin t o und e r s t and
w ha t w a s b e hi nd th e cur t s e n t e nc e s o f t h e A dv e r t is e m e nt o f
1 7 98 .

It i s no t in t h e ir c a s u al app e aranc e s in prin t t hat th e

m o s t vi t al cri t i cal r efl ec t io ns o f W o rd s w o r t h and C o l e ri d ge
a r e t o b e s o ugh t , b u t in t ha t r e mar k abl e o ral discu s si o n ,

b e gu n by th e m in th e ir l o ng w al k s among th e Q uanto c k
H ill s a nd c o nt inu e d day af t e r day and y e ar a f t e r y e ar , no t
,

o nly b y t h e m , b u t b y a lar g e r circl e , which includ e d a t

va r i o u s ti m e s L amb , S o u th ey , D e Q uinc ey , H a z li tt , S c o t t ,
L and o r , and o th er s I hav e n e v e r f e l t i nclin e d t o w ri t e
.
‘

cri t ici s m said W o rdsw o r th , th o ugh I h av e t al k e d and a m

’

,
‘

daily t alkin g a gr e a t d e al 1
A nd t h e e ch o e s o f t hi s tal k
’

a r e e v e r y w h e r e h e ar d i n th e cri t ici s m o f t h e p e ri o d—in

.

S c o tt s e di t ion o f D r y d e n , in D e Q uinc ey s dis t inc t i o n

’ ’

b et we en the li t e ra t ur e o f k no w l e d g e and th e li t e ra t ur e
o f p o w e r , w hi ch was o ri ginall y W o rd s w o r th s , i n Co l e ’

r idg e s l e ctur e s , and l at e r in chanc e r e mar k s by S ara

’

C o l e r idge and A ubr ey d e V e r e I n o rd er t o und e rs t and

.

th e t ru e r e la t i o n o f W o r d s w o r t h s cri t icism t o his p o e tic

’

c r e at i o n , and t o t he li t e ratur e o f th e pa s t , w e mus t , in

imaginat i o n, c o n t inually s upply thi s bac k gr o und o f Vivi d
c o nv e r s at i o n A nd th e b e ginning s o f thi s a r e t o b e s o ugh t
.

in the d e v el o pm e n t o f W o rd s w o r th and C o l eridg e , in r e la

t i o n t o t h e ir r e sp e c t iv e circl e s o f fri e n d s and critic s l o n g
,

b e f o r e th ey e ve r m et .

1
L . W . F 3 . . 1 52 .
 CHA P T E R 1

POETI C DICTION I N O U R ELDER ‘ ’

P OE T S .

A gr e a t p o e t m u s t c r e at e o r r e c r e at e , no t o nly t h e t a s t e
by w hich h e is e nj o y e d b u t t h e languag e in w hich h e
1
,

wr ites . L ik e all a r t i s t s h e m u s t inf o r m a m e diu m alr e ady

,

d e v e l o p e d by o th e r s w i th th e ne w s pi r i t a nd t h e new li f e
w i t h i n him t h e r e by r e new i ng and m o di fying t h e o u t w a r d
,

f o r m al s o B u t unlik e o th e r a r t i s t s h e d e r iv e s his m e di u m
.
, ,

f r o m tw o s o u r c e s —
fi
fr o m th e w ri tt en w o r d s o f p o e t s w h o ,

hav e t h o u ght fully adap t e d it t o th e p u rp o s es o f b e au t y a nd

x

d eligh t, and f r o m th e lip s o f h is dail y ass o cia t e s wh o h av e ,

m ad e a S w i f t a nd hapha z a r d adap t a t i o n o f it t o th e pur

—
p o s e s o f i m m edia t e u t ili ty B et w ee n t h e s e tw o th e w r i t
.

—
t en a nd th e o r al t r adi t i o n t h e po e t s i nging a s o ng in ,
‘

w hi ch all o th e r h u m an b e i ng s j o in w i th him mu s t m ak e 2
,
’

h is o w n s y nt h e s i s s o t ha t t h e art i s t a nd th e pl o w ma n may
,

b o t h h e ar th e m es s ag e e ach in h is o wn t o ngu e
, .

O f thi s d u t y th e inh e r i t o r s o f t h e f e r t il e E nglish t o ngu e

h av e nev e r b e en w h o lly ne gl e c t ful Bu t t h e ir e ffo r t s hav e .

b e en c o m plica t e d by a c e r t ai n i ndividuali s m in t h e E ngli s h

c h a r ac t e r T h e E ngli s h m a n w h eth e r p o et o r pl o w m an
.
, ,

lik e s t o s p e ak as h e ch o o s e s B e t w ee n th e ch arac t e ri s t ic
.

ph r a s e o l o gy o f ba r d s wh o i nv e nt e d t h e i r o w n languag e a nd ,

a r ic h p o p u la r s p e e ch f o nd o f s h o r t c u t s a nd u nc r i t i cally
, ,

h o s pi t abl e t o new l o c u t i o ns t h e pl ai n a nd o p en pa th o f a
,

g ene r ally i nt e lli gibl e and b e au t i f u l p o e t i c dic t i o n h a s no t

al w ay s b e e n e a s y t o hnd N e v e r th e l e s s it w a s no t f o r
.
,

w a nt o f s el f c r i t i ci s m a nd th e u nr e mi tt i ng e ffo r t s o f ma ny
-
,

1
r m ark a t tri b u t e d b y W r d wo rth t o C leri dg e I t is qu o t ed
A e o s o .
,

in lig h t ly d i ff r nt f r m
s e e in t h fa m u l tt e r t L a d y B au m o nt
o s, e o s e o e

( M y 2 1 1 80 7 W d w t h L it y C iti i m p nd in th
’
a , : or s or s er a r r c s , . a e

E s s a y S u pp le m e nta r y t o t h e P r ef a c e .

2
r fac
P e e to L
y r ic a l B a lla d s ( in a pa ag a d d d
ss e e t o th e o rigi na l
pre fac in e
 WORDSWORTH S T H EORY ’
OF POETI C DICTION

g e n e r a t i o n s t ha t th e typical E ngli s h s tyl e s e e m e d t o

,

a
M tt e h w A rn o ld w il f u l ba r ba r o,u s , and Vi o l e n t S o it had .

s e em e d t o the m os t d e li cat e s piri t s o f E li z ab e than E nglan d ,

wi s t full y l o o ki ng t o p o li s h e d I t aly and anci e nt R o m e , an d

to t h e ir o w n w e ll o f E ngli s h u n d e file d in C h a u c e r , a nd in '

t h e ligh t o f t h o s e s t an d ard s di s c o v e ri ng in t h e ir c o nt e m

p o r a r y s t yl e s o m e w ant o f m e a s ur e and grac e S o it had .

s ee m e d t o th e p o et s o f th e e i gh t e e nt h c e ntury , s c o rnin g th e
rich and vari o u s languag e in to whi ch thi s E li z ab e than di c
t i o n had fl o w er e d as a luxuri an t w ild w o o d gr o w t h , whi ch
it w a s th e ir t a s k t o r e duc e t o F r e n ch c o rr e c t n e s s and
e l e ganc e S o it h ad s ee m e d t o W o rdsw o r t h in wh o s e e y e s
.
,

t h e e ff o r t o f a c en t ur y had r e sul t e d only in a phras e o l o gy

s o gaud y an d lic ent io u s , s o lac k in g in t he na t uraln e s s
‘ ’
-

an d g oo d s ens e which ha d be e n c o ns t an t l y pr e ach e d t hat ,

t h e dis c o v e r y o f a s t andard o f e xpr e ssi o n w hich w o uld

pr o t e c t the r e ad e r fr o m th e c apric e o f th e p o e t s ee m e d a
matt e r o f imm edi at e an d param o unt imp o r t anc e 1
.

T h e m o s t p o w e r ful and o ri ginal o f all t h e s e e ff o rts was

t ha t o f W o rdsw o r th ; y e t it s o ri ginali t y c o n s i s t e d , no t in
th e c r e a t i o n o f a new id e al o f p o e t i c dic t i o n, b u t in th e
Vi t ali ty w i th whi ch h e in f o r m e d an o ld o ne W o rd s w o r th .

was no t th e fi r s t t o s e e k his p o e t i c dic t i o n in a s e l e c t i o n o f

t h e r e al languag e o f m en, a s o p p o s e d t o a t radi t i o nal

li t erary d ial e c t C hauc e r ha d d o n e it b e f o r e and C hau c e r s

. ,
,
’

mas t e r , D an t e ; and th e m eth o d o f C hauc e r had r e main e d

t h e ac c e p t e d o ne in E nglish p oe t r y , c o ns ci o u s ly imi t a t e d

by S p en s e r , and r e c e iv e d by o t h e r s fr o m C hauc e r s o wn ’

s ou r c e — th e v e r nac u lar li t e ra t ur e s o f th e C o n t in en t , e s p e
c ia lly th e I t alian and F r e nch I nd eed th e m o d e rn p o et r y
.
,

o f E ur o p e , in e v e ry t o ngu e , is th e r e s u l t o f a ch o ic e s i m ilar

t o tha t o f W o r d s w o r t h o n t h e pa r t o f p o e t s w h e n L a t in ,

w a s s t ill th e sp e e ch o f th e cul t iva t e d I n E ngland a p o w er.

l . B ag eh o t , L iter ar y S tu dies 2 .
3 89 :
‘
A d r es s y i ra t ur e
l te , an
exagg era t e d li t ra t ur
e e, s e em to be fa t e d to us ; th e s e a re ou r

curs e s .
’
 ‘
POETI C DICTION IN 0 UR ELDER POETS 3

f ul li t e rary impu l s e fr o m ab r o ad lik e t hat r e c e iv e d fr o m

,

I t aly in t h e s ix t e e nth c e nt ur y o r t ha t f r o m F ra nc e in,

t h e s ev e nt e e nt h c e nt u r y h a s r es ul t e d in a ne w e m ph a s i s
,

s e l e c t i o n o f th e r e al la ng u ag e o f E ngli s hm e n w h o
’
on a
‘

w e r e no t t o o d e e ply l e a r ne d a s t h e o nly p o s sibl e ba s i s o f

,

p o e t i c e xp r e s s i o n No t t ill th e la t t e r h al f o f t h e e i gh t e e nth
.

c ent ur y did t h e id e al o f a s p e cial v o cabula r y f o r p o e t ry

b e c o m e w id ely p r e val ent in E ngland t hr o ugh th e p ow e rful
infl u enc e o f Gray ; and e v e n t h e n it w a s o pp o s e d b y th e
p r e c ep ts a nd e xa m pl e o f Go ld s m i th , C o w p e r a nd B ur ns , .

H e nc e w h en W o rd s wo r th b e gan h is a tt ac k o n the
,
‘
gaudin e s s and i nane phra s eo l o gy o f c o nt e mp o rar y v e r s e ‘
’

w ith th e s t a t e m e nt th a t h is prac t ic e w a s in a cc o rd w i th t ha t
of o u r e ld e r w ri t e r s , a nd t h o s e in m o d e r n t im e s wh o
‘

hav e b ee n th e m o s t succ e s s ful in pai nt i ng manne r s a nd

pa s s i o ns h e w a s m aki ng a clai m e a s ily e s t abli s h e d by t ha t
1 ’

s u r v e y o f E ngli sh p o e t r y w hich h e i nvi t e d h is r e ad e r s t o

u nd e r t ak e S inc e a r e vi ew o f t hi s s o r t thr o w s Wo rd s
'

w o r t h s o w n c r i t ici s m i nt o it s p r o p e r p e r s p e c t iv e a nd
’

e mpha s i z e s t h e new a nd vi t al e l e m e nt s in it it will b e w e ll ,

t o le t it i nt r o du c e an e xam i na t i o n o f h is o w n t h e o ry and
prac t ic e I n s o d o i ng w e may h av e t h e advan t ag e o f a
.
‘

r u nni ng c o m m e n t by W o rd s w o r th hi m s e l f o n t he w o r k o f
h is p r e d e c e s s or s s i nc e
, o ne of t h e e xc e ll e nc e s o f his
r e m ark s as c o m par e d wi t h th o s e o f many p o et s b e f o r e him
, ,

w a s t h e i r b e t t e r c r i t i cal ba s i s in a s t udy a nd d e lib e ra t e

a pp r ai s al o f E ngli s h li t e r a t u r e in t h e va r i o u s s t ag e s o f it s

d e v e l o p m e nt T h er e a r e no t m any m e n o f i m p o r t a nc e in
.

th e p o e t ic hi s t o r y o f E ngland c o nc e r ni ng w h o m Wo rd s
w o r th h a s no t l e f t s o m e illu m i na t i ng c o m m e nt ; a nd w ha t
h e l e f t u ns aid w a s g e nerally s aid by C o l e ridg e wh o s e ,

s t u di e s w e r e s o m e t i m es th e s o ur ce th e
r e s ul t o f th e Vi t al thi nki ng o f his
, is h fri end .

A cc o r di ngly w e m a y p r o c e e d t o b u ild u p o n t h e f o u nda t i o n

,

which th e y hav e alr e ady laid f o r u s .

1
A dv rt ie s e m ent to th e Ly r ic a l B a lla ds of 1 7 98 .
4 WORDSWORTH S TH EORY ’
OF POETI C DI CTION

W o rd s wo r th and C o l erid ge divid e d E ngli sh li t e ra t ur e

—
a f t er C ha u c e r in t o t wo gr e a t p e ri o d s th e a g e o f o ur
’

e ld e r p o et s , a nd m o d e r n t im e s , o r th e p e ri o d s b e f o r e and
’ ‘

a f t e r D r yd e n s c o nsci o u s br e a k w i th t h e t r adi t i o ns o f th e
’

p a s t F o r m o r e than a c ent ur y it h ad b e en t h e cu s to m t o
.

da t e a ll li t e r ary civili z a t i o n fr o m th e r e ign o f C harl e s I I ,

a nd t o s p e ak o f t h e f ew g r e a t un t o r g o t t e n p o e t s w h o h ad
-
,

t h e m i s f o r t u n e t o w r i t e b e f o r e t ha t t i m e , a s t h e ru d e f o r e
—
fa th e r s o f E ngli s h v e r s e p r e em in e n t f o r th e mi gh ty f o r c e
,

o f th e ir natural g e niu s , b u t s adly l acking in a r t C hau c e r , .

S p e n s e r S hak e s p e ar e , and e v e n M ilt o n , had all b e e n c o n

,

d es c e ndi ngly r e w r i t t en i nt o o u r languag e a s it is no w

‘

r efi ne d A s a l a t e d e v e l o pm e n t fr o m t his p e culiar habi t

’
.

o f r efi ning t h e r e had ari s e n th e c o nc e p t i o n o f a sp e cial

,

—
dial e c t f o r p o et ry a c o ll ec t i o n o f phra s e s t o o d e lica t e f o r
o rdi nary u s e, o r f o r th e e xpr e s s i o n o f v u lgar r e al e m o t i o ns

t h at h ad a s ub s t an t ial e xis t enc e o u t s id e o f b o o ks A gain s t

—
.

all this s el f c o m plac en t cri t i cism , W o rd s w o r t h vi g o r o u s ly

app e al e d t o th e hi s t o ri cal facts T h e id e al o f a sp e cial di c
.

t i o n , o r o f any r e fi ne m e nt e xc e pt th at o f pur e na t ural f e e l

ing , w a s no t th e id e al o f t h e gr e a t a g e o f E ngli s h p o e t r y
b e f o r e D ryd en , h e said no r d id it c o rr e sp o nd t o t h e
,

b e st prac t ic e o f p o e t s a f t e r him Wa s h e ri gh t in t hi s
.

c o nt en t ion ?

I . Ch a u c e r a nd S p e ns er .

C o nc er ni ng th e prac t i c e o f C hau c e r , th e fi r s t find e r o f

‘

a nd W o r d s w o r t h s s p e c ia l m o d e l in
’
ou r fair languag e
‘

,
’

r e s p ec t t o la nguag e , th e r e can b e no d o u bt W i th th e w e ll .

d ev el o p e d li t e r ary a nd c o ur tly m e dium o f F r e nch a t h is

c o mm and , h e had t u rn e d t o th e m o ngr e l v e r nacula r the ,

r e al languag e o f h is c o un t rym en, a nd h ad f o und a n ad e qua t e

p o et ic dic t i o n in a s el e c t i o n fr o m t hat F oll o w i ng h e r e th e .

f o o t i ng o f C ha u c e r s f e e t S p ens e r had lab o r e d t o r e s t o r e

’

, ,
‘
as t o t h e ir r i gh t f u l h e ri t ag e s uch g o o d and na t ural E n
,
’ ‘

g
 ‘ ’
POETI C DICTION IN 0 UR ELDER POETS 5

li s h w o r d s a s hav e b een l o ng t im e o u t o f u s e a nd alm o s t

cl e a n di s h e r i t e d T o him o r t o his ap o l o gis t
‘
.
’
E ,
.

it app ear e d s h a m e ful t hat h is c o un t ry m en s h o uld hav e s o

ba s e r e gard a nd bas t ard j udgm e nt o f t h e ir o wn nat ural ’ ‘

s p e e c h w h ic h t o g e t h e r w i t h th e ir nur s e s m ilk t h e y s u ck ed
’ ’

th a t th e y w o u ld no t lab o r t o garni s h and b e au t i fy it by a

d e v el o pm e n t o f it s na t iv e r e s o u r c e s S i nc e s uch o ld and
‘
.

a s S p e ns e r e m pl o y s w e r e mo s t u s ed o f ‘
o b s o l e t e w o rd s
’

c o u nt r y f o lk , t h e r e f o rm o f t h e y o ung p o e t o f t h e S hep
’
-

h e r d s Ca le nd a r had s o m e thi ng in c o m m o n w i t h t ha t o f
’

g p o et o f th e Ly r ic a l B a lla ds A s W o rd s w o r th s
’
t h e y o un .

in t e r e s t in th e languag e o f \ t h e m iddl e a nd l o w e r cla s s e s

o f s o c i e t y incid e n t ally i nv o lv e d a re t urn t o t h e s p ee ch o f

o ur e l d e r p o e t s s o S p e ns e r s r e t ur n t o t h e la ng u ag e o f
‘ ’ ’

t h e o ne gl o r i o u s e ld e r p o e t incid e n t all y inv o lv e d an ‘ ’

appr o xi ma t i o n t o ru s t i c dial e c t 2
.

2 . Cla s s ic is ts a nd P u r is ts .

B u t S p ens e r and al o ne T h e p u r ifi c a t io n and

did no t st .

e nrichm e n t o f th e E ngli s h la nguag e c o ns t i t u t e d o ne o f t h e

bur ni ng qu e s t i o ns o f th e day S ch o lar s p o e t s , u niv e r s i t y .

,

w i t s ch ur ch m e n a nd t r av e l e r s —
, all had t h eir c o nt ribu t i o n
,

t o mak e a c o n t r ib u t i o n imm e dia t e ly s ubj e c t e d t o t h e c r it i

,

c is m o f th e o th e r s S ir H u mphr e y Gilb e r t an t i cipa t e d .

1
E pi s t le a dd re sse d to Gabri el H arv ey fi
p r e x e d t o t h e S h eph er d
’
s

C a le nd a r a u m e th a t E K r pr e nt t h pi ni ns
by E . K . I ss . . e se s e o o

o f S p n e r h i m el f w h o v r t h w ri t r
e s f t h i ap l g y m y b
s , e e e e o s o o a e .

C l ri dg i nc lu d prac t ica lly ll th F i Q n in h is li t

2
o e e es a e a er e u ee e s

o f th p tr y wh ic h i llu t ra t
e oe W r d w rt h i d a l o f a b au t i fu l s es o s o
’
s e e

d ic t i n w h ic h i
o t th a m t i m t h la nguag f c o nv r a t i n
s, a e s e e, e e o e s o .

S pi t f t h lic nt i o u n w i t h w h ic h S p n r cca s i o nally m

‘
e o e e s es s e se o co

p l th rt h grap h y f h i w r d i nt a ub rvi nc t h i rhy m

e s e o o o s o s o s se e e o s es ,

F a ry Q u n i n a lm t c nt i nu d i n t a nc f th i
”
th wh l
e o e e ee s a os o e s e o s

b au y
e t — i e th b au t y o f v er s
’
. . in wh ic h v e ry th i ng wa s e xpr e s e d
e e e
‘
e s

ju t s n w u ld w i h t t a lk a nd y t ll d ig nifid a tt rac t iv e a nd
as o e o s o , e a e ,

i nt r t i ng —
,
’
e es B L 2 71 . . . . .
6 WORDSWORT H S T H EORY ’
OF POETI C DI CTION

D ryd en and M a tth ew A r no ld in pl annin g a n E ngli s h acad

e m y , f o r th e pu r p os e o f d e v e l o ping th e r e s o urc e s o f th e

vulgar t ongu e Und e r th e infl u enc e o f s imilar e ff o r ts o n

.
1

th e C o n t i nen t , E ngli s hm e n b e gan t o c o ns id e r t h e d e v e l o p

m e n t o f th e na t i o nal s p ee ch a patri o t i c du ty A ll fl o ur ish .

ing s t a t e s and p o li t i c c o mm o n w e al th s , r e mark s G abri el

H arv ey , hav e m ad e th e m o st o f t h e ir o wn languag e s
2
I t al y , .

S pain and F ra nc e hav e s p a r e d no e ffo r t s t o e xal t t h e ir

,

o w n t o ngu e s o v e r t h o s e o f Gr ee c e and R o m e ; o nl y t h e

E ngli s h a r e back w ard in t hi s r e s p e c t A nd A scham

“

o b s e rv es th a t w h e n a na t i o n c e a s e s t o ca r e f o r it s o w n

s p e e ch , it s s t r eng t h and m o ral i nt e gri t y d e cli ne A rud e .

and dis o rd e r ly s tyl e i s a s ign o f a rud e an d dis o rd erly

3
charac t e r .

T h e d e sir e d impr o v e m e n t had b ee n par t l y a tt ain e d

thr o ugh t h e d e lib e ra t e imp o r t a t i o n o f w o rd s fr o m o t h e r
la nguag es e s p e ciall y L a t in , I n 1 542 , a t a m e e t i ng o f .

C o nv o ca t i o n, B i s h o p Gardi ne r had p r e s ent e d a li s t o f ab o u t

a hundr e d La tin w o rds w hich h e wi s h e d e i th e r r e t ain e d in
t h e ir o ri ginal f o rm in t h e pr o p o s e d r e vi s i o n o f t h e Gr e a t
,

B ibl e , f o r th e ir g e nuin e an d na t iv e m e anin g and f o r th e

‘

maj e s t y o f th e m at t e r in th em c o ntain e d , o r fi t ly E ng
’ ‘

lis h e d w i t h t h e l e as t al t e ra t i o n S o m e o f th e p r o p o s e d
4 ’
.

addi t i o ns a r e su ch f amiliar w o rds a s c o n t ri t e ( c o ntr ita s ) ,

idi o t ( idio m ) , bap t i z e ( b a ptiz a r e ) , mar ty r c e r e m o ny ( c er e ,

m onia ) , e t c E qually familiar t o a r e ad e r o f t o day a r e

.
-

many o f th e w o rd s new m a d e o f a L a t in 0 r
‘

F r ench w o rd e mpl o y e d by S ir T h o mas E ly o t inTh e Gov

’

e m o u r w h e r e h e t a k es gr e a t car e t o pr o vid e a gl o s s in th e
,

t e x t i t s e l f by c o upling wi t h t h e m w o rd s o f th e s a m e m e a n

1
M o o r e , T u d o r S t ua r t Views , — 6
pp 9 ,.1 6 8 -
1 69 .

Gr e go ry S m i th 1 1 23 1 24
2
-
. .

3
I b id . 1 . 6 . Cf . Tim b er , cd . c
S h ell n i g , p .
32 .

Tu d o r - S tu a r t Views , p p 8 9- 90 Moo e . . r qu o t es fr om M o m b er t ,
E ng lis h Ver s io ns of t h e Bib le, 1 90 7 , pp 2 3 0 .
-
23 1 .
8 WORDSWORTH S T H EORY ’
0 1
"
POETI C DI CTIO N

m o th e r E ngli s h ; in th e m o d e rn po et s th e m o st o bvious
1 ’

t h o ugh t s in l anguag e th e m o s t fan t a s t i c and arbi t rary .

T h e id e al o f lo q u e ndu m u t m u lti was appli e d t o v e rs e a s

w e ll a s t o pr o s e N o thing w a s mor e sacr e d t o th e s ch o larl y
.

cri t ic s o f v e rs e in th e s ix t ee n th c e n t ury , who w e r e pr e par

in g th e way f o r the marv e l o u s fl ow e r ing o f th e E ngli s h
g enius in S ha k e sp ear e and h is br o th e r p o e t s , th an t h e idi o m
o f th e v e rnacular
— t h o s e charac t e r i s t ic t urns o f s p e e ch

w hich o w n no la w b u t t he habi t o f th e p e o pl e , w ha t a
W o rds w o rth o f that day mi gh t hav e m e an t by language ‘

ac t ually u s e d by m en E sch ew s t rang e w o rd s , say s .

’ ‘ ’

Ga s c o ig ne f o r o bs o le te e t ih u s ita u nl e s s t h e t h e m e d o giv e
‘
'

j u s t o c casi o n Y o u s hall d o v e ry w e ll t o u s e y o ur
.

v e r s e af t e r the E ngli s h phras e and no t a f t e r th e mann e r ,

o f o t h e r languag e s E v en a s I hav e advi s e d y o u

t o plac e all w o rd s in t h e ir n at ural and m o s t c o m m o n o r
u s ual pr o nuncia t i o n , s o I w o uld w i s h t o fra m e all s e n

t e nc e s in t h e ir m o th e r phra s e and pr o p e r id io m a i S imilarl y .

H arv ey o bj e c t s t o S p e n s e r s al t e rin g th e quan t i ty o f an y ’

o ne s yllabl e o th e r w i s e t han a s
‘
o u r c o mm o n s p e e ch and

g en e r al r e c eiv e d cu s to m w ill he ar h im o ut W e a r e no t ’
.
‘

t o g o a li t t l e far th e r t han w e a r e lic e n s e d an d

au th o ri z e d by the or dina r y u s e and cus to m and pr o pri e ty , , ,

and idi o m and a s it w e r e , th e maj e s t y o f o u r s p e e ch , w hich

, ,

I acc o un t th e o nly in fallibl e a nd s o v er e i gn Rul e o f all

R ul e s , h e says r e f e r rin g S p e n s e r t o H o rac e s p e ne s m u m
’ ’

, ,

a nd iu s a nd no r m a lo q tt eh ali
,
3
T hi s phil o s o phy w a s ’
.

e xp r e s s e d in m o r e vi o l e nt t e r m s in t h e fam o u s c o n t r o v e r s y

b e tw e e n N a s h a nd H arv e y in w hich e ach s en t his o p o nent , fi

a li s t o f his o ff e n s e s again s t th e s acr e d maj e s ty o f o u r ‘

1
B L 1 15 Cf S c h o p enh a u r ,
‘
A p o et sh o u ld
i k li k a g niu s th n e e

ne ls e — a y i ng u d b y A J
. . .
,
. .

a
b u t t lk t h e sa m la nguage a ny e s a o e
’
a s se . .

Ge o rg e to i llu t ra t W d w rth
s e or s o
’
s i d a l f e xpr e i n S ee W r d
e o ss o . o s

w o r th
’
s P r ef a c es , p p 1 0 5- 1 0 6 . .

Gr e g r
o y S m th 1 5 i
2
2 - 53 . .

3 '

I b zal . 1 . 1 17 - 1 19 .
 POETI C DICTION IN
‘
O U R E L DER POETS ’

s p ee ch and l o udly accu s e d h im o f b e i ng t ha t m o s t

,
’

d e t e s t abl e o f all li t e ra r y c r i m i al
n s — a n i nk h o r ni s t .
1

N e v e rt h e l e s s t h e s e d e f end e r s o f th e idi o m a r e t h e cla s

,

s ic is t s o f t h e day o pp o s i ng t o e v e r y i nno va t i o n no t o nly

,

t h e la w o f t h e ir o wn languag e b u t t h e s hi ni ng e xampl es ,

o f an t iq u i t y Y e t th e i r s is a Vi t al and w h o l e s o m e cla s s ici s m

. ,

w hi ch l o o k s no t t o th e l e t t e r b u t t o t h e s pi r i t o f t h e la w
, , , ,

a nd r e ally s ucc e e d s in t r a ns la t i ng t h e advic e o f C ic e r o ,

H o r ac e and Q u i nt ilian i nt o t e r m s o f t h e ir o w n nee d s

,

and e xp e ri e nc e W ha t c o uld b e m o r e s ens ibl e t ha n

.

A s c h a m s r e ma r k s o n t h e s tyl e o th e L a t i cla s ic
f n ? He
’
s s

r emi nd s his c o un t r y m en t ha t t h e e xc e ll enc e o f C i c er o s ’

n !
n m —
la guag e w a s o t s o m e thi g p e c u lia r t o hi s e l f a li t e r a r y
n
a chi e v e m e nt ; it w a s t h e r e fl e c t io n o f t h e c o nv e r s a t i o n o f

t h e c u l t iva t e d m e n o f h is t i m e T h e s tyl e o f C ic e r o s le t
’
.

t e r s h e o b s e r v e s di ffe r s v e r y li t t l e fr o m t h e s t yl e o f t h o s e
, ,

W h o w r o t e t o h im B ehind t h e e l o q u e nc e o f C ic e r o a nd
.
,

t h e cha s t e a nd s i m pl e di c t i o n o f T e r e nc e li e s a g o o d habi t ,

o f d aily s p e e c h t h e pur e fi ne t alk o f R o m e w hich w a s

‘

, ,

u s e d by th e fl o w e r o f t h e w o r t hi e s t no bili t y tha t e v e r Ro m e
b r ed .
’2
S ir P hilip S id ne y r e p r e s ent s t h e s a m e cla s s ical
g o o d s e n s e b e f o r e it h ad b e c o m e s o r i gid a nd s e l f c o m
,
-

plac ent tha t it h a d c e a s e d t o b e s ens ibl e a t all I t l e ad s .

him , no t o nly i nt o a m ild o b j e c t i o n t o S p ens e r s a r chai s m s ’

b u t t o a n a nt icipa t i o n o f tw o o f th e l e adi n g p r i n cipl e

s of

W o r d s w o r th s c r i t ici s m . Q ui te in th e s piri t o f t h e A pp e n
’

dix o n P oet i c D ic t i o n, h e c ens u r e s i m i t a t o r s o f t h e cla s s i c s

f o r r e p r o d u ci ng t h e p e c u lia r i t i e s w h ich in C ic e r o a r e t h e ,

na t ur al e xp r e s s i o n o f g e nu i ne pa s s i o n w h e n t h e r e is no ,

pa s s i o n t o b e e xp r e s s e d A nd s o h e s ay s th e y do t ha t .
, ,
‘

a r t ifi c ia lly w hi c h w e s e e m e n d o in c h o l e r na t ur ally H ad ’3
.

1
I b id . 2 . 27 5 .

Gr e g o ry S m i th
2
1 . 28 .

3
I bid . 1 . 20 2 . Cf . Wo r d sw o r th : ‘
T he e ar li est p t f oe s o a ll

n t ai o ns g
ra lly wr t fr e ne o e om pa i o n xci t d b y
ss e e r a l v nt
e e e s ;
t h ey wr t na t ura lly
o e nd , a as m n
e f li ng p w rfully
: ee th y o e as e d id ,
t h ir la nguag
e w d ari ng e as a nd fig ti I n la t r t i m e
ur a ve P. e s, o ets,
10 WORD SWORT H S T H EORY ’
OF POETI C DI CTION

cri t ic s and p o et s al w ay s r e t ain e d t hi s vivid c o n s ci o usn es s

t ha t t h e cla s s ical wri t e rs w e r e m e n lik e t h e ms elv e s , sp e ak
ing na turally and a s m en, ins t e ad o f d e ad m o d e ls o f a
‘ ’

p e r f e c t e xc ell enc e th e u tte ranc e s o f W o rds w o rth w o uld

,

h av e b e en l es s n e c e s s ary , a nd w o uld h av e s e em e d l e s s
r e v o lut i o nary A gai n, S i d n ey ant icipat e s W o r d sworth in
.

h is m e th o d o f t es t ing v ers e b y w ri t i ng it i nt o p r o s e .

B es id e s C hau c e r s Tr o ilu s th e M ir r o r of M a g is tm t es , and

’

t h e S h ep h e r d s Ca le nd a r h e r e m e mb e r e d f ew v e rs e s tha t
’

h ad p o et i cal s in ew s in t h e m ; f o r pr o o f wh e r e o f , h e s ay s , ‘ ’

let b u t m o s t o f t h e v e r s e s b e p u t in pr o s e , an d t h e n a s k
‘

t h e m e aning ; and it will b e f o u nd t ha t o ne v e rs e did but

b e g e t an o th e r , wi th o u t o rd e ri ng a t th e fi r s t w ha t s h o u ld b e

a t th e last ; which b e c o m e s a c o nfu s e d m a s s o f w o r d s wi th

a t i ngling s o und o f rim e , bar e ly acc o mp ani e d w i t h r e a s o n 1

.
1

H ow ev e r , w e c ann o t say tha t th e t w o d o c t r i ne s e s p e cially

ass o cia t e d wi th th e nam e o f W o rd s w o r th app e ar in E li z a
b etha n li t e rary cri t ici s m in qui te th e f o rm in which t h ey a r e
g e n erally u nd e r s t o o d b y h is r e ad er s T h e c o mm o n u s e .
‘ ’

c o mm o n s pe e ch s o o f t e n r e f e rr e d t o is no t s t ri c t l y th e
‘ ’
or

languag e o f c o nv e r s at i o n in th e l o w e r and middl e class e s .

T h o u gh W ils o n s ee ms t o o bj e c t t o th e f o rma t i o n o f a s

li t e rary languag e a s o p p o s e d t o t h e languag e o f c o un t r y

,

f o lk and S p ens e r im p li es t hat th e w e ll o f E nglish und e

2
,

file d may b e s o ugh t in s o m e in s t anc e s am o ng the , ,

p e a s ant r y , P u tt enh a m s d efi nit ion o f s t a ndar d E nglish—a

’

s e l e c t i o n o f t h e r e al languag e o f w e ll br e d m en w i thin a -

3—
radiu s o f s ix ty mil e s ar o u nd L o nd o n s ee ms to b e th e
a nd a m bi t i o u o f th e fa m e f P o et s p erc e ivi ng th e influ enc e
M en s o ,

o f s uc h la nguag a nd d s iro u s o f p r o d uci ng t h e s a m e e ff c t w i th

e, e e

o u t b i ng a ni m a t d b
e y t h e s a m e pa s i o n e t th m
e lv s t o a m e c h a n s , s e se e

ical a d p t i n o f th e e fig u e o f s p e ch a nd m a d u s e o f th em
o o s r s e , e ,

som t im e w i th pr o pri t y b u t m uc h m o r fr qu ent l ap p li e d t h em

es e e e y
,

t o f e li ng s
e nd t h o u gh t s w i t h wh ich t h y h d no na t ura l c o nne xi o n
a e a

wh a t v r —A pp nd ix t o L y i l B lla ds f 1 80 2
so e e .
’
e r ca a o .

Gr eg ry S m i th 1 1 96
1
o . .

2
A r te o f R h e t or iq u e, p . 1 64 .

Gr e g o ry S m i th
3
2 . 150 .
 POETI C DI CTION I N ‘
0 UR ELDER POETS ’
1 1

ac c e p t e d o ne B u t t h e s e w ell b r e d m en a r e no t p e dant s o r
.
-

u niv e r s i ty w i t s T h ey a r e m en o f a ffai r s wh o s p e ak cl e a r ly
.

a nd i nte lli g e nt ly w i t h m o r e r e ga r d f o r m a tt e r tha n f o r

,

wo r d s H enc e w h a t W o r d s w o r th p e r hap s w a s r e ally

.

s ee ki n g — a s p e e c h w h i ch w a s u niv e r s ally i nt e lli gibl e a nd ,

—
no t th e a r bi t ra r y c r e a t i o n o f p o e t s w a s al s o th e g o al o f
t h es e s t o u t d e f e nd e r s o f th e c o m m o n u s e a nd th e ‘ ’

‘
g ene r ally r ec e i v e d c u s t o m .
’

A gai n th o u gh D r J o h ns o n s ay s t hat b e f o r e D r yd e n
1
, .

t h e r e w a s no p o e t ical dic t i o n no s y s t e m o f w o rd s e s p e cially ,

r efi ne d a nd app ro p r i a t e d t o p o e t r y it is g ene r ally i m pli e d ,

in E li z ab e th an c r i t ici s m tha t t h e r e I S s o m e di ff e r e nc e apa r t ,

f r o m m et r e b e tw e e n t h e la ng u ag e o f p r o s e and t h e lan
,

g u ag e o f v e r s e V e r s e s ay s P u t t enham is a m anne r o f
.
2
, ,
‘

u tt e r anc e m o r e e l o q u ent a nd r h e t o r ical t han th e o r di na r y

p r o s e which w e u s e in o u r d aily t alk b e c a u s e it is d e ck e d ,

a nd s e t o u t w i t h all m a nne r o f f r e s h c o l o r s a nd fi gur e s ,

w hi ch m ak e t h t ha t it s o o ne r inv e ig le th t h e j u dg e m ent o f
m e n a nd ca rr i e t h t h e ir o pi ni o n t hi s w a y a nd t h a t w hi t h e r
, ,

s o e v e r t h e h e a r t by t h e i m p r e s s i o n o f t h e e a r s h all b e m o s t

a ff e c t i o na t e ly b ent a nd di r e c t e d N e v e r th e l e s s t h o u gh a s .
’

m u ch di ff e r e nc e a s t hi s d efi nit io n s u gg e s t s is g ene r ally

t ak en f o r g r a nt e d th e e ff o r t s t o p ur i fy t h e li t e r a r y lang u ag e
,

a r e appar ent ly di r e c t e d t o w a r d p r o s e a nd v e r s e alik e a nd ,

t h e s a m e s t anda r d is u s u ally appli e d t o b o th T h i s s t a nd

3
.

a r d i s t o b e f o u nd b o th in H o rac e s A r t of P o e tr y a nd in ’

C ic e r o s Or a t o r a nd Q u i nt ilian s I ns titu t es o f Or a t o r y
’ 4 ’
.

T h e t r a ns f e r e nc e t o v e r s e o f t h e id e al o f a p ur e a nd
u niv e r sally in t elli gibl e dic t i o n w hich th e g r e a t e s t o f R o m a n

( L iv e s H i ll,
1
D r y d en , ed
'

. 1 .

2
Gr e g o r y S m i t h 2 . 8 9 -
.

3
Ga s c o ig ne s a y s :
‘
Y ou m ay use th e s am e fig u r e s or t ro p es in
v r e ich
se whu d in pr —Gr g ry S m i th
a re 52se ose .
’
e o 1 . .

T h r f r nc aut h ri t i in E li ab th a n cri t ici m

4
e t the e e es o es e o es z e s ar e

t o o nu m r u t r pr duc h r T h y m y b e f o u nd b y c o n ult
e o s o e o e e e . e a s

ing t h xc ll nt i nd x t th nd f th s c o nd v o lum e o f E li
e e e e e a e e o e e za

b th n C iti a l E
e a r
y c ss a s .
1 2 WORDSWORT H S T H EORY ’
OF POETI C DI C TION

o ra r
to s h a d acquir e d fr o m a s t ud y o f t h e G r e e k classi c s ,

o n t h e o ne ha nd , and fr o m his o wn e xp e ri e nc e a s a d aily

‘

o r a t o r am o ng t h e c o mm o n p eo pl e o n t h e o th e r h a n d ,
’

t e nd e d t o main t ain a w h o l e s o m e r e la t i o n b et w e e n po et r y
and p r o s e .

T h e p e culiar Vi t ali ty o f th e E li z ab e than cla s s icism , crud e

a s it w a s
— thi s s e ns e o f a livi ng c o n t ac t o f man wi t h m a n
in di s cipl es hi p
— e nabl e d t h e cri t ic s o f t h e a g e t o a p pr o ach
m o r e n e a r ly t o th e s piri t o f t h e ir t e ach e r s t h an did many
w h o f e l t th e m s elv e s b ett e r ins t ruc t e d . T h e ir fai t h in t h e
n e c e s s i ty o f pr e s erving th e na t iv e i d i o m a t all c o s t s , and o f
m o di fying th e m eth o d o f t h e L a t in w ri t e r s t o s e rv e t h e ir
o wn purp o s e n e arly r e s e mbl e d t h e a t t i t ud e o f t h e ir ma s t e r s
,

to G ee r k — th e a tt i t u d e o f C i c e r o , e s p e cially . H e h ad
al w ay s empha s i z e d th e n e c e s si ty o f f o ll o w i ng th e la w o f his
o wn languag e , i nf e r i o r as it w a s by na t ur e , and o f admi t

t ing no f o r e ig n s pl e nd o r inc o mpa t i b l e w i t h it . T h o s e who

h ad l e arn ed t his l e ss o n fr o m him had l e ar ne d s o m et hing
far b e tte r th a n a s e rvil e r e gard fo r c o rr e c t n e ss , a nd th e
di s p o s i t i o n no t w h o lly un k n o w n in an t iqui ty , t o plund e r
,

t h e cla s s i cs o f e v e ry fi g u r e o f s p e e ch a n d e v e ry fl o w e r o f
p o es y , a nd d e ck o u t th e ir o w n v e r s e in th e u nna t u ral s p oil s .

T hi s vi t al r ela t i o n t o Gr e e k and e s p e cially t o L a t i n, p o e t r y

,

a nd li t e rary cri t ici s m al s o e nabl e d th e E li z ab e t han cri t ics t o

r e pr o du c e w i th o u t t o o mu ch e xagg e rat i o n th e classical

a tt i t ud e t o v e r s e a nd p r o s e . T hi s had m o r e and m o r e
t e nd e d t o e m pha s i z e t h e e s s e n t ial c om mu ni t y b e t w e en t h e
t wo t yp e s o f e x p r e s s i o n , w i th o u t h o w e v e r , failing t o
,

r e c o gni z e th e di ff e r enc e s r e s u l t i ng s o m e t i m e s fr o m a di f
f e r enc e in p ur p o s e a nd al w ay s fr o m a di ff e r e nc e in t he
,

a s s o ciat i o ns a nd th e e x t e r nal e ff e c t o f t h e m e dium T hu s .

t h e r elat i o n o f t h e m o r e s ch o larly E li z ab e thans t o t h e ir

a nci ent m o d e l s w a s s o m ewhat lik e th e r e la t i o n o f S idn ey s ’

id e al p o e t t o N a t ur e L i f t e d in th e gl o ry o f t h e i r o w n
.

f r e e d o m , th ey w e r e p r e pa r i ng th em s e lv e s t o g o hand in
ha nd w i th th e cla s s i c s no t bo und w i thin th e narr o w war
,
 POETIC DICTION I N O U R ELDER POETS ‘ ’
1
3

r anty o f th e i r m a s t e r s gif t s
’

, b ut f r ee ly rangi ng on ly w i thi n
th e zo diac of th e i r o w n w it .

3 . Th e H e ir s o f th e E liz a b e th a n Tr a ditio n in th e
S e v e nte e nth C e ntu r y .

I n the s e v e nt e e nt h c ent ur y t h i s w h o l e s o m e E li z ab e t han

\
t r adi t i o n c o m e s t o a r a th e r t o b e r e viv e d —
vi o l e nt e nd no t
a gai n u nt il t h e day s o f C o l e r idg e a nd Vo r d s w o r th ; a nd
wh a t C o l e r idg e c all s t h e s e c ond p e r i o d o f o u r lang u ag e
b e gi ns w i t h th e c r i t ici s m a nd p o e t r y o f D r yd en D uri ng .

t h e e a r li e r p a r t o f t h e c e nt ur y t h e E li z ab e th an id e al s w e r e
mai nt ai ne d no t o nly by t h e plain a nd manly cla s s i ci s m o f
,

B e n J o ns o n , w h o m D r yd e n r e gard e d a s h is m a s t e r b u t by ,

t wo l e s s e r p o e t s D r ay t o n and D a ni e l , w h o m ad e a p e c u liar
,

app e al t o Wo r d s w o r th a nd C o l e ridg e and w e r e c o n s ci o u s ly ,

imi t a t e d by th em : B en J o ns o n w a s appa r ent ly l e s s a ttr a c

t iv e t o t h e p o e t s o f t h e L y r ic a l B a lla ds b e cau s e h e lack e d ,

th e t e nd e r ne s s o f h e a r t t ha t w a s a s s o cia t e d w i th W o r d s
w o r th s id e a l o f s i m pl e e x p r e s s i o n ; b u t h e t o o ba ttl e d
’
~

, ,

brav ely w i th th e b e s e tt i ng s in s o f E ngli s h s tyl e a nd ,

s o ugh t in h is o w n inc o m pa r abl e phra s e t o r e d ee m a r t s

, ,
‘

f r o m th e i r r o u gh a nd b r aky s e a t s w h e r e t h e y lay hi d a nd ,

o v e rg r o w n w i th t h o r ns t o a p u r e o p e n a nd fl o w e r y ligh t
, , , ,

w h r e the y m a y t ak e t h e ey e a nd b e t ak e n by t h e ha nd
e 1
.
’

B u t in t hi s e ffo r t h e did no t s t riv e t o li f t t h e li t e r ary

l ang u ag e t o o fa r ab o v e t h e und e r s t a ndi ng o f t h e v u lgar
m u l t i t ud e wh o m n ev e r th el e s s h e fra nkly s c o r ne d
, , P ur e , .
‘

a nd n e a t la nguag e I l o v e h e s ay s b u t plai n a nd c u s
’ ‘

, ,

T hi s pl ai n a nd c u s t o m a r y s tyl e which r e s u l t e d
2 ’
t om a r y .
,

fr o m t h e s t r ivi ng a f t e r th e g o ld e n m e an in s p e e ch a s w ell
a s in t h e r ul e o f li f e in
J s o n s o wn t i m e did no t w h o lly
’
o n ,

e s c ap e t h e c e ns ur e di r e c t e d agai ns t s im li ci t y in W o r d s
p
w o r th s day T h e t ru e a r t ific e r w ill no t r u n a w ay f r o m
’ ‘
.

1
T im b er , ed . c
S h ell n i g , p .
7 .

2
I b id .
, p .
59 .
1 4 WORDSWORTH S T H EORY ’
OF POETI C DI C TION

N a t ure i f h e w e r e a fraid o f h er , h e o b s e rv e s , o r
as
G

d epar t fr o m lif e a n d th e li k e n e s s o f t ru t h , b u t s p e ak t o t h e
capaci ty o f h is h e ar ers A nd t h o ugh h is l anguag e di ff er .

fr o m th e vulga r s o m e wh at it s hall no t fl y fr o m all humani ty , ,

i h
w t th e T am e rlan e s and t h e T a m e r — cham s o f th e la t e a g e ,

whi ch had n o thing in t h e m b ut th e s c e nical struttin g and

v o ci f e ra t i o n t o w arran t th e m t o th e i gn o rant gap e r s .

I n t h e m e an t im e , p e rhap s h e is c all e d barr e n , dull , l e an , a

,

p o o r w ri te r , o r by w ha t c o n t u m e li o u s w o rd c a n c o m e in
t h e i r ch e ek s , b y th e s e m en w h o w ith o u t l ab o r , j udgm e n t ,

k no w l e dg e , o r alm o s t s ens e , a r e r e c e iv e d o r pr e f e rr e d b e f o r e
him . H e gratula t e s th e m and t h e ir f o r t un e A n o th er .

a g e o r j us t e r m en will ac k n o w l e d g e t h e vir t u e s o f his

T hi s s ugg e s t s th e v e ry t o n e o f W o rdsw o r th
’
s t udi e s 1
.

w i t h r e f e r e nc e t o th e m o r e p o pul ar a nd sh o w y grac e s o f
S c o t t and Byr o n J n n f
’ ‘
o s o s s c
. o rn o rh e t o ric t ha t cann o t
s u it e r th e sun o r a sh o w e r , no r b e ar t h e o p e n air ,
’
his
liking fo r s t r ength and s in e ws in v e rs e o r pr o s e , e ch o
‘ ’

S idn ey , and an t i cipa t e t h e e mpha s i s o f W o rds w o rth a nd

—
C o l e ridg e o n p o et i c s ubs t anc e t ha t s ub s t ra t um o f fact and
s e ns e in v e r s e w hich r e mai ns w h e n it is t ur ne d in t o pr o s e ,

o r s ubj e c t e d t o th e t e s t o f in t e ll e c t ual analy s is .

M e anwhil e D ray to n ,t o o w a s l o o k i ng bac k with s o m e ,

c o mplac enc y t o th e p a s s ing o f th e vi o l e n t spl end o rs o f th e

T am e r lan e s and T am e r ch a m s o f t h e la t e a g e , and t h e
‘ ’
-

ba ni s hing o f s up e r fl u o u s alli te r a t i o n f o rc e d an t i th e s e s , ,

and far f e t ch e d si m ili t ud e s fr o m a ridicul o u s na t ural h is

-

t o ry , w hich E u phu e s had m ad e p o pula r a nd S ir P hilip ,

S idn e y had s t riv e n t o laugh o u t o f e xist e nc e S idn ey .

,

w r i t e s D ray t o n , 2

r ughly p d o u la nguag
th o ac to how
’
r e, a s s

T h a t p l nt u s E ngli h h a nd in h a nd m igh t g o
e eo s

Wi th Gr k nd L a t i n nd d i d fi t r e d uc e
ee a , a rs

O ur t o ngu e fro m L i lli s w ri t i ng t h e n in u e e

’
s .

1
Tim b er , ed . c
S h ell n i g , pp . 2 6 -2 7 .

2
S pi ngarn 1 . 13 7 .
1 6 WORDSWORTH S T H EORY ’
OF POETI C DI C TIO N

‘
g nuin e lang u ag e o f pa s s i o n
e N e v e r th el e s s , in th e ir pur
.
’1

s ui t o f far f e t ch e d s imil e s and o u t o f w a y t h o ugh t s , t h e y

- - -

di s play e d a n i nt e ll e c t ual p o w e r a nd a cl e arn e ss o f c o nc e ption

which k e p t W o rd s w o r th and C o l e rid g e fr o m a w h o l e sal e
R e ad all C ow l e y h e is v er y valu
‘
c o nd em na t i o n o f th e m .

abl e t o a c o ll e c t o r o f E ngli s h s o und s e n s e s aid W o rd s ’

w o r th wh o ne v e r t h e l e s s c o nd e mn e d th e t a s t e o f an a g e in
,

w h ich th e b o o k s ell e r s s t all s in Lo nd o n s w arm e d w i t h th e

’

f o li o s o f thi s abl e wri t e r a nd a m iabl e m a n w hil e M il t o n

‘ ’

B u t in C o wl ey s o wn a g e t h e m e t aph y sic al
’
wa s n e gl e c t e d 2
.

s ch o o l did no t e s cap e t h e c ens u r e t ha t al w ay s aw ai t s

o ff e nd e r s again s t N a t ur e and s impli city , p o pular a s t h e y t o o

o f t en a r e T h e r o u gh v e r s ifi
. c a t io n o f D o nn e o f wh o m ,

B e n J o n s o n s ai d th at f o r no t k ee pin g th e acc e n t h e d e s e rv e d
‘

hangi ng th e wild m et r e s o f C o w l e y s P inda r i c o d e s , a nd

3
,
’ ’

wha t A ddi s o n call e d th e g en e ral Go thi ci s m o f t a s t e

am o ng th e s e curi o u s t hin k e r s b e gan t o w e ary t h e gay ,

s piri t s o f t h e R e s t o r a t i o n ; and t h e y t u r ne d w i t h r e li e f t o

the e as y and m ellifi uou s c o upl e t s o f W all e r , which

d em and e d no e ffo r t o n th e par t o f th e r e ad e r e i th e r t o
s ca n t h e m o r t o c o m pr eh e nd t h e ir m e a ni ng T h e nc e c am e .

t ha t mi gh t y r e f o rm which in a singl e g e n e ra t i o n r e nd e r e d
th e s ty l e o f all E ngli s h p o e try hi th e r t o h o p e l e s s ly an t i

q u a t e d , a nd in 1 6 75 t h e y e ar a f t e r,M il t o n s d e a t h had ’
.

p r o d u c e d an alm o s t c 0 m plet e sil enc e o f all s i nge r s b e y o nd ‘

t h e v e r g e o f t h e pr e s e nt a g e 4 ’
.

4
. M ilto n .

B utb e f o r e w e c o nsid e r t hi s ne w s ch o o l o f p o e t ry and

p o e t i c dic t i o n w hi ch pr e vail e d d o w n t o th e t im e o f W o rds
,

w o r th a nd again s t w hich his c r i t i ci s m w a s c h ie fly dir e ct e d ,

,

B L . . 1 . 15 .

E s s a y S u pple m e nta r y t o t h e P r ef a c e .

3
S pi ngarn 1 . 21 1 .

4
I b id . 2 . 263 .
 POETI C DICTION I N O U R ELDER POETS‘ ’
1 7

we m u s t t u r n a s id e f o r a m o m ent t o do h o no r t o t h e
spl endid a nd l o ne ly fi g u r e o f M ilt o n I t is no t ina p p r o
.

p r ia t e t ha t t hi s b r i e f m e nt i o n o f h im s h o uld s e e m li k e a

dig r e s s i o n an i nt e rr up t i o n o f th e mai n c o ur s e o f th e d is
,

c u s s io n . D e s pi t e h is manif o ld r e la t i o n s t o li t e ra t ur e and
th e p o li t ic al li f e o f h is o wn t i m e h e s e e ms t o s t and apar t
,

t o r e p r es e nt id e al s w hi ch a r e p e c u liarly h is o wn and no t , ,

a s in t h e ca s e o f S p e n s e r a nd S hak e s p e ar e , s imply th e

m o s t gl o r i o u s e xp r es s i o n o f a s pi r i t c o m m on t o a w h o l e
li t e r a r y g r o up B u t thi s app e a r a nc e o f l o n eli ne ss is d u e
.

t o th e fac t t ha t M il t o n s p r o p e r backg r o und is no t E ngland

’

al o ne , b u t th e C o nt i nen t I n s pi t e o f h is i ntens e p at r i o t i s m ,
.

h e think s o f him s e l f as o ne o f a E u r o p e an c o m m o n w e al th
o f s ch o l ar s a nd p o e t s A s s u ch h e is no t o nly a n E ngli s h
.

m a n, b u t a r e pr e s ent a t iv e o f E ngland Wh en w e plac e him

.

w h e r e h e c o n s ci o u s ly b el o ng e d in th e mai n s t r e a m o f t h e
,

E ur o p e an R enai s s anc e w e di s c o v e r t ha t h e t o o i s e xpr e ss

,

ing in t e r m s o f h is c o nt in e n t al r e la t i o ns hip s t h e id e al
, ,

w hich w e hav e disc o v e r e d in th e m o s t f r ui t ful E li z ab e than

c r i t ici s m a s w ell a s in th e p r e fac e s o f W o r d s w o r th Lik e
, .

h is I t alian m a s t e r s h e t h i nk s o f t h e c u l t iva t e d a nd li t e r ary

,

languag e a t h is c o m m a nd a s b e i ng no t a c e r tai n ki nd o f ,

E ngli s h b u t L a t i n a nd th e s p e e ch o f t h e p eo pl e a s b e ing
, ,

no t t h e lang u ag e o f th e c o u nt r y a s o pp o s e d t o t ha t o f t h e
t o w n o r th e lang u ag e o f u na ff e c t e d
,
—
w e ll b r e d m en a s
,

o pp o s e d t o t h e la ng u ag e o f w i t s o r p e da nt s b u t th e w h o l e ,

o f t h e E ngli s h l anguag e a s c o m pa r e d w i t h t h e u ni v e r s al

li t e rary m e diu m o f E u r o p e W h e n t h e c h o i c e b e tw e en t hi s
.

li t erary language and th e s p o k en v e r nac u la r is t hu s p r e

s e nt e d t o his m i nd h e u nh e s i t a t i ngly e l e c t s t h e la tt e r I ‘
, .

appli e d my s el f t o t hat r e s o l u t i o n wh i ch A r i o s t o f o ll o w e d
agai ns t th e p e r s u a s i o n o f B e m b o h e s ay s to fi x all t h e
’ 1 ‘

, ,

i nd u s t ry and a r t I c o uld u ni t e t o th e ad o rni ng o f my na t iv e

t o ng u e ; no t t o m ak e v e r bal cu r i o s i t i e s t h e e nd ( t ha t w e r e
a t o il s o m e va nity ) b u t t o b e a n i nt e r p r e t e r a nd r ela t e r o f
1
S pi ngarn 1 . 1 95 .
1 8 WORDSWORT H S T H EORY ’
OF P OETI C DI C TION

th e b e s t and sag e s t t hings among min e o wn citi z e ns

t hr o ugh o u t t hi s i s l and in th e m o th e r dial e c t T ha t wha t .

th e gr e a t e s t an d ch o ic e s t w i t s o f A th e n s R o m e , o r m o d e rn ,

I t aly , and t h o s e H e br ew s o f o ld did f o r t h e ir c o u nt r y , I ,

,

in m y p ro p o r t i on, w i th t hi s o v e r a nd ab o v e o f b e ing a
C hri s t ia n migh t do f o r min e ; no t caring t o b e o nc e nam e d
,

ab r o ad , t h o ugh p e rh ap s I c o ul d a t t ain t o th at , b ut conte nt

wi th th e s e B ri t i s h i s l a nd s a s my w o rld T hi s s e n t im e n t
’
.

w a s r e ad and e ch o e d b y W o rd s w o r th , w h o c o nsci o usl y t ri e d

t o t ak e up th e w o r k o f M ilt o n , and t o c arr y o u t s om e o f his
plan s fo r r ela t ing th e b e s t a nd sag e s t t hin g s amon g hi s
o wn ci t i z ens
1
H e nc e e v e n M il t on, w h o s e dic t i o n is t h e
.
,

v er y an t i th e sis o f the languag e o f c o nv e rsation in t h e

‘

l ow er and mi d dl e class e s , and w h o c e rtainl y w a s r e s po n

’

sibl e f o r s o m e o f th e d u lc ia v itia in th e p o et r y o f th e e igh

t e enth c e n t ur y , pr o v e s up o n e xamina t i o n t o h o l d an id e al
not al t og eth e r di ffe r e nt fr o m t hat o f W o r d s w or th T he .

di ff e r enc e in th e ir a pplic at i o n o f it was du e to t he imm e ns e

rang e o f M il t o n s his t o ric al and g e o graphic al imagina t i o n ,
’

and t o his c o sm o po l itan c ultur e W h at a li ttl e group o f .

l ak e s a nd hill s w a s t o W o r d s w o rth t h e s e B ri t i s h i s lands ,

‘ ’

w e r e t o M il t o n H e c o uld l o cali z e his c o nc ep t i o ns no

.

fur th e r A s W o rdsw o r th m o difi

. es t h e languag e o f c o n

v e rs at i o n in o r d e r t o g iv e it th e m e l o dy a nd grac e o f th e
E nglish p o et s w h o m h e l o v e s , s o M il t o n rai s e s an d har
m o ni z es th e h o m e l y o r o v e r luxuriant v e rnacular t o th e
-

digni t y o f Gr eek an d L atin .

1
S e e P r e lud e 1 . 1 68- 1 6 9, a nd th e bri e f p r e fac e to A r t eg a l a nd

E lid u r e .
 CH A P T E R 2 .

POETI C DI CTION ‘ ’
IN M ODERN TI M ES .

M il t o n w a s l a s t o f the e ld e r p o e t s E v e n in h is
t he .

o w n li f e t i m e , a r e f o rm had b e gu n w hich w a s t o r e nd e r him

alm o s t as o b s o l e t e as S p en s e r and S hak es p e ar e D e s pi t e .

t h e e ff o r t s o f th e E li z ab e tha n cla s s ici s t s a nd p u ris t s E ng ,

li s h po e t r y hi th e r t o had n e v e r a t t ain e d t o t ha t e v e n sim

li c it w hich had b ee n t h e id e al o f many T h e r e w e r e s t ill
p y .

‘
r o u gh and braky s e a t s b etw e en it s purpl e p at ch e s o f ’

fl o w e ry bl o o m I n S hak e s p e ar e t h e r e is no s uch r e lat i o n

.

b et w e en t a s t e a nd g eniu s i ns pirat i o n and m o d e r a t i ng g o o d ,

s e n s e t he gl o wi ng inn e r li f e and t h e graci o u s e x te rnal

,

ma nne r , a s th a t w hich w e hnd in th e t rag e di e s o f S o ph o

cl e s e v en in M il t o n t h e r e is an o c c c a s iona l h ar s h ne s s a nd
i rr e gulari ty o f s tyl e w hi ch s ee m s crud e b e s id e th e bri gh t
a nd limpid v e r s e o f H o m e r A s th e fir s t flu s h o f t h e w o n .
1

d er f u l c r e a t ive e n e rgy o f t h e R e nai s s a nc e di e d a w ay t hi s ,

di s pr o p o r t i o n becam e m o r e and m o r e e vid en t 2

I t wa s .

1
F r o m t he a ndp i nt f th new s ch l o f p o tic d ic t i o n P h i llip s
st o o e oo e , ,

M i lt n nep h w r f r t o S p ns e r w i th ll h i ru s t y
o
’
s e , b ol t
e e s
‘
e , a s , o s e e

w rd a nd hi r ugh h ewn c lo ut rly v r s e nd S h a k p e ar e

’ ‘ ’
o s s o , e e s, a es

w i th ll h i u nfi l d xpr i o n nd h i ra m b li ng nd i nd ig t d
‘ ’ ‘
a s e e es s s a s a es e

fa nci e ( Spi ngar n 2

s
’
D ryd e n p e a k in a i m i lar t o n . s s s e,

t h ug h in s m wh a t l s pic t ur s qu e t er m : Y et it m u t b e a llo we d
‘
o o e e s e s s

t o t h e pr nt g t h a t t h t ngu e in g nera l i
ese a o m uc h
e efine d e o e s s r

s i nc S hak p ar t i m e t h a t m a ny o f h i wo r d nd m o r e o f h is
e es e e s
’
s s, a

p hra s se carc i nt lligi b l A nd o f t ho s wh ich w u nd r s t a nd

, are s e e e .
, e e e ,

so m e u ngra m m a t ica l t h er s c o ar
are nd h i wh l t y le i s o , o s e, a s o e s s

p t r d w i th fig t i e e xpr e s i n t h a t it i s a ff c t d s it i
es e e ur a v s o s s a e e a s

b cur (K 1
’
o s e er .

S pra t a na ly s i f th e infl u n f t h e C ivi l War up n t h

2 ’
s s o e ce o s o e

la nguag i i nt r t i ng in t h i c nn c t i n T h t ru th i it h ‘
e s e es s o e o : e s, as

h i t h r t b n a li t t l t
e o car l s ly h a ndl d a nd I th i nk h a s h d
ee e oo e es e , , , a

le ss la b r p nt a b u t it p li h i ng t h a n it d
o s e rv e T i ll t h t i m
o s o s es e s . e e

o f Ki ng H nr y t h e E igh th t h r w e carc ny m n r egar d e d it , e e as s e a a

b u t Ch auc e r nd n th i ng w wri tt n in it wh ic h o ne wo u ld b
, a o as e e
20 WORDSWORT H S T H EORY ’
OF P OETI C DI C TION

th e n d isc o v e r e d th at whil e p oe t s had b een sin ging so ,

s w e e t ly a nd s p e ak in g s o
,
cl e a r l y and w ell th e law s o f ,

E ngli s h pr o s o dy and grammar had n e v e r b een r e all y

d efi
ne d .
1
E ach m a n had f o und th em o u t f o r him s e l f T h e .

tr e atis e s of Ga s c o i gn e and P u t t enham ha d b e en in d ividu a l

wi lli ng t o r ea d t wic e b ut s o m e o f his p o etry Bu t th n it b eg a n . e

t o rai e i t s el f a li ttle a nd t o s u nd t o le rab ly w ell

s , F ro m t h a t a g e o .

d o wn t u la t e C ivi l War it w
o o r t i ll fa s h i o ni ng a nd b e au t i f y i ng
s, as s

i t s elf I n th e war s th em s lv s ( wh ich is a t i m e wh r e i n a ll la n

. e e e

guag es i f ev r t i ncr ea s e b y x tra o r d i nary d egr e s f o in

u s e, e , o e e , r

s uc h bu y nd ac t iv t i m s t h er e ari s e m o r e new t h o ug h t s o f m en
s a e e

W h ic h m u t b e s ig nifid nd vari d b y new e xpres i o ns ) t h n I

s e a y e s , e , sa ,

it r e c e iv d m a ny fa nt a s t ica l t rm
e Wh ich we r e i nt r o d uc e d b y o u r e s,

r eli g i o u s s ec t s nd m a ny o u tla nd i sh p hra s e wh ich ev ra l wri t r s

, a s, s e e

a nd t ra n la t r s in th a t g r e a t h urry br o ug h t in a nd m a d e fr e e a s t h y
s o e

p l a s e d a nd w i th al it wa s enlarg e d b y m a ny s o u nd a nd ne c e ary
e , ss

f o rm a nd i d i o m s
s A nd no w wh e n m en m i nd s a e o m wh a t
.
,
’
s r s e

s e t t le d nd t h e ir pa s s i o n a lla y e d
a i f s o m e s o b er nd j u d ici o u s
s , a

m en wo u ld t a k e t h e wh o le m a s s o f o u la ngua g e i nt o t h e ir h a nd s r

a s th y fi e nd it a nd wo u ld s et a m ar k o n th e ill wo r d s c o rr e c t th o s e
, ,

wh ic h a e t o b e r et ai ne d a d m i t a nd e s t ab li h t h e g o o d a nd m a k e
r , s ,

s o m e e m e nd a t i n in t h e acc ent a nd g ra m m ar I d ar e p ro no u nc e
o s ,

that o u s p e e c h wo u ld quic k ly arriv e

r t a m uc h p l nt y a s it is a s e

capab le t o r ec e iv a nd a t th e gr ea t e t s m o o th nes s wh ic h it s d eriva

e, s

t i o n fr o m t h e r ug h Ge r m a n w i ll a llo w it —S p i ngar n 2 1 1 3 1 4
’
-
o . . .

S ee Wi llia m Wo tt o n s r evi e w o f E ng li h gra m m ar d o wn t o

1 ’
s

1 6 94 ( S pi ngarn 3 H a y v ry s n i b ly F o in th ‘
2 24 . e s s e e s : r, e

fis t p lac it o ugh t t o b e o ns ide e d t h a t e v e ry t o ng u e h s it s o wn

r e,
'

c r a

p ecu liar f o rm a s well s it p ro p er wo r d s no t c o m m u nicab le t oa s , ,

n r t o b r e gu la t e d b y t h e a na lo g y o f a no th e r la ngua g e ; wh e r
o e e

f r e h e i th b s t gra m m aria n who is th e p erf ec t e t m a s t er o f

o s e e s

t h e a na lo g y f t h e la ng uag e wh ic h h e i a b o u t a nd giv e s t h e t ru es t
o s ,

rule b y wh ic h a no th r m n m y le a rn it N x t t o app ly th i s t o
s e a a . e ,

ou r wn t o ngu e it m a y c er t ai nly b
o , ffim e d t h a t t h e gra m m ar e a r

o f E ng li h i sfar o u o wn th a t sk i ll in t h learne d la ngua g s is

s so r e e

n t n c e s s ar y t o c o m pr eh nd it B en J n o n w s t h fis t m a n th a t
o e e . o s a e r

I k now o f t h a t d i d a ny t h i ng c o ns i d era b le in it ; b u t Ly ly s gra m m ar

’

w s h i pa t t rn nd f o w a nt o i
a s e , a fl t ing up o n t h gr u nd o f a
r . re ec e o s

la nguag wh ic h h e u nd er t o o d s w ell a s a ny m a n o f h is a g e h e
e s a ,

d r w it b y vi o lenc t a d a d la nguag th a t w s o f a d ifie ent m ak e

e e o e e a r ,

a nd le f t h is w rk i m p rf c t S o m e y e ar s b e f o r e t h i ( in 1 6 7 9 )
’
so o e e . s

D ryd en h d wri t t n: I n t h e a g e o f t h a t p o t [ Z E h y lu s ] t h
‘
a e e sc e
 ,
POETI C DICTION I N M ODERN TI M ES ‘
21

e ffor t s o nly ; t h e r e had b e e n no ge ne ral a nd c o n s i s t en t

a tt e mp t o n th e par t o f th e w h o l e li t e r ary w o rld t o di s c o v e r
.

e x a c tly w h a t c o n s t i t u t e d t h e vir t u e s and vi c e s o f p o e t ic

'

s t yl e . I f th e cla s s i cal a nd p ur i s t ic c r i t ici s m w hich had ,

h i t h e r t o b e e n t h e o rgani z i ng and r e s t rai ni ng infl u enc e in

E ngli s h v e r s e w a s no t t o fail e nt ir e ly it m u s t c e a s e t o b e
, ,

g ene ral a nd s pa s m o dic I t w a s now n e c e s s a r y t o d e s c end .

t o m i nu t i ae a nd t o d e v e l o p a s t andard s o narr o w and d e h

,

ni t e t ha t it s d e mand s s h o u ld b e al w ay s qui t e unmi s t akabl e .

I t w a s no t e n o ugh t o s a y t ha t p o e t s s h o uld mak e a j udici o us

s e l e c t i o n fr o m th e s p o k e n la nguag e All t h e li t e ra ry .

e xp r es s i o ns t ha t did no t o ccur in t h a t languag e mu s t b e

in t e r dic t e d o ne by o ne , s p ec ifi c a lly a nd by nam e ; a nd t h e

j
int e rp r e t a t i o n o f t h e ph r a s e u di ci o u s s e l e c t i o n m u s t no t ,
‘ ’

b e l e f t t o t he j u dg m e nt o f e v e r y s c r ibbl e r T h e w ild .

i ndividuali s m o f th e m e t aphy s ical s c h o o l had s h o wn tha t

p r iva t e ju d g m e nt s w e r e no t t o b e t r u s t e d .

H e nc e ca m e th e r e f o rm o f D ryd e n a nd his s ch o o l T h ey .

did no t i nv ent a new s t andard ; t h ey m e r ely t ri e d t o mak e

t h e L a t in s t a ndard i n h e r i t e d fr o m S idn ey t hr o ugh B e n
J o ns o n a s s p e c ifi c a nd prac t ic al a s p o s s ibl e I t w a s th e o ld .

w a r c o nd u c t e d w i t h s li gh t ly di ff e r ent t ac t ic s , o n t he o ld
,

e ne m y in a ne w g u i s e —
w i t h s ub s t an t i al r e e nf o rc em e nt s
,

f r o m F ranc e E v e n b e f o r e t h e R e v o lu t i o n th e s o ns o f B en
.
,

w i th t h e i r d o ugh ty s ir e had b e gun t o a nt icipa t e t h e c o n ,

c e p t io n o f a m o r e cha s t e ne d s tyl e a nd a s m o o t h e r v e rsi

fic a tio nfi B e n J o ns o n s e em e d t o D r yd e n t o illu s t r ate th e

L

Gr e ek la nguag e wa s arriv d t it full p rf c t i n; th y h d a m ng t e o s e e o e a o s

th me n xac t a t a nd ar de f w ri t i ng nd p a k i ng
s Th E ng li h o a s e . e s

la nguag i no t capa b l
e sf uch c rt ai nt y ; nd w e far o s e a e are so

fr m it t h a t w
o w a nt i ng in t h v ry f u nda t i n f it a p erf e c t
e are e e o o o ,

gra m m ar ( P r fac t T il nd C K I n 69 3
’
e id e o ro us a r es s a, er 1 . 1

h ewr t W h av y t n E ngli h p
o e :
‘
e di n t m uc h
e e o s r os o a, o so as

a t l rab l d ic t i nary
o e e a gra m m ar ; o tha t la nguag i in a
, or so o ur e s

m a nn r b ar b ar u ( ibid 2
’
e o s . .

S c h lli ng B n J n n nd t h e C la ica l S c h l P b M o d
1 ‘
S
’
ee e , e o so a ss oo , u . .

L ng A
a . 13 23 5
ss oc . . .
22 WORDSWORT H S T H EORY ’
OF P OETI C DI C TION

id eal o f corr ec tn e ss which was t o d o minat e th e e i ght een t h

c entur y J o n s o n , h e s ai d , i s t o b e admir e d f o r many
.
‘

e xc e ll e nci e s ; and c an b e t ax e d wi th f ew e r failings t han

an y E ngli s h p o et B u t t o t h e H o rat i an cri t ici s m o f t h e

.
’1

r oy al B en w a s now ad d e d th e H o ra t ian cri t ici s m o f M a l

h e rb e and B o il e au and th e new F r ench A cad e m y which 2
,

insis t ed o n th e nee d o f discarding th e tawdry an d o u tw o r n

d e c o rat i o n s o f th e o ld p oet ic di c t i o n in fav o r o f a j udi ci o u s ,

s e l e c t i o n fr o m t h e sp o k e n languag e I n E ngl and , as in .

F ra nc e , an a t t ack w as dir e c t e d agains t di s t o rt i o ns a nd

‘

int r icaci e s in all f orm s o f lit e r at ur e T h e s ubs t i t u t i o n o f .

g en e ral f o r t e chni cal t erm s and imag e ry , the elimi nat i o n o f

th e L a t in c o i nag e o f B r o w n e and his s ch o o l , th e
at temp t t o mak e li t e ra t ur e appr o xima te m o r e and m o r e t o
c o nv e rsati o n th e t r end t oward pr e ci s i o n o f w o rd a nd
,

id e a—th e s e a r e d i ffe r e nt pha s e s o f th e sam e m o v em ent ,

and all hnd r e as o n e d e xpr e ssi o n in t he cri t i cism o f th e
A c e r t ain s o bri e t y and ex t e rnali ty in t h e ne w
’
p e ri o d 3
.

cri t i cism was mainl y du e t o th e l o s s o f e n er gy whi ch had

ma d e t h e r e f o rm n e c e s s ar y and p o ssibl e T h e s pl end o r and .

brav e r y o f th e o ld l awl e ssn e ss w a s g o n e , and with it s o m e

o f th e fr e e d o m and spi r i t whi ch h ad animat e d th e s t o u t

d e f end ers o f th e l aw B u t t h e vivi d anima t i o n w a s no

.

l o ng e r n e c e ssary H enc e fo rth t h er e w a s t o b e a s t e ad y a nd

.

p e ac e abl e c o n q u e st .

Th e r e la t i o n o f t he cri t ici s m o f D ryd e n a nd P o p e t o th e

a g e o f S hak es p e ar e and th e ab e rra t i o ns o f t h e m e t aphy s ical

s ch o o l may b e b e s t d e scrib e d in t h e langu ag e o f P e t i t d e

Ju lleville c o nc e r ning t h e r ela t i o n o f M alh e r b e and B o il e au

1
Ke r 1 13 8 D ryd en no t e s a ls o a J o ns o n
th t
‘
d id a li tt le too
t ngu —I bid 1 82
. .

m uc h Ro m a ni u ze o r o e .
’
. . .

L a pri ncipal f nc t i o n d l A a d é m ie s ra d e travai lle r av c

2 ‘
e o e
’
c e e

t u t le
o i n et t u t l d i lig nc p o i b l a d o nn r d e r eg l c e
so o e a e e ss e, e s es r

t ai ne s a n t r e la ngu o t a la r e nd r e pur é lo qu e nt
e, e t capa b l de e, e e e

t rai t r le art s t l ci nc s —Q u o t e d b y P t i t d e Julle ill fro m

es e es s e e .
’
e v e

th e s t atut s f t h e A ca d em y H i t o i e 4 1 3 8
e o , s r . .

S pi ng ar n p x lviii
3
, . .
24 WORD SWORTH S T H EORY ’
OF POETI C DI C TIO N

ar t is t ic Po ep t o o k up t h e g o od w o r k t h a t t h e t riumph o f
t h e n e w s ty l e w a s c o mpl e t e I n t h e d e v.e l o p m e n t o f t h e art
a nd fam e o f P o e
p , a n d t h e r e ac t i o n again s t P o p e , a r e

s umm e d up t h e wh o l e his t or y o f E n glish li t e ra t ur e b e t w e e n

M il t o n and W o rdswor th T he p e ri o d e nd e d in a w h o l e sal e
.

ab o li s hm e nt o f p o et i c d i ction , and a r et ur n t o t h e s p o k e n
languag e a s th e s o urc e and standar d o f li t e rary e xpr e s si o n .

We do no t u s uall y r e call th at it b e gan in e xac tl y th e sam e

mann e r .

I . T h e D e v elop m ent
f f o th e S c h o ol o P op e .

A l th o u gh D ryd e n an d P o p e w e r e la t e r c e l e brat e d as th e
disc o v er e r s o f th o s e e l e ganc e s and fl o w e r s o f s p e e ch o n
which th e e igh t eenth c ent ur y e s p e ci ally plum e d i t s el f , 1

th es e w er e an indir e c t r e sul t o f t h e ir prac t ic e r a t h e r t han ,

a dir e ct aim o f th e ir criti ci s m T h e p o in t was no t t o .

d ev el o p a new p o eti c dic t i o n b u t t o g et rid o f an o ld o ne ;

,

a nd t h e a t t e mp t was c hiefl y d ir e c t e d a gains t w hat all mus t

—
admi t t o b e Vi c e s in a ny s ty l e car e l e ss w o rkmanship , an d
a sy s te m o f an t iquate d w o rds o r f o rm s o f w o rds which
did no t corr e s p o nd t o th e l anguage as it w a s ac t uall y
sp ok en I n b o th c as e s th e e ffo r t w a s ne g a t iv e ra th e r t h an
.

p o s i t iv e charac t eri z e d b y Th o u s ha lt h o ts ra th e r t han b y

,

Th ou s hal ts .

Th ed e sir e t o av o id c ar el e s s —
w o r kman s hip to trust n o th
ing t o th e c apri c e o f t h e p o e t — le d t o t h e d e v e l o p m e nt o f
a s t anda r d m et re , t he h e r o i c c o upl e t , w hi ch had b ee n a

The re wa s , t h e r e f o r e , b fo r
ryd en no p t ica l
e e th e t m i e of D oe

d ic t i n no s y s t em o f wo r d s a t o nc e e fine d fro m t h e gro s s ne o f

o , r ss

d o m e t ic u s e a nd fr ee fr o m t h h ar sh ne s s f t e rm appro pria t e d
s , e o s

to part icular art s T h o s h ap p y c o m b i na t i o n o f wo r d s

. e s

wh ich d i t i ngui h p o e t r y fro m pr e h a d rar ely b n a t t e m p t e d ;

s s os ee

w h d f ew l ga nc es o flow r s o f s p e e ch ; th e r o s s h d n t y et
e a e e r e e a o

b n p luc k d fro m th e bra m b l o d i ff e r ent c o lo r s h a d no t y et

ee e e, r

b en j o i ne d t o enliv en n a no th r —D y d n ( L iv 1
e o e e .
’
r e es .
 POETI C DI C TION I N M ODERN TI M ES ‘ ’
2 5

f av o r i t e w i th B en J on s o n ! a nd h a d b e c o m e i nc r e a s i ngly
p o pular t h r o ugh t h e c entu r y T h e rul e s f o r t he m a nipu .

l at i on o f thi s t yp e o f v e r s e b e ca m e s o s t r ic t t ha t t h e a r t o f
pac k i ng th o ugh t s an d f ee ling s o f e v e r y s o r t i nto t h e s e
n e a t lin e s w i t h o u t any appar ent di ffic u l t y m igh t s e em t o
d e m a nd a mi r acl e o f i ngenu i ty 2
I n th e fi r s t plac e , t h e .

p o e t mu s t cl o s e t he s en s e w i th th e c o upl et T h es e c o upl et s .

h e m u s t m ak e m e t r ically r e adabl e w i t h o u t d e p a r t i ng f r o m ,

th e n o r mal charac t e r a nd r e la t i o n o f w o rd s in p r o s e He .

m u s t i nv e r t th e o rd e r a s li t t l e a s p o s s ibl e an d m u s t av o id
3
,

t h e u s e o f w o r d s u nne c es s a r y t o t h e s ens e o r f o r m s t ha t
‘

had b ec o m e o b s o let e Und e r thi s la t t e r t yp e w e r e includ e d

'

~
.

t h e e xpl e t iv e a o a nd t h e o ld e nding o f t h e s e c o nd a nd
4 ’
,

t hi r d p er s o n o f th e pr es e n t i ndic a t iv e es t a nd e th
5
.

M o r e o v e r th e v e r s ifi c a t io n m u s t b e no t o nly r e adabl e , b u t
,

di s t i nc tly m el o di o u s t o th e ea r 6
T h e r e mu s t b e no hi a t u s 7
.
,

no w e ari s o m e r e p e t i t i o n o f t h e s a m e v o w e l no cla s h o f ,

A i d frs e om his st ric t ly ly rica l v er s e, ic h J n n h ar e d th

in wh o so s e

m e t rica l i nv e nt iv e ne s s of h is a g e, th d eca y llabic ri m d c up l t

e s e o e

wa s a ll b u t his c o ns t a nt m e s a ur e .
’
S c h lli ng B n J o n o n a nd t h
e ,
‘
e s e

C la ica l S c h
ss o o l,
’
P ub M o . d L ng
. a . As s o c . 13 . 23 5 .

Se P p
2
e o e s
’
le tt e r o n v e r s i c a t io n, fi L et t er s 1 . 6
5 59
-
.

3
Cf . the E arl of M u s grav e
’
s E s s ay u p on P o e tr y ( S pi ngarn 2 .

xpr e s i n e a s y nd th e fa nc y h igh
Th
’
e s o , a ,

Y t t h a t no t s ee m s t o cr ee p no t h i s t fl y
e , r o

No w r d t a n p d b ut in uc h j u t ca d nc e
o s r s os
’
, s s e

A th ugh h ar d wr ugh t m y ff c t f c h a nc
’
s o m th , o , a s ee e e o e .

“
D J h n n c n ur Wa ll r f u i ng th xp l t iv d v ery
r . o so e s es e or s e e e e o

fr qu nt ly th ugh h liv d t
e e ,
‘
it a lmo t u niv r a lly j ct d
e e o s ee os e s e e e .
’

Wa ller ( Liv s 1 Cf P op E
e y n C it i i m 3 47
. D ry d n . e, ss a o r c s . e

i n t car fu l t av i d t h
s o e xp l t iv ; t h r o f ur xa m p l s f it
o e e e e e e are o e e o

in t h fi t fi f t n li ne
e rsf Ab l m nd A hit ph l
ee s o sa o a c o e .

H m tim u t r m i na t i n f v rb ay
ls ‘ ’
e so th b l t e es ses e o so e e e o o e s, s s

D rJ hn n f Wa ll r m nt i ni ng th i
. o so o a no th er a b a t m nt f
e , e o s as
‘
e e
’
o

xc ll nc in ifi t i n
‘
hi
’
s e e e e v er s ca o .

P p y n C iti i m 3 6 4
6
E o e, ssa o r c s .

T h o ug h p en v o w l t ir
7
I bid 3 45
‘
f t th th B t f
’
. : o e ea r e o e s e . u c .

h is r m ark o n h ia t u
e L t te 1 58 P o p e s a y s t ha t in ll M l
s s, e rs . . a a

h rb
e p m h e f und b u t n xa m p l f h ia tu —L tt
e s
’
oe s o 78 o e e e o s . e er s 1 . .
26 WORDSWORT H S T H EORY ’
OF P OETI C DI CTION

c o n s o nan t s ; th e mu s i c mu s t b e full , cl ear , and c o ntinuall y

va r i e d T h e rhym e mu s t b e e xac t , a nd mu s t fall o n
.
1 2

na t urally acc e n te d s yllabl e s , no t o n w e ak w o rd s li k e of, t o,

etc . I f t o all t h e s e vir t u e s th e p oe t c o uld add th e sw e et
n e s s o f alli t e ra t i o n , f o r w hich W all e r w a s fam e d , and t h e
o no m a t o p oeic s kill di s play e d by D ryd e n in his s o ng f o r

S t C e cilia s day a nd by P o p e in h is E s s a y o n Cr itic is m ,

’
.
,

h e wa s in a fair way t o e scap e th e c e n s u r e t ha t await e d

t h e c a r e l es s c r af t sman T o b e a g o o d craf t sman , a t h o r.

o ugh ma s t e r o f t h e t e chniqu e o f rhy m ing , w a s t h e chi e f

“

ambi t i o n o f th e p o e t s o f th e new g en e ra t i o n F o r it t h ey .

w er e w illing t o s u rr e nd e r all claim t o th o s e rar e r grac e s

tha t lie b e y o nd t h e r e ach o f a r t .

W hil e this e mphasi s up o n c o rr e c t n e s s and p o lish in

v e r s ifi c a t io n na t u r ally le d t o a si m ilar empha s i s in th e
ch o ic e o f w o rd s , t h e r e f o rm b e gan in F ranc e w i t h a n o tabl e
an t icipa t i o n o f W o r ds w o r t h s pr e f e r e nc e f o r th e l an gua g e ’

o f th e l o w e r a nd middl e cla s s e s O f th e li t erary prin cipl e s .

o f M alh e rb e P et i t d e Ju llev ille w r it e 5 z E ll e s e r édui t a

3 ‘
'
,

u n p e t i t n o mbr e d e pré c e t e s lu t ot néga t i f c m m e de

p p s ; o ,

décrir e les ch o s e s par l eur t rai t s le s plu s généraux ; d e

r e l e v e r s e ul em ent par u ne harm o ni e s avan t e e t u n h abil e
,

ar r a ng em ent d e s idé e s et expr e s s i o ns s i s impl e s qu e n d e s

,
’

main s m o in s adr o i t es e ll e s s e mbl e rai e n t pur em e nt p r o

'

saiqu e s C e t t e s impli ci t é pr e s qu e banal e d e s t e rm e s

.

1 ‘
T is a ll we fi can do t o giv e
i c ie nt s w e e t nes s t o o u r la nguag esu

we m u s t no t o nly c h o o s e o u r wo r d s f o r ele ga nc e b u t f o r s o u nd ; ,

t o p e rf o r m wh ic h a m a s t e r y in t h e la nguag e is r e quir e d ; b u t t h e

p o et m u s t h av e a m aga i ne o f wo r d s a nd h av e th e a r t t o m a nag e
z ,

his f e w v o w els t o t h e b e s t a d va nt ag e t h a t t h e y m a y g o fur th e r , .

He u s t a l o k no w t h na t ur e o f t h v o wel wh ic h a e m o re
m s e e s, r

so n r u o nd wh ic h m r
o s, a f
o t n d w t — K 2 2 1 5 216 o e s a s ee .
’
er .
-
.

2
S J h n n s r em ark s o n Wa ll r rhy m e — W ll r ( L iv es I
ee o so
’
e
’
s s . a e .

P p rh y m w r no t a lwa y xac t ; t h li t o f i n xac t

’
o e s es e e s e s ee e s e

rhy m in th e c o nc r d a nc t o P o p
es K l p t ck r em ark d up o n
o e e . o s o e

D r y d n car l s n in t h i s r es p e c t t W r d w r th wh d e f end e d
’
e s e es es s o o s o o

D ryd e n—B L 2 1 7 8
,

. . . . .

H is t o ir e 4 9- 1 0
3
. .
 ‘
POETI C DI CTION I N M ODERN TI M ES ’
27

em pl oyés l u i fai s ai t di r e q u e le s cr o c h e t e ur s du P o r t a u
A s M al
”
F o i n é t ai e nt s es mai t r e s e n f ai t d e langag e .

h e r be s o ugh t h is languag e am o ng th e cr o ch et eur s t h e ‘

,
’

R o yal S o ci e ty in E ngland t ur ne d t o th e l ang u ag e o f a r t i

‘

s a ns ,
c o u nt r y m e n and m e r ch an t s f o r cl e a r a nd e ffe c t iv e
-
,
’

e xpr e s s i o n
1
A l th o ugh th e R o yal S oc ie ty w a s i nt e r e s t e d in
.

t h e s im p lifi c a t io n o f E ngli s h p r o s e s tyl e f o r t h e s ak e o f

s c ie nt ifi c cl e a rne s s r a th e r than o f ar t i s t ic b e au ty it h elp e d

, ,

t o e s t abli s h a ne w id e al T h e s i ns o f E ngli s h p r o s e w e r e
.

t h e s i ns o f E ngli s h v e r s e al s o ; and S p r a t s c r i t ici s m o f t h e

’

mi s u s e o f o r nam ent in th e o ne w a s e q u ally appli cabl e t o

t he o th e r .

Th e o r na m e nt s o f s p ee ch h av e m u ch d e g e ne ra t e d fr o m
t h e ir o r igi nal u s e w r i t e s S pra t T h ey w e r e a t fi no
2 ‘

, rst .
,

d o u b t a n ad m i r abl e i ns t r u m e nt in th e hand s o f w i s e m e n
,

w h e n t h ey w e r e o nly e m pl o y e d t o d e s c r ib e go o d ne s s ,

h o ne s ty o b e di e nc e in l a r g e r fair e r a nd m o r e m o vi ng
, , , ,

i m ag e s t o r ep r e s ent t ru th cl o th e d w i th b o di e s a nd t o b r i ng
, ,

kno w l e dg e back agai n t o o u r v e ry s ens e s fr o m w h enc e it ,

wa s at fi r s t d e r iv e d t o o u r u nd e r s t a ndi ng s B u t no w t h e y .

a r e g e n e r ally c h a ng e d t o w o r s e u s es ; t h e y a r e in o p e n

de fi a nc e t o r e a s o n p r o f e s s ing no t t o h o ld m u ch c o rr e s p o nd
,

e nc e wi t h t ha t F i ndi ng t hi s bad h abi t o f s p e e c h u t t e r ly

’
.

a t va r ia nc e w i t h all s c ie nt ifi c h o ne s t y , t h e R o yal S o ci e t y

is m o s t r ig o r o u s in p u t t i ng i nt o e x e c u t i o n t h e o nly r e m e dy
‘

t ha t c a n b e f o und f o r thi s e x t r avaga nc e A cc o rdi ngly it

’
.

e xac t s f r o m a ll it s m e m b e r s a cl o s e nak e d na t u r al w a y ‘

, ,

o f sp e aki ng ; p o s i t iv e e xp r e s s i o ns
, cl e a r s e ns es ; a na t iv e

e a s i nes s b r i ngi ng all thi ng s a s ne a r t h e ma th em a t ical

,

plai nne s s a s t h ey c a n; a nd p r e f e rr i ng t h e la ng u ag e o f
ar t i s a ns c o u nt r y m en a nd m e r c h a nt s b e f o r e t ha t o f w i t s
,
-
,

a nd s ch o la r s
’
.

1
T he para ll el wi th th e Ly r ic a l r c gni e d b y P r f
B a lla ds r
is e o z o es so

a igh wh c m m nt
R le , o o e s o n th d i ff r nc in purp
e e a ls —I ntr
e e o se o . o

d uc t i n t t h
o l c ti n
o e se e o s fr m Spra t in C rai k E ng li h P o 3 27 0
o r

S pi ngar n 2 1 7 —
, , s se . .

2
18 . 1 1 .
28 WORDSWORT H S TH EORY ’
OF POETI C DI C TION

—
O f c o urs e th e langu ag e o f ar t i s ans c o untr y m en and , ,

m e rchant s play e d li t t l e par t in th e v e r s e o f D ryd e n s day

’ ’

b u t a na t ural way o f s p e aki ng wa s r e ligi o u s l y cul t ivate d

‘ ’
.

E v ery r em nant dic t i o n w hi ch had p ersi s t e d in

of th e o ld e r
p o e t ry b u t no t in the s p o k e n la nguage , w a s u nc o ndi t i o nally
,

bani s h e d T his v eh e m e n t o bj e c t i o n t o w o r d s a nd phra s e s

.

t hat had b e c o m e pur e ly li t e rary w a s d u e t o t h e cau s e s t ha t

inspir e d a si m ilar r e f o rm o n th e par t o f W o rd s w o rt h By .

a j udi ci o us c o mbina t i o n o f th e t ur ns o f s p e e ch e sp e ciall y

c o ns e c r a t e d t o v e r s e a n i gno r ant o r u ni ns pir e d rhym e s t e r
,

c o uld c o nc e al h is o wn lack o f i nv ent i o n o r s kill , and c o uld

fill up a lin e W i th s o m ethin g w hich l o o k e d lik e p o e t r y , b u t
w a s no t .T he
‘
—
di s m al s l augh t e r o f t hi s t im e h o n o r e d ’

p o et i c dic tio n is hum o r o u s ly d e s crib e d b y Ro b e rt W o ls el ey

in 1 6 8 5 : T h e e ds w ent a w ay w i t h th e fo r t os and t h e
1 ‘

u ntils in th e ge n e ral r o u t th at f e ll o n t he w h o l e bo d y
of th e th er e o ns th e th er e ins
, a nd t h e th e r e b y s w h en
, ,

t h o s e u s e ful e xpl e t iv e s t h e a ltho s and t h o s e m o s t c on

, ,

i a nd tw ix t,
’
s y na laeph a s , ids t, n
’ ’
v e nient m o ng s t,
’
m g a s t,

wer e ev e r y o ne c u t o ff ; w hich di s mal s l augh t e r w a s f o l

l o w e d by the u t t e r e x t irpat i o n o f th e a nci ent h o u s e o f t h e
ther e by s a nd t h e th er efr o m s e t c No r is t hi s r e f o r m ati o n
, .

t h e arbi t rary fa ncy o f a f e w w h o w o u d i m p o s e t h e ir o w n

’

priva t e o pi ni o ns a nd prac t i c e up o n th e r e s t o f th e ir c o un
t r y m e n b u t g r o und e d o n th e au th o ri t y o f H o rac e , w h o t e lls
,

u s in his E pi s t l e D e A r t e P o e tic a t h a t pr e s e nt u s e is t h e

fina l j udg e o f l anguag e ( th e v er s e is t o o w ell kno wn t o

ne e d q u o t i ng ) a nd o n t h e c o m m o n r e a s o n o f mankin d ,
,

which f o r bid s u s t h o s e an t iqua t e d w o rd s an d o b s o l e t e

idi om s o f s p e e ch wh o s e w o r t h t i m e h a s w o r n o u t , h o w w e ll
s o e v e r th ey m a s ee m t o s t o p a gap in v e r s e and s ui t o u r
y
s hap e l e s s im m a t u r e c o nc e p t i o ns f o r w ha t is gr o wn p e dan t ic
,

a nd u nb e c o mi ng w h e n t is s p o k e n w ill no t hav e a
’

j o t t h e

b ett e r g r ac e f o r b e i ng w r i t d o w n .
’2

1
S pi ngarn 3 2 7 . .

2
M a lh rb e ai d t h a t
e s
‘
ce qui est a i
b nn d u l n a gag e, do it ’
l et re de
le c it u P t i t d Ju ll
’
r re .
-
e e e v ille , H is t o ir e 4 6 7 9 . .
 POETI C DICTION I N M ODERN TI M ES ‘ ’
2
9

I n th i s a tt em p t t o m ak e v er s e appr o xi m at e t o t he s p o k en
lang u ag e D ryd en e v en g o e s s o far a s t o o bj e c t t o a ny
,

d e pa r t u r e in v e r s e fr o m th e no r m al o rd e r o f w o r d s in
pr o s e a nd pa r t icula r ly c o nd em ns a manne r ism fr e q u ent in
,

t h e F e m e le Va g r a h t in th e fi r s t v o lum e o f L y r ic a l B a lla d s
l

th e habi t o f s o i nv e r t in g t h e o rd e r t ha t th e rhym e fall s o n

the v e r b A nd t h e r e f o r e I ad m ire t ha t s o m e m e n s h o u ld
‘
.

p e rp et ually s t u m bl e in a w a y s o e a s y h e r e ma r k s a nd
2 ‘

, , ,

inv er t i ng th e o r d e r o f w o r d s c o ns t ant ly cl o s e th e i r li ne s ,

w i th v e r b s w hich t h o ugh c o m m e nd e d s o m e t i m e s in w r i t
, ,

ing L at in y e t w e w e r e w hip t a t W e s t mi ns t e r i f w e u s e d
,

it twi c e t o g eth e r I kn o w So m e w h o i f th e y w e r e t o w r i t e
.
,

in bla nk v e r s e S ir I a s k y o u r pa r d o n
, w o uld thi nk
, ,
“
it s o u nd e d m o r e h e r o i cally t o w ri t e S ir I y o u r pa r d o n , ,
”
ask . I s h o u l d j u dge h im t o hav e li ttl e c o m m and o f
3

E ngli s h wh o m a n e c e s s i t y o f r hy m e w o uld f o r c e u p o n t hi s
r o ck ; t h o u gh s o m e t i m e s it c anno t e a s ily b e av o id e d ; a nd
i nd e e d t hi s is th e o nly i nc o nv eni enc e w i th w hi ch r hy m e
c a n b e cha r g e d T hi s is t ha t w hic h m ak e s t h e m s a y rhym e
.

is no t na t ural it b e i ng o nly s o w h en t h e p o e t m a k e s a
,

vici o u s ch o i c e o f w o r d s o r plac e s t h e m f o r r hym e s s ak e , ,

’

s o u nna t u rally as no m a n w o u ld in o r di na r y s p e aki ng ; b u t

w h e n it is s o j udici o u s ly o r d e r e d t ha t t h e fi r s t w o r d in t h e

v e r s e s ee m s t o b e g et t h e s e c o nd a nd t ha t th e nex t t ill t h at , ,

b e c o m e s th e la s t w o r d s in t h e li ne w hi ch in th e ne gli g e nc e
o f pr o s e w o uld b e s o , it m u s t t h e n b e grant e d t ha t rhy m e

h a s all th e advan t ag e s o f pr o s e b e s id e s it s o wn T hi s
’
, .

s o und s v e r y much li k e W o r d s w o r t h s s u gg e s t i o n th a t p o e t r y
’

1
No j o y a n ighb o ri ng h o u s e o tra y
to s ee e , r s

T hr ug h pa tur s n t h i o w n th m a s t r t o ok ;
o s e o s , e e

M y F a th r d ar d his gr dy w i h gai n a y
e e ee s s .

Th e F e m a le Va gr a nt, li ne s 4 1 -43 .

1
Ker 1 . 6 .

3
Bu t c o m par e th e pr fac e e to th e wo rk o f Wa ll r 1 6 90 whic h
s e , ,

e xpr e s s es t h e ne w i d al al
e s so .T h r Wa ll r i prai d f
e e givi ng
e s se or

fir m ne s s a nd p i nt
o to h is li n b y c lo i ng t h em w i t h v rb
es s in e s,
‘

ic
wh h w e k no w t h e l if e of la nguag c n i t se o s s .
’
3 0 WORDSWORTH S T H EORY ’
OF POETI C DICTION

is nl y th e languag e o f pr os e w i th m e trical b e au t y sup e r

o

add e d t h o u gh e v ery r e ad e r mu s t b e aw ar e o f a sub t l e

,

di ffe r e nc e w hich cann o t no w b e d e fi ne d .

A l th o ugh D r y d e n did no t o f t e n su cc e e d in p r e s e rvin g th e

o rd e r o f pr o s e in rhym e d c o upl e t s , h e was car e ful t o d o s o

in his blank v er s e T h e r e sul t o f hi s a tt emp t may b e s e e n

.

in t h e f o ll o w i ng pa s s ag e fr o m A nt o ny s dying s p e e ch t o
’

C l e o pa t ra , which h a s th e simplici ty and p a th o s t oo ofte n

1

lacking in D ryd e n s dramas : ’

But gri ev e n t wh i le tho u s ta y es t o ,

M y la t d i s a t ro u s t i m e s
s s .

T h i nk w h av e h a d a c l ar nd g lo ri o u s d a y
e e a ,

A nd H ea v n d i d k i nd ly t d la y t h to rm
’
o e e s

Ju s t t i ll o u c l s o f ev e ni ng T n y ar lo v
r o e . e e s
’
e,

A nd no t a m o m ent lo s t b u t a ll i m pro v e d ,

T o t h u t m o s t j o y s —wh a t a g e s h av w e liv d !
e , e e

A nd no w t o d i e ac h th e r s ; a nd s o dy i ng
’
e o ,

Wh i l h a nd in h a nd we wa lk in g ro v es b elo w
e ,

Wh le t ro p o f l v r gh t s s h a ll fl o c k a b o u t
o o s o e s
’
os us,

A nd ll t h e t rai n b e o ur
a s .

But D r y d e n di d no t ac c ep t th e id e al o f M alh e rb e w ith o ut

qu es t i o n H e m ad e c er t ain m o difi
. c a t io ns which all t e nd e d

in t he dir e c t i o n o f gr e at e r fr e e d o m and e xpr e s siv e n e s s .

A l th o ugh M alh e rb e w a s c o n t e nt wi t h t h e sp e e ch o f th e
‘
c r o ch et eurs , h e al s o b eli e v e d in th e ab o li s hm en t o f all
’

s p e cial t e rm s ; h e w o uld e mpl o y o nly s o much o f th e v o cab

ulary o f the p o r t e rs a s was g en e rall y in t elli gi b l e T hi s , .

o f c o ur s e w a s a g oo d principl e b u t it w a s s ubj e c t t o
, ,

mi s i nt e rpr et a t i o n and abus e On t his acc o un t D ryd e n sc o rn .

fully o ppo s e d it D r J o h ns o n th e m o s t n o t abl e r e p r es en

. .
,

t a t iv e o f t hi s F r e nch id e al in E n gland , i s f o rc e d t o d e v o t e

s e v e ral paragraphs t o th e r e futati o n o f D ryd en s s t at e m en t ’

t ha t th e u s e o f g e n e ral t e rm s s e rv e s o nly t o c o nc e al th e
2

1
L ov 5 I ( Wo k 5
A ll f or e . r s .

0 1 c ur t he t yp f la nguag pp s e d t o g enera l t rm wa s
1
o se e o e o o e s

no t s p ifi d crip t iv
ec c a d j e c t iv es etc b ut th e ca nt t erm s th e
es e , .
, ,

sla ng f par t icu lar p ro f e s i o ns

o B u t t h e p h ra s e w s f t en giv en a
s . a o

w i d r app lica t i o n
e .
3 2 WORDSWORT H S T H EORY ’
OF P OETI C DI CTION

and c e n s ur o f t e n le d t o a t e mp o rary r e ac t i o n again s t t h e

1
e,

new s t andard o f g o od s e ns e and r e gul ar v e r s ifi c a t io n— in

h is d e f e ns e o f p o e t i c lic e n s e in th e pr e fac e t o t h e F a ll of
M a n f o r e xampl e , and in hi s a tt emp t t o r e cap t ur e s o m e
,

o f t h e ri chn e s s o f t h e o ld blan k v e rs e in All f o r L ov e .

T h e r e is o f t en a kind o f wi s t fuln e s s , a s w e ll as a m a nl y
a nd u na ff e c t e d r e v e r enc e , in h is appr e cia t i o n o f S hak e

s p e a r e and M il t o n H e w a s no t al t o g e t h er unc o ns ci o u s o f
.

t h e anci ent li b er ty a nd p o w e r w hi ch w e r e d e par t ing fr o m

E ngli s h v e r s e no t t o b e r e c o v e r e d until th e days o f W o rds
,

w o r th F o r th e l o s s o f t hi s lib e r t y , and t h e c r e a t i o n o f a
.

s u bs t i t ut e p o e t r y m o r e o bn o xi o u s t h an a ll t h e unprun e d

g r owth s o f t he m et aphy s ical imagi na t i o n , D ryd en him s e l f

w a s r e s p o n s ibl e , as w e s hall s e e ; b u t t hi s was larg e ly th e
indir e c t r es ul t o f s o m e d efi c ienc ie s in his o wn p o e tic gi f t s .

H is p r e c e pt s , lik e his m o s t charac t e ri s t i c prac t i c e, w e r e in

fav o r o f t ha t s el e c t i o n o f th e lan gu ag e ac t uall y us e d b y ‘

‘
m e n w hi ch h e call e d plain E nglish
’ ’
.

B u t D ryd en s blunt h e e dl e ss , vi g o r o us spiri t w a s na t u

’

rall y i ncli ne d t o th o s e v e r y si ns agai ns t w hich h is cri t i ci s m

w a s o f t e n dir e c t e d H e kn ew h o w t o b e simpl e , and s impl e
.

in s o h o m e l y and manly a s tyl e t hat o ne o f t h e fi r st sym p

t o ms o f th e r e ac t i o n agains t P o p e w a s a pr e f e r e nc e f o r th e
b o ld e r rhy thms and pl ai ne r languag e o f D ryd en 2
Bu t h e .

did no t k no w h o w t o b e p o lish e d
1
J o hn o n s p eak s o f D ryd ns fav ri t e p lea ur e o f d i s cr e d i t
Dr . s e
’
o s

ing hi pr e d c s s o r
s D y d n ( L iv e 1
e e s . A i m i lar c m p lai nt
r e s . s o

h av b e n m a d e in D ry d n li f t i m e I a m m a d a de
’ ‘
s em s t
e o e e e s e . e

t rac t r fr m m y pr e d e c e o r s Wh m I d
o o c nf t o h av e b en m y
ss , o o o es s e

m a s t r s in t h e
e t h e wri t —I b id 1 3 49 no t 4
ar
’
, es . . .
, e .

I n p e a k i ng o f t h e a d va nt ag e o f u s i ng s i m p le a nd h o m ly l n
2
s e a

guag Wart n s a y : D ryd n o f t n h a ar d e d it a nd gav e b y it a

e, o s
‘
e e z ,

se cr t c h arm nd a na t ura l air t h is v r s A s a n e xa m p le h e

e a o e se .
’
,

qu t s o e

S i B a laa m now h e liv es li k e o th e r f o lk s

r , ,

H e t a k e hi c h irpi ng pi nt nd crac k s h is j o k e
s s a s .

L iv e li k e y ur s lf w s no w m y L a dy s wo r d
‘
o e
’
a
’
,

A nd 10 ! t wo pu d d i ng s s m o k e d up o n t h e b o ar d
—E
.

s s ay 2 . 175 .
 ’
POETI C DICTION I N
‘
M ODE R N TI M ES 3 3

E v en c pi u s D ry d en wa nte d
o o or f o rg ot

The la t nd gr e a t t
s a t th es ar , e a rt t o b lo t .

T he i m p o r t a t i o n m ewha t ali en vi r t u e in t o E nglish

of t his so

v e r s e r e q u ir e d a n a r t i s t o f m o r e pat i enc e and addr es s .

S uch an a r t i s t w a s P o p e H e c o mpl et e d t h e w o r k o f
.

r e f o r ming a nd r e fi ning th e li t e r a r y languag e by t h e s t and

ard o f w e ll br ed c o nv e r s at i o n in E ngland s o m ewha t a s h is
-
,

mas t e r B o il e au c o mpl et e d t h e w o r k o f M alh e rb e in F r anc e

, ,
.

I n h is hand s th e c o nc e pt i o n o f a s el e c t i o n o f th e r e al ‘

lan gu ag e o f m e n l o s t t h e m o r e univ e r s al charac t e r t ha t

’

D ryd en w a s i ncli ne d t o giv e it , a nd w a s m o r e r e g u la r ly

a s s o ciat e d with th e id e al o f c o rr e c tne s s , a nd t he av o idanc e
o f e v e r y t hi ng vul gar .

P o p e i nd e e d w a s j u s t th e man t o fi
, ,
nis h s uch a w o r k ,
af t e r it h ad b e en i nau gura t e d by a m a n o f gr e at e r in t el
l e c t u al ini t iat iv e th an h e A l t h o u gh e nd o w e d w i t h li tt l e
.

o ri gi nali ty o f m i nd , h e w a s by na t ur e a p o e t a nd a n ar t i s t

m o r e o f a p o e t p e r h ap s t ha n th e w o r ld w a s e v e r p e rmi tt e d
, ,

t o di s c o v e r m o r e e xclusiv e ly an ar t i s t than an y o th e r E ng
,

li s h p o e t I n him th e p ur e ly a r t i s t ic i m pul s e s e e m e d t o
.
’

pr e d om i na t e o v e r e v e ry o th e r A ll h is joy and ambi t i o n .

lay in t h e s kil f u l adap t a t i o n o f m e ans t o t h e at t ai nm ent o f

a d e s ir e d end B u t h e r e adily acc e p t e d th e end pr o p o s e d
.

t o him by o th e r s I n a n a g e w hich e mpha s i z e d g o o d s e n s e

.
,

h e d ev o t e d a li f e t i m e t o bri ngin g r e as o n a nd rhym e

t o g e th e r W h en W al s h t o ld him th at th e o nly vi r t u e y e t
1
.

t o b e a tt ain e d in E ngli s h p o et r y w a s t h e vi r t u e o f c o rr e c t
ne s s h e d e t e r m i ne d t ha t b e f o r e his d e a th th e E ngli s h
, , ,

s h o u ld b o a s t t hi s Vi r t u e al s o W hil e p o et s w e r e s t r u ggli ng
.

w i t h a n u np e r f e c t e d m e diu m h e d e m o ns t r a t e d h o w b r il ,

lia nt ly a nd e a s ily a m e r e lad c o u ld d o w ha t t h e y o nly

t r i ed to do I n his h a nd s t h e c o u pl e t w a s c o nd ens e d t o
.

t h e l a s t d e g r e e o f c o nd e ns a t i o n a nd p o li s h e d t o th e hi gh e s t ,

b e a u t y t h a t p o li s h al o ne c a n c o nf e r I n t hi s d eligh t in .

s k ill —ih th e e x e r ci s e o f it a nd t h e fi ne a nd a s t o ni s h i ng
,

—
r e s u l t s o f it lay th e s ecr e t o f his wh o l e ac t ivi ty .

1
P r e fac e t o th e M is c e lla ne o u s Wo r k s o f P ope , 17 16 .
34 WORDSWORT H S T H EORY ’
OF POETI C DICTIO N

Bu t in all t hi s h e r e ally mad e no o rigi nal m o d ifi c a t io n o f

wha t h e r e c e i v e d f r o m o th e r s T h e id e al had b e e n c o m
.

p l e t e ly d e fi
n e d b e f o r e h e ad o p t e d it H i s c
. r i t ici s m , m uch
m o r e t han h is p o e t ry , is s um m e d u p in his o w n fa m o us
w o rd s : W ha t o f t w a s th o ugh t , b u t n e e r s o w e ll e xp r e s s d
‘ ’ ’ ’
.

H is cri t ici s m m o r e t han h is p o e t ry w e s a y b e cau s e in

, , ,

p o et r y h e s e e ms t o h av e p os s e s s e d a d e li ca t e and o ri ginal
v e i n o f his o w n t ha t in a di ffe r ent a g e mi gh t hav e ma d e
o f him a v e ry di ffe r e nt p o e t I n h is willingn e s s t o le t
.

o t h e r s d o h is cri t i cal t hinking f o r him , h e unc o nsci o u s l y

s t ifl e d imp u l s e s w hi ch mi gh t hav e r e s u l t e d in s o m et hing

b e s id e s th e m o s t airy and sub t ly m ali ci o us o f s a t ir e s T h e .

f o rms tha t his imagina t i o n t o o k w h e n th e car e full y clipp e d

w ing s happ e n t o a tt ain t o s o m e bri e f fli gh t — as in the fair y
machi ne r y o f th e R a p e o f th e L o c k o r t h e m e di aeval back
,

—
gr o und o f E lois a a nd A b ela r d r e ve al a grac e ful and
r o man t ic s pir it ; H e had a gi f t o f pa th o s , t o o Und e r all .

t h e gl o s s y languag e o f E lois a a nd A b ela r d an d t h e E leg y

o n th e D ea th of cm Unf o r tu na te L a dy t h e r e is a r e al s u b
,

s t anc e o f pa t h e t ic t h o u gh t . T h e impr e s s i o n d e riv e d fr o m

t h e s e d e via t i o ns fr o m t h e n o rmal c o u r s e o f s a t iri cal and
di d ac t i c v e r s e I S s t r e ng t h e n e d by nu m e r o u s i ns t a nc e s o f h is
r o m ant i c t a s t e in his l e tt e r s by h is li f e l o ng l o v e o f th e
,

F a er ie Q u e ene and by th e quali ty a nd m u s ic o f h is e arly

,

v e r s e s o n s o li t ud e . H ad hi s ar t i s t i c a m bi t i o n s a nd his
w o nd e r ful s kill in imi t at i o n b e en in s pi r e d by o th e r m o d el s
t han W all e r and D r yd e n a nd B o il e au E ngla nd m i gh t hav e
, , ,

l o s t a s parkling s a t iri s t , a nd gai ne d a ly r i cal p o et .

T hi s W o rd s w or t h al w ay s r e ali z e d T o P o p e he n eve r
.

l —
d ni e d w hat h e d e ni e d t o D ryd e n th e p o s s e s s i o n o f th e
e -

t ru e p o e t i c gi f t . H ad P o p e t r u s t e d m o r e t o his na t iv e
ge niu s a nd l e s s t o th e p r ai s e w h ich h is b o yi s h di s play in
,

t h e pa s t o ral s br o u gh t him s aid

, W o r d s w o r th h e c o uld
,

n e v e r hav e d e s c e nd e d t o t he p o s i t i o n o f a n i m m e dia t e ly
p o p u la r p o e t T hi s d e s c ent W o r d s w o r th a s crib e s t o his
.

b o yi s h i ne xp e ri enc e w h e n h e b e gan t o w ri t e a nd t o h is ,
 ,
POETI C DICTION IN
(
M ODERN TI M ES 3 5

i no r di nat e l o v e o f p r ai s e P e rh ap s it m a y b e a s j u s t ly
.
1

a s c r ib e d t o th a t s t r o ng a r t i s t ic a nd hi s t r i o nic i ns t i nc t
w hi ch le d h im t o t ak e m o r e d e ligh t in a cha r ac t e r d e lib e r
a t e ly ad o p t e d o r c r e a t e d t h an in t h e q u ali t i e s th a t w e r e h is
o wn S u c h a di s p o s i t i o n is s u ffi
. c ie nt ly o bvi o u s in h is
pl o tt i ng li f e .

H o w e v e r thi s m a y b e P o p e th r ew all his ar ti s t ic a m bi

,

t i o n i nt o t h e p e r f e c t i o n o f t h e F r ench id e al al r e ady na t u
r a liz e d in E ngland by D r yd e n and pa r t ly s u gg es t e d t o P o p e ,

him s el f by B o il e au T hi s id e al w a s th e H o r a t ian d o c t rin e

.

—
o f a p o li t e a nd w e l l b r e d m e a n in la ng u ag e a s in li f e The .

p o et m u s t b e fa m ilia r b u t no t v u l ga r c a r e f u lly av o idi ng

.

2
, ,

lo w a nd r u s t i c e x p r e s s i o ns o n t h e o ne hand a nd b o m ba s t o n ,

t h e o th e r ha nd j u s t a s a g e nt l e m a n av o id s p o m p o s i t y a nd
,

c o ns t r ai nt o f m anne r w i th o u t b e i ng c o a r s e o r a w k w a r d , o r
faili ng t o do th e r i gh t th i ng a t t h e r i gh t t im e T h e pl e a s a nt
,
.

e a s e o f th e m a n t o t h e m a nne r b o rn t h e e l e ga nt a nd ,

—
u nad o r ne d s i m pli ci ty o f t h e w ell d r e s s e d lady th e s e c o rr e -

s p o nd in li f e t o t h e id e al o f p o li t e nes s in li t e r a r y e x p r e s
-

s i on .Ju s t a s t h e w ell b r e d m a n d o e s w h at t h e r e s t o f t h e
-

c o m pany a r e d o i ng q u i t e na t ur ally a nd g r ac e f u lly ne v e r

, ,

pr e t endi ng t o i nv ent m an ne r s a nd c u s t o m s f o r hi m s el f s o
t h e p o e t mu s t u s e t h e la ng u ag e t ha t o th e r p e o ple t alk giving ,

it o nly t h e i nc o ns pic u o u s y e t all p e r vadi ng c h a r m o f an ,

-

e xq u i s i t e p r o p r i e t y in t h e ch o ic e a nd a pplica t i o n o f it .

T hi s g e nt l e ma nly s c o r n f o r u ns e e m ly o r na m ent is e xp r e s s e d
by t h e y o u t h f u l P o p e in th e E s s a y o n Cr itic is m .
3

Wo r d s are i av
r t h y m t a b u nd
l k e le es ; a nd Wh e e e os o

M uc h frui t f n b n a t h i ra ly f i m d
o se se e e s re o .

F al l qu nc
se e o li k t h pri m a t ic g la
e e, e e s ss,

I t gau d y c o l r
s pr a d n v y p lac ;
o s s e s o e er e

1
E s s a y S u pple m e nta r y t o t h e P r ef a c e .

1 ‘
A s t h e e is r a i r c
d ff e e n e b e t w t s m ix i p lici t y a nd ru t ici ty
s , so th e
expr i n f es s o o s i m p l t h ugh t
e o s s h u ld b p lai n
o e , b ut n t c l wni
o o sh .
’

P r f ac t t h
e e o e P as t o r a ls .

3
E s s ay on C r itic is m 3 1 9- 3 33 . In a l t t r t o C ary ll P p giv
e e , o e es

e xpr ess on i t o h is pr f r nc
e e e e fo r s i m p lici ty in t rm t h a t, m uc h e s a re
36 WORD SWORT H S T H EORY ’
OF P OETI C DI CTION

The fac e o f N a t ur e we no m or e s urv ey

A 11 glar es a li k e w i th o u t d i s t i nc t i o n ga y, .

Bu t t ru e xpr s i o n li k e t h e u nc h a ngi ng s un
e es , ,

C lear s nd i m p ro v e wh a t e e r it s h i nes up o n;
a s
’

I t gi ld s ll o b j e c t s b u t it a lt e r s no ne
a , .

E xpr i n i th e d r es s o f tho ugh t a nd s t i ll 1

es s o s ,

A pp e ar s m o r d ec nt s m o re s ui t ab le e e a

A vi l c nc i t in p m p o u s wo r d xpr e d
e o e o s e sse

I li k a c lo wn in r ga l purp le d r
s e ed e es s

F or d i ff e r ent t y le wi th d i ff e r e nt s ubj ec t s s o rt
s s ,

A s ev e ra l garb s w i th c o u nt ry t o wn a nd c ur t
s , , o .

T he di ff er e nc e b e tw ee n this id e al o f simpli city and t ha t o f

W o rd sw o r th is no t e as y t o d efi ne L ik e th e di ff e r e nc e .

b etw e en th e c o urt e s y o f a kindl y , w e ll br e d man a nd th e -

passi onat e g en t l en e ss o f a B e rnard o f C lairvaux , it is no t

so much a m att e r o f o u tward c o n d u c t a s o f d e g r e e s o f
int en s i ty and puri ty in th e spiri t t ha t sugg e sts and c o n t r o l s
th e outw ard a c t ion .

I n his att emp t t o at t ain t hi s urban e simpli ci ty P o p e ,

n e ith e r spar e d th e fi le no r shunn e d th e flam e s t hat H o rac e

so m er cil es s ly r e c o mm e nds t o y o u ng wri t ers W ith .
‘

th e u nw e ari e d applic a t i o n o f a pl o ddin g F l e mi s h pain t e r ,

wh o draw s a s h r imp wi th th e m o s t mi nu t e e xac t n e ss , s ay s
’

C o wp e r h e had all th e g e nius o f o ne o f t h e fi

‘
r s t ma s t e r s
2
, .

N e v e r , I b e li e v e , w e r e such t al e n t s an d such d rudg e r y

uni t e d H e f o u nd as much pl e a s ur e in c o rr e c t i ng a s in w ri t
.
’

mo e r li k Wo r d s wo rth : I h av o f t en f o u nd b y e xp eri nc e th a t
e
‘
e e

na t ur a nd t ru th t h o ugh nev e r
e l w a nd vu lgar a e y et p le a i ng
, so o , r s

wh n o p enly a nd w i t h o u t a t ifi r epr s ent e d ; i nso m uc h t h a t it

e r ce e

wo u ld b e d iv rt i ng t o m e t r a d t h e v r y l t t er
e f a n i nfa nt c o u ld o e e e s o ,

it wri t e it s i nno c ent i nc o ns i s t enci e s a nd t au t lo g i s j u t s it t h o ug ht o e s a

th m e L tt r 1 1 90
.
’
-
e e s . .

L a nguag is th appar el f p o e sy S i Wi llia m A l xa nd r in

1 ‘
e e o
’
-
r e e ,

La nguag e i th e d r s o f th ugh t —D y d n ( L iv
.

S pi ngarn 1 1 82
‘ ’
. . s es o . r e es

1 . W r d s w rth t ld D e Q u inc ey th a t it w s h ighly u np h i10 50 p h i

o o o a

c a l t o ca ll la nguag d r s o f tho ugh t H e w o u ld ca ll it th e ‘

th
’
e e es .

‘
i ncarna t i o n f th o ught o .
’

C o wp r L e t t 4 1 6 8 1 6 9
2
e , er s .
-
.
 POETI C DICTION IN
‘
M OD E R N TI M ES ’

3 7

ing a nd no t in c o r r e c t i ng o nc e , b ut ma ny t im e s A fter
‘
1 .

w r it ing a p o e m o ne s h o uld c o
,
rr e c t it all o v e r w i t h o ne s i ngl e
T hu s f o r la nguag e i f
‘
vi ew a t a t i m e h e t o ld S p e nc e ’

,
.
2
,

an e l e gy — th e s e li ne s a r e v e r y g o o d b u t a r e t h ey no t in
“
, ,

t o o h er o ical a s t r ai n I n t r a n s lat i ng b o t h t h e I lia d and

‘

t h e Ody s s ey my u s ual m e th o d w a s t o t ak e a dva nt ag e o f

th e fi r s t h e a t ; a nd t h e n t o c o rr e c t e ach b o o k fi r st by ,

t h e o ri gi nal t e x t a nd t h en by o t h e r t ran s la t i o n s ; a nd la s t l y
t o giv e it a r e adi ng f o r t h e v e r s ifi B u t af t e r
’
c a t io n o nly
3
.

h e had t hus u se d t h e fi le h e did no t al w ays s par e t h e ,

applica t i o n o f th e flam e s I hav e pr e v ent e d no t o nly many

.
‘

m e an th i ng s f r o m s ee i ng th e ligh t b u t many w hich I ,

t h o ugh t t o l e rabl e F o r w ha t I hav e publi s h e d I can o nly

.

h o p e t o b epard o n e d ; b u t f o r w ha t I hav e burn e d I d e s erv e

t o b e p r ai s e d 4 ’
.

T h e r e s ul t o f t hi s un w e a r i e d e ffo r t w a s t ha t , w i thin t h e
s p h e r e w hich h e had ma d e h is o w n, h e s e t a n e xa m pl e o f

fine and c o nsci ent i o u s w o rdmans hip that mi gh t b e appli e d

w i t h advan t ag e t o o th e r ty p e s o f p o et ry B ut t his sph e r e .

w a s a v e ry li m i t e d o ne W h e n h e carri e d th e i d e al o f
.

wha t o f t w a s th o ugh t , b u t n e e r s o w e ll e xpr e s s e d o u t s id e

‘ ’ ’

o f the fi e ld o f e xp e ri e nc e o f w hich h e him s e l f w a s a pr o p e r

j udg e , t h e badn e ss o f th e t h o ugh t o r th e lack o f t h o ugh t

w a s m ad e o nly m o r e p e r ni ci o u s by t ha t p o li s h e d g r ac e w i t h
w hich h e u t t e r e d it N o th ing c o u ld b e m o r e di ff e r e n t , f o r
.

instanc e , than P o p e s i nt er i o r s a nd his la nd s cap e s —

’ ‘
to
’ ‘ ’

b o rr o w t e r m s f r o m pai nt i ng Th e s implici ty , t h e e xac t .

ne s s , t h e u s e o f familiar a nd s p e c ifi c t e r m s t o d es igna t e

fa m ilia r and s pe c ifi c t hi ng s in t h e fi r st a r e o nly e q u al e d

, ,

by th e gl o s s y vag u en e s s o f th e s e c o nd A s a n e xa m pl e o f .

thi s di ff e r enc e w e may c o m par e t h e r e f e r enc e t o

I c o rr c t d e e be cau se it w a s as p l a a nt
e s for m e to c orr c t e as to
w ri t —P r fac M is c e lla ne o u s Wo r k s
’
e . e e to the o f P o pe 17 16 .

2
S p e nc e s A ne c d o t e s , p
’
. 27 0 .

3
I b id , p 2 3
. . .

‘
P r e t a c e t o t h e M is c ella ne o u s Wor k s
'

.
3 8 WORDSWORT H S TH EORY ’
or POETI C DICTION

The d ark s o m e pi ne s
a o e y n ro ck s r e c li n d th t
’
r o e

Wav h igh nd m urm ur t o t h e h o llo w w i nd

e , a ,

T h w a nd ri ng t r a m t h a t h i n b t w n t h h i lls
e e s e s s e e ee e ,

T h gro t th a t c h t o t h t i nk li ng ri ll
e s e o e s,

T h la k e t h a t quiv r t o t h curli ng b r
1
e s e t e e e ez , e c .

wi th th e f o ll o w i ng
I n th e wo r t i nn wo r t r o m w i th m t h a lf h u ng
s
’
s s o , a -
,

Th fl r o f p lai t er nd th e w a ll f d u ng
e oo s , a s o ,

O n nc a floo k —
b e d b u t r pair d w i t h t ra w
e c , e e s ,

Wi th t ap t i d curt ai n nev r m a nt t o d ra w
e- e s, e e ,

T h G rg e a nd Gart r d a ng li ng fr m t h b e d
e eo e o e

Wh r t a w d ry y llo w s t r v w i th d irt y d
e e e o e re ,

Gr a t V i lli er li
2
e s es .

I f, asJ o s e ph W a r t o n s aid , wi th a di s a p p r o vi ng gla nc e a t

s o m e o f P o p e s w o r k T h e u s e t h e f o r c e and t h e e xc ell e nc e
’

,
‘

, ,

o f la ng u ag e c e r t ainly c o ns i s t s in r ai s i ng cl e ar c o m pl e t e , ,

and circu m s t a nt ial i m ag e s a nd in t u r ning r e ad e rs i nt o ,

s p e cta t o r s P o p e o f t e n suc c e e ds in wri t in g v e r y f o rcibl y

3 ’

and exc ell en t ly I t is in t hi s mali ci o us ch o ic e a nd a s s e mblage

.

o f s p ec ifi c and charac t e r i s t i c circum s t anc e s , in t h e a ir y

s impli ci t y w i t h w hich h e call s a s pad e a s pad e tha t hi s ,

p o w e r as a sa t iri s t li e s T hi s p o w e r o f which h e giv e s s o .

,

f ew ill u s t r a t i o n s in l a nd s cap e a nd id e al h i s t o r ical pai nt in g ,

‘ ’

i s al w ays c o nspicu o u s in h is g enr e pic t ur e s H e d o es no t .

nam e o r cha r ac t e ri z e th e bl o s s o m s in a fl o w e r y m e ad ; ‘ ’

b u t h e d o e s na m e t h e c o nt e n t s o f B e li da s t o il e t t abl e
n — ’
.

T h e t as k s o f t h e s h e ph e rd s in t h e pa s t o r al s a r e i ndica t e d in
t h e vagu e s t t e rm s b u t th e gam e o f ca r d s in t h e R a p e of th e
,

L o c k is d e s c r ib e d in all it s c o m plica t e d t e ch nic al d e t ails .

I n W o rd s w o r t h s path e t ic u s e o f na t ural li t tl e circ u m

’ ‘

s t a nc e s
’
in h is na rr a t iv e o f th e r u i ne d c o t t ag e h e is p u t ,

t ing t o n o bl e r u s es t h e a r t o f b eing s p ec ifi c w hich h e

m igh t hav e l e a r ne d f r o m P o p e o r f r o m P o p e s di s cipl e ,

’

Go ld s mi th .

1
E lo is a t o A b e la r d 1 55- 1 6 0 .

2
M or a l E s s a ys 3 . 2 99- 3 0 5 .

3
E s s ay 2 . 165 .
40 WORDSWORT H S T H EORY ’
OF POETI C DI C TION

na t urall y t ak e in fallin g from th e lips o f a n e x t emp o rar y

s p e a k e r , y e t w i th o u t m e ann e ss , harm o ni o u s l y , el e gant l y ,
and wi th o u t s eemi ng t o di s plac e a s yllabl e f o r th e sa k e o f
rhym e, i s o ne o f th e m o s t ar d u o us t asks a p o et can und er
H e t hat c o uld acc o mpli s h t hi s t a s k wa s P ri o r
’
t ak e. .

W h e r e c o ul d w e t urn f o r b et te r e xampl e s o f v e rs e which

s p e a k s th e languag e o f pr o s e w i t h o u t l o sing it s o wn pr o p e r
.

charm , t han t o t h e b e gi nning o f t he e igh teenth c e n t ury

t o t h e s par k ling b a ns m o ts o f P o p e , t h e c o ll o q uial n e gli g enc e
o f P ri o r , t h e na iv e te a nd o cca s i o nal t e nd e rn es s o f Ga y and
’

e v e n th e clo s e , na k e d na t ural wa y o f s p e a k ing t ha t S wi ft

‘ ’

c arri e d int o rh ym e fr o m h is pr o s e ? B ut b eyo nd th e ir o wn

limi t e d fi eld th e ir t as t e and imagina t i o n b e c o m e l e s s sur e ,

and vari o us el em ent s c o rrup t th e bri gh t simplici ty .

I n the fi r s t plac e
, t h e r e is th e univ e r s al i g no ra nc e o f o r
indi ffe r e nc e to natural ph en o m e na , c o mbin e d w ith t he ar t isti c
ambi t i o n t o do w hat o th e r po ets h ad d o n e b e f o r e t h e m a nd ,

d o it b et t e r . T h e b e au t y o f t h e e x t e rnal w o rld h as al w ay s
h eld a n imp o r t ant plac e in p o etr y , b e caus e m en in g e n e ral
a r e in t e r e s t e d in it. S t o rm a nd s un s hin e , th e cl o u d s an d
th e s t ar s abov e o u r h e a d s and t h e familiar fl o w e r s at o ur
,

f e et , hav e b e en the univ e rsal and p e rman en t bac k gr o und o f

all hum a n e xp e ri enc e, a nd a r e in e vitabl y a s s o c iate d w i t h
t h e m e m o r y and e xpr e s s i o n o f it P o et s sing th e gl o ri e s
‘
.

o f t h e r o lling y e ar a s na t urally a s w e all b e gin a s o ci al

’

c o nv e rsat ion wi th a r e mar k abou t th e w e ath e r H enc e a .

g e n e rati o n whi ch w a s in t e r e s te d in wri t in g go o d and e ffe c

t iv e v e rs e , b u t wh o s e o wn e xp e ri e nc e w a s mainly a s s o cia t e d
w i t h t h e s t r ee t s o f L o nd o n , na t urall y mad e u s e o f t hi s
t radi t i o nal ma tt e r o f p o e t ry ; b u t , s inc e it w a s u s e d as a
t radi t i o nal e l e m ent f o r th e s ak e o f a n ar t i s t i c e ff e c t and w a s
,

no t br o ugh t t o th e t e s t o f e xp e r i enc e by e i th e r th e w ri t e r
or t h e r e ad e r , th e c o ns e qu e nc e was t ha t t he s tyl e in
w hich t h e s e t hings w e r e d e s crib e d was u s ually a ffe c t e d by
t h e lac k o f g e nuin e kn o w l e d g e and f e e ling b e hin d t h e s t yl e .

S o m e t im e s , w h e n W o rdsw o rth c o nd e mn s t h e lan guag e o f

 POETI C DICTION I N ‘
M ODE R N TI M ES ’

41

hi s pr e d ec es so r s , h e is r e f er r ing o nly t o th e fal s i ty o f t he

'

s ub s t anc e . I t is a s e a s y t o t ell a lie in t h e languag e o f t h e

l o w e r and middl e cla s s es a s in th e languag e o f t h e c o ur t .

B a d d es crip t i o n s o f na t ur e w e r e no t al w ay s wri tt e n in
ph r a s eo l o gy in i t s e l f gaudy a nd i nane .

T hi s , p erhap s , is t ru e o f t h e fam o u s d es crip t i o n by

D ryd en whi ch W o r d s w o r th pa r t i cula r ly c o nd e m n s 1

i gs
A ll t h n h u h ed
are N a t ure s lf l y d a d ;
as
’
s se a e

T h e m o u nt ai n em t o n d t h
s se d ro w s y h a d o e e .

Th e li t t le b ir d in d r e a m t h e ir s ng r p a t
s s o s e e ,

A nd le pi ng fl o w
s e b en a t h t h nigh t d w
ers w at e e e s s e .

E v n L u t nd E nv y l p ; y et L o v d ni
e s a s ee e e es

R t t my
es o u l a nd lu mb er t o m y y
so , s e es .
2

H e r e is no p o et i c di c t i o n T h e lang u ag e is s impl e c o n
.
,

cr e te , and t o uching Th e o nly t r o ubl e is t hat it d o e s no t

.

t ell the t ru t h .No o ne who e v e r r e ally s a w t he s o l e mn

o u t lin e s o f t h e mo un t ain s a t nigh t c o ul d wri t e o r e nj o y t h e

s e c o nd v er s e Y e t t h e li ne s a r e , in s o m e r e sp e c t s s o
.
,

a r t i s t ic t ha t it is no t d iffi c u lt t o s ee h o w s uch w r i t ing a s

t hi s c o u ld lull no t e xc e e dingly vi gilan t p o w e r s o f o b s e r va t i o n

t o s l e e p al o ng w i th t h e dr o w s y m o un t ains and c o uld ,

e nc o ur ag e l e s s e r m o r t al s t o imi t a t e t h e fal s e h oo d wh er e ,

t h e y c o uld no t rival t h e a r t Ju s t as the m oo nli gh t o n o ur

.

ga u dy m o d er n s t ag e fl o o ding t r e e s and fl o w e r s t ha t a r e
,

lik e no t r e e s and fl o w e r s t ha t e v e r gr ew , s o m eh o w p r o duc e s

an e ffe c t anal o g o u s t o that pr o duc e d by th e p e ac e a nd s il
v ery b e au ty o f ac t ual m o onligh t s o t h e s e w o rds s ugg e s t ,

t h e qui e t a nd l o ne lin e s s o f t he s l e epi ng w o rld Th e e ff e c t .

o f any giv e n pa s s ag e d e p e nd s o n m uch b e sid es t h e t r u th

o f th e s e para t e d e t ail s T h e cad e nc e th e a s s o cia t i o ns o f

.
,

t h e w o r d s , t h e va r i o u s a r t s o f r e p e t i t i o n a nd e m pha s i s h av e ,

all th e i r o wn s har e in th e g ene r al i m p r e s s i o n I n t his ca s e .

,

f o r in s t a nc e t h e m ind u nd e r t h e s p e ll o f t h e s o f t fl o w o f
,

th e m e t r e and th e r e frai n lik e r e c u rr e nc e o f t h e w o rd s le ep

-

1
E s s a y S upple m e nta r y t o th e P r ef a c e .

T h e I ndia n E m per o r 3 2 ( Wor k s 1

1
. .
42 WORDSWORT H S T H EORY ’
OF POETI C DI C TION

and it s s yn o nym s , is a s li tt l e inclin e d t o qu e s t i o n th e

dr o w s i nes s o f th e m o u nt ain s a s it is t o i nq u ir e h o w t h e s e
.

plu r al m o un t ai ns cam e t o b e pr o vid e d wi th o nl y o ne h e a d .

I t is o nly a c o un t e r f e i t p o e t r y ch e at i ng t h e u nw ar y ; b u t it ,

h a s a n a r t f u l app eara nc e o f na t u r e a nd s impli ci t y

‘ ’
.

B u t D ryd en him s e l f s e e m s t o hav e b e e n u nabl e t o d is

t ing u is h th e g e nui ne m e t al o f p o e t r y fr o m t h e gil d e d s u b
s t it u t e a t l e a s t in h is o w n pr o d u c t i o s
n — a s a gla nc e at t h e
,

e xampl e o f imagina t iv e b o ldn e s s t ha t h e ci t e s in t he P r e

fac e t o th e F a ll of M a n w ill s h ow 1
H is cri t i cal i ns t i nc t .

w a s r igh t b u t his imagina t iv e f e eli ng w a s no t I a d mir e ‘

,
.

h is t al e nt s a nd g e niu s hi ghl y , w r o t e W o r d s w o r t h t o S c o t t
2 ’

wh e n S c o t t w a s g e t t i ng o u t h is e di t i o n o f D ryd e n , b u t
‘

h is is no t a p o e t ical g e niu s 3
Th e o nly q u ali t i e s I c an h nd .

in D r yd e n t ha t a r e e s s e nt ially p o e t ical a r e a c e r t ain ard o r

a nd i m p e t u o s i ty o f m ind w i t h a n e xc e ll e nt e a r I t may .

s ee m s t ra ng e t ha t I d o no t add t o t hi s g r e a t c o mm a nd o f

languag e ; th at h e c e r t ai nly h a s , and o f s u ch l a n guag e t oo ,

a s it is m o s t d es i r abl e t ha t a p o e t s h o uld p o s s e s s , o r ra th e r

t ha t h e sh o u ld no t b e w i t h o u t B u t it i s no t languag e t ha t .

is in th e high e s t s e ns e o f th e w o rd p o e t ic al , b e i ng n e i th e r
, ,

o f th e imagi na t i o n no r o f t h e pa s s i o n s — I m e an o f t h e

amiabl e , th e enno b ling , o r th e i nt en s e pa s s i o ns I d o no t

-
.

m e an t o say th at t h e r e i s no thi ng o f thi s in D ry d en , b ut a s

li tt l e , I thi nk a s is p o s s ibl e c o n s id e r ing h o w much h e h a s
,

1
He ci t f o ll wi ng a h is o wn m o t s ucc ful a t t em p t t o
es th e o s s es s

i m i ta t th e i m agi na t iv b ld ne s o f M i lt n :
e e o s o

S e rap h nd c h eru b car le s o f t h e ir c h arg

a , e s e,

A nd w a nt n in fu ll a n w liv e a t larg e
o , e se o

U nguar d d l av t h pa s s f th e k y
e e e e es o s ,

A nd ll d i o lv d in h a ll luj a h s li
a ss e e e .

T hi s, h a y i i m i t a t d fr m V irgi l I nv a du nt u b m om no
e s s, s e o : r e , s

wi gn
h o p lt m
e se A ci ty b i ng b uri d i j u t pr p r n o cca
u a .
‘ ’
s e e s s as o e a

i n
s o n a ng l b i ng d i o lv d in ca
as a e
’
s nd e ng f t riu m p h ! ss e se a so s o
’

Ker 1 . 1 88 .

2
L W F 1 20 8 2 1 0
. . . .
-
.

Wo r d s wo rth agr s w i th M i lt o n wh o s ai d D ry d
3
a go o d
'

ee , en wa s
rhy m i s t b ut no p o et —P r e fac t o N ewto n s M ilto n p
, . e
’
, . 8 .
 POETI C DICTION I N M O DERN TI M ES ‘ ’
43

wri t t e n . Y o u w ill e a s ily u nd e r s t and

y m m e a ni ng w h en I
r e f e r t o h is v e r s ific a t io n o f P a la m o n a nd A r c it e,
1
a s c om

pa r e d w i th th e lang u ag e o f C ha u c e r D r yd e n h a s nei th e r .

a t end e r h e a r t no r a l o f ty s ens e o f m o r al di g ni ty W h e n .

e v e r h is la ng u ag e is p o e t ic ally i m pa s s i o ne d it is m o s t ly o n ,

u npl e a s i ng s u bj e c t s s u c h a s t h e f o lli e s vic e s a nd c r i m e s

, , ,

o f m e n o r o f i ndivid u al s T ha t h is ca nno t b e t h e languag e .

o f i m agi na t i o n m u s t h av e ne c e s s a r ily f o ll o w e d fr o m t hi s

t h a t t h e r e is no t a s i ngl e i m ag e f r o m na t ur e in t h e w h o l e
b o dy o f his w or k s ; a nd in h is t ra ns l at i o n f r o m V i r gil ,

w h e ne v e r V i r gil c a n b e fai r ly s aid t o hav e h is ey e o n t h e

o bj e c t D r yd e n al w ay s s p o i ls t h e pa s s ag e
,
A l th o u gh .
"2

D r yd en w a s no t e s s e nt ially a p o e t his e ne r gy a nd e v e n ,

g r and eu r o f m i nd t h e na t u ral s w i f t ne s s a nd fi
, r e w hich

w e r e r e ally i nt e ll e c t u al q u ali t i e s b u t w h ic h o f t e n s i m u la t e d ,

t h e gl o w o f r e al pa s s i o n t o g e th e r w i t h a r e m a r kabl e facil ,

ity enabl e d h im t o p r o d u c e a n ex c e ll e nt s u b s t i t u t e f o r
,

p o et ry T hi s s ee m e d t o b e q u i t e s a t i s fac t o r y t o a n a g e
.

1
Wo r d s wo r t h s ’
st at e m e nt m ay be i llu tra t d
s e by c om pari ng the
i
l ne s
A rci t fa l e, se tr a y tou r wik k e !
No w a r to w h e nt , t h a t lo v e s t m y l a dy ao ,

F o r who m t h t I h a av e al i
t h s p ey ne a nd wo ,
A nd art m y b lo o d , a nd t o m y c o u ns e il s w o rn .

z
>< >r
< a:

I wo l b e d ee d , or e lle s t ho u sh a lt dy e ,
u ha lt n t l v m y la dy E m ly
T ho s o o e e e,

w i th D ry d n v r i n w h r t rug gli ng t nd r n w h lly giv e n

’
e s e s o , h e e s e e es s as o

w y ta l f c o m p lac nt nd ra t rica l wra t h

o se -
e a o o :

F al t rai t r A rci t t rai t r t t h y b l

se o d , e, o o oo ,

B u nd b y t h y acr d a th t
o k my g d s e o o s ee oo ,

N w t t h u f u nd f r w r n f
o ar E m i ly
o o o s o or ,

A nd d t a tt m p t h l v f
a r es w h m I die e er o e or o .

Ho p e no t , b a se m a n, u nqu i
e s t o ne d h en c e to g o,
I F or am P a la m o n, thy m o rta l f oe .

n i llu t ra t i i c par i
2
As a s on o f th s om e Z E ne id 4 .
522 -
52 7 w th D r y
d en s
’
v r ion
e s .
44 WORDSWORT H S TH EORY ’
OF P OETI C DI C TION

which ha d l o st th e o ld gi f t o f s o ng and was cut t ing i t s e l f ,

o ff fr o m th e spring s o f imaginativ e f e e lin g in natur e and

c o mm o n li f e .

I t was d u e t o t his na t ural l ac k o f at l e as t o ne type o f

imagina t iv e f e eling , ra th e r t han t o any th eo r y o f p o etic
dic t i o n, t hat D ry d en b e c am e the cr e at o r o f th e e l e ganc e s
and fl o w er s o f s p e e ch s o d e ar t o th e h e ar t o f th e e igh
t ee nth c e n t ury s o o bn o xi o u s t o th e t a s t e o f th e nin e t ee nt h
,
.

A s far as can b e di s c o v e r e d fr o m h is n um erous pr e fac e s ,

h is o nly purp o s e wi th r e s p e c t t o languag e w a s to giv e a s
cl e ar and c o rr e c t a nd m el o di o u s a r e pr o duc t i o n o f t he c ur
r ent s p e e ch as p o s s ibl e I f his ambiti o n o ccasi o nall y s o ar e d
.

high e r , it s h o w e d i t s el f o nl y in th e w i s t ful e ff o r t t o writ e

wi th s o m e o f th e s pl e nd o r and s piri t o f h is l e ss r e fi ne d
pr e d e c e s s o r s H enc e th e falsi t y o f s uch a d e s cripti o n as
.

t ha t j u s t qu o t e d s e e ms t o b e d u e t o s o m e unc o nscious blind

n e s s , rath er t han t o d e lib e r a t e in t en t i o n T h e s am e is t ru e .

o f th e e l e gant phra s e s which D r J o hn s o n t a k e s t o r ep r e s e n t

.

a new achi ev em ent in v e rs e M o st o f t h e m a r e sin gularl y

.

uni nt e r e s t i ng ; b u t f o r s o m e r e a s o n, t h ey t o o k h o ld o f th e
,

p o et ical im agi nat i o n o f his s uc c e ss o rs F o r ins t anc e , th e r e .

“
is t h e a d j e c t iv e w at ery T o him th e o c e an i s a wa t e r y
‘ ’ ‘
.

” “ “ ”
d e s er t , a w a t e r y d ee p , a wa t e r y plain a w a t e ry ,
” “ ” “
w ay , a w a t e ry r e ig n T h e s h o r e is a
. w a t e ry brin k ,
“ ” “
or a w a t e r y s t ra nd F i sh a r e a
. w a t e ry lin e or a ,
“ ”
w a t e ry rac e . S ea bird s a r e a
-
w a t e r y f o wl The .

“ ”
launching o f s hip s is a w at e r y w a r S t r e ams a r e .

“ ” “
w a t e ry fl o o d s . W av es a r e w a t e ry rank s Th e w o rd .

o cc ur s w i th w e ari s o m e i t e ra t i o n in s u cc e e ding p o et s 1 ’
.

S u ch mann e risms s e e m t o b e d u e t o t h e h e e dl e s sn e s s o f
a man wri t ing wi th gr e a t facili ty but i gn o ran t o f o r indif , ,

f e r e nt t o , th e ph e n o m e na h e m en t i o n s H e s e i z e s up o n t h e
m o s t o bvi o u s , a nd a t t h e s a m e t im e t h e m o s t ma t t e r — o f—
.

, , fac t
and unin t e r e s t ing d e t ail , and t h en , w h e n h e p e rc e iv e s th e
1
M y ra R ey no ld s , T h e Tr ea tm ent of Na tu r e in E ng lis h P o e tr y ,
D 39
 POETI C DICTION I N M O D ER N TI M ES ‘ ,
45

n e c e s s i ty f o r va r yi ng h is e xp r e s s i o n h e ac t s lik e th e cl ev e r ,

w r i t e r tha t h e is ra th e r t han th e s ympa th et ic o b s e r v e r t ha t

.

h e is 110 1 : i ns t e ad o f m e nt i o ni ng a new d e t ail h e m e r e ly

1

t hi nk s o f a s y no nym f o r th e e xpr e s s i o n t hat h e h a s alr e ady

u s e d I n th i s w a y all t h e t i r e s o m e array o f s to ck phra s es
.

t ha t m e an n o t hi ng c a m e i nt o b e i ng M o s t o f t h em r i ng .

m o no t ono u s chang e s u p o n t h e m o s t o bvi o u s f e at u r e s o f

t hi ng s s uch a s t h e fac t t ha t t h e o c e a n is c o mp o s e d o f
,

w a t e r t ha t bi r d s h av e f e a th e r s and fi
,
s h h av e fi ns T o call .

fis h the fi nny rac e is no t t o s a y any thi ng new o r i nt e r es t

‘ ’

ing ab o u t th e m t o va r y th e e xp r e s s i o n t o t h e s caly t r ib e
‘ ’

is o nly t o m ak e ma t t e r s w o r s e Y e t it is e a s y t o s ee t ha t .

all th e s e a t r o ci t i e s mi gh t b e p r o duc e d , w i th no i nt ent i o n o f

t h u s di s t i ngui s hi ng p o e t r y fr o m p r o s e by a ny m a n wh o w a s ,

t r ying t o w ri t e w e ll w i th o u t k no w i ng w ha t h e w a s t alking
ab o u t I n fac t , t h e s am e ki nd o f dic t i o n o ccu r s in pr o s e
.

whi c h a t t emp t s t o d e al w i th th e s am e ki nd o f s ubj e c t

m a tt e r .

T h e s e t w o charac t e ri s t ic s o f D ryd en s t r e a t m e n t o f
’

—
nat ural ph en o m ena the p e r v e r s i o n o f th e fac t s f o r th e
s ak e o f h e igh t e ni ng a s i ngl e i m pr e s s i o n a nd t h e u s e o f s e t ,

phra s e s indic a t i ng a s W o rd s w o r t h said , no thi ng m o r e t han

,

t h e kn o w l e dg e t ha t a bli nd man c o uld pi ck up c o nc e rning

t e fa ilia r b u t e v e r cha gi g a s p e c t s o f N a t ur e
h m n n - — th e s e
Vi ci o u s t end enci e s w e r e al s o s t r eng th e n e d by t h e gallant r y
o f W all e r and h is i m i t a t o r s wh o m ad e all t h e m igh ty ,

p o w e r s o f e a r t h a nd s k y s u b s e rvi e n t t o t h e gl o ry o f s o m e
f air lady o r s o m e all p o w e r f u l n o bl e man -
.

In prai i ng C h l ri m ns nd tar nd k i s
s o s, oo , a s s, a s e ,

A requick ly m a d e t m a t c h h fac nd yo er e a e es

A nd g ld nd ru b i
o a w i t h s li t t le car
es , a e,

T fi
o t th c l r e f h lip
o o nd h air ;
o er s a

A nd m ixi ng u n
, nd fl w
s a nd p ar l
s, a nd t o er s , e , a s o ne s

M ak th m
e rv ll c m p l xi n t nc
e se e a o e o s a o e .
1

A t th e d e a th o f a ny ill u s t r i o u s m a n o r fair lady all na t u r e

‘

wa s c o nv u l s e d w i th g r i e f W h e n Caele s t ia di e d th e r iv u
.

1
u r
B t le , S a tir e on a Ba d P oet ; qu o te d by M i ss R ey no ld s , p .
3 1 .
46 WORDSWORTH S T H EORY ’
0 17 POETI C DI C TION

l et s wer e fl o o d e d by th e t e ar s o f the w a t e r g o d s t h e br o w s -
,

o f t h e hill s w e r e fu rr o w e d by ne w s t r e am s t h e h e av e ns ,

w e p t , s udd e n d am p s o v e r s p r e ad th e plai ns , th e lily hung it s

h e ad a nd bi r d s d r o o p e d t h e i r w i ng s W h en A ma r ylli s had
,
.

in f o r m e d nat u r e o f th e d e a th o f A m y nt a s all cr e a t i o n ,
“ ”
b e g a n t o r o ar a nd h o w l w i th h o rrid y ell W h e n T h o mas .

Gu ns t o n di e d j u s t b e f o r e h e h ad fi nis h e d h is s e a t a t New
ing t o n, W a tt s d e clar e d t ha t t h e curli ng vi ne s w o uld in gri e f
un tw i ne t h e ir am o r o u s a r m s , t he s t at el y e lms w o uld d r o p
l e av e s f o r t e ar s , and t ha t e v e n t h e u nfi nis h e d gat e s and
building s w o uld w e e p I n l o v e p o e t ry na t u r e is fr e qu en t ly
.
-

r ep r es en te d a s aba s h e d a nd d is c o m fi t e d b e f o r e th e s up e ri o r
cha r m s o f s o m e fair nymph A ur o ra blu s h e s wh e n s h e s e es
.

ch eek s m o r e b e au t e o u s than h e r o w n L ili e s w a x pal e wi t h .

’
e nvy a t a maid e n s fairn e s s W h e n bri gh t Oph e li a c o m e s
.
,

lili e s dr o o p and r o s e s die b e f o r e th e ir l o f t y rival S o t h e .

s u n w h en h e s e e s t h e b e au t i ful ladi e s in H yd e P ark ,

,

S et s in l b u hes s a nd c o nv ey s his fir e s
To d i s t a nt la nd s .

A nd w h e n th a t m o d e s t luminar y is aw ar e of th e pr es e nc e
of th e fair M aria ,
he

S eem s to d e s c e nd w thi gr a t r care

e e

A nd , les t s h e s ee h im g o t o b e d ,
Inbl u h i ng c l u
s o c c a
d s o n e ls h is h e ad .

N a t u r e is thus c o ns t an t ly c o mp ell e d i nto admiri ng s ub m is

i n t o s o m e D e li a o r P hylli s o r C hl o ri s
s o E v e n fur th e r .

t han t his d o t h e p o e t s g o T h e y m a k e all t h e b e au t y o f

.

na t u r e a di r e c t o u t c o m e o f th e lady s cha r m s I n t he gar ’

.

d e ns a t P e ns h ur s t th e p e ac e a nd gl o r y o f th e all ey s wa s
giv e n by D o r o th e a s m o r e than h u m an g r ac e
’
No s p o t .

c o u ld r e s i s t t h e civili z i ng e ffe c t o f h e r b e a u ty .

Th e e x t r avaga nc e o f s p e e ch s t o o d a s t h e s i gn o f an int e n
s ity o f f e e li ng t h a t did no t e xi s t T h e p o e t w a s no t s w e p t
.

aw ay by o v e r wh e l m i ng pa s s i o n H e w o r k e d o u t his v e r se s
.

with c n ci u d lib r a i n
o s o s e e t o A —
lady l o v e w a s o ne o f th e
.
48 WORDSWORT H S T H EORY
’
OF P OETI C DI C TION

cl e v erl y a s h e c o ul d Bu t this e as y manipulat i o n o f all th e

.

mi gh ty fram e o f H e av en and e arth , o f th e chan g el e ss stars

and th e wayw ard win d s , t o sui t th e purp o s e s o f e v er y
gallant p o et as te r , s e rv e d , li k e D ryd en s rh et o ric ab o ut th e
’

‘
dr ow s y m o un t ains , t o cul t ivat e a n indi ffe r enc e t o th e
’

fac t s S cribbl e rs s o o n f ell in to t he wa y o f t e lling th e sam e

.

k ind o f fal s eh o o d s wh e n th er e w a s no r e a s o n f o r s o d o in g,
and t hi s d e s pi t e t h e ir inabili t y t o do it a s cl e v e rl y as th e ir
—
un s crupul o u s ma s t er s t h o ugh p e rh ap s th ey did no t k n o w
t ha t
. We s hall h av e an exampl e o f the ridi cul o us r e s ul t s
o f t hi s habit la t e r .

7 B u t m ea n w hil e it is o bvi o u s t ha t in all t hi s fi ne wri t ing ,

,

duln es s o f vi s i o n i s o f t e n ma t ch e d by d e ad ne s s o f h e a r t .

A nd thi s bring s u s t o W o rds w or th s s e c o nd in d ictm ent

’

again s t th e languag e o f th e p eri o d I t is h e artl e s s , h e

.

s ays. H e r e again t h e r e al fault i s s o m e thin g gr e at e r a nd

d ee p e r t han th e ch o ic e o f a c e r t ain ty p e o f v o cabular y but
it r e sul t e d , alm o s t unc o nsci o usl y , o r a t l e ast unint e ntionall y ,
in th e h abi t s o f sp ee ch t ha t b ec am e p o et ic dicti o n .

Unc o n t r o ll e d by a tru e s ens i t iv en e s s o f h e ar t , th e languag e

o f p a s s i o n ( w hi ch i s t h e la nguag e o f p o e t ry ) s u ffer e d th e

s am e fa t e tha t a t t e nd e d t h e na t ural imag e ry . A s th e cl e v er

w ri t e r vari e d his d e scripti o ns , no t b y a ddin g a ne w d e t ail ,

b u t by fi nding a new s yn o nym , s o h e vari e d t h e m et aph o r

i cal d e lin e a t i o n o f f e e li ng , no t by r e cur r ing t o th e o ri ginal
e m o t i o n b u t by fi
, nd ing parall e l a nd a nal o g o u s e xpr e s s i o n s
f o r w ha t had alr e ady b e en said by him s e l f o r s o m e o th e r
p o e t I t w a s a pr o c e s s o f building bric k s wi th o u t s t raw
.
.

W h e n h e did g o ab r o ad f o r h is mat e rial , h e nat urall y w en t

t o th e wri t e r s t h a t p r e c e d e d him , e s p e cially t o t h e L a t in

w r i te r s . T h e r e h e c o ul d fi nd t h e b e s t mat erial fr o m
N at ur e alr e ady s el e c t e d a nd arrang e d—p o e t i cally p r e
di g e s t e d as it w e r e W hy sh o u ld h e c o n fu s e hims e l f , and
, .

w a s t e t im e a nd e n e rgy r e— , e xamining th e o riginal crud e

a nd unm e t h o di z e d s o urc e , w h e n p o e t s t ha t h e c o ul d tru s t

had alr e ad y d o n e s o , and ha d r e p o r t e d up o n wha t th ey h ad

 POETI C DICTION IN
‘
M O D ERN TI M ES ,
49

s e en ? W hy s h o uld d e v ot e h e no t imp r o ving

his t al ent s t o
T o u s B lair s s t at em e n t
’
? 1
th e u s e o f w ha t t h ey had ch o s e n
t ha t M il t on s L A lleg r o a nd [ l P e ns er os o w e r e s t o r e h o u s e s
’ ’

o f na t u r al imag e ry fr o m w hich all la t er p o e t s had d r awn ,

imm edia t ely s u gg es t s th e qu e s t i o n ? B ut why did t h e y no t

g o t o t h e g r e a t e r s t o r e h o us e t ha t l ay a t t h e ir v e ry d oo rs ?

M
W hy did t h e y no t m e r ely d o as il t o n had d o n e t ak e a —
walk s o m e fi ne m o rni g a d t e ll w ha t
n n ,
t h ey s a w ? H ow
c o u ld t h ey dr e am o f a s suming th e digni ty o f p o et s m e r e l y
by d e s c r ip t i ons c o pi e d fr o m d e s crip t i on s , by imi t a t i ons
‘

b o rr o w e d fr o m i m i t at i o n s , by t r adi t i ons , imag e ry a nd

h e r e di t a r y s imil e s , by r e adin es s o f rhym e and v o lubili t y
o f s yllabl e s B u t a f t e r all , th e faul t lay n e i t h e r w i t h th e
’
.
,

habi t o f i m i t a t i o n no r w i t h th e la u dabl e a m bi t i o n t o w ri t e
,

w e ll f r o m w hi ch th i s habi t pr o c e e d e d P o p e s I m ita tio m of .

’

H o r uc e a r e no t lacki ng in o r i ginali ty o r app r o p r ia t e s im

p lic ity o f languag e W i t hin t h
. e ir o w n pr o p e r fie ld all t h e s e

id e al s o f exp r es s i o n w hich w e a r e s o r e ady t o c o nd e m n,

,

w o rk e d exc e ll ent ly T h e fac t t hat th e p o et s o f th e a g e

.

w e r e l e ss s u cc e s s ful in th e wid e r fi e ld s b ey o nd w a s p ar t l y

t h e ir fa u l t b u ,t par t l y al s o t h e ir mi s f o r t u ne W h e n t h ey .

v e n t u r e d a w ay f r o m th e fam iliar s t r eet s a nd p o li t e ci r cl e s

o f L o nd o n, t h e y l e f t b ehind th e m
‘
the h e ari ng ea r a nd th e
s e e i ng ey e and t h e f e eli ng h e ar t al s o A nd w i th o u t th e s e
’

,
‘

e v e n t h e s t andard s o f W o rd s w o r th w o uld b e us e l e s s .

T o t h e t yp e o f di c t i o n tha t in e vi t ably d ev e l o p e d wh e r e
p o e t s lack e d th e t o uch s to ne o f p e r s o nal o b s e r va t i o n a nd
g e nu i ne f e e li ng P o p e m ad e s o m e s p e cial c o nt r ib u t i o ns o f
,

h is o w n S i nc e h e r e ally had a b e tt e r ey e f o r na t ural

.

b e a u ty a nd m o r e r o m an t ic t end e r ne s s o f f e eli ng t h an s o m e
, ,

o f his pr e d e c e s s o r s h is imag e r y is o f t e n m o r e e xac t a nd h is

, ,

l ang u ag e o f pa s s i o n l e s s fri gid t han t h e i r s I n him w e .

rar ely hnd t h e s ham e l e s s a nd abs o l u t e pr e vari ca t i o n s o f

whi ch D ryd e n a nd W all er w e r e c apabl e Y e t his s i ns in
—
.

this r e s p e c t w e r e bad en o ugh H is m o tt o whi ch t o fi . t his ,

1
Bl air , E s s ays on R h e to r ic , p 3 1 9. .
50 WORDSWORTH S T H EORY ’
OF POETI C DICTION

cas e, may b e vari e d t o W ha t o f t was t ri e d , but n e e r so ‘ ’

w e ll p er f o rm e d — o f t e n led him t o c o mmi t all t h e sins o f

’

his a g e T h e r e sult i s a s ingular un e v e nn e ss I n one lin e

.
.

o f t h e P a s t o r a ls h e r e mar k s , qui t e grac e full y a nd s impl y

1
,

N o w h aw thorns b l o ss o m and now d aisi e s spring

’
‘
in
2
an o th e r h e i nan ely ann o unc e s
Th e turf wi th rura l d ai nt i e s sh a ll b e c o wnd
r
’
,

Wh i le o p eni ng b lo o m s d itI u se t h e ir s we t s ar o u nd
e .

I n Winds or F o r es t w e h nd such c o u pl et s as th e s e 3
:

i fl c
S e e P a n w th o k s , w thi frui a
t P o m o n c r o wn d ,
’

r bu i g
H e e l s h n F lo ra ai
p nt s th e e na m ell d o nd , gr u ’

H ere C er g i f t in w avi ng p ro s p e c t s t a nd
’
es s ,

And no dd i ng t em p t t h e j o y fu l r e a p e r s h a nd
’
.

But th e s e a r e shortl y f o ll o w e d b y d e s cripti o ns o f tol e rab l e

4
c o ncr e te n e ss :
S e e ! fro m t h e bra k e t h e wh irri ng p h e a s a nt s p ri ng s ,

A nd m o unt s e xult i ng
riu m p h a nt wi ng s :
on t
S h o rt is h is j o y ; h e f e els t h e h r y wo u nd e ,

F lu t t e r s in b lo o d nd p a nt i ng b e a t s t h e g ro u nd
, a .

A h ! wh a t avai l h i g lo s s y vary i ng dy s es,

H is p urp le cr es t nd carl t — , circ le d ey s

a s e e ,

Th e vivi d g re e n his s h i ni ng p lu m es u nf o ld ,

H is pai nt e d w i ng s a nd br a t t h a t fla m es w i th g o ld ?
, e s

Bu t , ve n in the passa ge wh e r e h e is e mpl o yin g thi s m o r e

e

c o ncr e t e languag e , w e n o t ic e a n a r t ific ia lit y in th e s t yl e ,

w hich prov e s , up o n cl o s e r a nalysis t o c o nsis t mainly in ,

t he habit o f b alancing o ne h al f o f th e lin e against th e ,

No w h aw th o rns bl o s s o m e xac t ly balanc e s now

‘ ’
o th er
‘
.

dai s i e s spring ; S ee P a n wi th fl o c k s is parall e l e d by w i th

’ ‘ ’ ‘

frui t P o m o na c r o wn d ; a nd his purpl e c r e s t is pair e d

’ ’ ‘ ’

wi th ‘
—
s ca r l e t circl e d ey e s T his an t i th es i s is o ft e n .
’

achi ev e d at th e e xp e ns e o f t r uth and grammar I c o uld .

‘

1
S pr ing 42 .

M id 99 - 1 0 0
2
. .

3
Winds or F or es t 3 7 - 40 .

4
I b id . 1 1 1 -1 1 8 .
 POETI C DICTION IN
‘
M O DERN TI M ES ’

51

n ev er g e t the bl o ckh e ad
udy his gra m m ar , said S wift to st
’
.

I n th e lin e , S ee P a n w i th fl o ck s w i th fr u i t P o m o na
‘
.

c r o wn d h e s ugg e s t s th a t P a n is cr o w n e d w i t h fl o ck s
’ ’

,
.

—
E v e n E l o isa has e no u gh s e l f p o s s e s s i o n f o r a f ew n e a t
an t i th e s es I m o urn the l o v er , no t lam ent h is faul t , sh e
.
‘ ’

s ay s ,adding v e r y s h o r t l y 1

H ow h app y a
is t h e b l m e le s s V e s t l s lo t ! a ’

T h e w or ld f o r g e t ting , b y t h e w or ld f or g o t
E te n l r a u ns h i ne o n th e s p o tl
s es s m i nd !
a nd e a c h wis h r es ig n d ;
’
E a c h pr a y er a c c ep t e d,
La r
b o a nd e s t th t e r a qua l p ri d k p ;
e o s ee

O b ed i e nt s lu m b r s e t h a t c n w a k e nd w p ;
a a ee

D es zr es c om pos e d , a ff e c tio ns ev e r e v e n;

.
T ea 7 s t ha t
‘
d e lig h t, a nd s ig hs tha t wa f t t o h ea v e n .

T hi s mann e ri s m w a s empha t i cally c o nd em ne d by W o r d s

w o r th a s o ne o f t h e w o r s t f e a t u r e s o f t h e s ty l e o f P o p e
T h e s e in t e ll e c t u al o p e ra t i o ns ( whil e t h e y c a n b e c o nc e iv e d
‘

o f a s o p e r a t i o ns o f t h e i nt e ll e c t a t all f o r in fac t o ne hal f o f ,

t h e p r o c e ss is m e cha nical , w o rd s d o i ng t h e ir o w n w o r k an d
o ne hal f o f t h e lin e manu fac t ur ing t h e r e s t ) r e mind m e o f

t h e m o t i o ns o f a p o s t u r e ma s t e r o r o f a man bal ancing a ,

s w o r d up o n h is fi ng e r wh i ch m u s t b e k e p t fr o m falli ng a t
all ha z ard s W hy w a s no t t hi s s imply e xpr es s e d
.

wi th o u t playi ng w i t h th e r e ad e r s fancy t o th e d e l u s i o n a nd ’

di s h o no ur o f his u nd e r s t andi ng , by a t r ifl ing epi g r a m m a t ic

p o i nt
W h en t o the r e gular an t i th e s e s and e pig r a m m a t ic p o in t s
o f P o p e w e r e add e d th e fl o w e r s a nd e l e ga nc e s o f s p e e ch

alr e ady inv ent e d by D ryd e n a nd W all e r and w h en t h e ,

un s c r upul o u s f a ls ifi c a t io n o f th e o bvi o u s fac t s o f na t u r e

w a s e nc o ur age d by a p o p u la r o bj e c t i o n t o e v e ry thi ng V u l
‘

gar t h e p o e t ic dic t i o n w hich W o r d s w o r t h w a s la te r t o

,

E lo is a t o A b e la r d 20 7 212
-
.

See Wo r d s wo rth s ’
ai
d e t le d a na ly i s s of pi tap h b y P p
an e o e,

in Up o n E pita phs , P ,
art 2, Wo r ds w or t h s
’
L it r a y C iti i m p p
e r r c s , .

1 1 8 - 1 22 .
5 2 WORDSWORT H S T H EORY ’
or P OETI C DI C TION

ab o li sh wa s alr e ad y fairl y w ell d ev el o p e d Bu t th e t h eo r y .

o f it w a s no t W hil e it w a s ev er ywh er e s t at e d t ha t po et ry
.

must b e r e fi ned , th er e is , wi t h th e s ingl e e xc ep t i o n o f a

n o t abl e u t t er anc e by A ddi s on, t o b e qu o t e d la t e r , vir t uall y
no e vid e nc e f o r b e li e f tha t v e r s e sh o ul d b e dis t inguish e d
fr o m pr o s e o r fr o m cul t iva t e d c o nv e r s at i o n o f th e sam e
,

r efi ne d t yp e , b y a s p e cial v o cabular y o r li c e ns e s o f gram

‘ ’

mar a nd s ynt ax I n 1 7 0 0 W o r d s w o r th s d e cl a r a t i o n th a t
.
’

t h e r e ne i t h e r is no r e v e r c a n b e a ny e s s e n t ial di ff e r enc e
b e tw e en th e languag e o f pr o s e a nd t h e l a nguag e o f v e rs e
w o uld pr o bably h av e s e em e d l e ss s t rang e t han it s e em e d
in 1 8 o o
. .

A s far a s di ffe r e nc e wa s r e c o g ni z e d , it is t h e di ff e r e nc e
t ha t W o rd s w o r t h him s el f w a s willing t o c o nc e d e P o e tr y , .

b e i ng th e languag e o f pa s s i o n , na t urally r e pr o duc e s th e

p e culia r i t i e s o f e m o t i o nal s p ee ch in a fr ee r sy nt ax and
o rd e r o f w o rd s , a nd in a m o r e hi ghly fi g u r a t iv e e xpr es s i o n,

t han is n e c e s s ary in pr o s e T hi s w a s e sp e ci ally e mpha s i z e d

.
,

t h o ugh no t happily illus t ra t e d by D ryd en , w h o d e riv e d h is

1
,

id eas fr o m L o nginu s , and by J o hn D e nni s , wh o , m o r e than

any o th e r cri t ic o f th e t im e, o f t e n an t i cipat e s W o rd s w o r th s ’

p o i nt o f vi e w .

One o th e r distin cti o n was c o mm o nly mad e : p o e tr y e v e n ,

m o r e than p r o s e , mu s t s p e ak a g e n e ral l a nguag e a lan ,

guag e in t elligibl e t o all A failur e t o p e r c e iv e in w ha t .

th e univ e r s ali t y o f languag e c o n s is t s le d t o th e m o n s t r o u s

d o c t ri ne t ha t p o et r y mu s t empl o y o nly g e n e ral t erms .

T hi s principl e s o unhappily appli e d in th e e i gh t e e n th c en

,

tury was l at e r ad o p t e d by W o rd s w o r th and C o l e r id ge ,

,

wi th v e ry di ffe r e n t r e sult s , as w e s hall s e e .

M o r e o v e r c r i t ici s m in th e e arly e i gh t een th c e n tury was

,

no t wh o lly bli nd t o th e m e ri t s o f a s i m pli ci ty th at w a s

no t al s o r e fi ne d S t e e l e lik e d th e dir e c tnes s a nd c o nc r e t e
.

n e s s o f u nl e a r ne d c o ll o quial s p e e c h ; A ddis o n r emark s that

z

K er
1
1 . 1 8 5- 1 8 6 .

Gu a r dia n
1
23 . Cf . H a m e liu s , D ie K r itik in d er E ng lis r h eh
L iter a tur d es I 7 . a nd 18 . J a hr hu nd er ts , p 9 9
. .
 POETI C DICTION IN
‘
M O DERN TI M ES ,
53
'

th e r e is m o r e in c o m m o n b e t we e n th e plain lang u ag e o f th e
p op u la r ballad s a nd th e maj e s t i c s i m plici ty o f V i r gil t han ,

b e t w e e n th e s tyl e o f V i r gil a nd that o f s u ch fanci f u l w r i t e r s

as C ow l e y P o p e t hi nk s t hat h e w o uld lik e e v e n t h e s tyl e
1

o f an inf a nt if it c o u ld w r i t e d ow n it s t h o ugh t s w i th all

t h e i r i nno c e nt r e d u nda nci es j u s t a s t h e y c o m e Sw i ft 2

d o ub t s th e w i s d o m o f th e b o a s t e d r e f o r m o f the la nguag e
a f t e r t he R es to r a t i o n a nd thi nk s t ha t o nly th e infl u enc e o f
,

t h e B ibl e a nd t h e P r ay e r B o o k u p o n th e s p e e c h o f t h e simpl e
p e o pl e k e e p s t h e E ngli s h t o ngu e f r o m u t t e r d e g ene r acy 3
‘

T h es e a r e o nly t e m p o rary r e ac t i o ns p e rhap s b u t t h e y a r e , ,

no t w i th o u t s ignifi c a nc e .

H enc e it m a y b e s e en tha t t h e c r i t ici s m o f th e p e r i o d

w a s no t t h e s o u r c e o f th e fal s e id e al s w hich W o rd s w o r t h
a nd C o l e r id g e w e r e la t e r t o c o m ba t T h e a g e o f P o p e did.

no t d e v e l o p th e c o nc e p t i o n o f a s p e cial la ng u ag e f o r p o e t r y ,
al th o u gh it al m o s t u nc o ns ci o u s ly p r o duc e d s u ch a la nguag e .

F o r t h e t h eo r y o f a s p e cial dic t io n f o r p o e t r y w e mu s t
s e a r ch am o ng th e c o nf u s e d a nd va r i o u s u t t e r a nc e s o f th e

g ene ra t i o n s u c c e e ding P o p e and alm o s t unc o n s ci o usly

,

b e g 1nn1ng t o r e ac t a g a 1ns t h im .

2 . Th e R ea c tio n A g a ins t P o pe .

I n the p e r i o d b e tw een th e p u blica t i o n o f P a r a dis e L os t

a nd t h e appea r a nc e o f t h e S ea s o ns t h e c r i t ici s m a nd t h e
,

p r ac t ic e o f p o et r y had b een o f a d e fi nit e a nd s e l f c o ns i s t ent -

charac t e r T o draw p o s i t iv e c o nclusi o ns c o nc e rni ng it i s

.

no t d iffi c u lt B u t t hi s c a n h a r dly b e s aid o f t h e r e s t o f

.

t h e c ent ur y T h e r e is a br e aki ng u p o f t h e o ld c r i t ic 1 s m
.
,

w i th o u t a v e ry d e fi nit e f o r m ula t i o n o f a ne w T h e o nly .

no t abl e e x c e p t i o n t o t hi s s t a t e m ent is J o s e ph W ar t o n s E s s a y
’

o n th e Geniu s a nd Wr iting s of P o p e W ar t o n s t and s .

1
S pe c ta t or 7 0 .

1
L e tt er s 1 . 1 90 .

f or C o r r e c ting I m pr o v ing a nd A s c er ta ining

3
A P r o po s a l , , th e
E ng lis h T o ng u e ( T h e P r o s e Wo r k s o f J o na tha n S wif t 2 .
54 WORDSWORTH S TH EORY ’
OF P OETI C DI C TIO N

fairl y a nd s q uar e l y f o r an id e al o f p o e t ic e xpr e s s i o n in a ll

e ss e n t ial r e sp e c t s di ff e r e n t fr o m t he practic e i f no t fr o m ,

th e cri t ici s m , o f th e e arl y e i gh t ee nth c e n t ury ; a nd h is

brav e r e b elli o u s r ema r ks in 1 7 56 b e c o m e th e s o urc e o f th e
m o s t vi t al dis cussi o n o f p o et ic s tyl e f o r th e n e x t fi f ty y e ar s ,
a nd l e ad dir e c t ly t o th e r e f o rm o f W o rds w o r th B u t th e .

Opini o ns o f t he o th e r cri t i c s a r e m o r e d iffi c u lt t o cla s sif y .

D o c t o r J o hn s o n th e gr e a t e xp o n e nt o f t h e s o call e d clas s i cal

,
-

id e al , is as l o u d in his o bj e c t i o n t o th e e xpl o d e d d ei t i es ‘ ’

o f Gr e e c e a nd R o m e a s h e is L a t ini z e d in v o cabulary ; and

h e i ns i s t s up o n a r e s p e ct f o r t h e u s ual grammar a nd f o rm s
o f s p o k e n di s c o u r s e in v e r s e as w armly a s h e d e f e nds t h e

u s e o f g e ne ral t e r m s a nd t h e e l e ga nc e s and fl o w e r s o f
,

sp e ech . J o hn s on s di s cipl e, Go ld s mi th , r e c o mm ends t h e

’

h e r o i c c o upl et and th e d e vi c e o f p e r s onifi c a t io n, w hil e all

1

his o wn na t ural s y m p a thi e s and h is o wn p r ac t ic e a r e in

fav o r o f a pa th et i c and e v e n h o m ely s impli ci ty u nk n own t o
th e p o li s h e d g e ne r a t i o n o f P o p e t o w hich h e l oo k s back
'

wi th s om e r e g r e t On th e o th e r hand , Gray wh o w a s a t
.
,
‘

t h e h e ad o f th o s e wh o by t h e ir r e as o ning s h av e a t t e mp t e d
,

t o w id e n t h e sp ac e o f s e para t i o n b e tw ix t pr o s e a nd m e t rical
c o mpo s i t ion , w a s al s o th e c e n t r e o f a new and r e g ene ra
2’

t iv e infl u enc e w hi ch r e v e al e d i t s e l f in a m o r e pic t ur e squ e

i m ag e r y a nd a fr ee a nd b e au t i f u l cad enc e ; in th e la t e r
,

p o et r y o f th e c entur y .

S inc e t hi s is s o it will b e w e ll s imply t o q u o t e th e n o t abl e

,

individual u tt e ranc e s o n po et i c di c t i o n, a nd t h e n p r oc ee d
t o e xa m i ne t h e r e s u l t o f t h e ra t h e r cha o t ic id e al s o f th e
c e n t ury as r e v e al e d in th e av e rag e v e rs e o f W o r d s w o r th s ’

o w n t im e—th e s o r t o f v e r s e t ha t w a s app e aring in th e

‘

maga z in e s o f 1 7 96 .

S i nc e th e p o e t ic dic t i o n o f t h e E ngli s h A u gu s t an a g e
‘ ’

was th e o u t c o m e o f th e p r ac t ic e ra th e r t han t h e d elib era t e

,

t h eo r i e s o f D r yd e n a nd h is f o ll o w e r s th e e xpr e s s i o n o f t h e
, ,

Oh M e ta ph o r s ( Wo r k s 1
1
.

P r e fac e t o t h e L y r ic a l B a lla ds
1
.
56 WORDSWORTH S TH EORY ‘
OF POETI C DICTION

o bj e c t s th em s e lv e s T h om s o n w a s accu s to m e d t o wand e r
.

away in to the c o un t ry f o r days and f o r w eek s , a tt en t iv e t o

“
e ach rural si gh t , e ach rural s o u nd , whil e man y a p o et who
h a s d w e lt f o r y e ar s o n t h e S t rand has a t t e mp te d t o d e s crib e
fi e ld s and riv e r s , a nd g en e rally s u cc ee d e d acc o rdingl y .

H enc e th at nau s eo us r e p e t i t i o n o f the s am e ci r cum s t anc e s

h enc e t hat d isgus t ing impr o pri ety o f in t r o ducing w ha t may
b e call e d a s e t o f h e r e di t a r y imag e s w i th o u t pr o p e r r e gar d ,

t o t h e a g e , o r clima t e , or o cc asi o n in whi ch t h e y w e r e

f o r m erly us e d . I f o u r p o et s w o uld ac cu s t o m
th e m s e lv e s t o c o n t e m plat e fully e v e ry o bj e c t b e f o r e t h e y
a tt emp t e d t o d e s crib e it , t h e y w o ul d no t fail o f giving t h e ir
r e ad e r s m o r e new i m ag es t han t h e y g ene r ally d o 1
.
’

No t o nly d o e s h e o bj e c t t o th e f al s i ty and vagu e n e ss o f

i m age r y in th e p o et r y o f th e e i gh t e en t h c e n t u r y ; h e i s al s o
di s p o s e d t o sc o ff a t s t il t e d r efine m e nt , and t o r e c o mm e nd
languag e m o r e na t ural and t o u chi ng H e prais e s as .

‘
pa th e tic to the la s t d e gr ee th e lin e s fr o m J a ne S h or e :
’

Why d o s t th o u fix thy dy i ng ey e s up o n m e
Wi th s uch a n e arnes t s uch a p i t eo u s lo o k
, ,

A s i f th y h e art we re full o f s o m e s a d m e a ni ng
T ho u c o u ld s t no t s p ea k ,

adding t ha t the f ew w o rd s , F o rgiv e m e b u t f o rgiv e m e ‘

,
’

in thi s play e xc ee d th e m o s t p o mp o us d e clama t i o n o f Ca t o 2

.

O f c o urs e W ar t o n s cri t ici s m was no t o nly th e cau s e b u

’
t
th e e ff e c t o f a cha ng e in t a s t e E v e rywh e r e t h e r e w e r e
.

—
indica t i o ns o f this ch an g e o f a n i nc r e asing in te r e s t in
nat u r e and c o mm o n li f e and th e r o man t ic pa s t b ey o n d t he
a ge o f r efi nem ent A lm o s t all th e p o e t ry o f n o t e in th e
.

g ene r a t i o n pr e c e ding W o rd s w o r th h e rald e d h is c o mi ng a nd ,

gav e the impul s e t o h is g eniu s B u t J o s e ph W ar t o n i s .

e s pe cially no t e wo r thy a s cl e arl y a nd di s t inc t ly f o rmula t in g

,

1
Cf Wo r d s wo r th P r e fac e t o t h e Ly ica l B a lla ds : I h av e a t a ll
.
, r
‘

t i m e s e nd e av o r e d t o lo o k t e a d i ly a t m y s u b j e c t ; c o ns e qu ent ly
s

t h er e is I h 0 p in t h e s e p o e m s li t t le fa ls eh o o d o f d e s crip t i o n
’
, e, .

1
Ess ay 1 . 27 3 -
27 4 .
 POETI C DICTION IN
‘
M O DERN TI MES ’

57

t he new id e al Wh i ch w a s va r i o u s ly ill u s t r at e d in the p o e m s

o f T h o m s o n , Go ld s m i th C o wp e r a nd e v e n Gray
, , .

W a rt o n s go o d w o r k w a s ca rr i e d o n by a m u ch l e s s in t e l
’

lig ent p e r s o n— J o h n S c o tt o f A m w e ll , w h o is o f i nt e r e s t
.

t o u s b e cau s e h is E s s a y s w e r e r e ad by W o r d s w o r th in h is
y o u th A l th o ugh h is r e m a r k s a r e vi t ia t e d by a r a t h e r
.

u nd 1 sc r 1m ina t ing e m pha s i s o n w ha t h e b e li e v e s t o b e

‘
cor

h e i ns i s t s e v e n m o r e e a r ne s t ly t han W a r t o n on
’
r e c t ne s s , , ,

cl e ar a nd cha r ac t e r i s t ic imag e r y ; a nd h e h a s no m e r cy o n
t h e o ld p e riph r a s t ic dic t i on B lu s hing F l o r a h e s ay s
‘ ’ 1
.
, ,

is th e quain t a nd i ndi s t inc t la nguag e o f a s ch o o lb o y ; f o r

‘
.

why F l o r a s h o u ld blu s h no g oo d r e a s o n h a s e v e r b ee n i

disc o v e r e d .
’

B u t w hil e th e cri t ici s m w a s t hu s u nd e r m i ni ng th e infl u

e nc e o f t h e p o e t i c di c t i o n t h e c o nc e p t i o n o f a s p e cial
,

u s ag e f o r p o e t r y w hich h ad b een i ncid ent ally s u gg e s t e d

,

by A ddi s o n , b e gan t o b e c o m e w id e s pr e ad .

3 f T h e o r ie s o P o e tic D ic tio n
‘

. .

T h e t h eo ry o f a s p e cial dic t i o n f o r p o e t ry w a s t h e r e s ul t
o f th e e m pha s i s pl a c e d by D ryd e n a nd P o p e upo n t h e s e l e c

t iv e p o w e r o f th e p o e t a nd up o n t h e valu e o f i m i t a t i o n
, .

T h e p o e t m u s t e mpl o y th e cu r r e nt s p e e ch b u t h e m u s t al s o ,

av o id e v e r y thing vul gar o r u ni nt e lli gibly s p e c ific M o r e .

o v e r h e w a s p e r m i tt e d e v e n advi s e d td inc o r p o r a t e i nt o h is
,
-
, ,

v e r s e th e h appi e s t i ns pi r at i o ns o f his p r e d e c e s s o r s Th e .

r e s u l t w a s th e d e v e l o p m e nt o f th e no t i o n t h a t t h e r e is a
s p cial
e la guag e o f p o et r y a t r e a s ur e o f fi
n — ne ph r a s e s
d e s c endi ng f r o m ba r d t o ba r d a nd e s p e cially c o ns e c r a t e d ,

t o t h e u s e s o f t h e i m agi na t i o n I n g e ne r al t h e t e r m p o et ic
.
,

di c t i o n w a s appli e d o nly t o t h e s e h a p py c o m bi na t i o ns o f ‘
v
’

wo r d s T r a ns p o s i t i o ns o f w o r d s f r o m t h e o rd e r o f pr o s e
.
,

t h e c o i ni ng o f new w o r d s t h e u s e o f s t r a ng e f o r m s e t c
, , .
,

1
E s s a ys on th e W iting s
r o f S ev er a l E ng lis h P o e ts , p .
72 .
58 WORDSWORT H S T H EORY ’
OF P OETI C DI CTION

w e r e all c o nd e mn e d by m en li k e D r J o hn s o n and Go l d .

smi th , wh o r e pr e s ent the pur e s t clas s ic al id e al in this

r e sp e c t and wh o s e cri t ici s m i s e ch o e d in th e r e vi ews o f
,

W o rd s w o r th s day ’
.

B u t th e r e wa s a l e s s popu lar c o nc e p t i o n o f th e spe cial

l anguag e o f p o e t ry w hich p e rmi t t e d a sli gh t d e partur e fr o m
th e s t ri c t ne s s o f p r o s e in t h e ma tt e r o f v o cabular y a nd
syn t ax , pr o vid e d t hi s did no t o b s cu r e th e in t elli gibili ty o f
the v er s e O i t hi s c o nc ep t i o n A ddi s o n s analy s i s o f th e
’
.

s tyl e o f M il t o n , ac c o rdin g t o t h e s t andards o f A ristotl e , i s

p e rhap s the b e s t e xampl e .

H e nc e th e r e ar o s e tw o t yp e s o f p o e t ic dic t i o n , r epr es ent

ing th e cla s s i c a nd th e r o m a nt ic t radi t i o n s — if w e may e m
pl o y th o s e vag u e b u t c o nv e ni ent t e rm s T h e o ne imitat .
,

ing th e e xa m pl e o f D ryd e n and P o p e , r e t ai ne d t h e grammar

a nd s y nt ax a nd , f o r t h e m o s t par t , t h e v o cabul ary o f pr o s e ,
,

b u t e m pl o y e d th e ha p py c o mbina t i o n s o f w o rd s r ec o m
m end ed by D r J o hn s o n ; t h e o th e r imi t at ing M il t o n a nd
.
,

S p ens e r th e p o et i c m o d el s in th e r e ac t i o n agai ns t P o p e ,
,

r e j e c t e d the phra s e s and v er s ifi c a t io n o f th e h e r o i c c o upl e t ,

b u t mad e u s e o f th e o ld w o r d s and lic e n t i o u s t r a ns p o s i

‘

ti o n s s o e mpha t i cally c o nd em n e d by D r J o hn s o n a nd
’
.

th e r e vi ew e rs T h e vari o u s m o difi
. c a t io ns o f t hi s id e al o f

a s p e cial languag e f o r p o e t ry may b e s ee n in th e f o ll o win g

ty pical qu o ta t i o ns °

1 . A dd i c l arn s nd p r picui ty wer e o nly t b e c o n

s on :
1
If e es a e s o

s u lt e d th ,p o t w o u ld h av e n th i ng l t do b u t t o c l th e h is
e e o e se o o

t h o ug h t in t h m o t p lai n nd na t ura l xpr

s e s i n Bu t i nc it
a e es s o s . s e

o f t en h app e n t h a t t h sm st b vi u p h ra e nd t h o wh ic h
o e o s s es , a ose ar

u s d in r d i nary c nv er a t i n b c m t
e o o fa m i liar t th e a
s o , e o e oo o e r,

a nd c nt rac t a k i nd o f m a nn
o b y pa i ng t h ro ugh t h e m o u th s o f
e es s ss

t h e vu lgar a p t ,h o u ld t a k oepart icu lar car t o guar d h i m l f

s e e se

agai n t i d i m a t ic way s o f p ak i ng
s o M i lt o n h b u t f w fai l
s e . as e

i ng s in th i s k i nd o f wh ich h w v er y u m y m t wi th o m e
, , o e , o a ee s

i ns t anc in t h f o ll w i ng pa ag es
es , a s e o ss

1
C r itic is m s o f P a r a d is e L os t, e d . Co ok , pp . 2 1 - 23 .
 ,
POETI C DICTION IN
‘
M ODERN TI M ES 59

Em b ry o s a nd d i i o ts ,i d i t nd friar o s a s,

Wh i te ack nd, bl , a gra y w i th ll th e ir

, a tr u m per y
H e r pi lgri m r a m
e s o .

A wh le i d i c ur s o se the y h o ld ,
No f ea r les t dinner c oot —wh en u
th s b e ga n
O ur au th o r .

Wh o o f a ll ag
ucc e d es to s e , b ut f
i ng e el

T he vi l n h im b r ught b y
e o o m e w i ll cur
, se

My h a d ? I ll far
e u a nc e o r es o t r i m pur e,

F o r t his w e m a y t h a nk A da m .

The gr a t m a t r in c m p i t i n k n w v ry w ll th a t m a ny
e s e s o os o o e e

e l ga nt p h ra s
e b c m e i m pr p f a p t
e o es n ra t r wh n it
o er , or oe or a o o e

h as b en d b a d b y c m m n u
e e se oT h j u d g m nt
o f a p t se . e e o oe

v ry m u ch d i c v r i t lf in h u nni ng t h c m m n r o a d s o f e xpre s
e s o e s se s e o o

s i o n w i t h o u t fa lli ng i nt
, uc h w a y f p c h o m ys m t i tt s o s ee as a s ee s

a nd u nna t u a l ; h m u t n t w ll i nt
r e th fa l e ub li m b y n
s o s e o e s s e e

d ing t av i d t h
ea v o r o th r x t r m
o e o e e e e .

A ddi s o n th e n p r o c e e d s t o enu m e r a t e th e w ay s by w hich ,

acc o r di ng t o A r i s t o t l e , th e la ng u ag e o f v e r s e m a y b e d is
t ing u is h e d fr o m th at o f p r o s e a nd ill u s t r a t e s th e m by ,

r e f e r enc e t o P a r a dis e L os t T h e y a r e .

1 . T h e u s e o f m e t ap h o r ( B u t t h e p o e t is n o t.t o hav e

r e c o u r s e t o thi s w h e n th e p r o p e r a nd na t ur al w o r d s w ill do
a s w e ll ) .

Th e u s e o f idi o m s o f o th e r t o ng u es
‘
2 . Und e r thi s .

h e ad may b e r e ck o n e d th e placi ng th e adj e c t iv e aft e r th e

s ub s t ant iv e th e t ran s p o s i t i o n o f w o r d s , th e t u r ni ng t h e
,

adj e c t iv e i nt o a s u b s t an t iv e w i th s e v e r al f o r e ign m o d e s o f
,

s p ee ch w hi ch t hi s p o e t h a s na t u r ali z e d t o giv e h is v e r s e

t h e g r e a t e r s o u nd and t hr o w it o u t o f pr o s e
’

, .

3 . U s e o f s e v e ral o ld w o r d s o r w o rd s n ew ly c o in e d

i r e a t e d h e ll—
( a o o m ed
’
m s c , ,

H o w e v e r , A ddi s o n b e li e v e s tha t M il t o n h a s t ak e n th e s e
lib e r t i e s ra th e r t o o f r e q u e ntly a nd h a s th e r e by s t i ffe n e d ,

a nd o b s cur e d his s ty l e B u t h e ad m i t s t h a t t hi s lic e ns e is

.

p e rhap s m o r e n e c e s s a r y in bla nk v e r s e t han in ri m e Ri m e .

‘

,
60 WORDSWORTH S T H EORY ’
OF POETI C DICTION

with o u t an y ot h e r a s s i s t anc e , thr o w s th e languag e o ff fr o m

’
pr o s e .

2 . Gra y a guag f th g i nev e r th la nguag e o f

1
: The l n e o e a e s e

p o t ry ; e xc ep t a m o ng th F r nc h wh s v e r e wh e re t h e th o u ght
e e e , o e s ,

a nd i m a g e d o e no t s upp rt it d i ff r in no th i ng fr m pr o
s O ur
o , e s o se .

p o et ry o n th c o ntrary h a la nguag e p cu liar t o i t s el f t wh ic h

, e , as e , o

a lm o t ev ery n th a t h s wri tt n h a d de d s o m eth i ng b y enrich i ng

s o e a e as

it w i th f o r ig n i d i o m s nd d riva t i o ns
e n y s o m t i m es wo r d s o f
a e : a , e

t h e ir o wn c o m p i t i n o i nv ent i o n S h a k p e ar e a nd M i lt o n h av e
os o r . es

b een gre a t cr ea to r th i w y ; a nd no ne m o re lic ent i o u s th a n

s s a o

P op eo D ryd en Wh o p e rp t ua lly b o rr o w
r , xpre s i o ns fr m th e e e s o

f o rm er L t m e g iv e y o u o m i ns t a nc fro m D ryd n wh o m
e s e es e ,

f o u p o et ica l t o ng u z—fu ll o f
.

e v e ry o n r e c k n a gr a t m a t r
e o s e s e o r e

m u s ef u l m oping u nli k t h t im o f l v a p l a a nt b v g e a
s, e e r o e, e s e er a ,

r o u nd e la y o f lo v s t o o d s i le nt in hi m o o d w i t h k no t s a nd k n
e, s s , are

d e f rm e d
o But th ey
. e infinit e nd o u la ng ua g e n t b e i ng ar a r o

a s ettle d th i ng ( li k e th e F r enc h ) h a s n u nd o ub t e d right t wo r ds a o

o f a h u nd r e d y ar s o ld pr o vi d e d a nt iqui t y h av
e no t r end er d t h e m
, e e

u ni ntelligi b le I n t ru th S h ak e s p e are la nguag e i o ne o f his pri n

.
,
’
s s

c ip le b e au t i e E v e r y wo r d in h im is a pic t ur e
s . .

3 . J o hns n L a ngua g is th e d re s o f tho ught ; a nd s th e

o
1
: e s a

n b l t ac t i o n o t h e m o s t g rac e fu l ac t i n wo u ld b e d egra d e d a nd
o es r o

o b s cur e d b y a garb a p pro pria t d t o t h e gro em p lo ym nt s o f e ss e

ru t ic o m c h a nic s s o th e m s t h er ic s ent i m e nt s wo uld lo s e th e ir

s s r e , o o

e ffi c a cy a nd t h e m o s t s p lend i d i d e a
, d r p t h ir m a g nific n e i f s o e e c ,

t h e y a e c o nv y d b y w r d s u e d o nly up o n lo w a nd t rivia l o cca

r e e o s

s i o ns d eba s e d b y vulgar m u th s a nd c nt a m i na t e d b y i neleg a nt

, o , o

app lica t i o ns T ru th is i nd d a lw ay t ru th a nd r ea o n i a lwa y

. ee s , s s s

r ea n; th ey h av e n i nt ri n ic nd u na lt ra b le va lu a nd c o ns t i t ut e
so a s a e e,

t h a t i nt ell c t ua l g o ld wh ic h d h
e d truc t i n: b u t g o ld m y b e s o e es es o a

c o nc al d in ba s er m a tt r th a t nly a c h em i t n r ec o v e r it ; s n e
e e e o s ca e s

m y b e s o h i dd n in u n fi
a ne d a nd p leb e ia n w o r d t h a t n ne b u t
e re s o

p h i lo o p h ers c n d i s t i ngui sh it
s a .

T h r w s th er e f o re b e f o re th t i m o f D ryd n n p o et ica l d ic
e e a e e e o

tion no s y t m o f w r d a t o nc r efin d fr m t h e gr o s ne s o f
: s e o s e e o s s

d o m s t ic u s e nd fr e fro m th e h ar h n s f t e rm appr pria t d t

e , a e s es o s o e o

part icular art Wo r d t fa m i liar s . to r em t d f a t th e pur

s oo or o o e e e

p o se o f t h e p o et F r m t h o s e s o u nd wh ic h w e h e ar n m a ll o
. o s o s r

o n c o ar s e o cca i ns w d n t e a s i ly r c e iv e s t ro ng i m pr
s o e i o ns o o e es s or

d eligh t ful i m ag ; nd w r d t wh ic h w es e n ar ly s t ra ng r
a o s o e ar e e s,

1
L tt e er t o R ic h a r d Wes t A pri l 4 1 7 42 ( L e t ter s 1
, , .

1
L if e o f C ow l y e ( L iv es 1 58 ) L if e of D r y d e n ( L iv es
. 1 .
 ,
POETI C DI CTION IN
(
M ODERN TI M ES

wh ene v r th y ccur d ra w th a t a tt nt i o n t th m lv wh ich th ey

e e o , e o e se es

s h o u ld t ra n m i t t o t h i ng Th s h app y c m b i na t i n f wo r d s . ose o o s o s

wh ic h di t i ngui h p t ry fr m pr o
s h d b e n rar ly a t t em p t d
s oe we o se a e e e

h d f w l ga nc
a e fl w
e e f p ch es o r o er s o s ee .

G ld m i t h I t i i nd d a m a i ng a f t e r wh a t h
1
4 . o s : b n d n
s ee z , as ee o e

b y D ry d n A dd i n nd P p e , t i m pr v e nd h arm o ni
so , a u na t iv o e, o o a ze o r e

t ngu
o t h a t t h ir s ucc
e, r h u ld h av e t ak n m uc h pai n t
e es s o s s o e so s o

i nv lv it i nt pri t i n b arb ari ty T h e m i gui d d i nn va t rs h av

o e o s e . se s e o o e

no t b n c nt nt w i th r t i ng a nt iqua t d w r d
ee o e nd p h ra s b ut
es o r e o s a es,

h av e i nd u lg e d t h m lv in t h m t lic nt i u s t ra n p s i t i o n a nd
e se es e os e o s o s,

th h ar h t c n t ruc t i n vai nly i m agi ni ng t h a t t h

e s es o s m r ot h ir s, e o e e

wri t i ng e u nli k e pr
s ar th m r t h y r m bl p t ry ; t h y h av
o s e, e o e e es e e oe e e

a d p t d a la nguag o f t h ir w n nd ca ll up n m a nk i nd f a dm ira
o e e e o , a o or

ti no A ll t h e wh d n t u nd r t a nd t h m
. os i l nt nd th
o o o e s e are s e , a o se

Wh m a k o u t t h ir m a ni ng
e o w i lli ng t prai t h w th y
e e are o se o s o e

u nder t a nd F ro m t h e f lli
s . nd a ff e c t a t i o n t h p m of se o es a s e oe s

P arn ll e nt ir ly fr e ; h
e are h c n i d r d th la nguag f p etry
e e e as o s e e e e o o

a sth la nguag e f li f e nd c nv y t h w arm

e o t t h ug h t in t h
, a o e s e es o s e

s im p l t xpr es i n e es s o .

The va r i o u s o pini o ns h e r e s o s t r o ngly e xp r e s s e d w e r e

w e akly e ch o e d in t h e av e r ag e c r i t ici s m s o f t h e la s t
d e c ad e s o f t h e c ent ur y— in B l ai r s E s s a y s o n R h e tor ic f o r ’

e x a m pl e a nd in t h e C r it ic a l R e v iew
, I t b e ca m e a t ru i s m .

o u r la nguag e h a s a s p e cial dic t i o n f o r p o e t r y ; b u t

‘
t ha t
’

thi s s p e cial di c t i o n w a s u s u ally d e fi nit e ly li m i t e d by th e t a s t e

o f th e c r i t ic a nd o f t h e pa r t i c u la r p o e t s w h o m
, h e ch o s e
t o r e ga r d a s m o d e l s T h e f o ll o w e r s o f S p e ns e r a nd t h e .

f o ll o w e r s o f P o p e e ach r e ga r d e d th e p o e t ic dic t i o n o f th e
o t h e r a s e nt ir e ly w i t h o u t ju s t ifi
c a t io n a nd w e r e i ncli ne d t o ,

a pp e al t o t h e s t anda r d o f s p o k e n la ng u ag e t o r e enf o r c e

t h e i r argu m e nt s B u t m e a nw hil e B ur ns a nd C o w p e r had

.

b een s il ently p r e pari ng th e w a y fo r a no th e r id e al — th e o ne

by e mpl o yi ng th e lang u ag e o f th e l o w e r a nd m iddl e cla s s e s
in h is o w n la nd and th e o th e r by ill u s t r a t i ng h is o w n id e al
,

o f e xp r e s s i o n— t o m ak e v e r s e s p e ak t h e la ng u ag e o f p r o s e
‘

wi th o u t b e i ng p r o s ai c t o m a r s hal th e w o rd s o f it in s uc h ,

an o r d e r a s th e y m i gh t na t ur ally t ak e in falli ng fr o m th e

L if T h o m as ( Wo r k s
1
e o f P a r ne ll 4 .
6 2 WORDSWORTH S T H EORY ’
OF P OETI C DI C TION

lip s o f an e xt emp o rar y s p e ak e r , y et wi th o u t m e ann e ss ,

ha r m o ni o u s ly , e l e gan t ly , and w i th o ut s ee ming to di s plac e a
s y llabl e f o r th e sa k e o f rh ym e .
’

4 . P o e tic D ic tio n in 1 7 9 6 4 7 97 .

C ol e ridg e s ay s , in o rd e r t o und ers t and th e r e f o rm

B u t , as
o f W o rdsw o rth , w e mu s t al s o mak e o urs e lv e s ac q uain t e d

wi t h th e s o r t o f v e rs e t ha t w a s app e aring wh en h e b e gan

t o wri t e I t happ ens th a t s o m e o f th e m o s t typic al e xam p l e s
.

o f s uch v e r s e a r e t o b e f o un d in th e M o nthly M a g a z ine,

which wa s al s o publishi ng t h e r e v o lu t i o nar y e ffo rts o f C o l e

ridg e and his f ri end s A par t fr o m t h e pr o ducti o n s of
.

th e s e young inn o vato r s , and apar t als o fr o m a f ew d elib er

a t e imita t i o n s o f C o w p e r and C o llins an d Gray , thi s v e rs e
-

divid e s its e l f int o t wo t yp e s , or tw o variati o ns up o n o ne

typ e T h e d i ffe r e nc e c o nsi s t s in t h e v e r s ifi
. c a t io n rath e r

tha n th e languag e .

On th e o ne hand w e fi nd e xampl e s o f th e h e r o i c c o upl e t

,

and all t he pe riphra s t i c e l e ganc e s ass o cia t e d t h e r ew ith O f .

t his ty p e th e f o ll o win g t ran s lation from Lu c r e t io u s i s a

g o od e xampl e
F o r t h ee t h e fields th e ir fl o we ry carp et s pr e a d ,

A nd s m i li ng O c e a n s m o o th s his w av y b e d ;
A pur e r glo w th e k i nd li ng p o le s d i s p la y ,

R o b e d in b righ t e fflu enc e o f e th er e a l d a y ,

Wh en thro ugh h er p o rt a ls bur s t s th e g au dy S p ri ng ,

A nd g enia l Z e p h y r w av e s h is ba lm y w i ng .

F ir s t t h e ga y s o ng s t er s o f t h e f e a t h e r d t rai n
’

F e el thy k e e n arr o ws t h ri ll in ev e r y v e i n
1
.

On t h e h e r hand w e hnd a larg e numb er o f e ffusions

ot ,

in v e rs e w hich wi th o u t mat e rially di ff e ring f r o m t his sp e ci

,

m e n in languag e , r e v e al th e infl u enc e o f C o lli ns Gray , an d ,

t h e W ar t o n s in a s w e e t e r and fr e e r v e r s ifi
c a t io n b o rr o w e d

c hiefl y fr o m M il t o n s min o r p o em s T h es e p oems ( if

’
.

p o em s t h ey may b e call e d ) a r e ch aract eri z e d by a s lightl y

s im p lifie d , th o u gh hardly m o r e s p ec ifi c , di c t i o n , an d b y a

1
Fe bruary , 1 7 97 .
64 WORDSWORT H S T H EORY ’
OF POETI C DI CTIO N

N ow an d th en xampl e s o f natural imag er y that

w e hnd e

i s no t o nly h o p e l es s ly g ene ral b u t abs o lu t ely f al s e— t h e fal s e

n e ss c onsi sti ng in th e unnat ural p e r s o nifi c a t io n displ a y e d

m o s t c o ns pi cu o u s l y in th o s e e i gh t eenth c e n t u ry v e r s e s in -

h o n o r o f nymphs b e f o r e w h o m l o f ty t r ee s b o w in r e v e r
‘ ’

e nc e , a nd r o s e s blu s h t o fi nd t h e ir b e au t i e s rival e d b y th e
‘
l o v el y fair T h e bad h abi t s incul cat e d b y t hi s e x t ravagant
.
’

galla nt ry l e ad p oe t a s t e r s in t o th e m o s t ridi cul o u s f als ifi ca

t oi ns — e v e n wh e n t h e y a r e c el e bra t i ng a N a t ur e t ha t d oe s

no t su ff e r fr o m c o mp e t i t i o n w i t h t h e s e di s t rac t i ng g o dd e ss e s .

I n th e f o ll o wing e ffu s i on the c o mi ng o f th e s un ( A p o ll o ) i s

d e scrib e d in th e t erms f o r m e rly u s e d o f th e adv e nt o f s o m e
l o v el y la d y o r da z z li ng l o r d
S ee ! c o m es wi th g enera l v o ic e
As he , ,

A ll na t ur e livi ng t ri b es r e j ic
’
s o e,

A nd o wn h im a t h ir k i ng ; s e

E v n r ug g e d a dv a nc e,
’
r ocks t h eir h ea ds
A nd f or es ts on th e m o u nta ins d a nc e,
A nd hills a nd v a lley s s ing

S uch v e r s e in a maga z in e o f go od ch arac t e r giv e s p o in t t o

W o rds w o rth s rath e r s a r ca s t i c r e f e r enc e t o th e s ch o o l o f
’

g oo d s en s e : I hav e a t all t im e s end e av o r e d t o l o o k s t e adil y

‘

a t my s ubj e ct c o n s e q u en t ly t h e r e is I h o p e in t h es e p o em s , ,

li t tl e fals eh o o d o f d e s crip t i o n a nd m y id e a s a r e e xpr e s s e d

,

in languag e fi t t e d t o t h e ir r e s p e c t iv e imp o r t anc e Som e .

t hi ng m u s t hav e b e e n gai ne d by t hi s prac t ic e a s it is fri e ndly ,

t o o ne pr o p e r t y o f g o o d p oe try , nam e ly , g o o d s ens e

’
.

T hi s la tt e r t yp e h a s b e e n qu o t e d a t s om e leng th t o s h o w
tha t M L e g o u is is h ardly c o rr e c t in s ayi ng t ha t th e infl u
2
.

enc e o f t h e l a nd s cap e s ch oo l w a s r esp o n s ibl e f o r th e p o e ti c

dic t i o n agai ns t w hich W o r d s w o r th s e ff o r t s w e r e dir e ct e d ’

.

T hi s p o et i c di c t i o n h e d e s crib e s a s c o ns i s t i ng in th o s e d e vi a
ti ons fr o m th e o rd er a nd s yn t ax o f p r o s e which h e fi nd s in
W o rd sw o r th s own e arl y w o r k Bu t , o bvi o u s ly , t h e o ne
’
.

1
Ju ne , 1 7 97
1
T h e E a r ly L if e o f Willia m Wo r ds w or th , pp . 1 27 - 1 3 4 .
 POETI C DI CTION I N M ODERN TI M ES ‘ ,
65

t hi ng t h a t is no t charac t e r i s t i c o f c o nt e m p o r a ry v e r s e is thi s
d epa r t u r e fr o m th e o r di na r y u s ag e o f s p o k e n languag e ,
e i th e r w i th r e s p e c t t o gra m mar o r ch o i c e o f w o r d s , if w e

r e ga r d th e w o r d s s e pa r at e ly and no t in c o m bi na t i o n O f
, .

c o ur s e th e r e a r e a f ew e xampl e s o f har s h c o ns t r u c t i o n s ,

s u ch a s t h e i m i t a t i o n o f t h e abla t iv e abs o l u t e , r a t h e r c o m

m o n in t h e p o e t r y o f th e lat e r e i gh t e e nt h c e n t ury , a nd n e v e r

wh o lly di s ca r d e d by W o rd s w o r t h B u t , f o r th e m o s t p ar t
.
,

t h e g r a m mar and s yn t ax a r e c o rr e c t a nd e a s y—a s may b e

s e e n by l o o ki ng back a t t h e e xa m pl e s alr e ady q u o t e d In .

th e fi r s t e xa m pl e th e r e is a s ligh t d e pa r t u r e in t h e fi r st ,

t hi r d a nd fi
, f th lin e s f r o m th e s t ri c t o r d e r o f pr o s e b u t w e
d o no t f e el t h e inv e rsi o n t o b e s o a w k w ard a s it is in th e
lin es f r om W o r d s w o r t h ci t e d by M Le go u is M o r eo v e r ,
. .

t h e gra m m a t ical c o ns t ruc t i o n is qui t e s i m pl e and r e gular .

I n th e s e c o nd e x t r ac t o nly the cl au s e , Giv e m e t o ‘

t a s t e , s e e m s rat h e r unu s ual in th e s p o k e n la nguag e

’
I n th e .

ne x t t w o p o em s h o w e v e r th e o rd e r is s t ri c t ly t ha t o f
, ,

pr o s e , a nd apa rt fr o m the w o rd i nc e n s e b r e a thing th er e

,
‘
-
’

is no t a w o r d w hi ch mi gh t no t b e h e ard in fai r ly cul t iva t e d

‘

c o nv e r s a t i o n T hi s w i t h o ne o r t w o e xc ep t i o n s is t ru e
.
, ,

o f th e o th e r v e r s e s O n th e w h o l e o ne c o uld hardly
.
,

e xp e c t in a ny a g e t o h nd v e r s e o f th e av e r ag e charac t e r

whi c h w a s l es s u nmu s i cal o r m o r e s impl e and cl e ar in

,

c o ns t ruc t i o n o r w hi ch em pl o y e d f ew e r w o r d s no t h e ard in
,

o r dina r y s pee ch. T ha t th e s e charac t e r i s t ic s a r e t ypi cal

may b e s een by any r e ad er w h o t ak e s th e t r o u bl e t o e xami ne
t h e m i s c ellani e s and maga z i ne s o f t h e day T he bo ast
.

o f t h e e i gh t e e nt h c e ntury t hat it had a t la s t mad e E ngli s h

v e r s e m e t r i cally and g r amma t ically c o rr e c t is b o rn e o u t by

such a n exa m inat i o n .

W ha t t h en is it that r em o v e s t h e languag e o f th i s v e r s e
s o fa r f r o m na t u r e a nd t r u th — f o r o bvi o u s ly t hi s is no t
th e w a y in w hic h s e ns ibl e m e n e xpr e s s t h em s e lv e s ? W hil e
s e n s ibl e m e n u s e t h es e w o r d s s e p a r a t e ly t h e y d o no t u s e
,

t h e s e c o mbi na t i o ns o f t h e m . T h ey m a y empl o y t h e w o rd s

g e n i a
,
l w a v es, b a lm y, a nd w i n g ,a t di ff e r e n t t im e s and f o r
66 WORD SWORT H S T H EORY ’
OF P OETI C DI CTIO N

d i ff e r en t purpos es but in o r d e r to indica t e th a t a s o f t a nd

, ,

g en t l e br e ez e is bl o wing th e y do no t say tha t g e nial Z e ph y r

,
‘

wav e s his balmy wings I n oth e r w o r d s the p o et ic diction

.
’

c o nsis t s no t in th e s ep ara te w o rds but in t h o s e happ y

, ,
‘

com b ina t i o n s which as D r J o hn s o n s ay s d i s t inguish

’

, .
,

po et r y fr o m pr o s e T h e p e culiari t y o f t h e s e e l e ganc e s of
.

s p e e ch is t hat t h e y sugg e s t an imag e no t b y u s in g th e wor d

,

o r w o rd s a s s o cia t e d wi th it in e v e ryday e xp e ri e nc e but b y ,

usin g in it s st e ad an o th e r imag e ass o ci at e d w i th it o nl y in

, ,

v e rs e —a k ind o f a cc epte d s ymb o l f o r th e imag e H e n c e .

,

ins t e ad o f the cl e ar and coh e r e n t pic t ur e s sugge s t e d simpl y

by a li s t o f th e c o mm on nam e s o f th e ph e n o m ena t hat a ct u
—
all y o ccur t o g e th e r in na t ur e gr e en gras s , sunshin e , an d
vi o l et s , f o r instanc e , w e a r e giv e n a h e t er o g e n eo us m as s
-

o f s ubs t i t u t e imag e s , whi ch cann o t b e ac t uall y vis uali z e d

wi th o ut s o m ewha t ridi cul o us r e sul t s T o such an end had

.

o ne att emp t t o m a ke t h e languag e o f v e rs e appr o xima t e to

th e languag e o f ty pic al c o nv e rsa t i o n arriv e d ! Y e t it mus t

no t b e f o r g o t t e n t ha t th e r e had b ee n s uch an a t t e mpt , e v e n
at th e ba s i s o f t his m o n s t r o us d e v el o pm e n t .

F r o m thi s l o ng r evi e w it ma y b e s ee n t h a t , o n th e wh o l e ,
th e au th o rs o f t h e L y r ic a l B a lla d s w e r e j u s t ifi e d in b elie v

ing t hat th e ir t h e o ry and prac t ic e w e r e in ac c o r danc e w i th

th e b e s t tradi t i o ns o f E ngli sh p oe t ry I t may al s o b e s ee n
.

t ha t th e qu e s t i o n o f p o e t i c dic t i o n w a s e xc e e di ngl y c o m
pli ca t ed , b e cau s e it inv o lv e d no t o nly ma t t e r s o f v o c abulary
and grammar , but th e far m o r e di ffi cul t pr o bl e m s o f rh e t
o r ic and th e ul t ima t e b a s i s o f rh e t o ri c in hu m an psych o l o g y
, .

T h e s p e cial c o n t ribu t i o n o f W o rd s w o rt h and C o l e ri d g e c o n

s ist e d in th e ir r e c o gni t i o n o f t h e s e pr o bl e m s o f p s y ch o l o g y ,

and th e i ns igh t a nd p e r s o nal e xp e ri enc e which th e y br o u gh t

t o b e a r up o n t h e m T h e b o ld y o ung p o e t s o f th e L y r ic a l
.

B a llad s w e r e m e r e ly r e s ta t ing an o ld pr o p o s i t i o n ; b u t th e
t e rms o f t h e r e s t a t e m e nt w e r e s o s t ri k ing and th e illu s t ra
,

t i o ns s o o r i gi nal t ha t t h e o ld id e al s e e m e d lik e a di s c o v e ry
,

o f t h e ir o w n . B u t h o w t h e y t h e m s e lv e s happ e ne d t o m ak e
th e r e disc o v e ry w e h av e y e t t o l e arn .
 CHA P T E R 3 .

WOR SWORTH S POETI C DEVELOP M ENT PREVIO U S

D
’
T O TH E

M EETI NG WITH C OLE RI DGE .

T o t rac e th e di ff e r e n t pa th s b y w hi ch th e vi g o r o u s a nd
n n —
in d e p end e nt m o u t ai lad , a nd th e dr e amy b ut s o ciabl e
y o u ng p h il o s o ph e r o f C hri s t s H o s pi t al , arriv ed a t the s am e ’

id e al of s implici ty is no t o ne o f t h e l e a s t i nt e r e s t ing o f
li t e ra r y i nq u iri e s I t is t he m o r e i nt e r e s t ing b e cau s e
.

s i m plici t y wa s a s li t t l e charac t e ri s t i c o f t h e na t ural g e niu s

o f t h e o ne a s o f t h e o t h e r T h e o nly p o e t o f t he a g e w h o
.

e —
w a s n o rmally as s l f c o ns ci o u s a nd e lab o ra t e a s S T .

C o l eridg e w a s W illiam W o rd s w o r th A nd y et , a s W o r d s .

w o r th s aid ,

T ho ugh m utua lly u nk no wn y nur e d nd r ar e d , ea , s a e

A s i f in s ev ra l e l m nt s w w r fra m e d
e e e , e e e

T o b end t la t t t h a a m d i cip li n
s o e s e s e,

P r e d t i n d i f t w o b i ng s e v r w r
es e , e e e e,

T o s eek t h s a m e d eligh t
e nd h av n h a lt h s, a e o e e ,

One h appi n
1
es s .

T he fina l charac te r dis ciplin e w a s d et e r mi ne d a s

of t hi s
m uch by th e y o u th ful d e v e l o pm e n t o f C o l e ridg e as by tha t

o f W o rd s w o r t h ; b u t s i nc e W o rd s w o r t h is a s it w e r e , t h e ,

h e r o o f t hi s t al e w e m u s t b e gi n w i t h h is e a r ly e xp e ri m en t s
,

in p o e t r y a nd c r i t i ci s m a nd u s e t h o s e o f C o l e r idg e o nly
,

a s s u ppl e m e nt a r y a nd illu s t ra t iv e ma t e r ial

W o r d sw o r th s li te r ary car e e r w a s ra th e r pr e c o ci o u s H e
’
.

w a s s o m e thi ng o f a cri t ic b e f o r e h e w a s t e n, a nd a r e ally

s kil f u l m ak e r o f v e r s e s a t th e a g e o f f o ur t e e n B ut e v en “
.

b e f o r e t h i s h e h a d un c o ns ci o u s ly b e gu n t o lay th e t o u nda
1
P r e lit d e 6 . 254 2 59
-
.

1
T h e I dio t B o y 3 3 7 3 3 8 -
.
68 WORDSWORT H S T H EORY ’
OF P OETI C DI C TIO N

ti o n o f hi s futur e th e o r y o f po e tr y in t h o s e curi o us
imagina t iv e e xp e ri e nc e s d e s crib e d in th e P r elu d e N o o ne .

wh o liv e s am o ng t h e gran d an d l o n e l y f o rms o f natur e

i s fr e e from a t o uch o f primi t iv e sup r i i n fr o m a
e s t t o —
t e nd e ncy t o start a t th e su dd en ru s t lin g o f l e av e s in a f o r e s t ,
o r t o f ee l a strang e n e s s in t h e bl o win g o f t h e win d , o r th e

m o t i o n o f th e s ky ab o v e s o m e un fr e qu e n t e d m o un t ain
h e i gh t T h e facing o f t h e s e i ne xpli cabl e b u t unc o n q u e rabl e
.

f e ars wa s t h e gr an d a d v e n t ur e o f W o rd s w o r th s b o yh o o d ’
.

S o m et im e s h e w a s i gn o mini o u s ly vanquish e d by th e m , a s in
th a t n o cturnal e xp e ri e nc e wh en h e s eem e d t o f ee l th e d a r k
shap e o f th e m o untain a t ni gh t stri d e a f t e r him wi th ‘

m e asur e d m o ti o n li k e a livin g th ing , a nd with tr e mblin g’ ‘

o ars r o w e d bac k t o t h e s af e c o v e r t o f t h e will o w M ore

’
1
.

o ft e n t h e y e n t e r e d su dd e nly int o hi s consci o usn e ss in t h e

mid s t o f th e e xci t em en t o f s o m e physical e xpl o i t :

Oh ! wh e n I h av e h u ng
A b o v e th e rav en s ne s t, b y kno t s o f gra s s
’

A nd h a l f - i nc h fi s s u r e s in t h e s li pp e r y ro c k

B u t ill s u s t ai ne d , a nd a lm o s t ( so it s e em e d )
S u s p end e d b y t h e b la s t th a t b lew a m ai n,
S h o u ld e ri ng th e na k e d cra g , o h , a t th a t t i m e

Wh i le o n th e p eri lo u s ri d g e I hu ng a lo ne,
Wi th wh a t s t ra ng e u t t era nc e d i d t h e lo u d d r y w i nd
Blo w t h ro u gh m y c a r ! t h e s k y s e em e d no t a sk y
—
O f e ar th a nd w i th wh a t m o t i o n m o v e d t h e c lo u d s !
1

T o th e haun t in g s e ns e o f s t ran g e n e ss in hi s c o ntact with

natur e w er e a dd e d m any o th e r d im an d un d e t ermin e d
f ee lin g s L o n g a ft e r w ar d s , in his tal k s wi th C o l e rid g e
.

a m o ng th e Q uant o c k H ill s , th e th es e th r ew a - . - .

sudd e n li gh t up on th e o ld qu e s t i o n o f th e charact e r and

s o urc e o f p o et i c pl e a s ur e , s h owm g him th at th e p o e t mi gh t
b e as na t ur e ha d b een t o h im , th e t e ach e r o f tru th t hr o ugh
‘

—
,

j y
o a nd thr o ugh g la d n e ss a cr e at o r o f
’
th e facul t i ‘
e s b y
1
P r e lu d e 1 .
3 57 40 -
0 .

1
P r e lu d e 1 .
33 0 -
339 .
 WORDSWORTH S POETIC DEVELOP M ENT ’
69

a nd d e li gh t
’1
pr o c e s s T hi s e arly d e ligh t
‘

a .
~ m
.

h ad b e e n m ani f o ld in it s chara c t e r S o m e t im e s it w a s only .

.

an e age r a nd i nqui s i t iv e i nt e r e s t in th e ac t ual f o rm s and

app e aranc e s o f t h i ng s a p h y s i cal d e li gh t al m o s t a s pur e a s ,

it wa s vi o l e n t S o m e t i m e s it w a s a d im , hal f pagan
.
-

s ympa t hy w i t h li f e 1n a ll t hi ng s

ub li m a s e ns e s e

O f s o m et h i ng far m r d p ly i nt rfu s d o e ee e e ,

Wh e d we lli ng i t h ligh t f tt i ng u n
os s e o se s s,

A nd t h e r o u nd o c e a n nd t h livi ng air a e ,

A nd th b lu nd in t h m i nd o f m n
1
ky e e s , a e a ,

r i s ing at tim es pla t iv e c ons ci o usn e s s o f

i nt o a illst c o nt e m

a w o rld b ey o nd th e o f s e ns e — o f s o m e t hing w hi ch
w o rld
had p ow e r t o m a k e o u r no i s y y e a r s s e em m o m e n t s in th e ‘

3—
b e ing o f t h e e t e r nal S il enc e in th e ligh t o f which all t h e
’

s o lid m a t e rial u n iv e r s e s e e m e d t o b e c o m e a dr e am a pr o s ,

p e et in t h e mi nd H e w a s fa m il ia r t o o , w i th th e magi cal
.
,

w o r k s o f ligh t a nd s t o r m a nd mi s t a nd darkn e s s a m o ng t h e
hills H e s ay s o f th e m o u nt ain s h e ph e r d :
.

Wh e n up rai ny d a y
t h e lo ne l y bro o k s on s

A ngli ng I w nt o t ro d th t rac kle h i lls e , r e ss

By m i t b e wi ld r e d s s u dd nly m i n ey e e , s e e s

H a v g la nc d up n h im d i t a nt a f e w s t ep
e e o s s,

In si a gia nt ta lk i ng t hr ugh th ic k f g
ze , s o o ,

H i h ep li k Gr nla nd b ar s ; o
s s e e h t pp e d
ee e r, a s e s e

B y o nd t h e b u nd ar y li ne
e f om h i ll—
o h a d ow o s e s ,

H i f rm h a t h fla h d up n m
s o g l ifi ed s e o e, or

By t h d ep ra d ia nce f t h s et t i ng u n
e e o e s

O h im h av I d cri d in d i t a nt s k y
r e es e s ,

A o li t ary o b j c t nd ub li m
s e a s e,

A b v ll h igh t ! li k n a ri l cr s
o e a e e a e a o s

S t a t i n d a l ne u p n a s piry r c k
o e o o o

0 1 t h e C h ar t r u s f w r s h ip
1
‘

e e, or o .

L tt er
e to the F ri nd W
e , o r ds w or th
’
s L it e r ar y C r itic is m , p . 68 .

1
Lin es c om po s e d a F e w M iles A b o v e Tint er n A b b ey , 9 5 99
-
.

3
l ntim a ti0 1i s o f Im m o r ta lity 159 1 60
-
.

‘
P r elu d e 8 . 26 2-2 7 5 .
 7 0 WORDSWORT H S T H EORY ’
OF P OETI C DI C TION

A n d s uch ph en o m ena , pr o d uc e d b y na t ural caus e s , h a d all

g l o ri f y in g and t r ans fi
'

the im
fl

a gina t iv e b oy , g u r i n g t h e c o m

m o n es t t hings o f ev er y day wi t h th e li gh t o f Vi s i o ns a nd
s t rang e dr e ams L a t e r , th e t r a ns fi
.
g u r a t io n w a s a c o n s ci ous

a c t o f hi s o w n imagi na t i o n , s t imulat e d as it was b y mu ch

r e ading am o ng fair y t al e s and o ld r o m anc e s 1 ‘

A diam o nd .
1 ‘

li ght , sh e d by th e s e tt i ng sun up o n a w e t r o c k in fr o nt o f
’

th e c o ttag e w o uld mak e th e b o y s fanc y a s r e s t l e s s as i t s e l f

’

’
T wa s no w f o r m a b urni h d s i lv e r h i eld
e s e s

S u p end e d o v e r a k nigh t s t o m b wh o l y
’
s , a

I nglo ri o u s buri e d in th e d u s ky w o o d
,

A n e nt ra nc e no w i nt o s o m m a g ic cav e e

O pa lac e bui lt b y fairi e s o f t h e r o c k

1
r .

tran s po r t s an d pur e d e li ghts o f hi s b o yh o o d , a nd

Th ese
th e r e n o va t i o n o f s pirit du e t o hi s m e m o r y o f t h e m an d
r eturn t o t h em , mu s t hav e b ee n r e c all e d in th e m em o rabl e
c o nv e r s a t i o ns whi ch gav e ris e t o t h e L y r ic a l B a lla ds I t .

t h e n o ccurr e d t o t h e t w o fri e nds t hat th e e ff e c t o f p o e t r y

wa s q ui t e anal o g o us t o th e e ff e c t o f t h e s e visi o nar y ap pe ar
ane s o
c f —
na t ur e th at it w a s th e fun cti o n o f th e p o et t o fi x

ta n d r e tain f o r e v e r t h e s e m o m e ntar y e xal t a t i o ns whi ch

a s fl e e t ing a s th e ph e n o m e na whi ch o cc asi o ne d t h e m .

T hu s p o e t ry— s uch a n e n s h r inin g o f t h e s e e xp e ri e nc e s as

lT h e D a ff o dils T h e S o lita r y R ea p er , o r S t epp ing

, W es t

lw ae d m i~

g h t b e c o m e wha t th e s e m e m o ri e s w e r e t o W o r d s
iw o r th , a f o un t ain of r e fr e shm e nt t o whi ch h e r e turn e d
again a nd agai n

T h er e a r e in o u r e xi s t enc e s p o t s o f t i m e ,

T h a t w i th a d i s t i nc t p r e e m i nenc e r e t ai n
-

A r e no va t i ng virt u e wh enc e d epr e s s e d

, ,

By fa l pi ni n a nd c o nt ent i o u s th o ugh t
se o o ,

Dr augh t o f h avi er o r m o re d ea d ly w igh t

e e ,

1
C f P r e lu d e 8 40 6 -420
. . .
72 WORDSWORTH S T H EORY ’
OF POETI C DICTIO N

D o wn by t hy s urm uri ng s t re a m
id e, 0 r
D e w ent ! m ,

O n th hot s t n s
e nd in t h g lari ng s u n
o e , a e ,

A nd t h e r e h av r e a d d e v uri ng e I rea d , o as ,

D frau d i ng t h d a y glo ry d p ra t ! ’
e e s , es e e

T i ll w i th a u dd n b u nd f m art r pro ac h
s e o o s e ,

S uc h a s n i d l r d e a ls w i th in h i s h a m
a e s e,

I t t h e p o rt b et o o k m y s e l f agai n
1
o s .

Wh en was s carc e l y t en y e ars o ld , thi s j oy in r e a d ing

he
b e gan t o d ev el o p in t o a c o ns ci o u s d e li gh t in m e t ri cal lan
guag e , an d h e h ad l e arn e d t o s el e c t fr o m th e p assag e s h is
fa th er t augh t him a nd th e p o s s ibly m o r e gau d y v e r s e h e
,

ch o s e f o r him s e l f , th e lin e s an d phra s e s t ha t pl e as e d him

f o r t h e ir l o v e lin e s s o r p o mp H e draw s a charming pi c t ur e .

o f him s e l f a nd a d e ar fri end circlin g t h e l ak e in a d e wy

‘ ’

e arly m o rning b e f or e a ny o ne w a s abr o ad , and r e p e a t ing

t h e ir fav o ri t e v e rs es al o ud wi t h o ne v o i c e a s h appy h e , ,

s ay s , as t h e bi rd s w h o s e s o ngs a cc o mpani e d t h e m T hi s .

p e r f o rmanc e w o uld o f t e n l a s t f o r t h e b ett e r p ar t o f t w o ‘

One i s t e mp t e d t o inquir e wh e t h e r t h e
’
d e li gh t ful h o urs .

t en y e ar o ld W o r d s w o r t h ha d alr e ady m e m o ri z e d e n o ugh

- -

v e rs e t o la s t thr o ugh a t w o h o ur r e ci t a t i o n o r w h eth e r h e -

,

said his fav o ri t e s o v e r a nd o v e r 2

.

H o w e v e r th is may b e his fav o ri t e s w e r e no t s uch a s hi s

,

mature r t a s t e appr o v e d :
A nd , t h o ugh full o f t ve th e ob j ec t s o f our lo
We re fa ls e nd in th e ir p lend o ur v e rwro ught
, a s o ,

Y t w s t h e r e s ur ely th en no vu lgar p o w e r
e a

Wo rk i ng w i th i n u —no th i ng les in t ru th s, s, ,

T h a n t h a t m s t no b l a t t ribu t e
o f m n e o a ,

T h o ugh y e t u nt u t o r e d a nd i n r d i na t e o ,

T h a t w i s h f s o m th i ng lo f t i er m o re a d o rne d
or e , ,

T h a n in th e c m m o n a p e c t d ai ly garb
o s , ,

O f h u m a n li f e Wh a t w o nd e r t h en i f s o u nd s
.
, ,

O f xa lt a t i o n c h o e d t h ro u gh t h e gr o v e !
e e s

Fo r,i m ag nd s e nt i m ent s a nd wo r d s
es , a , ,

1
P r e lu d e 5 480 -490
. .

2 ‘

l b i d 5 552 ff
. . .
 WORD SWORTH S POETI C DEVELOP MENT ’

73

A nd v ry th i ng nc u nt r d
e e pur u d e o e e or s e

I n t h a t d lici u s w rld f p
e y o o o o es ,

K p t h li da y a n v r ndi ng h w
e o , e e -
e s o ,

Wi th m u s ic i nc e ns f e t iva l nd fl we
, e, s , a o rs
1
1

Th ere c o uld b e no no bl e r t ribu t e th an thi s t o th e fal s e id e al s

o f p o e t ic o r na m e n t w hich h e w a s la t e r t o c o mba t ! B ut
all th e p o e t i c id e al s o f th e e i gh t eenth c e nt ury s ee m t o hav e
infl u e nc e d W o r d s w o r th in s ucc e s s i o n One r e a s o n w hy h is .

d e v e l o p m ent is s o i nt e r e s t ing is tha t unlik e C o l e ridg e and ,

L amb h e f o u nd his p o e t ic i ns pi r a t i o n a nd th e s e e d s o f a
, ,

p gr o r e s s iv e g r o w t h t o w ard t h e id e al h e w a s e v e nt u ally t o

ad op t, c h ie fl y in th e li t e ra t u r e t ha t w a s p o p u lar in t h e a g e
p r e c e ding h im B e gi nni ng a s a di s cipl e o f P o p e h e p r o
.
,

c eeds t h r o u gh a n i nt e r e s t in t h e la nd s cap e p o e t s t o all t h e

,
-
,

s i ns o f t h e r e v o lu t i o na r y y o u ng w ri t e r s o f h is o w n d ay He .

t h e r e f o r e s e e m s t o r e p r e s e n t in hi m s e l f a w h o l e p e ri o d o f
li t e rary d e v e l o pm e n t .

I . A D is c ip le o f P o pe .

P e r h ap s
\ om e v e r al th o u s a nd lin e s fr o m P op e
of the
‘ ’
s se

w hich Vo r d s w o r t h c o u ld r e p e a t l o ng a f t e r h is a t t ack o n
P o p e s languag e ha d b e g u n t o pr o v e s uc c e s s ful h e lp e d t o
’
2
,

s w ell h is y o u t h f u l r e ci t a t i o ns f o r in h is fi r s t a t t em p t a t v e r s e

a t t h e a g e o f f o ur t ee n h e s h o w s hi m s e l f t o b e a v e r y cl e v e r

pupil o f th e s ch o o l o f th e h er o i c c o upl e t I w a s call e d .

‘

up o n a m o ng o th e r s ch o lars h e s aid , t o w r i t e v e r s e s up on
,
’

,
‘

t h e c o m pl e t i o n o f t h e s e c o nd c e nt e na r y fr o m th e f o u nd a
t i o n o f t h e s ch o o l [ a t H a w k s h e ad ] in 1 58 5 by A r chbi s h o p ,

S andys T h e v e r s es w e r e m uch ad m i r e d fa r m o r e than

.
,

th ey d e s e r v e d f o r th e y w e r e b u t a t a m e i m i ta t i o n o f P o p e s
’
,

v e r s ifi c a t io n and a li t t l e in h is s tyl e
, Th i s e x e rci s e h o w .
,

e v e r , p u t it in t o m h e ad t o c o m p o s e v e r s es fr om the
y
i m p u l s e o f m y o w n m i nd a nd I w r o t e w hil e y e t a s ch o o l , ,

1
P r e lit d e 5 56 9 58 3 .
-
.

1
L . WF 3 1 22
. . . .
74 wo a ns wo m ‘

H s
’
TH EORY or POETI C DI C TION

b oy , a l o ng p o e m running up o n my o w n adv ent u r e s , and

t h e sc e n e ry o f th e c o u nt ry in whi ch I wa s br o ugh t u p .

T h e o nly par t o f tha t p o e m w hich has b e e n pr e s e r v e d is th e

c o nclu s i on o f it , whi ch s t and s a t th e b e gi nning o f my c o l
le c t e d P o e ms A l th o ugh , as far a s p o et ic s ubstanc e and
1 ’
.

o r i gi nali t y a r e c o nc e r ne d , t h e L ine s wr it t e n a s a S c h o o l

E x er c is e a t H a w hs h ea a d e s e rv e W o r d s w o r t h s d isparagin g
2 ’ ’

r emarks , th e a ppar e nt e a s e w i t h w hi ch h e manipula t e s t h e

m e tr e wi th o u t t rans g r e s s ing th e num er o us rul e s l ai d d o wn
,

by th e cri t i c s o f th e e i gh t e e n th c e n t ur y , is r e mar k abl e .

F ew p as s ag e s o f v e r s e pr o duc e d in th e palmy d ay s o f t h e
c o u pl e t s h o w s o v e r y li tt l e varia t i o n fr o m th e ide al s t and
ard , alr e ady d e s crib e d in t h es e p ag e s , a s t hi s e ff o r t o f th e
c o un t ry s ch o o lb o y T h e r e i s no unn e c e ssar y e xpl e tiv e in
.

th e wh o l e pr o duc t i o n a nd har d l y a singl e e xampl e o f ,

hia t u s ; no wr enching o f th e a cc ent , no unu s ual f o rm o f

3

a w o r d Th e rhym e s a r e all e xac t , w ith th e e x c e p t i o n o f

.

‘
driv en a nd h e av e n , and gr o v e and m o v e , w hich a r e
’ ‘ 4 ’ ‘ ’ ‘ ’

u s ual in th e h e r o i c c o upl et T h e r e a r e o nly tw o al e xan .

drin e s , a nd no t r ipl e t s M o r eo v e r , th e c o nstructi o n o f t h e

s
.

s e n t e nc e s is cl e ar , a nd s h o w s l e s s d e par t ur e fr o m th e n o rmal

o rd e r o f pr o s e t han is c o mm o n in t his t yp e o f v e r s e ; f o r ,

d e s pit e D ry d e n s s t ri ctur e s , th e r e was alway s a t e n d e nc y

’

t o inve r t t h e o r d e r in a lin e in s uch a w a y t ha t th e rhy m e ,

—
f e ll o n th e v e r b a mann e ri s m which w a s c o n s id e r e d b y
s o m e an e l e gant impr o v e m e n t T h e r e is a natural br e ak .

1
M em o ir s 1 . 10 -
13 .

1
Re pri nt e d in t h e O x f o rd ed it i o n , pp 6 1 8 -
. 619 .

3
86 : arn fro m th enc e
‘
A nd le w f c s ca n is a n t hy o n d e e t s t o
'
’

exc p t i o n Wo r d s w rth wa a lwa y care ful t o av o i d h ia tu s—m o r e

e . o s s

car fu l th a n m t p o et f th e ni net eenth c ent ury t o who s e ars it

e os s o , e

wa s le s ff e ns iv t h a n t h p o et s o f th e pr e c e d i ng c ent ur y f elt it
s o e e

to b e .

1
1 - 2, 1 3 -
14 .

5
40 , 62 . I n b o th ca t h a l xa nd ri n
s es e e e is u d w i th
se som e c li m ac t ic
ef ef ct at th e e nd o f a p ri o d e .
 WORDSWORTH S POETI C DEVELOP MENT ’
75

at the end o f e v e ry c o u pl e t T h i s e a s y , t h o ugh s o m e wh at .

o r a t o rical , s tyl e m a y b e ill u s t r a t e d by t h e f o ll o w i ng e x t r ac t

1 °

No j arri ng m nk t g l m y c ell nfined o s, o oo co ,

Wi th m a y ru l p erp l x t h w ary m i nd ;
z es e e e

No h a do w y f rm
s nt ic e t h e ul a i d o s e so s e,

S cur s h w a lk
e e P h il p h y h e gui d e
e s, o so r .

B ri t ai n wh l ng h w arri r h d a d r d
, o o er o s a o e ,

A nd d m d ll m e ri t c nt r d in t h
ee e a wo rd ; e e e s

B ri t ai n wh t h ugh t t t ai n th fild w fa m
, o o o s e e as e,

N w h o no u d E dw ar d s l t h a n B ac n na m e
’ ’ ’
o r es s o s .

H er n no m r e in li t d fild a dva nc
so s o s e e s e

T o ri d t h ri ng o t e th eb a m y la nc e ; , r oss e e

No lo ng e r t e l t h ir i ndura t d h ar t
s e e e e s

T o th m i ld infl u ne f th fi n art e ce o e er s

Q uic k t t h e cr et gr tt th y r t ir
o se o o e e e

T c ur t m aj e t ic t ru th
o o w a k th g ld n ly r
s , or e e o e e .

2 . A D is c ip le o f th e L a nds c a p e -
S eho ol .

A bou t thi s t i m e W o rd sw o r th s ne wly a w ak en e d p o et ic ’

a m bi t i o n r ec e iv e d a n i m pul s e w h ich r e s u l t e d in s o m e th i ng
b e tt e r than thi s facil e r ep r o duc t i o n o f th e c o nv e n t i onali t i e s
o f th e h e r o i c c o upl e t a nd t h e e mp t y and gaudy i m ag e r y
,

a s s o cia t e d w i th it On th e w a y b etw e e n H aw k s h e ad a nd
.

A mbl e s id e h e happ ene d t o no t ic e th e da r k e ni ng b o ugh s a nd

,

—
l e av e s o f a n o a k t r e e o u tli ne d cl e a r ly a nd s t r o ngly agai ns t
,

th e s un s e t s k y L ik e s o many o f th e thi ng s th a t h e hap

.

p ene d t o s e e f o r hi m s e l f th e di s c o v e r y o f t h i s ch ang e in t h e
,

familia r app e a ra nc e o f th i ng s w r o ugh t by th e e v e ni ng ,

li gh t ca m e t o him w i th t h e f r e sh ne s s a nd p o w e r o f a gr e a t
,

r e v e lat i on T h e m o m ent w a s i m p o r t a nt in m y p o e t i cal

.
‘

hi s t o r y f o r I da t e f r o m it m y c o ns ci o u s ne s s o f th e infi nit e
va r i et y o f na t u ral app e aranc e s whi ch had b een un no tic e d
by p o e t s o f a ny a g e o r c o u nt r y s o far a s I w a s acq u ai nt e d ,

w i th t h e m ; a nd I m ad e a r e s o l u t i o n t o s u pply in s o m e ,

d e gr e e , t he de fi c ie nc y I c o uld no t h av e b ee n a t th a t t i m e
.

1
49 6 2
-
.
7 6 WORDSWORTH S TH EORY ’
or POETI C DI CTIO N

abov e f o ur te e n y e ars o f a g e Th e dir e cti o n th us giv e n t o

.
’1

his ima gina t iv e e n e rgi e s s e e m s t o h av e d e t e rmin e d h is

ch o i c e o f r e a d ing , and t h e na t ur e o f hi s e xp e rim ents in
v e r s e , u nt il th e e nd o f hi s s ch o o l d ays T h e n t h e s t ill , sa d .
‘

mu s i c o f h u ma ni ty ent e r e d his p o e t ry as a n e v e n d eep e r

’

a nd m o r e p o w e r ful impul s e t ha n t h i s fi r s t vi s i o n o f t h e

marv e l s o f th e e x t ernal w o rld .

T he fi r s t r e s u l t o f t hi s di s c o v e ry o f h is o w n p o w e r s s e e ms

t o h av e b een a s t yl e o f much g r ac e and s impli ci t y , whi ch

g r adually d e v el o p e d in t o a m o rbid p e c u liari t y o f expr e s
s ion and w a s r e gai ne d o nly by a d elib e r a t e e ffo r t T he
, .

o nly e xample s o f t hi s e arli e r p u r i ty o f d i c t i o n t ha t w e

hav e a r e th e e x t r ac t D e ar N a t iv e R e gi o n s m e n t i o n e d
,
‘

,
’

by W o r d s w o r th in t h e r e mar k j u s t qu o t e d apr o p o s o f th e
S c h o o l E x er c is e ; t h e s o nne t Wr itt en in v er y E a r ly Y o u th ;
a nd th e L ines w r it t en while s a iling in a B oat , whi ch w i th
t h e R em em b r a nc e
f ri gi
o nally fC o llins
o rm e d o n e p i eoc e .

N o n e o f t h e s e s urviv e s in it s o ri ginal f o r m F o r th is r e as o n .

M L e g o u is c o m p a ri ng t h e m w i t h th e g e nuin e sa m p l e s
.
,
2 ‘ ’

o f W o rd s w o r t h s e arly w o rk s upp o s e s t h e ir sim p li ci ty t o

’

b e ent i r e ly th e r e s ul t o f la t e r c o rr e c t i on T h e y a r e e arly
‘
.

p o e m s o nly in r e s p ec t o f th e ir s ubj e c t m a t t e r h e sa y s ’

—
-
, .

T hi s mi gh t s e e m pr o babl e o n t h e s upp o s i t i o n th at W or d s
w o r t h had b u t o ne e a r ly s t yl e—if it w e r e no t f o r t wo
imp o r t ant ci r cu m s t anc e s .

I n th e fi r s t plac e W o r d s wo r t h prin t s th e fi
, r s t tw o a s

J u v enile P o e m s al o ng wi t h th e E v ening Wa lk and th e

,

D es c r ip tiv e S k e t c h es ; an d , w i t h his u s ual scrupul o us

h o nes ty p r e fi, x e s t o t h e gr o u p th e f o ll o w in g n o t e : 3
Of
‘

t h e P o e m s in th i s cla s s , th e E v ening Wa lk an d D es c r ip tiv e

S k e t c h es w e r e fi r s t publi s h e d in 1 7 93 T h e y a r e r e print e d .

w i th s o m e al t e ra t i o n s t ha t w e r e c hie fly ma d e v e r y s oo n a ft e r
t h e ir publi ca t i o n I t w o ul d hav e b e en e a s y t o am end t h em ,
.

1
M e m 0 i7 s
'
1 . 6 7 -68 .

1
T h e E a r ly L if e o f Willi am W ds w o t h p 1 2 1
or r , . .

T h e M is c e lla ne o u s P of Willia m Wo r ds w o
3
o em s r th [ 1 820 ] 1 . 64
.
 WORDSWORTH S POETIC DEVELOP M ENT
‘
77

in m a ny pa s s ag e s , b o th a s t o s ent i m e nt a nd e xpr e s s i o n ,

a nd I h av e no t b e e n al t o g e t h e r abl e t o r e s i s t t h e t e m p t a

t i o n a s w ill b e o bvi o u s t o th e a tt e nt iv e re ad e r in s o m e
, ,

in s t anc e s ; t h e s e a r e f ew , f o r I a m aw ar e tha t a tt e m p t s
o f t hi s ki nd a r e m ad e a t t h e ri s k o f inj u r i ng th o s e cha r

a c t e r is t ic f e a t ur e s w hich , af t e r a ll w ill b e r e gard e d as t h e

,

pri ncipal r e c o m m enda t i o ns o f j uv e nil e p o em s W h en h e

.
’

is t e mp t e d i nt o f ur th e r al t e r a t i o n s h e add s t o th i s c o m m ent
a f u r th e r q u a lifi c a t io n :
1
T hi s not ic e , w hich w a s wri t t en
‘

“
s o m e t im e a g o s c a rc e ly appli e s t o t h e P o e m D e scrip t iv e
)

,
”
S k e t ch e s , a s it no w s t a nd s T h e c o rr e c t i o ns , t h ou gh
.

num e r o u s , a r e no t h o w e v er , s uch a s t o p r ev ent it s r e t ain

,

ing w i th pr o pri e ty a plac e in th e cla s s o f Juv e nil e P i e c e s

’
.

B u t in n e i t h e r o f t h e s e n o t e s d o e s h e m e nt i o n t h e p o e m s

which M L e g o u is c o n s id e r s e a r ly o nly in r e s p e c t t o s u b
.

— a r H c u av c n id r d hi c rr c i
j e c t m t t e . e n e h e m s t h e o s e e s o e t o ns

so s ligh t and u ni m p o r t a nt a s no t t o d e t rac t in t h e l e a s t f r o m

t h e ir o rigi nal c h arac t e r I t is inc o nc e ivabl e tha t a man w h o

.

appli e s th e t e r m Juv e nil e P o e m s w i th s uch s crupul o u s

‘ ’

acc u ra cy s h ou ld hav e s il e n tly i nclud e d u nd e r t hat t i tl e pi e c e s

t ha t w e r e e a r ly in s u b s t a nc e o nly , no t in s tyl e .

M o r eo v e r it is no t d iffi
, c u lt t o d e t e r m 1ne appr o xima t e ly

th e d e g r e e o f al t e r a t i o n in t h e ca s e o f t h e s e p o e m s At .

l e a s t a d e t ail e d s t udy o f th e ni ne di ffe r e nt v e r s i o ns c a n

,

l e av e v e ry li t tl e d o ub t in th e mi nd o f th e o ne w h o mak e s
t h e e xa m in at i o n t h o ugh it is no t v e ry e a s y t o c o nd e n s e t h e
,

r e s ul t s in t o a c o nvi nci ng p r o o f .

I n th e fi r s t plac e , t h e s e nin e v e r s i o ns may b e c la s s ifi ed

a s f o ll o w s :

1 . A p o e m o f f o u r t e en li ne s in o c t o s yllabi c c o upl e t s ,

pr e s e rv e d in
( a ) T h e gr o up o f j uv e nil e pi e c es p r i n t
, e d in t h e e di t i on

o f 1 8 1 5 a nd r e p r i nt e d w i th al t e ra t i o n s in t h e e di t i o n s o f
,

1 8 20 , 1 82 7 , 1 8 3 2 , 1 8 3 6, 1 8 4 1 , a nd 1 8 4 5 .

1
The P o e tic a l Wo r k s o f Willia m Wo r ds w o r th [ 1 83 6 ] 1 .
46 .
78 WORDSWO RTH S T H EORY ' ’
OF P OETI C DICTIO N

b
( ) A manuscript v e r s i o n r e print e d b y K night fr o m a
not eb o o k c o ntainin g par t s o f L a o da m ia A r teg a l a nd E li ,

d itr e, B la c k Co m b th e D e di ca t i o n o f Th e White D oe, et c

, .

( Wo r d s w o r th s
’
P o e tic a l Wor k s 6 .

2 . Th e paraphra s e in blank v er s e of th e o ri ginal po em

in P r elu d e 8 46 7 4 7 5
.
-
.

So man y d i ffe r e nt v e rsi o ns , all purp o rtin g t o r ep r e s ent th e

o ri ginal pr o ducti o n , d o su gg e s t t ha t th e o nl y p e rman e n t
—
e l e m e nt in th e p o e m i s t h e s ubj e ct ma t t e r B u t a cl o s e r .

e xaminati o n s im p lifi e s th e ma t t e r T h e vari ati o n s a r e t h e n .

disc o v e r e d t o a ff e ct l e s s than h al f the p oem , an d t o b e lim

ite d, f o r th e m o s t p ar t , t o a wav e rin g ch o i c e b et we e n two
p o ssibili t i e s . One s o urc e of th e t w o p o ssibiliti e s th e n
b e c o m e s o bvi o us A n o ri g inal p o e m in o c t o syllabi c c o upl e ts
.

wa s paraphras e d in blan k v e rs e f o r t h e P r elu d e ; an d th e

alt era t ions su gg e st e d by th e a t t e mp t t o av o i d rh y m e, and
t o e xpan d t e t ram e t e rs int o p e n t am e t e rs , w e r e t h e n e x p er i
m entally trans f err e d t o th e o ri ginal , a nd, in s o m e cas e s ,

finally r ej e c te d T h e r e sul t is th at th e late s t v e rsi o n , which

.

no w s t and s at th e b e ginnin g o f W o r d s w o r th s coll e ct e d

’

w o r k s in t h e O x f o r d e di t i o n , pr o bably re pr e s e n t s t h e
e arli e st f o rm a s w e ll a s an y e xc e p t t h e fi r s t prin t e d v e rsion

T h e d o u b t ful li nes in it m ay b e e a s ily indic at e d ,

a nd t h e e x t e n t o f th e d o ub t d et e r mi ne d , by a c o mp ari s o n o f

t hi s w i t h th e paraphras e in th e P r elu d e and with t h e o th e r ,

v e r s i o ns.

1 . T h e F i nal V e rsi o n ( t hat o f ( T h e d o u b t ful

w o rd s o r phra s e s a r e prin t e d in i t alic s ) .

De ar na t iv e r egi o ns , I f o ret ell ,

F r o m wh a t I f e e l t a t h i s far w ell e ,

T ha tw h er es o er m y s t eps m a y t end,
,
’

A nd wh ens o e r b y c o ur s e s h a ll e nd ,
’

I f in t h t h o a
ur a ing l t i s e e

S urviv o f l ca l s y m pa th y
e o ,

M y s o u l w i ll ca s t t h b ac k war d vi ew e ,

T h lo ngi ng lo k a lo ne o n y o u
e o .
80 WORDSWORT H S T H EORY ’
0 1? P OETI C DI C TION

S inc e much o f th e fi
so na l v e rsi o n s e e ms t o r e pr e s e nt th e
o ri ginal , w e mi gh t b e j u s t ifi e d in t aking it as charac t eristi c

o f W o rdsw o r t h s y o u th ful styl e wi th o u t fur th e r a d o But

’
.

i f s o m e o f th e lin e s in i t ali cs can b e pr o v e d t o b e l e s s d oub t

ful th an t h e y s ee m , t his c o rr o b o rati o n o f o u r j u dgm ent will
b e w e lc o m e P e rhap s th e b e s t w a y t o d e cid e t hi s will b e
.

t o e xamin e th e qu e s ti o nabl e phra s e s one by o ne .

1 .L ine 3 T h e o nl y r e a s o n f o r d o ub t ing t hi s v e rs e , a nd
.

th e t w o o t h e r w o rd s in t hi s s t anz a prin t e d in i t alic s , is fur

h i sh e d b y th e manuscript v e r s i o n , in whi ch lin e s 3 an d 4
r e ad :
T h a t wh en th e c lo s e o f li f e d ra ws d e ar [ s ic ]
, ,
1

A nd I m u s t qui t t h i s e arth ly s p h e r e ,

a nd in which t end er tie o c cur s inst e ad o f s m g le tie I n a ll .

t h e print e d v e r s i o ns t h e fi r s t e i gh t lin e s a r e a s t h e y s tand

,

in th e la s t e di t i o n T h e r elati o n o f t h e s e t wo variants t o
.

e a ch o th e r , an d t o th e o ri ginal , cann o t b e d e t e rmin e d S inc e .

n e i th e r o f t h e rhym e w o rd s o ccurs in th e blan k v e rs e , a nd

-

s inc e t h e w o rd c los e d o e s o ccur t h e r e a s w e ll a s in th e manu

s cript v e r s i o n , it is no t unlik e l y th a t c los e o ri ginally s t o o d

f o r end and th a t th e c o upl e t h ad a di ff e r e nt rhym e

, T his is .

t h e m o r e lik e ly b e cau s e t h e r e is n ot h ing in t h e blan k v e rs e

which s e e m s t o s t and fo r th e lin e , wh e r es o er m y s tep s m a y ’

t end T hi s mi gh t h av e b e e n a dd e d t o furni s h a rhym e f o r

.

end, i f th e rhy m e o f t h e c o upl e t w a s al t e r e d fr o m an e arli e r

f o rm up o n whi ch th e p a s s ag e in th e P r elu d e was bas e d .

C o nc er ning th e vari an t s , t end er an d s ing le no c o nclu s i o n ,

can b e d rawn T e nd er l o o k s li k e o ne o f th o s e e xp e rim en t al

.

and no t v e ry happy ch an g e s tha t W o rd s w o r th o f t e n ma d e

up o n s e c o nd th o ugh t , o nly t o r et urn a t la s t t o h is o ri ginal
in s pira t i o n W ha t e v e r ma y b e t h e tru th c o nc e r ning t h e
.

s li gh t va r ia t i o ns in t h e fir s t e i gh t lin e s , h o w e v e r t h e y d o not ,

s e ri o u s ly a ffe c t th e ch arac t e r and s tyl e o f th e p o em .

1
i s a m i pri nt
I s th s f o r wh ich P r f
o es so r K nigh t , no t Wo r d s wo rth ,

is r e p o n ib le ?
s s
 WORDSWORTH S POETI C DEVELOP MENT
’
‘
81

2 . L in e s 9
—
1 2 u nd e r w e nt m o er ch ang e t ha n any o th e r
pa r t o f t h e E x tr a c t . I n th e e di t i o n o f 1 8 1 5 t h e y s t o o d a s

f o ll o w s
T h u s wh en t h e S u n, pr par e d f r e or est ,

H a t h gai ne d t h e pr ci nc t f th W e s o e es t ,

Th ugh h i d part i ng ra d ia nc e fai l

o s e

T i llu m i na t e t h e h ll w V a le
o o o .

A ll v e r s i o ns e x c e p t th e la s t pr es ent sligh t m o d ifi
th e c a t io ns

o f t hi s phra s e o l o gy ; b u t t h e in s t abili ty o f th e va r i o u s
gra m ma t i cal r elat i o n s in vir t ually t h e s a m e gr o up o f w o rd s
s e e m s t o i ndica t e t h a t t h e r e w a s s o m e th in g in t h e c o ns t r u c

t i o n o f t h e o riginal w i th w hich W o rd s w o r th w a s no t qui t e

s a t is fied T h i s o pi ni o n is s t r e ng th e ne d by th e fac t t ha t li ne
.

1 1 is i nc o m pl e t e in t h e ma nu s c r ip t v e r s i o n , w h e r e it is w ri t

t en Th o u g h no
, c a n f a il P e r hap s th e t ru th is t ha t
.

t h e o riginal rh y m e w o rd s w e r e fa il and v a le, and W o rd s

-

w o r th af t e r s t ruggli ng in Vain t o r e m o v e s o m e bl e m i s h
,

w i th o u t al t e ri ng th e r h ym e , fi na lly imp o r t e d t h e b e a u t i f u l
p h r a s e m em or ia l g lea m f r o m th e bla nk v e r s e a nd chang e d ,

th e o th e r li ne in th e c o upl e t t o c o rr e s p o nd w i t h it I t is .

v e r y lik e ly t h a t th e w o r d p r ec inc ts s t o o d f o r th e w o rd
r e g io ns in li ne 1 0 s i nc e t h i s o ccu r s in all th e o t h e r v e r s i o ns
, .

P e r hap s o n t h e w h o l e t h e li ne s in t h e e di t i o n o f 1 8 1 5
, ,

c o m e a s ne a r t h e o r i gi nal a s any I n a ny c a s e th e s a m e .
,

id e a a nd t h e s am e gr o up o f w o r d s s e e m t o b e p r e s e nt in all
t h e v e r s i o ns u nt il in t h e fi , na l e di t i o n t h e p u z z li ng t w e l f th ,

li ne is ma t e r ially cha ng e d .

3 . I n li n es 1 —
3 4
1 , t h e va r ia nt s r e pr e s e nt t h e t e m p o r a r y
infl u e nc e o f th e bla nk v e r s e .n 1 2 —
I n t h e e di t i o s 8 0 1 840 t h e
l a s t li ne r e ad s : Oh th e d ea r m o u nta in t op s w h er e fi r s t he -

r os e a nd in 1 8 3 2 1 84 0
, lus tr e is s u b s t i t u t e d f o r lig h t
-
In .

b o th ca s e s th e chang e in m e t r e in t h e bla nk v e r s e m a y hav e

mad e ne c e s s a r y th e ch a ng e f r o m a m o no s yllabi c w o r d ,

w hi ch w a s t h e n t r a ns f e rr e d f o r a t i m e t o t h e o ri gi nal v e r
s i on .T h e la s t li ne 1n th e pa s s ag e f r o m t h e P r e lu d e is
o bvi o u s ly th e o r igi nal t e t r a m e t e r e xpa nd e d t o a p e nt am e t e r
82 WORDSWORTH S T H EORY
’
OF POETI C DICTION

by th e e asy s ub s t i t u t i o n o f —
m o unta in t o p s
f o r hills W h en, .

t h e r e f o r e , w e h nd t ha t th e o ct o s y llabic p o em s o m e t im e s e nds
wi th t hi s d e ca s y llabi c lin e , we may c o nsi d e r it a t e mp o ra r y
i nt r ud e r ; and b e li e v e t h at th e fi r s t prin t e d v e rs io n , th e

manuscrip t v e r s i o n , and the last v ersi o n r e pr e s e n t the ,

o ri ginal wh e n t h e y r e ad

A i g eri ng ligh t h e f nd ly thro w

ln o s

Oh t h e d ar h i lls wh e r fis t h e ro s e
e e r ,

as o pp o s e d to

A i g eri ng lu s tre f o nd ly th ro ws
ln
On t h e d e ar m u nt ai n t o p s wh e r e fi
o -
rst he ro s e ,

w hi ch so ob vi o u s l y e ch o e s the blan k v e rs e . H e nc e th e m o r e
s im p l e and path e t i c f o rm , in thi s cas e , s e e m s t o b e th e

o ri ginal .

T h e r e sul t o f thi s e xaminati o n s ee m s t o b e z ( 1 ) t h at ,

o f t h e w o r d s in i t ali cs , lig h t and hills , and pr o babl y s ing le ,

r e pr e s e n t th e o ri ginal ; ( 2 ) t ha t in t wo o f the c o upl e ts t h e r e

may hav e b ee n a di ff e r e n t rhym e , and a c o rr e sp o ndin g d i f
f e r e nc e in phra s e o l o gy ; and ( 3 ) that , whil e t h e rhym e s in
lin e s 9 1 0 s e e m t o b e p e rman e n t , t h e r e i s a s li gh t varia t i o n
-

o th e r w i s e I f w e a r e ri gh t in supp o s ing t hat t h e p ar t o f

.

th e p o e m whi ch s h o w s no fl u c t u a t ion pr o bably surviv e s

subs t an t iall y a s it w a s fi r s t wri tt e n t h e s e cha ng e s r e all y
,

a ffe c t it s e ss en t ial charac t e r v e r y li t t l e O f c o urs e it may

.

b e said t hat th e c o mpari s o n o f a p o e m o f 1 7 8 6 , fi r s t prin t e d

in 1 8 1 5, wi th a paraphra s e pr o bably wri t te n b e t w e e n 1 7 99

and 1 8 0 5, b u t no t prin t e d until 1 8 50 , d o es no t giv e v e r y
t ru s tw o r th y e vi d e nc e c o nc e rnin g th e o ri ginal s tyl e F or .

augh t w e kn o w , th e pas s ag e in t h e P r elu d e may h av e b een

r e m o d e l e d in a cc o r d anc e w i t h th e prin t e d v e r s i o n o f
B u t s i nc e , in all th e public app e ara nc e s o f t h e pr o du c t i o n ,

t h e r e is no t rac e w ha t e v e r o f a f o rm e s s e n t ially di ffe r e n t

fr o m th e f o rm pri nt e d by W o rds w o r th a s a j u v enile p o e m ,
t h e r e s ee m s t o b e no r e as o n f o r d o ubti ng t h e w o rd o f s o
84 WORDSWORTH S TH EORY ’
or P OETI C DI C TION

s impli cit y thought an d f e e ling in th e E x tr a c t an d th e

of

S o nne t B u t t h e s e la t t e r po e m s s e e m t o b e pr o ducti o ns o f
.

W o rd s w o r t h s sch o o l day s a t H a wk s h e a d , w hil e th e e arli e s t

’
- -

d at e f o r th e o th e r p o em s is 1 7 8 7 , th e y ea r W ordsw o rth
e n t e r e d th e univ e rsity O f th e s e p o e ms , th e S onne t o n
.

s e e ing M is s H elen M a r ia Willia m s w e ep 1

publish e d ,

M a rch , 1 7 8 7 , whil e curi o usl y e xagg erat e d in th o ught , sh o w s

l e ss d e partur e fr o m g ra mmar and g o o d usag e than A h
E v ening Wa lk and th e D es c r ip tiv e S k e t c he s ; a nd o f th e s e ,

tw o , t h e l at e r an d m o r e p o w e r ful p o e m is al s o th e m o s t
“

faul ty wi th r e sp e ct t o s tyl e H enc e , f o r a t im e , W o r d s .

w o r th s sins s eem to incr e as e with hi s incr e a s e in vi g or an d

’

o ri ginali t y .

B u t , a s w e l e arn fr o m t h e P r elu d e 2
,

a fi t p o et ic facu lty
th t rs

Of p lai n I m a g i na t i o n a nd ev e r s e

was gr e atl y imp air e d by th e influ x o f new a nd ali e n exp e

r ienc e s b e tw e e n t h e tim e t h at W o rdsw o r th l e f t , o r wa s p r e

paring t o l e av e , his o wn na tiv e hill s f o r th e bus y worl d ,

and th e t im e w he n h e r et urn e d t o th e m , and f o und p e ac e
o f min d , an d th e l o s t s implicity o f li f e an d s tyl e , am o n g

t h e a s s o cia t i o ns o f hi s b o yh o o d T hi s unw h o l e s o m e p e ri o d .

o f hi s li f e s e e m s t o c o rr e s p o nd w ith t h e da t e s o f t h e p oe m s

on w hi ch M L e g o u is bas e s hi s s t udy o f W o rd s w o rt h s
.
’

e arly s tyl e ( 1 7 8 7 I t i s di s t ingui sh e d fr o m his

vi g o r o us and h e al th y chil d h o o d by th e sam e mark s t ha t
d i s t inguish th e v e r s e wri tt e n a t thi s t im e fr o m t h e p r o
d u c t io ns whi ch w e h av e t ak e n t o r e p r e s e nt th e w o r k o f his
sch o o l day s -
.

1
0 1
’

c ur s
o ab s o lut ly c ert ai n t h a t Wo r d s wo rth wro t e
e it is no t e

t h i s p o em T h e r e a s o ns f o a tt ri b u t i ng it t him
. w e ll s t a t d b y
r o are e

Pr f o r H arp er ( Willi m W d w th I 1 48
esso a S i nc e t h
or s or . e

au th o r h ip i u nc ertai n I do no t th i nk it n furni s h m uc h evi d enc

s s , ca e

c o nc rni ng W r d w rth s e arly ty le

e o s o
’
s .

1
P r e lu d e 12 . 8 9 - 1 47 .
 WORDSWORTH S POETIC DEVELOP M ENT
’
85

O u th e o ne h a nd , th e r e is t h e
l o s s o f th e s impli ci ty and
u nit y o f imagi na t iv e f e e ling a s s o cia t e d w i th h is d e ligh t in

ext ern al nat u r e and h is u nq u e s t i o ni ng acc e p t anc e o f t h e

,

o nly t yp e o f e xp e r i e nc e t h a t h e kn e w T h e adap t a t i o n t o
.

a ne w e nvir o nm e nt a nd t o a new w o r ld o f id e a s m e an t a
t e m p o r a r y di s o r ga ni z i ng o f h is w h o l e i nt ell e c t ual li f e a nd ,

—
t h e gr o w t h o f a s e l f c o n s ci o u s a nd analy t ic habit o f mi nd ,

w h ich al s o s h o w e d i t s e l f in a di s o rga ni z a t i o n o f an e arli e r

a nd s i m pl e r s t yl e .

O n t h e o th e r h and t h e re is a di s t i nc t i ncr e a s e in i nt e l
i

l e c t u al p o w e r F r o m h is grac e f u l s ch o o l b o y w o r k w e
.
-

s h o u ld d e r iv e v e r y li tt l e no t i o n o f t h e r e al m agni t ud e a nd

s t r e ng t h o f W o rd s w o r th s g eniu s H e s e e m s t o b e o nly
’
.

—
a no th e r di s cipl e o f the [ l P e ns er os o la nd s cap e s ch o o l o f Co l
li ns W a r t o n a nd B o w l es w i th a di s t inc t v e i n o f h is o wn
, , , ,

p e r hap s a nd o cca s i o nal f elici ty o f m e l o dy o r p h ra s e b u t no t

, ,

e s s ent ially di ff e re nt o r m o r e p o w e r f u l W i th th e D es c r ip
.

iv e S k e t c h es it is o t h e r w i s e S e ld o m i f ev e r w r o te
.
‘

,
’

Co le r id g e w a s th e e m e rg enc e o f an o r igi nal p o e t ic g e ni u s

1 ‘

, ,

ab o v e th e li t e r ary h o ri z o n m o r e e vid e n t ly a n no u nc e d I n .

t h e f o rm s tyl e and mann e r o f t h e w h o l e p o e m , and in t h e

, ,

s t ru c t ur e o f t h e par t i cular li ne s a nd p e ri o d s t h e r e is a har s h ,

ne s s a nd ac e r bi t y c o n ne c t e d and c o m bin e d w i th w o rd s a nd
i m age s all agl o w , w hich mi gh t r e ca ll t h o s e pr o duc t s o f th e
v e g e t abl e w o r ld wh e r e g o rge o u s bl o s s o m s ri s e o u t o f th e
,

ha r d and th o r ny ri nd a nd s h ell , w i thi n w hich t h e rich fr u i t

w a s e lab o ra t i ng T he languag e w a s no t o nly p e c u lia r a nd
.

s t r o ng b u t a t t i m e s kn
, o t t y a nd c o n t o r t e d a s by it s o w n ,

i m pa t i e n t s tr e ng th w hil e th e no ve l ty a nd s t r uggli ng c r o w d s
o f i m ag e s ac t i ng in c o nj u nc t i o n w i t h t h e d iffi
, c u lt ie s o f th e

s ty l e d e m a nd e d al w ay s a gr e a t e r cl o s e ne s s o f a tt e n t i o n t ha n
, ,

p o e t ry ( a t all e v e nt s t han d e s c r ip t iv e p o et r y ) h a s a ri gh t
,

t o clai m
’
.

T h i s c o rr e s p o nd e nc e o f t h e k no w n da t e s o f o ne g r o u p
o f e a r ly p o e m s w i th a p e r i o d o f u nr e s t a nd u ne q u al d e v e l o p

1
B .
56 .
86 WORDSWORTH S T H EORY ’
OF POETI C DI CTION

m e n t o f new e ne rgi e s d e s crib e d in th e P r elu d e e xplains

, ,

t h e imm e n s e di ffe r e nc e b e tw ee n t hi s v e r s e a nd t ha t w hich

s eem s t o h av e b e e n pr o d uc e d b e f o r e hi s di s t urbi ng s ally
in to t he w o rl d b ey o n d hi s n o rth e rn hill s T h e p o et i c .
‘

in it s p r o c e ss t o full d e v e l o p
‘
P sych e , s ay s C o l e rid g e ,
’ 1

m ent , u nd e rg o e s a s ma ny chang e s a s it s Gr e e k nam e s ak e -

,

t h e b u tt e r fl y I t is no t r e mar k abl e , t h e r e f o r e , th at th e
’
.

y o u ng W o rds w o rt h sh o ul d h av e had m o r e t h an o ne e a r ly
s tyl e H is d e v e l o pm e n t i n t hi s r e sp e c t is no t uni q u e
. P er .
‘

’
h ap s a similar pr o c e s s ha s ha p p e n e d t o o th e rs , wri t e s
C o l eridg e , b u t my e arli e s t p o e m s w e r e ma r k e d by a n e a s e
2 ‘

a nd simplici t y , whi ch I h av e s t udi e d , p e r hap s w i t h inf e ri o r

succ e ss , t o impr e s s o n my la t e r c o mp o si t i o ns T h e w o rd s .
’

in which h e d e scrib e s h is la t e r e ffo r t s t o prun e th e luxurianc e

a nd p e culia r i t y of phras e whi ch succ e e d e d t hi s e arli e r
s implic i t y mi gh t b e appli e d w i th o u t chang e t o W o rd sw o rt h s ’

in e ff e c t ual a tt e mp t s t o alt e r t he D es c r iptiv e S k e tc h es : I n

~ f 3 ‘

th e af t e r e di t i o ns , I pru ne d th e d o ubl e e pi t h et s w i th no spa r

ing hand , a nd u s e d m y b e s t e ff o rt s t o t am e th e sw e ll a nd
gli tt e r b o th o f t h o ugh t and dic t i o n ; t h o u gh in t ru th , th e s e
p ara s i t e plant s o f y o u th ful p o e t ry h a d in s inua t e d t h e m s elv e s
i nt o my l o ng e r p o e ms w i t h s uch in t ric acy o f uni o n t ha t I ,

was o f t e n o blig e d t o o m it di s ent angli ng th e w e e d f r o m t h e ,

f e ar o f s napping th e fl o w e r T h e ap o l o g e t i c d e s crip t i o n o f
.
’

’
t his un wh o l e s o m e s t ag e in a y o ung p o e t s d e v e l o pm e nt p r e
fix e d by K e at s t o E ndy m io n is w ell kn o w n : T h e imagi na
‘

t i o n o f a b o y is h e al th y , and t h e ma t ur e i m agina t i o n o f a
man is h e al thy ; but th e r e i s a spac e o f li f e b etw e en in which ,

th e s o ul i s in a f e rm e n t th e chara c t e r und e cid e d , th e w a y o f

—
,

li f e unc e r t ai n, th e a mbi t i o n th i ck s i gh t e d : t h e n c e proc ee d s

maw k ishn e s s , and all t h e th o u s an d bitte rs whi ch t h o s e m en
I s p e ak o f mus t n e c e s saril y ta s t e in g o ing o v e r t h e f o llow in g
pag e s I t i s in thi s s pac e o f li f e b e tw ee n b o yh o o d a nd man
.

1
3 . L . 1 .
57 .

1
I bid . 1 .
4 .

3
I b id . 1 .
3 .
88 WORDSWORTH S TH EORY ’
OF POETI C DI CTIO N

C o wp e r L a dy W inch e ls e a and B o wl e s A l at e r r e cur

,
1
,
2
.

r enc e t o th e sam e s tyl e in th e L ines wr it ten o n the Tha m es ,

in 1 7 89 , i s frank l y imitativ e o f C o llin s T his r e v e al s th e .

s o urc e o f th e simpli city I t i s no t th e simpli ci ty o f W o rd s .

w o r t h s la t e r s t yl e , t ran s f e rr e d t hi th e r by a j udi ci o us c o r
’

r e c t ing han d I t i s as cl e arly th e r e s ul t o f imi t ati o n as t h e

.

m o r e o ra to rical and c o nv e n t i o nal e a s e o f th e S c ho o l E xer c is e

in th e mann e r o f P o p e .

B u t th e p o e t i c d e v e l o pm e n t o f th e s e y e ars cann o t b e
m e asur e d by th e fi nis h e d achi e v em e n t s al o n e M uch o f th e .

v e r s e c om p o s e d a t H aw k s h e a d n ev e r s a w th e li gh t in it s
o ri ginal f o rm b ut it b e cam e th e f o un d a t i o n o f many o f t h e
p o e m s o f W o rd s w o r th s la te r y e ar s F r o m thi s e arl y tim e
’
.

d a te s th e s ub s t anc e o f th e L ines lef t u p on a S ea t in a Yew

T r ee and par t o f th e ex p r e s si o n
, I t is no t usually r e cog .

niz e d th a t t h e s e lin e s a r e a k in d o f pr e liminar y s k e tch o f

th e S o li t ary in th e E x c ur s io n; a nd t ha t o ne o f W o rd s
w o r th s m o s t matur e an d s ub t l e s t udi e s o f characte r has
’

thus a c e rtain ba s i s in t h e wri t ing an d o b s e rvat i o n o f h is

s ch o o l da y s -
T h e P r e lu d e may h av e a similar f o un d a t i o n in
r s t aut o bi o graphi cal e ff o rt—a
.

hi s fi l o ng p o e m runnin g on ‘

my o wn adv en t ur e s , and th e s c ene ry o f the c o u nt r y in w hi ch

I w a s br o u ght up , an d c o ntai nin g th o u ghts a nd ima g e s ,
’ ‘

m o s t o f which hav e b ee n d i s p e r s e d t hr o u gh m y o th e r
S i nc e W o rds w o r th p ara phra s es t h e c o nclu s i o n
’
wri t ings .

o f thi s p o e m f o r t h e P r elu d e h e may als o h a y e us e d d e s c r ip ,

ti o n s o f hi s a d v e n t ur e s in his curi o u s ly Vivid r e pr o duc t i o n

‘ ’

of t h e f e ars and spiri t ual d rama s o f childh o o d H is .

acc o un t o f t h e blac k c rag that s e e m e d t o s t rid e a f te r him 3

,

1
Wi th Ca lrn is a ll N a t ur e a s a r e s t i ng wh ee l, c i C o w
t h e l ne ,i ‘ ’
.

p , T h T k 3 67 ff nd F m nt 1 4 1 7 b y L a dy A nne Win
-
e r e a s 1 , a r a.
g e .

ch els ea ( P o em s a nd E xtr a c ts , c h os en b y Wor ds wo r th, pp 1 3 .

S e e a s i m i lar fi g u r e in t h e s o nnet s b eg i nni ng , I f th es e b r ief R e c

o r ds 9 -1 1 .
( Th e P o e tica l Wo r k s o f Wo r ds wo r th O x f o r d e d i t i o n
, ,

p .

1
Wo r ds w or thia na , p .
330 .

3
P r e lu d e 2 .
3 57 40
-
0 .
 WORDSWORTH S POETI C DEVELOP M ENT ’
89

and o f h is impa t i e n t w ai t ing o n th e w i ndy h e igh t f o r t h e

‘
pal fr ey s tha t s h o uld b e ar u s h o m e s ugge s t a n e xp e ri e nc e
1
,
’

c o n s ci o u s ly h e i gh t e ne d by a y o u th ful p o e t and a s up e r s t i ,

t i o u s c o m pu nc t i o n w hic h o r i gi nally may h av e had a m o r e

c o nv e nt i o nally r eligi o u s c o l o r ing 2
S e v e ral y o u t h ful p o e m s .

al s o s e e m t o b e r e p r od uc e d in th e e i gh th b oo k o f th e
P r elu d e 3
in th e lin e s e ndi ng w i th th e pa r aphra s e o f D ea r
,

na tiv e R e g io ns I f o nly h e h ad p r e s e r v e d t h e o r i gi nal

.
,

d e sc r ibi ng th e w e t r o ck s parkli ng in th e e v e ning radianc e

lik e the b ur ni s h e d s hi e ld o f s o m e d e ad k nigh t o r th e gli t t e r ,

ing e n t ra nc e t o a fai r y cav e ! I t m igh t h av e b e en a n

i nt e r e s t ing c o n tra s t t o s o m e o f th e L y r ic a l B a lla ds .

A l th o u gh t he r o man t i c s u b s t a nc e o f m o s t o f th e v e r s e s
did no t pl e a s e W o rd s w o r th s m at u r e t a s t e h e hi m s el f ’

d e clar e s t ha t all o f th em had a ba s i s in t r u th ful o b s e r va

—
t i o n t ha t his m o s t airy fa nci e s r e v o lv e d ar o u nd a s u b
s t a nt ia l c e nt e r T hi s is c e r t ainly t r u e o f t h e o nly s p e ci m e ns
.

o f h is w o r k a t H a w k s h e ad t h a t h e p r e s e r v e d I mi t a t i o ns .

a s t h e y a r e t h e y a r e a t t h e s a m e t im e g e nuin e e xp r e s s i o ns
,

o f u nifi e d kn o w l e d g e a nd f e e li ng ; and h e nc e t h e y hav e a

c h ar m a nd a n a r t i s t ic c o m pl e t e n e s s t ha t a r e lacki ng in h is

m o r e p o w e r ful D es c r ip tiv e S k e t c h es Th e S o nne t e s p e .

,

c ia lly d o e s no t s u ff e r by it s p o s i t i o n in t h e e di t i o n o f 1 80
, 7 ,

s id e by s id e w i t h s o m e o f W o rd s w o r t h s fi ne s t e ffo r t s in
’

t hi s typ e o f v e r s e 4
I t is s o cl e a r c u t s o u niq u e in it s o w n
.
-
,

f eli ci ty o f o b s e r va t i o n and phra s e , t ha t it s e em s t o pr e clud e

c o mpari s o n w i th it s m o r e p o w e r f u l ne ighb o r s T hi s cha r m .

1
l bid . 12 . 2 87 - 3 1 6 .

1
N o te es p cia lly
e 3 1 4- 3 1 6 .

1
P r e lu d e 8 3 6 5 47 5
.
-
.

4
Wo r r
d s wo t h h m s e l i f ay
s s a
t h t , in his s ch o o ld ay s at a
H wk s h e ad ,

F a nc y
c u ld f d t N a tur ca ll o ee a e s
’

S m p n iv m u i ng w h ic h m igh t w ll b
o e e s e s s e e s e em

M a t ur r y ar e e s .

P r e lu d e 8 4 56 -458
. .
9 0 WORDSWORT H S T H EORY ’
OF P OETI C DI CTION

of W o r d sw o r th j uv enil e e ff o r t s wa s r e c o g ni z e d by th e
’
s

c r it i c o f th e v o lum e s o f wh o , in th e t o n e o f pi o us
e xh o r t a t i o n mad e fa s hi o nabl e b y J e ff r e y , r e marks th a t th e y

sh o w wh at W o rd s w o r th mi gh t h av e d o n e , had h e no t b een
le d a s t ray by his la m e n t abl e t h e o ri e s B u t W o rdsw o r t h .

had g o n e as t ray l o n g b e f o r e h e gav e a ny public e xpr e ssi o n

t o hi s t h e o r i e s H e w a s no t b o rn t o s t o p w i th th e d ev e l o p
.

m e n t o f s ix t e e n , e v en i f th i s did mak e him a p ensiv e land

—
s cap e p o e t o f t h e fi r s t o rd e r T h e en e r g y s o charac t eristi c
.

o f h is childh o o d had t o s hap e f o r i t s e l f ne w and gr e a t e r

f o rm s , e v e n a t th e e xp e n s e o f h ar s hn e s s , a nd crudi ty , a nd
failur e .

3 . Th e Ca m b r id g e P er iod .

B e tw ee n 1 7 87 and 1 7 93 W o rd s w o r th s b o y i sh in t e r e st in ’

th e p o et i c e xpr e s s i o n o f wha t w a s n o v e l and w o nd e rful in

his o wn e xp e ri e nc e t o o k a m o r e ambi t i o u s f o rm .

T ho s e we re th e d ay s
Wh ic h a ls o fir s t em b o ld ene d m e t o t ru s t
Wi th fim ne s s h i th ert o b ut s light ly t o u ch e d
r ,

By s uc h a d ari ng t h o ugh t t h a t I m i gh t le av e
,

S o m e m o nu m ent b eh i nd m e wh ic h p ur e h e ar t s
S h o u ld r e v e r e nc e T h e i ns t i nc t iv e h u m b lene s
. s,

M ai nt ai ne d e v en b y th e v e ry na m e a nd th o ugh t
O f pri nt e d b o o k s a nd au t h o r s h ip b e ga n ,

T o m elt a w a y ; a nd furt h e r t h e d r e a d a w e
, ,

O f m igh t y na m e s wa s s o f t e ne d d o wn a nd s e em e d
A ppro ac h ab le a d m i tt i ng f ello ws h ip
,

O i m o d e s t s y m pa t hy S uc h a s p e c t no w
.
,

T ho u gh no t fam i liarly m y m i nd p ut o u , ,

C o nt ent t o o b s e rv e t o ac h i e v e a nd t o e nj o y
2
, , .

But with gr o w ing pow e r c a m e a t emp o rar y diffi c ulty in t h e

manipula t i o n o f languag e , whi ch was in n o t abl e c o ntrast

with hi s e arli e r facility , a nd a wil fuln e s s o f fan cy an d con
1
M o nthly R ev iew 7 8 . 23 3 .

1
P r e lu d e 6 52 -6 5
. .
 wo a ns wo a r n s T H EORY POETI C DICTION
’

9 2 OF

f r o m c o l o r , and s had e fr o m s had e a s w e ll as t h e E ngli s h ,

la nguag e w ill p e rmi t S imilarly , h e t a k e s o noma t o p oeic

—
.

w o r d s e xpr e s s ing s o un d fr o m e v e r y s o urc e c o llo q uial o r

H e s p e a k s o f th e chi s e l s clink ing s o und 1 ’ 1
li t e rary . .

E ach clan k ing mill , t ha t br o k e t h e murmuri ng s tr e am s

‘
,

T h e d is t an t f o rg e s s w ingin g t hump p r o f o un d ; a nd mak e s

‘ ’ ’
3 -

lib e ra l u s e o f t he s u gg e s t i o ns t ha t h e fi nd s in th e p o e t ry o f
—
Gra y o r M il t o n s u ch a s t h e phras e d r o ws y t inkli ngs 1 ‘
,
"

t h e w o rd c o mplain a s ap p li e d t o th e n o t e o f th e o w l, t h e
5 ‘ ’

‘
d r o ning fligh t o f th e b e e t l e , a nd t h e cur f ew swi ngi ng
6 ’ ‘

lo w w i t h sull e n r o ar T h e s am e d e sir e t o a dd t o his

7 1
.

v o cabul ary l e a d s him t o ad o p t any unu s ual e pi th e t whi ch h e

di s c o v e r s in r e a d ing L i k e Wa r t o n , h e s p e a k s o f t h e .

‘
e mba t t l e d cl o ud s
8
L i k e C o w p e r , and unli k e his o wn lat e r .
’

s el f, he fi nd s th e n o t e o f th e o w l b od ing W h e r e M il to n
9 ‘ ’
.

ha d s p o k en o f r o c k ing w in d s , h e s p e ak s o f r o c k ing ‘ ’ ‘

s had e s
10
in imi t ati o n o f t he li ne , minu t e dr o p s fr o m o ff
’ ‘

—
t h e e av e s , h e cr e a t e s th e c o mp o un d , minu t e s t e ps
’ 11
th e
‘ ’

e xpr e s s i o n hudd ling br o o k b e c o m e s hu dd lin g rill ; d im

‘
12 ’ ‘ ’ ‘

r e li gi o u s li gh t i s c o pi e d in th e phras e dim r eli gi o us

’ ‘

’
gr o v e s , e t c
13
.

1
5 . W . 1 45 .

1
D . S 7 66
. .

1
W 445
B . . .

Gra y E leg y 8 D S 43 5 50 8 ; E W 3 54 ; c i Wa gg o ner I 26

4
, . . .
, . . . . .

‘
T h a t far o ff t i nkli ng s d ro w s y c h e er
-
’
.
’

B W 443
5
. C f E leg y 1 0
. . . .

E W 3 1 4 A r e m i ni s c enc e o f E leg y 7 a nd L y c id s 28 c o m bi ne d
6
. . . a .

C f a s i m i lar u ni o n o f s u gg e s t i o ns fro m M i lt o n a nd Gra y in t h e

.

li ne ( E W T h e wh i s t li ng s w ai n t h a t p lo d s h is ri ngi ng w a y
‘ ’
. . .

C f E W 3 1 8 : T h e s o le m n curf e w s wi ng i ng
7
1 1 P e ns er os o 7 6
‘
. . . .

lo ng a nd d e ep
’
.

E W 55 C f Wart o n P lea s u r es o f M e la nc h o ly 294

8
. . . .
, .

B W 3 92 C f T h e T a k 1 20 5
9
. . . . s . .

E W 23 8
1°
. C f [ l P e ns er o s o 1 26
. . . .

I l P e ns er os o 13 0 .

E . W .
71 . Cf . C a m us 496 .

D . S . 60 4 . C f l l P e ns er o s o
. 1 60 .
 WORDSWORTH S POETI C DEVELOP MENT ‘

93

T hi sprac t ic e is w e ll d e s crib e d by M L e g o u is : L ady .

1 ‘

W inch el s e a s aid th a t childr en s t e ar s a r e m e r e ly A pril ’

dr o p s b u t W o r d s w o r th , s p e aki ng o f h is o w n c h ild h o o d ,
,

wri t e s ,
Wh en T ra ns p o rt k i s s e d a wa y m y A pri l t e ar .

Th om p s o n i nv o k e d in s pira t i on f r o m h er h er m i t s eat ,

( S u m m e r b u t W o rd s w o r t h , t o w h o m t h e e pi t h e t app e a r s

a n ing eni o u s o ne , b o ldly appli e s it t o t h e w av e o f a s o li t a r y

“
lak e ( h e r mi t o r t o t h e d oo r o f a h u mbl e S w i s s
“
c o t t ag e hidd en am o ng th e m o u nt ai ns ( h e r m i t
“
W h e r e a s Gr ay s p o k e o f th e c o ck s s h r ill clari o n ’

,
“ ”
W o r d s w o r th s p e ak s o f h is clari o n thr o a t Gray r e p r e .

“
s e nt e d t h e N ile a s b r o o di ng o e r E gyp t w i t h h is w a t e r y
’

”
wi ng ; W o rd s w o r th pic t u r e s th e w av e o f L ib e r ty a s b r o o d
”
ing th e na t i o ns o e r w i t h N il e lik e w i ng s P ope
’
r -
.

call s th e s e c o nd s o n o f W illia m th e C o nqu er o r h is s e c o nd

(

hope W o r d s w o r th d e s c r ib es t h e e ld e s t s o n o f a p o o r vag
“ ”
ra nt a s h e r eld e r g r i e f W i t h P o p e th e r e p o s e o f d e ath is
.

“
t he S abbat h o f th e t o mb f o r W or d s w o r th th e ca nt o n o f
“ ”
Un t e r w ald en,w i th it s s il ent s u m m i t s is a S abbath r e gi o n ,
.

B u t t h e o cca s i o ns o n w hi ch W o rd s w o r t h h a s b o r r ow e d a r e
s o num e r o u s t ha t a s p e cial e di t i o n w o uld b e r e q u ir e d t o

e xha u s t th e li s t S u ffi c e it t o s a y t ha t
. b e s id e s th e p o e t s ,

alr e ady m ent i o n e d , ma ny o th e r s o f th e e i gh t e enth c e n t ur y

a r e laid u nd e r c o nt ribu t i o n by him w h e th e r th e fac t is ,

a ck no w l e d g e d in h is no t e s and by qu o t a t i o n ma r k s o r no t
, , ,

s u ch a s Y o u ng H o m e S m o ll e tt B e a tt i e
, , T o t h e s e m i gh t b e
, .

add e d t w o F r ench nam e s D e lill e a nd R o s s e t t h e au th o r o f

, ,

L A g r ic u ltm e o u le s Ge or g iq u es a i
’
'

ga s e s , t h e m o s t a w k
w a r d ly p e r iph r a s t i c o f o u r d es c r ip t iv e p o e t s O f c o ur s e .

W o rd s w o r th s i m i t at i o ns a r e no t s t r ic t ly li m i t e d t o e igh
’

t e enth c e nt ur y ba r d s ; s o m e i nc ru s t a t i o n s f r o m S p ens e r ,

S h ak e s p e a r e a nd e s p e cially M il t o n a r e t o b e di s c o v e r e d in
, ,

h is m o s ai c — w o r k ; h e e v e n m ak e s u s e o f pa s s ag e s f r o m th e

1
T h e E a r ly L if e o f Willia m Wo r ds w o r t h , p . 1 40 ff .
94 WO RDSWORTH S TH EORY ’
OF POETI C DI C TION

B ibl e , w hi ch l o o k v e ry s trang e in th e f o rm o f his e la bo rat e

c o upl e t T o c o n t e mp o ra r y p o e t s h e s e e m s t o o w e v e ry li tt l e ;
.

o nly a S c o t c h w o rd t o B urns , wh o m h e nam e s , a t o uch to

L angh o rn e , m o r e p e rhaps t o C o wp e r s Ta s k an d m o st t o ’

S am u e l R o g e r s P lea s u r es of M e m e r y, o f w hich h e mak e s

’

’
no m e n t i o n .

No t o nl y d o e s h e ma k e u s e o f all w o r d s a nd phras e s th at
h e can a cquir e in r e adin g ; h e al s o at t emp t s t o wi d e n th e
a ppli ca t i o n o f familiar w o r d s by a d aring m e t aph o ri cal

us ze — H e tas tes t h e m e an e s t n o t e t ha t sw e lls th e g al e

‘
.
’1

th e cra h i ng wo o d
s

Giv e s wa y , a nd h a l f it s pi ne s t or m e nt the fl o o d .
2

H is c o mpo unds ar e e quall y b o ld : lip d ew ing S o ng , rin g

‘
-
’3 ‘

le t t o ssing D anc e ,
- “ ‘
—
o a r f o rg o tt e n fioods ,
5
d ay d e s e rt e d
’
-

’
h ome, etc 6
.

M an y o f th e s e e xpr e ssi o ns a r e e xagg e rat e d e nough , a s

W or d s wor th s o on d i s c o v e r e d ; but the ima g inativ e e nte r
pris e t h at th ey d ispla y i s r e mar k abl e T hi s is no t t h e .

r e m nant o f an o ld s ty l e it is th e cru d e but vig o r o us b e gin

ning o f th e new T o s a y th a t th e s e p o e m s a r e in t h e p o e ti c
.
‘

dic t i o n o f the e i gh t e e n th c e n t ur y is t o sp e a k , appar e n t l y ,

’

wi th o ut h aving un d e rgo n e th e sad exp eri en c e o f r e a d in g th e

mi sc e llani e s o f t ha t p eri o d W o r d sw o rth d o es no t j uggl e
—
.

th e o ld familiar e xpr ssi o ns

e balm y z ephyr s , blu s hin g
‘ ’ ‘

F l o ra , pain t t e d w y m ads , e t c
’
h
‘
e e — int o a s li gh t l y d i ff er
’
.

e nt p o s i t i o n a nd imagin e h e has mad e a ne w p o e m

, He .

n n f r n e —
fid s a ew e xpr e ssion o a w imag e e v en a t th e c o st
o f b e in g ri d icul o u s ; an d in t his lay t h e h o p e an d t h e

b e gin ni ng o f a new p oet ry .

9 6 WORDSWORTH S T H EORY ’
OF POETI C DI CTION

u s e d in an o b s o l et e s en s e , a t t im e s with a s o m ew ha t p e d an t i c
r e gar d f o r e tym o l o gy , o r o f w o r d s e xc e e d ingl y rar e , i f
1 2

no t n e wly c oin e d ; abn o rmal c o n s t ruc t i o n s , f o r instanc e ,

3 -

t h e imi t a t i o n o f t h e a b la tiv e ab s o lut e , t o whi ch M il t on was

v e ry par t ial ; mi s us e o f the inv e rsi o n w hi ch c o nsists in
4

makin g th e subj ec t f o ll o w th e v e rb , b y e mploy in g it wi th o ut

b e ginning th e s en t e nc e wi t h a ny o f th e adv e rb s that ju s t ify
it s u s e ; s e parati o n o f r e la t iv e a nd ant e c e d ent f o r t h e sak e
5

“
o f e l e ganc e ; n o uns in o bli q u e ca s es plac e d b e for e th o s e

M . i v e s t o b e it s m o d ern r ep r e s nt a t iv e A p o et ica l
Leg o u is b e l e e .
‘

s h o r t ni ng f i llu m i ne ay s th e N E D L i k e o th e r p o et ic ’
e o , s . . .

f rm s t h i s w s lat e r a b a nd o ne d b y W r d s wo rth O u t s i d e o f th e
p o em s f 1 7 93 th r is b u t ne xa m p l o f it u —
o , a o .

o , in t h e li ne
e e o e e s se

A n a p e c t t nd e rly i llu m i ne d in t h e p o em b eg i nni ng D epart i ng

‘ ’ ‘
s e ,

s um m er O x f o r d e d i t i o n p 498
’
, , . .

1
M Leg o u is ci t e s
. e xa m p les u ining f o f lling d o wn ( D S
, as , r r a . .

h ply f o per ha ps ( D S
a ha ple s f o u nha ppy ( E W
r . . s r . .

a s pi es f o r a s c e nds ( D Sr T h e u s e o f m ining is p r o b . .

a b ly a r em i ni s c enc e o f P L 6 86 8 O f ha ply th e N E D s ay s . . . . . .
,

No w arc h aic o p o et ic B u t t h e wo r d ha p le is no t s o d e i g na t e d ;
‘ ’
r . ss s

it is no t i nfr qu nt in m o d rn pr o s e e e e .

A s e xa m p l
1
M Leg o u i ci t e v iew l s s f o inv is ib l ( E W 1 48
es . s s e r e .

D S 3 6 92 22 7 548 6 48 )
. .
, m v ele , f o m o tio nles s ( E W 1 0 4 20 6
, , o ss r . .
, ,

D S 226
. . s om b o u f o da k ( E W
, Viewles s a nd r s r r . .

m ov le ea e wo r d s t o wh ic h D o r o t h y Wo r d wo rth e s p e cia lly

ss r s

o b j c t e d in h
e cri t ici m s o f th e p em s o f 1 7 93 ( L W F 1
er s o . . . .

Vi wl e i m m e d iat ely s ug ge t s S h ak e p e are s li ne T o b e i m p ri s o ne d

es s s s
’

,
‘

in t h e vi wle s w i nd s ( M a s f M as 3 1 I t al o ccur
’
e s e . or e . . . so s

in t h e p e t ry o f M i lt o n ( P L 3 51 8 ; C a m u 92
o T h e ci t a . . . s ,

t i o ns in t h e N E D i llu s t ra t ing t h e u s e o f . m br ou . d o no t . so s

s ugg e s t th a t it is a n o b s o let e wo r d o a wo r d c o nfine d t o v ers e , r .

I n Wo r d w o rth s p o e t ry it is u e d o nly in t h e E v e ning Wa lk

’
s s .

3
As xa m p les M L g o u is ci t e nb thi g ( D S
e , . nd e s u e ea h . . a

mpa thw a y (D S
’
i d f o r pa th les s . .

‘
E . W . 1 45 F o r th e
. u se of th e ab la t ive a b lu t in E ngli h so e s

s ee Ro s s ,
‘
T h e A b s o lu t e P art icip le in M i dd l nd M o d er n E ng li s h
e a ,

P ub M od . . L a ng . Ass 8 . . 2 45 ff .

5
M L e g o u is . ci t e s E . W 44 .
7 0 , 1 2 3 , 2 3 0
, , 2 80 , 3 6 5, 3 7 7 , 428 ; D . S .

18 6 2 , 6 5, 1 46 - 1 47 , 217 , 2 29 , 2 87 , 555, 566 , 7 0 1 .

E 1 89
. W . .
 WORDSWORTH S POETI C DEVELOP M ENT ’

97

w hi ch g o v e r n t h e m a c o ns t r uc t i o n w hi ch W o rd s w o r th m a n ,

a g es wi t h e s p e cial a w k wa r d ne s s , a nd ne v e r e nt i r e ly d is

ca r d s ; vi o l ent di s pla c em ent o f t h e di r e c t c o m pl e m e nt

1
'

w hich is t o o s h o r t f o r t h e purp o s e t o m ak e it p r e c e d e t h e ,

v e rb i nv e r s i o n o f th e di r e c t p r ono m i nal o bj e c t w i th all th e

2
,

c h a r ac t e r i s t i c s o f o ne o f M il t o n s L a t in c o ns t ruc t i o ns va r i ’

,
3

o u s u nc o m m o n e llip t ical c o ns t ru c t i o ns o r o dd i nv e r s i o ns o f
1
,

di ff e r e nt ki nd s 5
adj e c t iv e s arbi t r a r ily m ad e t o d o d u t y a s
adv e r b s 6
s u b s t a nt iv e s u s e d a s adj e c t iv e s
7
a nd c o m p o u nd

w o r d s e i th e r v e ry rar e o r o f th e po e t s o wn i nv ent i o n
’
8
.

T hi s curi o u s s tyl e may b e illu s t ra t e d by th e f o ll o w i ng

"
passag e :
A n i d le v o ic e t h e s ab b a th r e gi o n fi lls
O f D e ep t h a t ca lls t o D e e p acro s s t h e h i lls ,
B r o k e o nly b y t h e m e la nc h o ly s o u nd
Of d ro ws y b ells v r t i nkli ng r u nd ; fo r e e o

F ai nt w ai l o f e ag le m elt i ng i nt b lu o e

B n at h th c liff s nd pi n —
e e w o d s t a dy ugh
e , a e o s e s

Th e s o li t ary h e i f er s d e ep en d lo w
’ ’

O ru m b li ng h e ar d r em t e f fa lli ng s no w
r o o .

W .
3 21 ,
-
D . S . 26 8 , 3 90
-
3 9 1 , 50 2 .

1 22 , 2 55 .

1
D . S 4 5 47.
-
.

5
D S . . 1 1 - 12, 7 94 .

6
E W 1 49 , D S 3 77 Cf Wo r d s wo rth s ’
j ct i on t
ob e o f r u itles s
—A pp
. . . . . .

fo r f r u it le s s ly e nd ix on P o et ic D ic t i on .

7
15 . W . 13 7 , 1 53; D . S . 1 7 7 , 299 , 43 2 , 558 , 58 1 , 6 97 , 7 1 8 , 7 20 , 7 7 s,
ci t d e by M . Le g o u is . Cf . Wo r ds wo rt h s la t e r ’
ob e j ct i on to th s i
h ab i t ( Ox f o r d viii ) e dit io n,
'

p . .

C 1 T h E ly L if of Willi m W d w th p 1 3 5 f t n te
8
. e ar e a or s or , .
, oo o

E v r y w ri t r wh th r o f pr of p t ry h a righ t t f rm
‘
e e , e e o se or oe , as o o

n w c o m p o u nd w r d s
e nd it i n d l t p i nt ut ny b u t th e
o , a s ee es s o o o a os

w h ic h m wh a t b s cur o d m a nd m e i nv e t iga t i n i f th y e so s o e

—
e ar so e o e, r

u nd r t d F xa p ; ’
l w p ting i
‘
b l h ‘
are t o e m t
e s oo . or e e o o ar oar, . e .

f m i ng a h ll w in th w a t r w ll d ivi d i ng it ( E W
or o o e e as e as . .

o u nd i ng h o llo w b en a th t h e s u dd en
’
h ll w b lu t ing c i
‘
o o -
t s er oas , . e . s e

squa ll T h m n h d app li d t h a m epi th et t th e m i nd

. o so a e e s e o

( Winte r
9
D S 43 2 44 5
2
. . .
9 8 WO RDSWORT H S T H EORY
’
OF POETIC D ICTIO N

S av e t h a t the s tra ng er s een b elo w t h e b o y

, ,

S h o u t s fro m t h e e c h o i ng h i lls w i th s avag e jo y .

Wh en warm fro m m y rtle ba y s a nd t ra nqui l s e a s ,

C o m es o n t o wh i p e r h p e th e v ernal bre e e
, s o ,
z ,

Wh e n h u m s th e m o u nt ai n b e e in M a y s gla d e a r ’
,

A nd m e ra ld i s le s t o s p o t t h e h e i g ht s app e ar
e .

H e r e, asmay b e s ee n a t o nc e , t h e fault li e s , not in th e

ch o ic e o f w o rd s , b ut in t h e syntax T h e y o ung p o e t i s tr y
.

in g t o empl o y in E ngli s h th e l e ss r e s t ri c t e d or d e r o f L a t in
v e rs e T h e a w kw ar d u s e o f th e par t i cipl e in lin e s 43 4, 43 9 ,
.

and 44 0 o f t his p as s ag e ; th e s eparation o f a w o r d from it s

m o difi e r in lin e s 4 3 2 an d 4 3 3 ; an d t h e placin g o f th e v e r b

b e f o r e th e sub j e ct , a nd t h e adv e rbial phras e b e f o r e th e v e rb

w hich it c o mpl et e s , in li nes 44 4 and 44 5 t h e s e a r e all th e -

r e sul t of d isr e ga rdin g th e familia r conv e nti o ns o f th e sp ok en

E ngli s h s e n t e nc e , o n which th e int e lli gibility o f o u r unin
fie c t ed sp e e ch i s s o lar g el y d e p e n d e nt M o st of th e m m ay
.

b e para ll e l e d in th e p o e t ry o f M ilt o n , fr o m wh o m , in d e e d , a
v e r y l arg e numb e r o f p e culi ar w o r d s a nd forms in th e s e
p o e m s a r e dir e c t l y b o rr ow e d M il t o n , rath e r t han th e lan d
.

s c ap e s ch o o l w hich M L e g o u is a s s i gns a s t h e m o d e l o f
-
.

t h es e po e ms , s ee m s t o b e d ir e ctly r e sp o nsibl e f o r m o st o f
t h e va ga ri e s o f languag e in t h e m D e s pi t e W o r d s wor th s
’
.

o bvi o us in d e bt e d n e s s t o h is pr e d e c e s s o rs in th e la t t e r part

o f th e e ight e e n th c e ntur y , n e i t h e r t h e faul t s no r t h e virtu e s

o f t h e s e d e s crip t iv e p o e ms a r e r e ally r ep r e s e n t ativ e o f t h e

t y p e o f p o et i c di c t ion p r e va l e n t b e f o r e him A s we h av e .

p o in t e d o ut , th e b e s t a chi e v em en t o f th e e i gh t e e n t h c e ntur y
w a s a cl e ar a nd natural o r d e r an d s y ntax ; it s w o rs t a chi e v e
m e n t wa s a s e t o f p eri phras t i c phras e s , w hich d id du ty f o r
s impl e w o r d s and o ri ginal ob s e rva t i o ns N e i t h e r o f th e s e
.

a r e ch aract e ri s t i c o f W o r d sw o rth s C ambri d g e p o e ms

’
A .

c o m pari s o n o f th e v e r s e s alr e ady giv e n a s a s p e cim en o f th e

gaudin e s s a nd i nane phra s e o l o gy o f W o rd s w o r t h s t im e
‘ ’ ’

w i t h th e pa s s ag e fr o m t h e D es c r ip tiv e S k e tc he s j u s t qu o t e d
will e stabli s h th e t r u th o f thi s s t a t e m e n t T h e f o rm er is a s
.
1 0 0 WORDSWORT H S T H EORY ’
OF P OETI C DI C TION

T h e ir ri s i ng a ll a t o nc e wa s as th e so u nd
O f th u nd e r h e ar d r e m o t e ;
1

the f r e qu ent u s e o f t h e phra s e , b o s o m d d ee p , in imi t a t i o n ‘ ’

o f M il t o n s b o s o m d hi gh in t uf t e d t r e e s , e t c
’ ‘ ’ 3 ’
.

A l th o ugh the infl u enc e o f M ilt o n , and th e prac t ic e o f

wri t ing in L a t in , s ee m t o b e r e s p o n s i b l e f o r th e mann eri s m s
o f th e d e scri p t iv e p o e ms t hi s e arl y d iffi c ulty with s y n t ax,

i s charac t e ri sti c o f W o r d s w o r th I t i s d u e t o th e sam e .

t en d e nc y t ha t ma k e s h is cri t i cal u t t e ran c e s o bscur e — th e

t end e n cy o f hi s int e ll e ctual i d e as t o b e c o m e inv o lv e d w i t h
i nt ens e e m o t i o nal and imagina t iv e as s oc ia t i o ns , w hich h is
r e a d e rs d o no t al w ays s har e S o m et im e s , in hi s la t e r blan k .

v e r s e, it was as d iffi c u lt f o r W o r d sw o rt h t o g o strai gh t t o

th e p o int in a s e nt e nc e a s it was f o r him t o g o s t rai gh t t o

t h e climax in a narrativ e T h e t h o ught was s u ffi c ie nt ly .

cl e ar and e n e r g e tic ; it did no t l o s e si ght o f th e fi na l g o al ;

but it carri e d s o much w e i gh t that th e mov em e nt was s o m e
what imp e d e d I t i s n e c e ssar y t o r e c o gni z e t his d iffi c u lty

—
.

in makin g u se o f th e cl e ar but limi t ed s ent enc e s t ructur e

o f th e e i ght e e nth c e n t ur y , wh e n it fi r s t a pp e ars in W o rd s

w o r t h s p o et r y, b e caus e it e xplain s s o m e o f hi s lat e r e xp e r i

’

m en t s D r yd en an d h is f o llow e rs ha d r e n d e r e d an e ss en t ial
.

s e rvic e , by m ak ing th e wri t t e n l a nguag e c o rr e sp o nd m o r e

ne arl y t o th e struc t ur e o f th e sp o k en l ang ua g e ; but t h e ir

syn t ax w a s t o o impa s s i o n e d , t o o in e xpr e ssiv e , f o r W o rd s

w o r th s fr ee r and b o ld e r g e niu s H e n ee d e d a m o r e fl ex ib le
’
.

in s t rum ent , and , in t h e end , h e f o und it .

B u t i f Wo r dw o r th s s yn t ax is p e culia r , hi s fi
’

g u r e s o f
s p ee ch a r e m o r e so I n st anc e s o f p e r s o nifi .
‘
c a t io n, which in

C o llins and Gray a r e a lr e a dy p l e n t i ful , s w arm in th e E v e

ning Wa lk and th e D es c r ip tiv e S k e tc h es I m pa tieii c e pan t
“
.
,
”
ing upward climbs m o un t ain s o b s e qui o u s Gea c e pur s u e s
,
4

1
P . L . 2 .
47 7 .

1
B . W . 13 ; D S 8 1 ; c f L A lleg r o 7 8
. . .
’
.

1
Th e use o f e r r o ne o u s , D S 6 89 , s e s t s M lt o n, P
. . u gg i . L 7
. . 20 .

‘
E . W .
35 .
 WORDSWORTH S POETI C DEVELOP MENT ’
10 1

the mal e an o n t h e lak e whil e t end er Ca r es a nd d o m es tic

sw ,

L ov es s wim in pur s ui t o f th e f e m al e ; P a in h a s a s a d
1

f a m ily ; I nd ep end enc e is th e child o f D is d a iii ; H op e l e ans

z 3

c eas e l e s s ly o n P leas u r e s fun e r e al u rn ; Co ns u m ptio n ’ 1

,
“ ”
w i th ch e e k s o e r s p r e a d by s mil e s o f bal e ful gl o w , pa s s e s
’

“
t hr o ugh t h e villag e s o f F ranc e o n a pal e h o r s e ; Oppr es
s

s io n build s h e r
— ”
t hi ck r ib b d t o w r s ; M a c hina tio n fl e e s
’ ’

“
p a n t i n g t o t h e c e n t r e o f h er mi n e s P e r s e c u tio n d e ck s

h e r b e d ( o f t o r t u r e ) w i th gha s t ly s m il e s ; A m b itio n pil e s

up m o un t ain s , e t c T h e p o e t s fancy b e c o m e s s t ill
6 ’
.

m o r e w hi m s i cal w h e n h e a tt ribu t e s hu m an o r ani m al charac

t e r is t ic s not t o ab s t rac t i ons which h e c a n e nd o w w i t h any
,

f o r m h e pl e as e s , b u t t o o bj e c t s o r ph e n o m ena s o f amiliar t o
u s t ha t o u r kno w l e dg e o f t h e ir na t u r e pr o t es t s again s t

such a t r av e s ty Th e bl oo d w hich fl o w s fr o m t h e w o u nd e d
.

“
f ee t o f th e cham o i s hun t e r i s L a pp d b y th e p an t ing t ong u e
-
’
l

”7
o f t hir s t y s k ie s i T h e m o un t ai n shad o w c r e e p s t o w ard t h e -

”8 “
cr e s t o f th e hill wi t h t or tois e fo o t S il e n t s t and s th .
’

”
admiri ng v a le ( i e th e Villag e r s ) 9
F r e qu e n t ly fal s e
. . .

pa th o s i s m i ngl e d w i th t h e s e e ff e ct s A n o ld man s lyr e i s .

’

i t s el f no t o ld b u t a g e d 10
T h e Gr and C har t r e u s e h o a r y w i t h
, .
,
“ ”11
s n o w , w eep s b en e at h hi s chill o f m o un t ain gl o o m An d .

t h e s e c o ns t a nt ly r e curring p er s o nifi c a t io ns e x t e nd e v e n t o

t h e g r a m m ar T h e n e u t e r g end e r t e nd s t o di s app e ar
.
1
and ,
2

1
B . W . 20 0 , 20 6 -20 7 .

( t a k e n fro m pe M an 2
1
D S . . 2 Po , Es s ay on .

h 3 23 -
3 24 .

a 51 8 .

w 7 88 7 9 1 -
.

e w 7 92 80 4 -
.

w 3 97
h 10 5 .

1
E . W . 1 88 .

”
D . S . 17 1 .

11
D .
54 S . .

11
B ea c o n ( E . W . s te e p (E . W . m o u nt a in
336 e tc .
, are m a cu li n
s e .
1o2 WORDSWORTH S T H EORY ’
OF P OETI C DI C TION

th e g e ni t iv e c as c o mm o nl y u s e d o nl y in r e f e r e nc e to liv
e,
1

ing b e ing s , i s c u ri o u s ly appli e d t o w o rd s o f ev e ry s o r t

’
.

T hi s a tt emp t t o pr e s e n t e v e ry thing by an imag e M .

Le g o u is a s crib e s t o th e infl u enc e o f Da r w in T hi s ma y b e

.

tru e ; b ut it is d o ub t ful wh et h e r th e passag e in th e B io

g pr a h ia L it e r a r i a o n w hi ch M L e g o u is bas
. e s t h i s c o nclu s i o n
can r e f e r t o W o rd s w o r th C o l e ri d g e i s s p e ak in g o f
.

a dmir e r s o f D arwin w i th w h o m h e us e d t o di s pu t e in h is

e arl y C ambridg e d ay s A t t hi s t im e h e d i d no t k no w
2
.

W o r d s w o r th ; a nd w h en th e t w o y o ung m en m et , Wo r d s
w o r th had a lr e ady r e c o v e r e d fr o m any in fa t uat i o n f o r v e r s e
o f t h e t yp e o f t h e B o t a nic Ga r d eh — if h e e v e r f e l t it .

B e sid e s , in t h e n o t e t o t h e D es c r ip tiv e S k e t c h es w hich is ,

hi s o nly cri t i cal u tt e ranc e b e f o r e th e t i m e o f th e L y r ic al

B a lla ds h e pr o t e s t s against D arwin s fav o ri t e t e rm , pic
’

tu r es q u e w i th c o nsid e r abl e e n e r gy
,

B u t w h e t h e r W o rdsw o r th i s infl u e nc e d by Da rwin o r no t ,

h is p e r s o nifi c a t io ns are v e ry di ff e r e n t fr o m m o s t c on
t e mp o rary fi g u r es o f this s o r t , inclu d ing t h o s e o f t h e

B o ta nic Ga r d en T o fi nd any thin g r e all y parall e l t o th e m

.

w e mu s t g o bac k t o th e m e t aph y si cal p o e t s A s C o l e ridg e

.

n o t i c e d th e chi e f d iffi
, c u lty w i t h t h e p e r s o nifi c a t io ns o f t h e

e i gh t e e nth c e n t ur y i s t h a t t h e y r e main ab stracti o ns T he .

o nly s i gn o f t h e s upp o s e d h umani t y ( o r divini t y in t h e

s hape o f huma i ty ) o all th e s e fi

n f g u r e s — F l o r a s , C y n t hia s ,

—
H o p e s and L o v e s o f t h e p e ri o d is th e c o nv ent i o nal s y m b o l
,

o f th e capi t al l e tt e r an d s o m e e q ually conv e n t i onal a dj e c

t iv e — p a le Cyn thia , b lu s hing F l o ra , e t c T h o u gh D arwin .

mak e s a s p e cial e ffo r t t o giv e human p ers o nali t i e s t o all

hi s v e g e tabl e l o v e rs , h e d oe s s o mainl y by a m o r e lib e ral
1
W 7 6 51 ; D S 27 4 1 53 225 Wo r d s wo rth nev er d i d
E . .
, . .
, , . share
C o le ri d g e s o b j e c t i o n t o t h i s u s e o f t h e g e ni t iv e m a ny
’
S e e th e .

a wkwar d exa m p le s o f it u nd e r wi th wo r d s li k e edg e ( la k e s ‘ ’ ’

e dg e,

etc .
) in th e C o nc o r d a nc e .

1
B L . . 1 . 12 .
10 4 WO RDSWORT H S T H EORY ’
OF P OETI C DI C TION

t o th e la dy i s mor e h a pp y—a s in that b e auti ful p assag e

fr o m th e E v ening Wa lk w hi ch ma y b e qu o t e d , in full ,
b e caus e in it a r e c o nc e n t rate d man y of th e fi
ne s t charact e r
is t ic s o f th e s e p o em s

T he bir d ,fa d i ng light wh o c ea s d to th re a d

i
w th
’

S i le nt t h e h e d g e o s t ea m i ng rivu let s b e d
’
r ,

F ro m hi gre y r e ap p e ari ng t o w r h a ll s o n
s -
e s o

S a lu t e wi th b o d i ng no t t h ri s i ng m n e e oo ,

F ro s t i ng w i th h o ar y ligh t t h p e arly gro u nd e ,

A nd p o uri ng d ep e r b lu e t o Z E th b o und ; ’
e er s

R ej o ic d h e s le m n p o m p o f c lo u d s t o f o ld
’
r o

I n ro b e s f a ure fl e e y wh i t e
o z nd g o ld
, c , a ,

Wh i le ro s e a nd p o p py a s th e glo w w o rm fa d e s ,
-
,

Ch c q u e w i th p a le r e d th e th ic k et s h a d e s
er r .

No w o e r t he e a s t e rn h i lls wh e r e D arkne s s bro o d s

’

O e r a ll it s v a nish d d ells a nd la wns a nd wo o d s

’ ’
, ,

Wh er e b ut a m a s s f s h a d e th e s ight c a n t rac e
o ,

S h e lif ts in s ile nc e up h er lo v e ly fa c e ;
A b o v e th e glo o m y va lley fli ngs h e light r ,

F a t o t h e we s t e rn s lo p e s w i t h h a m let s wh i t e ;
r

A nd giv e wh e r e wo o d s th e c h e q u e d u p la nd r
s t e w,
’
s, c r

T O t h e g ree n c o rn o f s u m m e r au t u m ns h u e
’
.

B u t th e ar t is t i c o ri ginality o f thi s e arl y w o r k i s no t t o

b e m e asur e d b y it s q uaint e xagg e ra t i ons I n th e passage .

j ust q u o t ed ( and t hi s i s th o roughl y ty pi cal ) t h e r e is s o m e

t hin g that a t o nc e e xplain s th e p assi o nat e e nthu s iasm wi t h
which C o l e ri d ge h ail e d th e new g e nius I n th e fi r s t pl ac e .

t h e r e i s t h e accura t e o b s e rvat i o n o f t h e na t ural f e a t ur e s ,

no t a s d e a d o r s t ati c , but in th e ir living and chan gin g r e la

t i o ns t o e ach o th e r — —
in t h e imag e o f th e gr e y r e appe ar
ing t o w e r , th e fa d in g o f th e gl o w w o rm , th e app e aranc e -

of th e pal e r e d r o s e s a nd po ppi e s in t h e t hi c k e t , e t c
-
.

H is fi r s t p o et i c impul s e ha d c o m e t o h im w h e n h e n o t i c e d

h o w th e suns e t radianc e chang e d an d glo r ifi e d th e familiar

fac e o f c o mmon thin gs Th e ar t is t i c m o tiv e t hu s sugg e s t e d

.

t o h im a t f o ur t e e n i s e v e r y w h e r e pr e s e n t in t h e s e e arl y

1
E . W. 8
3 9 40 6
-
.
 WORDSWORTH S POETIC DEVELOP MENT ’
1 0
5

p ms , n
oe
o t o nly in t h e s ub t l e o b s e r va t i o ns of t h e E v e ning
Wa lk b ut in th e spl endid climax e s o f li gh t
,
a nd c o l o r in the

D es c r ip tiv e S k e tc h es .

it w a s thi s sam e e xp e ri enc e that fi

P e rhap s r s t s t i m ula t e d

W o r d sw o r th s s p e cial in t er e s t in c o l o r , charac t e ri s t i c o f th e
’

t im e w h e n h e w a s

B ent o v er m uc h o n s up e r fic ia l i ng th s,

Pa m p ri ng m y s el f w i th m
e e agr no v lt i es
e e

O f c o lo r a nd pro p o r t i o n .

L a te r , a s M i s s P r att s ay s o f W o r d s w o r th s ma tu r e p o e t r y ’

,
1

in c o ntra s t w i t h t h e v o i c e o f wind and s t r e am , f o rm s a nd

‘

c ol o rs w e r e t o him e x t e rnal quali t i e s , N at ur e s d r e s s ra th e r ’

t han th e u tt e r a nc e o f h e r li f e ; a nd f o r t hi s r e as o n t h o ugh ,

t h e y app e al e d t o W o rd s wo r t h s e y e and w e r e mi ngl e d wi t h

’

happy m em o ri e s th ey m e an t l e s s a nd l e s s t o him a s hi s
,

m i nd b e ca m e mo r e ma t ur e and m o r e wa t ch ful f o r
‘
th e
”
la t ent q u ali t i es a nd e s s enc e s o f th i ng s .

T hi s is t r u e ; b u t it b e c o m e s s t ill m o r e s ig nifi c a nt wh e n

w e n o t e a s M i s s P ra t t h a s fail e d t o d o
,
2
t h e r e mar k abl e ,

s pl end o r a nd vari e t y o f c o l o r in t h e s e p o e ms w h o s e lavish ,

n e s s in th i s r e s p e c t c a n b e parall el e d o nly in th e e arly w o rk

o f K eat s .
—
P uri ty a nd s e l f r e s t ra in t a r e t h e m o r e no t abl e
—

w h e r e th e e n e rgi e s a r e w a r m and p o w e rful ; and W o rd s

w o r t h s la t e r pr e f e r e nc e f o r th e qui e t gr e e n t in t s o f fi e ld
’

and w o o d is t h e m o r e int e r e s t i ng w h e n w e p e rc e iv e h o w h is
e arly p o e ms flam e w i t h s carl e t and g o ld —h o w h e l o v e s t h e

li gh t a nd fi r e o f t h e s e tt i ng s u n m o r e t han all t h e s e cr e t

and s had o w y b e au t i e s o f na t ur e .

1
C o lor in E ng lis h R o m a ntic P o e tr y , p p 55- 56 . .

S h e no t e s t h t t h e e r ly o e m s o f Wo d s w o t h
a a p r r pl y c r
2
em o o lo

as avi h ly do t h e arly p m f K a t ( p
l s as e oe s o e s . wh o
‘
in w e ltha
of c l r t a nd w i t h u t a p r (p b ut she fai ls t n t th
’
o o s s o ee . o o e e

e ff c t iv n
e nd t h
e es s rigi na li ty f t h c o l r
a e o o e o . Th c l r f th
e o o o e

y u ng W r d w rth i i m agi na t iv wh r th a t
o o s o s e, e e o f t h y u ng K a t
e o e s

i m r ly d c ra t iv e
s e e e o .
10 6 WORD SWORT H S T H EORY ’
OF POETI C DI C TIO N

T hi s in t e r e st in col o r is parall el e d b y a n int e r e st in

—
s o u nd vi s ibl e no t o nly in succ e s s ful a tt emp t s t o di ff e r
e nt ia t e th e vari o us n o t e s a nd v o i c e s , but in a n e ffo r t to

mak e th e s o und a n e ch o to th e s e n s e I n late r y e ars , .

al th o u gh W o r d s w o r th a lways t ri e d t o giv e m el o dy and

harm o ny t o his v e rs e , and w a s alm o st p ainfull y cons ciou s
o f a n unpl e asant j arring o f soun d s , h e w a s no t inclin e d t o

u s e t h e d e vi c e o f o no m a t opce ia I n t h e s e e arly p o e ms , h o w
.

e v e r , t h e r e a r e many int e r e s t in g e xampl e s o f it One o f th e .

m o s t o ri gi nal o f th e s e i s t he lin e : Glad in th e ir air y ba s k ets , ‘

“
hang an d sin g ; but th e r e a r e man y m o r e ob vi o us e ff o rts
th e s ilv e r
’
d k it e
I n m nya a whis tling c i c le whe ls h e fl ig h t
r e r .
2

Wi th p ens iv e s t ep t o m ea s u r m y s low wa y e .
3

S o u nd o f c l s d g a t e acro s s th e w a t e r b o rne
’ 4
o .

H u r r y ing t h e f e e ding ha r e t hr o u g h r u s t ling c om .

5

Th e d i s t a nt f o rg e s ’
sw i ng i ng u p p ro f o u nd
th m .
6

To achi ev e such e ff e cts in th e m e t r e o f th e h e r o ic c o upl e t

was s o m ethin g o f a t riumph L ik e e v e r y thin g e l s e in th e .

p oems , th e y a r e no t s o much an imita t i o n o f an ol d f o rm

a s t h e pr o mi s e o f a new , a nd p o in t t o th e e m e rg e nc e ab o v e

th e h o ri z o n , no t o nly o f a new an d Vita l g e nius , but o f a

v e r y s el f c o nsci o us artist
-
.

4 . S tu dy a nd S el f -
Cr itic is m .

No s o on e r h a d th e s e e ff o rts a pp e ar e d t h an W or d sw o rth
b e gan t o s e e th e ir d e f e c t s I n thi s h e w a s gr e atl y a s s i s te d
b y th e can d or o f hi s famil y—no t o nly o f D o r o th y , b ut o f
.

—
C h r i s t o ph e r th e n an und e r g radua t e a t C ambrid g e , wh o
1
15 . W . 1 50 .

1
B . W .
90 .

3
D . S . 1 65 .

‘
E . W .
44 1 .
10 8 WORD SWORT H S T H EORY ’
OF POETI C DI C TIO N

t ing u is h my s el f at th e univ e rs i ty h e s ay s I th o ugh t th e s e

’

, ,
1 ‘

littl e th ings mi gh t sh o w that I c o ul d do s o m e thin g T h ey .

h av e b ee n tr e a t e d wi t h unm e ri t e d c o nt e mp t by s o m e o f th e
p e ri o d i cal publi cati o n s and o th e rs h av e sp o k e n o f th e m in
,
’
hi gh e r t e rm s t han t h e y d e s e rv e .

A cc o r ding t o W o rdsw o r th s o w n s tat e m e n t , t h e r e sult o f’

t h e s e c o rr e c t i o n s is e mb o di e d in th e v e rsi o n print e d in 1 8 2 0 .

B e cau s e o f th e p oe t s t e nd e ncy t o b e a li t tl e inaccura t e wi t h

’

r e gard t o da t e s , and t o k ee p r e t o u chi ng all h is w o rk e v e n

w hil e it wa s g o in g th r o ugh t h e pr e s s , it i s th e cust o m t o
d o ubt hi s w o r d in such ma t t e r s B u t it hap p e n s t h a t t he .

faul t s c o rr e c t e d i n th e v e r s i o n o f 1 8 20 a r e e xac t l y th e faul t s

whi ch h e car e fully av o i d s in hi s n e x t e ff o r t Gu ilt a nd u

S o r r ow ; an d f o r t h e o ri ginal f o rm o f t hi s l att e r p o e m w e
hav e th e t e s t i m o ny o f C o l e rid g e H e nc e w e s ee m t o b e .

j u s t ifie d in acc e ptin g W o r d sw o r t h s o wn s t at e m e nt I n th e ’

.

v e rsi o n o f 1 8 20 th e s t ructur e o f the languag e is s o m e what

impr o v e d ; a f ew o bj e c t i o nabl e w or d s o r f o rms ( s uch a s
g az e u s e d as a t ran s i t iv e v e rb ) a r e o mi t t e d ; an d s o m e
e xc e ll ent lin e s a r e add e d B u t t h e r e all y n o t abl e f e a t u r e
.

is th e unc o mpr o misin g e j e cti o n o f almos t e v e rythin g in th e

natur e o f a p e r s onifi c a t io n I n th e fi r s t s e v e n t y lin e s o f
.

t h e E v ening Wa lk f o r in s t anc e , M ir th M e m e r y , s o ft A [fee

, ,

tio n and Q u ie t all d i s app e ar

, S o m e t im e s s e v e ral lin e s a r e
.

f o rc e d t o di s app e ar wi t h t h e m S o m e t im e s th e chang e i s .

m o r e e asil y e ff e c t e d I n s t e ad o f s o f t A ff e cti o n s ea r
.
‘ ’ ’

W o rd s w o r th m e r e l y say s unr e luc t an t e a r ; for t h e lin e ‘ ’

T h e n Q ui e t le d m e up th e huddli ng rill
‘ ’ ‘
h e w rit e s T h e n , ,

w hil e I w an d e r e d up th e huddling rill

’
et c , .

B u t whil e h e w a s t hu s im p r o v 1ng h is t e chniqu e , W o r d s

w o r t h wa s al s o d e v e l o ping a t h e o r y o f hu e a r t T o th e .

M o nthly M is e e llc my which h e and M a th ew s w e r e plannin g

,

t o e di t h e w a s w illin g t o c o nt ribu t e
‘
, cri t i cal r e mark s upon
P o e t ry , e t c , e t c up o n t he ar t s o f P a in t ing , Gard enin g , a nd
. .

1
L . W . F . 1 . 67 .
 WORDSWORTH S POETIC DEVELOP MENT ’
10
9

h e r subj e c t s o f a m u s e m ent I f o nly t h e s e r e ma r k s had

’1
ot .

b e en w ri tt e n ! We hav e alm o s t no m e ans o f k no w ing wh a t

th e s ub s t anc e o f th e m w o u ld hav e b e e n W o r d s w o r t h s f e w
’
.

e arly le t t e r s a r e n o t ably lacki ng in li t e rary c r i t i ci s m A ll .

t ha t is kn o w n is t ha t h e r e ad J o h n S c o tt o f A m w e ll , wh o s e
em ph a s i s u p o n cl e a r a nd di s t i nc t i m age ry a nd d e s i r e
t o e nr i ch p o e t ry w i t h new r ural i m ag es m u s t h av e c o i n
cid e d w i th W o r d s wo r th s o wn b o yi s h a m bi t i o n B es id e s ’
.

th e r e f e r e nc e t o S c o tt in th e no t e s t o t h e E v ening IVa lh
2
/
,

t h e r e is o nly o ne o t h e r i ndica t i o n t ha t W o r d s w o r t h had

b e e n r e fl e c t ing o n th e nat u r e o f fi ne a r t I n a no t e t o th e .

D es c r ip tiv e S k e tc h es h e mak e s a n e m p h a t i c pr o t e s t a gai ns t

th e D ar w i nia n th e o ry t h a t p o e t r y is pai nt i ng in w o rd s o f ,

w h i ch M L e g o u is s e e m s t o c o ns id e r h im a n adh e r ent a t t h i s
.

t i m e : I had o nc e giv e n t o th e s e s k e t c h e s t h e t i t l e o f P ic t u r
‘

e s qu e b u t t h e A lp s a r e i ns u l t e d in applyi ng t o t h e m t ha t
t e rm . W h o e v e r , in a t t e m p t i ng t o d e s crib e t h e i r s ubli m e
f e a t u r e s , s h o u ld c o nfi ne hi m s e l f t o th e c o ld r ul e s o f pai nt
ing w o uld giv e h is r e ad e r b u t a v e r y i m p e r f e c t id e a o f
t h o s e e m o t i o ns whi ch t h ey hav e th e irr e si s t ibl e p o w e r o f
c o mm u ni ca t i n g t o th e m o s t i m pa s s iv e imaginat i o ns T h e .

fac t is , t h a t c o nt r o u li ng infl u enc e w hich di s t i ng u i s h e s t h e ,

A lp s f r o m all o th e r s c e n e ry , is d e riv e d f r o m image s w hi c h

di s dain th e p e ncil H ad I w i s h e d t o m ak e a pic t ur e o f thi s
.

s c e ne I had t hr o w n much l e s s li gh t i nt o it B ut I c o n .

s u lt e d na t ur e and m y o wn f e e li ng s Th e id e a s e xci t e d by .

th e s t o r m y s u ns e t I a m h e r e d e s c r ibing o w e t h e ir s ubli m i ty
t o tha t d e lug e o f li gh t o r ra th e r o f fi r e in w hi ch na t u r e had
, ,

wrapp e d t h e i m m e ns e f o r m s a r o und m e ; a ny i nt ru s io n
o f shad e , by d e s t r o yi ng th e u ni t y o f th e imp r e s s i o n had ,

n e c e s s a r ily di m i ni s h e d it s gr and e ur 3
.
’

P e rhap s t hi s is th e b e gi nni ng o f th e t h e o ry o f i m agi na

t i o n w hich h e a nd C o l e ridg e la t e r d e v e l o p e d t o g e th e r He .

1
L WF
. . . I . 66 .

1
O x f o rd ed i ti o n, p .
59 5 .

1
I bid p 60 8
. . .
1 1 0 WORDSWORT H S T H EORY ’
or POETI C DICTIO N

h ad alr e ad y b e g un t o a s s e r t th e ri gh t and p o w e r o f th e
imagina t i o n t o m o d i f y an d c o mbin e vi sual imag e s in
a cc o r d anc e wi th th e d i c t a t e s o f impa s si o ned f e e lin g .

B ut , what e v e r W o r d s w o rth s t h e o ri e s ma y hav e b e e n a t

’

t hi s tim e , t h e r e sul t o f all t his cri t i cal e ff o rt is vi s ibl e in

his n ex t p o e m , whi ch m a y b e s t b e d es crib e d in C o l e ri d g e s ’

gl o w i ng w o rd s : I w a s in my twe nty f o ur th y e ar , w h e n I
1 ‘
-

h ad th e happin e s s o f kno wing M r W o r d s w o r t h p e rs o nall y ,

.

and whil e m e m o r y las t s , I shall har d ly f o rg e t th e su dd e n

e ff e ct pr o d uc e d o n m y mind b y hi s r e cita t i o n o f a m anu

s crip t p o e m , whi ch s t ill r e main s unpublish e d , but o f whi ch

t h e s t an z a , a nd t o n e o f th e s ty l e , w e r e t h e s am e a s th o s e
'

F e m a le Va grant , a s o ri ginall y prin t e d in th e fi

“
o f th e r st
“ ”
v o lum e o f th e L y ri cal B alla d s .T h e r e w a s h e r e no mar k
o f str a in e d th o ught , o r f o rc e d dic t i o n , no cr o w d o r t u r b u

l e nc e o f image r y ; a nd, a s th e p o e t h ath him s el f w el l

d e scrib e d in his lin e s o u r e visi t in g th e Wy e , manly r efl e c
“ ”

t i o n , and human asso cia t i o ns had giv e n b o t h vari e t y a nd

addi t i o nal in t e r e s t t o nat ural o bj e ct s , w hi ch in t h e pa ssion
a nd app e t i t e o f t h e fi r s t l o v e t h e y ha d s e e m e d t o him n e ith e r

t o n ee d\ o r p e rmi t Th e o cca s i o nal o bscuri t i es w hi ch ha d

.
,

a r i s e n fr o m an imp e r f e ct c o n t roul o v e r th e r e s o urc e s o f

h is na t iv e languag e , ha d alm o s t wh o lly disapp e ar e d ,

t o g e th e r w i t h t ha t w o rs t d e f e c t o f arbi t rary an d ill o gi cal

phra s e s a t o nc e hac k n ey e d and fan t as t i c , w hi ch h o l d s o
dis t in g ui s h e d a plac e in th e t ec hniq u e o f o rdinar y p o etr y ,
and w ill , mor e o r l e ss , all o y the e arli e r p o e m s o f t he tru e s t
g e niu s , unl e ss th e a tte nti o n has b e e n s p ec ifi c a lly d ir e c t e d t o

th e w o r t hl e s sn e s s and inc o ngrui t y I d id n

. o t p e rc e iv e a n
y
t hing par t i cul ar in th e m e r e s ty l e o f th e p o e m allud e d t o
d ur ing it s r e ci t a t i o n e xc e p t ind ee d s uch di ffe r e nc e a s wa s
,

no t s e p a rabl e fr o m th e t h o ugh t a nd man ne r ; a nd th e

S p e ns e r ian s tan z a , which al wa ys , m o r e o r l e s s r e calls t o ,

th e r e ad e r s mind S p e n s e r s o wn s t yl e , w o ul d d o ubtl e s s
’ ’

1
B L
. . 1 .
59 .
1 1 2 WORDSWORT H S TH EORY ’
OF P OETI C DICTION

lic a t ion d e scrip t iv e p o ems a nd t he m e et in g wi t h

of th e
C o l e rid g e h e ha d appar e ntl y t urn e d bac k to th e L at in
au t h o rs e sp e ci all y H o rac e an d Juv enal One o f t h e p a s
, .

s ag es a dd e d t o th e E v enin I V ll i s bas d n H rac and

1
/ a e o o e
g
'

th e s p e cial lite rary e nt e rpri s e o f thi s p e ri o d w a s a t r a ns la

'

t i on Juv e na l which h e a nd Wr a ngh am w e r e m a kin g

of

t o g e th e r
2
P e rhap s M a th ew s als o t o o k s o m e int e r e s t in
.

t his ; a t l e a s t a c o py o f Juv e n a l was pr e s ent e d t o W o rd s

w o rth by M a th ew s 3
B u t o f t h e sp e ci al lit e rar y mo d e ls of
.

th e L y r ic a l B a lla d s — th e p o e tr y o f C hauc e r , t h e R eli u

q se

o f Anc ient P o e tr y, a nd th e lit e ratur e b e f o r e D r yd e n—w e

h e ar no t a w o rd H o w e v e r , th e s o urc e o f thi s new infl uenc e

.

a t o nc e b e c o m es cl ea r wh e n w e c o nsi d e r what L amb an d

C o l e ri d g e ha d b een d oin g up t o t his tim e .

1
S ee t h e fina l v er s i o n o f th e E v ening Wa lk 7 2 8 5 ( O x f o r d e di
,
-

t ion p, . T h i s app e ars in th e e d i t i o n o f 1 820 a s it is h e re w ri tt en .

I t wa s p ro bab ly o ne o f th o s e a dd i t i o ns m a d e s h o rtly af te r p ubli

‘

ca t i on in 1 7 93
’
.

L W F 1 8 7 89 92 98
2
- -
. . . .
, .

1
T h i s is no w in th e library of M r s H enry S t
. . J ohn, I th aca , N
. Y .
 CH A P T E R 4 .

COLERIDGE A ND H IS C I R C LE .

Whil e W o r d s w o r th a t t ai ni ng t o t h e p r ac t ic e o f
w a s thu s
"

s impli ci t y , C o l e rid g e a nd L amb had b e en d e v e l o pi ng th e

t h eo r y o f it ; a nd w e r e r e li gi o u s ly s ee ki ng o u t li t e rary
m o d e l s o f a s tyl e m o r e pu r e a nd plai n T h e b e gi nni ng s o f .

t his e ff o r t , whic h e nd e d in t h e L y r ic a l B a lla d s a r e t o b e ,

f o und in t h e t e aching o f t h e ir d o u gh ty o ld s ch o o lma s t e r

a t C hri s t s H o s pi t al — ’
th e R e v Jam e s B o y e r
1
H e e a r ly . .
‘

m o uld e d my t a s t e t o t h e p r e f e r e nc e o f D em o s th e n e s t o
Ci cer o, o f H o m e r a nd T h e o c r it e s t o V irgil and agai n o f ,

V i r gil t o O vid , w ri t e s C o l e r idg e H e h abi t uat e d m e t o

2 ’ ‘
.

c o mpa r e L u cr e t iu s ( in s u ch e x t rac t s a s I t h e n r e ad ) ,

T e r e nc e a nd ab o v e a ll t h e cha s t e r p o em s o f C a t ullu s , no t
,

o nly w i t h th e R o man p o e t s o f t h e s o call e d s ilv e r a nd , ,

bra z e n ag es ; b u t w i t h e v en t h o s e o f th e A ug u s t an e r a ;
and o n gr o u nd s o f plai n s ens e a nd univ e r s al l o gic t o s e e
and a s s e r t t h e s up e r i o ri ty o f th e f o rm e r in th e t ru th and
na t iv e n e s s , b o th o f t h e ir th o u gh t s a nd di c t i o n In .

o u r o w n E ngli s h c o mp o s i t i o ns , ( a t l e a s t f o r th e la s t t hr e e

y e ar s o f o u r s ch o o l e duca t i o n ) h e s h o w e d no m e rcy t o ,

ph r a s e , m e t aph o r , o r i m ag e u ns upp o r t e d by a s o u nd s ens e , ,

o r wh e r e th e s am e s e n s e mi gh t hav e b e e n c o nv e y e d w i th

e qual f o r c e and digni ty in plain e r w o rd s L u t e h arp a nd ‘

.
, ,

ly r e M u s e , M u s e s , a nd in s pi r a t i o ns , P e ga s u s , P a r na s s u s
, ,

and H ipp o c r ene w e r e all a n ab o m i nat i o n t o him I n fancy

, .

“
I c a n al m o s t h e ar him no w e xclai m i ng H arp ? H arp ? ,

L y r e ? P en a nd ink b o y y o u m ea n! M u s e b oy M u s e ? , , , ,

L a m b p ea k f h i m s l fs nly a D epu t y Gr cia n nd y t t h er

s o e as o e , a e e

i n d u b t t h a t h e nj o y d t h a dva nt ag o f B y r t ui t i n v n ’
s o o e e e e o e s o , e e

a lth ugh th a t m a t rful i n truc t r r rv d h i h igh t nth u ia s m

o s e s o ese e s es e s

for Gr cia n a b lu t
e Lu ca Th L if f C h l L m b I 7 4
s so e .
’
-
s, e e o a r es a . .

1
B L . . 1 .
4 5 - .
 WORDSWORTH S T H EORY ’
OF P OETI C DICTIO N

Yo u r nu r s e
’
s d a u g h t er , y o u m ea n! P ie r ia ii s p r ing ? Oh
”
aye ! th e c lo is te r -
pum p , I su pp os e !
A l th o ugh f o r a t im e th e y o u th ful C o l e ri d g e n e gl e ct e d
lit e ra t ur e f o r phil os o phy , h e di d no t f o rg e t th e t e aching o f
th e se e a r ly d ays W h e n th e s o nn e t s o f B o w l e s app e ar e d , h e
.
.

a t o nc e hail e d t h e m as m od e ls o f simplici t y an d t e n d e rn e ss ,

a nd qui t e f o r g o t th e my s t e ri e s o f N e o pl at o nism in his

p r o s e ly t i ng enth u s is a m f o r wh at s e em e d t o him a new typ e
o f p o etr y A s a ma tt e r o f f ac t , B owl e s was no t v e r y ne w
1
. .

H is v e r s e al t e rna t e l y e ch oe s M il t o n s min o r p o e ms an d t h e
’

s w e e te r ca d n c s
e e o f e
~
—
S ha k sp e ar e no t to m e ntion hi s
ma s t e r , W art o n B ut h is pur e and sl e nd e r m e l o di e s f e ll
.

grat e full y upo n the e a r a ft e r th e c o upl e t s o f P o p e an d

E rasmus D arwin .

N a t u r a lly C o l e ri d g e , wi t h t he c o nv e r s a t i o nal z e al f o r dis

s e mi na t ing kn o w l e d g e w hich mar k e d him e v e n t h e n , e nth u
s ia s t ic a lly r e c o mm e n d e d B o wl e s up o n all o ccasi o ns In so .

d o ing h e d e v el o pe d a w h o l e th e o ry o f cri t ici s m in which ,

w e a lr e a dy fi nd d im in t ima t i o ns o f th e P r e fac e t o th e
L y r ic al B a lla d s T h e liv ely discus s i o n s b e gun th e n , and
.

c o n t inu e d wi t h r en ew e d vi g o r af t e r h e m e t W o rds w o r th ,

a r e b es t d e scrib e d in his o w n w o r d s : A m o ng th o s e wi th
2 ‘

wh o m I c o nv e r s e d , th e r e w e r e , o f c o urs e v e ry man y wh o ,

h a d f o rm e d th e ir t a s t e a nd th e ir n o t i o ns o f p o e tr y , from
th e w ri t ings o f P o p e a nd hi s f o ll o w e rs o r t o sp e a k mor e

g e n e ra lly , in t hat s ch oo l o f F r e nch p o et ry , c o nd e ns e d and

‘

invi go rat e d by E n glish un d e r s t an d ing , w hi ch ha d p r e

d o mina t e d fr o m th e la st c e n t ury I was no t bli nd t o th e .

m e ri t s o f th i s sch o o l , y e t , a s fr o m in exp e ri e nc e o f th e
w o r ld a nd c o n s e qu e n t want o f s ympa thy w i t h t h e g e n e ral
,‘

s ubj e cts o f t h e s e p o e m s , t h e y gav e m e li t t l e pl e asur e , I

d o ub tl e s s un d e rvalu e d th e k ind, a nd w i th th e p r e s ump t i o n

o f y o u t h wi thh e l d fr o m its mas t e rs th e l e gi t ima t e nam e o f

p o et s I s a w t hat th e e xc e ll e nc e o f thi s ki nd c o n s i s t e d in
.
1 1 6 WORDSWORTH S TH EORY ’
OF POETI C DICTION

Wi th o v e r -
we a t h e r d rib s a nd ragg e d
’
s ai ls ,

L e a n r ent
, , a nd b e g gar d b y t h e s t ru
’
m p et w nd ! i 1

so th e imita t i o n in T h e B ard ;

air laugh s t h m o rn nd o f t th e p h y r b lo w
F e , a s ze s

Wh i le pr u d ly ri d i ngo t h e a ur r a lm
’
o er z e e

I n ga lla nt t ri m t h e gi ld e d v s l g o e s es e ,

Y o u t h a t t h p r o w a nd P LEA SU R E a t t h e h elm ;
e

R gar d l s s o f t h s w e pi ng whi/ lw ind s s wa y

’
e e e e i ,

T h a t hu sh d in gri m r ep s e xp e c t s it s v eni ng
’
o e, e

pr ey .
1

( in whi ch , b y th e b y , th e w o rds r e alm and sway a r e

rhym e s d e arly purch a s e d ) I p r e f e rr e d th e o ri gi nal o n th e
.

gr o und , th at in th e imi t ati o n it d ep e n d e d wh o lly o n th e

c o mp o s i t o r s pu tt in g , o r no t putt i ng , a s m a ll Ca p ita l b o th
’
,

in t hi s , a nd in m any o th e r pa s s ag e s o f th e s a m e p o e t ,
wh e th e r th e w o r d s sh o ul d b e p e r s o nifi c a t io ns , o r m ere
a bstracti o ns .I m e nti o n thi s , b e c au s e , in r e f e rrin g vari o us
lin e s in Gray t o t h e ir o ri g inal in S hak e s p e ar e an d M il t o n,
an d in th e cl e ar p e rc e ption h o w c o mpl e t e l y all the pr o pri ety
wa s l o s t in th e t rans f e r ; I wa s a t t h a t e arl y p e r i o d , le d ,

t o a c o nj e c t ur e , w hich , many y e ar s a ft e rwards , was

r e call ed to m e fr o m t h e s am e th o ught havin g b e e n s t ar t e d
in c o nv e rsa t i o n , b u t far m o r e ably , an d d e v e l o p e d m o r e
fully , b y M r —
W o rd s w o r th ; nam e ly , t hat thi s s tyl e o f
.

p o e tr y , which I h av e ch a r act e ri z e d a b o v e , as t ran s lati o n s

o f pr o s e t h o ugh t s int o p o e t i c languag e , h ad b ee n k e p t up

b y , i f it did no t wh o ll y ari s e f r o m , th e cust o m o f wri t ing

L atin v e r s e s , a nd th e gr e a t imp o r t anc e att ach e d t o th e s e
e x e rci s e s in o u r publi c s ch o o l s Wh at ev e r migh t hav e b e e n
.

th e cas e in th e fi f t e enth c e ntur y , wh e n th e u s e o f th e L a t in

t o ngu e w a s s o g e n e ral a m o ng l e a r n e d m en t ha t E ra s mu s ,

i s s aid t o hav e f o rg o tt e n his na t iv e l anguag e ; y e t , in th e

pr e s e nt day it is no t t o b e supp o s e d that a y o u t h c an think
1
M er c h a nt of Ve nic e 2 . 6 . 1 4- 1 9 .

2
Th e B ar d 70 -
75 .
 COLERIDGE A ND H IS CIRCLE 1 1
7

in L at i n, o r tha t h e can hav e a ny o th e r r e lia nc e o n t h e f o r c e

or fi tne s s o f h is p h r a s e s , b u t th e au th o r i t y o f th e w r i t e r
f r o m wh e nc e h e h a s ad o p t e d t h e m 1
C o ns e qu ently h e m u s t
.

fir s t p r epa r e h is th o u gh t s , a nd th en pi ck o u t fr o m V irgil , ,

H o r a c e Ovid o r p e rh ap s m o r e c o mp e ndi o u s ly fr o m his

, ,

Gr adu s , halv e s a nd qua r t e r s o f lin e s in w hi ch t o e m b o dy ,

th em .

I ne v e r o bj e c t t o a c e r t ai n d e g r e e o f di s p u t a t i o u s ne s s in
‘

a y o u ng man f r o m th e a ge o f s e v ent e e n t o th at o f f o ur o r
h y e a nd t w e nt y p r o vid e d I hnd him al w ays arguing o n o ne
,

s id e o f t h e qu e s t i o n Th e c o nt r o v e r s ie s o cca s i o ne d by m y
.
,

un f e ig ne d z e al f o r th e h o no r o f a fav o r i te c o n t emp o rar y ,

th e n k now n t o m e o nly by h is w o r k s , w e r e o f gr e a t a dv a n
t ag e in t h e f o r m a t i o n a nd e s t abli s h m ent o f my t a s t e and
’

c r i t ical o pi ni o n s I n m y d e f enc e o f th e li ne s r unni ng int o

.

e ach o th e r in s t e ad o f cl o s i ng a t e ach c o upl e t and o f

, ,

na t ural languag e , ne it h e r b o o ki sh no r vulga r , n e i th e r ,

r e d o l e nt o f th e la mp , no r o f th e k e nnel , s uch as I will

r e m e m b e r th e e ; i ns t e ad o f t h e sa m e t h o ugh t t ri c k e d up 1n

t h e rag f a ir fi
‘

-
ner y o f ,
t hy i m ag n h w i ng
e o er

B e f o re my !
F nya c ’
s ey e s h a ll M em o ry bri ng ,

I had c o n t i nually t o adduc e t h e m e t r e and dic t i o n o f t h e

Gr ee k p o et s fr o m H o m e r t o T h e o c r i t u s inclu s iv e a nd s t ill
m o r e o f o u r e ld e r E ngli s h p o e t s fr o m C hauc e r t o M il t o n .

No r w a s thi s all B u t as it w a s m y c o n s t an t r eply t o

.

au th o r i t i e s b r o u gh t a gain s t m e f r o m lat e r p o e t s o f gr e a t
nam e , th a t no a u t h o r i t y c o uld avail in o pp o s i t i o n t o Tr u th ,

N a tu r e L o g ic a nd th e L a ws of Univ e r s a l Gr a m m a r ;
, ,

ac t u at e d t o o by m y f o r m e r pa s s i on f o r m e t aphy s ical inv e s

t ig a t io ns ; I lab o r e d a t a s o lid f o u nda t i o n, in w hich
p e rman e ntly t o g r o und my o pi ni o n s , in th e c o m p o n e n t
fac u l t i e s o f th e h u m an m i nd i t s e l f a nd t h e ir c o m pa r a t iv e ,

di gni ty o f i m p o r t a nc e .
’

1
C i P r e lu d e 6
. . 10 5 1 15
-
.
 WORDSWORTH S T H EORY ’
OF POETI C DI CTION

We might C o l e ridg e wa s tran s

b e t e mp t e d t o t hink t ha t
f e rring hi s la t e r o pini o n s t o th e s e e arli e r day s w e r e it no t
f o r a n abundanc e o f c o nt e mp o rar y t e s t im o ny c o nc e r nin g
C o l e ri d g e t alk e d Gr e ek ‘ ’
th e s e enthusi as t ic c o nv e rsat ion s .
,

r e ma r k s C hri s to ph e r W o r d s w o r th ( in d e s cribi ng a m e e t
1

in g a t w hi ch D r D arwin , M i s s S ew ar d M r s S mi th ‘
.
, .
,

B o w l e s a nd my B r o th e r w e r e di s cu s s e d )
‘

,
and s p o u t e d o u t
’

o f B owl e s M y p o et ical t a s te was much m e li o rat e d by

.
’ ‘

‘
B o wl e s wri t e s S o uth e y in a nd t h e c o n s t an t c o m
’
,

pany o f Co ler id g e wh o pr o bably s po u t e d o u t o f B o w l e s

-
’

,
‘ ’

in S o u th ey s pr e s enc e a l s o Bu t it is in th e l e tt e rs o f L amb
’
.

t o C o l e ridg e , j u s t b e f o r e th e cl o s e a s s o ci a t i o n b e tw ee n
W o rd sw o r th a nd C o l e rid g e b e gan, a nd in th e new M orzthly
M a g a z ine f o r which t hi s gr o up o f ambi t i o us y o un g po e t s
,

w e r e w ri t ing th a t w e fi nd th e cl e ar e s t indi ca t i o n s o f t h e
,

th e o ri e s o f th e L y r ic a l B a lla ds .

C ul t iva t e s impli ci ty , C ol e rid g e , i s th e bur d e n of L amb s

‘ ’ ’

B ani s h e lab o ra t e n e s s ; f o r simpli city

‘
l e tt er s . springs
sp o ntan e ou s fr o m th e h ear t an d carri e s in t o dayli gh t it s
o wn m o d e s t bu d s , an d g e nuin e , sw ee t , and cl e ar fl ow e r s

o f e xpr e ssi no —
I all o w no h o t b e ds in th e gar d e n o f
.

P arna s sus T h e simpli ci ty w hi ch h e s o much a dmir e d in

3 ’
.

B o w l e s , L amb f o und al s o in B u r ns a nd C o wp e r , a nd in t h e
g e nuin e ly imaginat iv e fi g u r e s an d p e r so n ifi c a t io ns of o ur
‘

e l d e r bar d s , w h o m h e w i s h e d C o l e rid g e t o s t riv e t o bring

’

‘
in to m o r e g e n e ral fam e “ Th e simplici ty h e l o v e s is no t .

th e e l e gan t simpli ci ty o f P o p e ; it i s naiv e and quain t and

h o m e ly A t o ne t im e h e r emar k s , apr o p o s o f a s o nn e t o f
.

hi s o w n: Y o ur e ar s a r e no t s o v e ry f astidi o us ; many
‘

p eo pl e w o uld no t lik e w o rd s s o pr o s aic a nd familiar in a

s o nn e t as I s lingto n and H e r t f o rd shir e 5 -
B u t C o l e rid g e .
’

1
S e e th e d iary of Ch ri sto p h e r W r d s wo r t h
o , in t h e A pp end ix to
S o c ia l L if e a t t he E ng lis h Univ er s ities .

1
L if e a nd C or r es po nd e nc e I 247 . .

11
L e t t er s , 1 .
48 .

1
I b ial . 1 .
4 . 2 4-2 6 , 28 .

1‘
I b id . 1 .
4 .
1 20 wo a o s wo a r H '
’
s T H EORY or P OETI C DI C TION

s o m e t im e s cann o t e v e n b e r e a d as v e r s e T hi s i s e xac tly

—
.

t h e attitu d e o f th e e i ght e e n t h c e ntur y no lib e r t i e s wi t h

o r d e r grammar , a nd s y n t ax ; but a v o c abular y rais e d ab o v e
,

p r o s e , a nd v er s e th a t alwa y s scans in th e o ne appr o v e d

fa s hi o n . T h e cri t ic al s o d o ub t s w h e th e r S o uth e y a nd
C o l e r i d g e a r e ju s tifie d in s e e k ing vari e ty o f m e t r e , citing

f o r disapp r o val t h e lin e s ;

No w wa s th e no o n o f nig ht , a nd a ll wa s st i ll
,

S av e wh e r e t h e s e ntine l pa c e d on his wa tc h
H um m ing a b r o k e n t u ne .

S uch lib e rti e s , say s th e cri t i c , gra t e o n a c o rr e ct e a r He

‘
.
’

h o p e s M r S o u th ey an d M r Co l e ri d ge will b e m o r e car e ful

. .

in the fu t ur e .

T o s uch cri t ic i sm as t hi s C o l e ri d g e ma d e a s auc y

r e pl y I n th e M onthly M a g a z irie, wh o s e aim w a s t o print
.

g o o d ar t icl e s t hat no o th e r p e ri o dical w o uld t ak e , and t o

impr o v e th e q uali ty o f v e rs e , h e p rint s a ra th e r char min g
li t tl e i d yll , and en t i t l e s it : R efle c tio ns o n ente r ing A c tiv e
L if e A P o em whic h a ffec ts no t t o b e P o etr y
,
1
T h o u gh .

a ff e c t ing no t t o b e p oe t ry , th e p o e m i s c er tainl y wor t h y o f

qu o tation in full But o nly th e fi . r s t f e w lin e s o f it ca n b e

giv en h e r e
Lo w wa s pr ett y c ot ; th e t alles t ro s e
o ur

P e ep d t o u r c h a m b e r w i nd o w
’
a We c o uld h e ar
-
.

( A t s i lent no o n a nd e nd e arly m o rn)

, v e, a

T h e e a s fai nt m urm ur ; in t h e o p en air

’
s

O ur m yrtl s b lo m d a nd acro s s th e p o rch

e sso
’
,

T h ic k j a m i ne s t w in d : t h li ttle land s ca p e r u nd
’
s e o

Wa s gr e en a nd w o dy a nd r e fr esh e d t h e y
o , e e .

H e r e i s th e s impli ci ty o f s tyl e tha t W o r d s w o r th w a s lat e r

t o m ak e fam o u s !
A b o u t t h e s am e t im e t h e r e app e ar e d in th e M o nthly
M a g ae irt e a bri e f b u t v e r y abl e ar t i cl e , in w hi ch th e s ub
2

T h e M o nthly M a g a z ih e 2 7 3 2
1
. .

1 ‘
r ia
I s V e s e E s s ent l t o P o et y ? r ’

(2 .
 COLERIDGE A N D H IS C IRCLE 1 21

st a nc e o f t h e P r e fac e t o t h e L y r ic a l B a lla d s a nd t h e

A pp e ndix o n P o e t ic D i c t i o n is plai nly ant icipa t e d .

W h eth e r C o l e ridg e w a s r e sp ons ibl e f o r it o r no t it c e r ,

t a inly r e fl e c t s h is o pini o ns a t t hi s t im e V e r s e t h e w ri t e r .
,

d e cid e s is no t e s s e nt ial t o p o et ry T h e argum e n t s w i th

,
.

w hich h e s upp o r t s t hi s th e s i s m u s t b e qu o t e d a t s o m e l e ng th :
T h o s e w ri t e r s app e a r t o hav e app r o ach e d n e a r e s t t o a t ru e
‘

d efi nit io n o f p oe t ry , wh o hav e u nd e r s t o o d it t o b e th e imm e

dia t e o ff s pri ng o f a vi go r o u s i m agi na t i o n and quick s en s i
b ility a nd hav e call e d it th e la ng u ag e o f fa ncy a nd
,

pa s s i o n .
1
I n a rud e s t a t e o f nat u r e b e f o r e t h e a r t ,

o f v e r s ifi c a t io n w a s kn ow n m e n f e l t s t r o ng pa s s i o n s a nd ,
-

e xp r e s s e d t h e m s t r o ngly T h e ir la ng u ag e w o uld b e b o ld
2
.

and fi g u r a t iv e ; i t w o u ld b e v e h e m e n t a n d ab r up t ; s o m e

t i m e s u nd e r t h e impul s e o f t h e g ent l e a nd th e t e nd e r o r ,

t h e gay a nd jo y o u s pa s s i o ns it w o uld fl o w in a kind o f w ild ,

and u nf e tt e r e d m e l o dy f o r u nd e r s uch impr e s s i o ns m e l o dy , ,

is nat ur al t o m a n T h e c h a r ac t e r o f p o e t r y , w hich
.

may s e em m o s t t o r e quir e tha t it b e li m i t e d t o v e rs e is it s

app r o p r ia t e di c t i o n I t w ill b e ad m i t t e d th at m e t aph o rical
.

languag e , b e i ng m o r e imp r e s siv e th an g en e r al t e rms , is b e s t

s ui t e d t o p o e t r y T ha t e xci t e d s t a t e o f m ind w hich p o e t ry
.
,

s upp o s e s , na t ur ally pr o mp t s a fi u r a t iv e s tyl e B u t th e

g .

languag e o f fa ncy s e nt i m e n t and pa s s i o n is no t p e culiar

, ,

t o v er s e W hat e v e r is th e nat u ral a nd p r o p e r e xpr e s s i on

.

o f a ny c o nc e p t i o n o r f e e li ng in m e t r e is it s na t u r al and

pr o p e r e xpr e s s i o n in pr o s e A ll b e y o nd th i s is a d epar t ur e .
3

F orgo d p o et ry i th p nt a n u
a ll o e fl o w o f p w rfu l s e s o eo s ov r o e

f e li ng P r fac t th Ly i l B ll d
e .
’
-
e e o e r ca a a s .

1 ‘
Th arli t p o t s o f ll na t i n g n ra lly w ro t fro m p a s s i o n
e e es e a o s e e e

e xci t d b y r a l v nt s
e F li ng p w rfu lly
e e e t h y did th ir ee o e as e e
—
,
.

la nguag w d ari ng nd fi A pp end ix t o t h Ly i l ’

e g as t i e a ura v . e r ca

B a lla ds , 1 80 2 .

3 ‘
arg p rt i o n f ev ery g d p m a n in n r es p ec t d iffer
A l e o o oo oe c o

fr m t h a t f pr
o It m y b
o af ly a ffirm d th at t h r
ose . a e s e e e e

n i th r i n
e e nb nys nti l d i ff r nc b t w n t h e la nguag
or ca e a es s e a e e e e ee e

o f pr nd m t rica l c m p i t i o n —I b id 1 80
’
ose a e o os . . 2 .
1 22 w o a b s wo a r H '
’
s TH EORY OF POETI C DI CTIO N

fr o m th e t ru e principl e s o f t as t e I f th e a r t ifi c ia l d icti o n
.

o f m o d e r n p o e t ry w o uld b e impr o p e r o n s imilar o cc a s i o n s

in pr o s e it i s e q ually impr o p e r in v e rs e I n s upp o r t o f t hi s

,
.

Opini o n, t h e app e al may b e mad e no t o nl y t o th e g e n e ra l ,

s e n s e o f impr o p r i e ty , b u t t o th o s e m o s t p e r f e c t m o d e l s o f

fine w ri t in g , the Gr ee k p oe t s Th e languag e o f t h e s e gr e a t

.

ma s t e r s is al w ay s s o c o ns o nan t t o na t ur e , t hat , t h r o wn o u t
o f rh y thm , it w o uld b e c o m e t h e pr op e r e xpr e s s i o n o f th e

s am e s e n t im e n t in pr o s e I f m o d e rn p o e try will s e l d o m b ear

.

t o b e b r o ugh t t o t h e s am e t a s t e [ t e s t ] it is b e cau s e t h e t a s t e
?

o f th e m o d e rn h as b ee n r e fi ne d t o a d e gr e e o f fasti d i o us
n e s s w hi ch l e ad s t h e m t o pr e f e r th e m e r e t ri ci o us o rnam en t s
o f a r t t o th e g e nuin e s implicity o f na t ur e It
o bvi o u s ly f o ll o w s fr o m t h e p o int e s tabli s h e d in this pap e r

t h a t th e t e rm s p o e tr y a nd p r os e a r e inc o rr e c t l y o ppo s e d t o
ea ch o th e r Ve r s e is p r o p e rl y th e c o n t ra r y o f pr o s e ; a nd
.

b e ca u s e p o et ry s p e ak s t he language o f pa s s i o n a nd s e n t i
m e n t , a nd phil o s o ph y s p e ak s th e languag e o f r e as o n , th e s e
t wo t e rm s sh o ul d b e c o n s id e r e d as c o nt r a ri e s , an d writing
sh o ul d b e divid e d , no t i nt o p o e t ry and pr o s e , but into p oetr y
a nd phil o s o phy
1 ’
.

T hi s is o bvi o u s ly th e g e r m o f th e P r e fac e t o th e L y r ic a l
B alla d s . B u t t h e r e is an o t h e r in t e r e s ting c o nn e cti o n
b e tw e e n th e M o nthly M a g a z ine o f 1 7 96 and th e L y r ic a l
B a llad s . I n M arch o f t hi s y e ar app e ar e d W illiam T a yl o r s ’

t ra ns la t i o n o f B iir g er s L e no r e i nt o t h e languag e o f P e rcy s

’ ’

R eliq u es L amb , al w ay s o n the l o o k ou t f o r p o etr y that m e t

.

hi s id e al o f imaginat iv e simplici ty , e ag e rly call e d C o l e ri d ge s ’

a tt e nt i o n t o it : H av e y o u s ee n th e ball a d call e d L eo n o r e ”
‘

in t h e s e c o nd num b e r o f t h e M o nthly M a g a z ine ? h e ’

I he re u se th e w o r d P o e t ry ( t h o ugh
j udg agai ns t m y o wn

m e nt ) a s pp o s e d t o th e w o r d P ro s e nd s y no ny m o u s wi th m etrica l
o , a

c o m p s i t i o n But m uch c o nfu i o n h a s b een i nt ro d uc e d i nt o e ri t i

o . s

c is m b y t h i s c o nt ra d i s t i nc t i n o f P o e t r y
o nd P ro i ns t ea d o f the a s e,

m or p h i l o p h ical o n f P o et ry nd M a t t r o f F ac t o S ci enc e
e os e o a e , r

T h o nly t ric t a nt i t h i t o P r o e i M t r —N t e t o t h e P e fac e

.

’
e s es s s s e e . o r

t o t h L y ic l B lla ds
e r a a .
1 24 WORDSWORTH S TH EORY ’
OF POETI C DICTION

cri t i c triumph e d , the l e g en d ary imi t ato rs w e r e d e s e rv e d l y

d isr e gard e d and , as und e s e r v e d l y , t h e ir ill imi t at e d m o d e l s
,
-

s ank , in t hi s c o un t ry , int o t e mp o rary n e gl e c t ; whil e B u rg e r ,

a nd o th e r abl e wri t e rs o f Ge r ma ny , w e r e c o mp o s ing wi t h

t h e aid o f in s pira t i o n t h e nc e d e riv e d p o e m s whi ch w e r e

,

t h e d e li gh t o f th e Ge rman na t i o n T h e n f o ll o ws a c o m
’
.

pari s o n b e t w e e n th e s tyl e o f B u rg e r and that o f P e rc y s

’

c o ll e c t i o n
.

B u t w h e th e r L a m b , ac t i ng thr o ugh C o l e ri d g e , gav e th e

fir s t impuls e t o W o rdsw o r th s in t e r e s t in th e p o pular balla d s
’

o r no t , t h e infl u e nc e up o n th e ne w id e als o f hi s d e li ca t e

—
1ns t inc t and o u t o f th e w a y r e ading s m ust no t b e i gn o r e d
- -
.

H i s inte r e sts a t thi s tim e w e r e m uch m o r e e xclusiv e l y

li t e ra r y th an t h o s e o f C o l e ri d g e w h o c o uld no t h elp d e vi
,

a t i ng i nt o p o li t i c s an d phil o s o phy H e w a s al w ay s r e ady

.

t o bring h is a dv e n t ur o u s fri e n d d o w n fr o m t h e cl o u d
w rapp e d h e i gh t s o f N e o p la t o ni s m t o a prac t i cal qu e s t i o n
o f s ty l e , a nd t o p o in t o u t , no t t h e c o urs e s o f th e s t ars , but

d eli gh t ful li tt l e bypa th s am o ng o ld and f o r g o t t e n b o o k s .

T hu s , whil e h e did no t pro vid e a t h e o r y o f s ty l e , h e c o n

t inu a lly furni s h e d th e ma t e ri al s and t h e s t andar d for it .

H e would flit fr o m p o e m t o p o em , ch oo sin g w i t h a lm os t

un e rring tact th e g enuin e , s w e e t , and cl e ar fl ow er s o f
‘

a nd av o i d in g by in s t inc t t h e bl o o m s o f th e
’
e xpr e ssi o n ,

h ot— h o us e
. B e ing t hu s s e n s itiv e , h e p o s s e s s e d a natur e
p e culia r ly capabl e o f e xci te m en t w i th o ut t h e appli cati o n
‘

o f gr o s s and vi o l e n t s t imulan t s , and l o v e d wha t wa s s impl e

’

and na t ural wi th th e imm e d ia t e r e s p o n s e o f a fi ne t e mp e ra

m en t H e nc e h e s carc e l y n ee d e d t o l o o k b e y o nd him s e l f
.

f o r t h e pri ncipl e s o f criti ci s m .W hat s h o ck e d o r di s pl e as e d

h im o r l e f t him c o ld w a s p r o babl y bad o r fal s e ; wha t
d eligh t e d him w a s pr o bably go o d a nd g e nuin e I n all hi s .

r e ma r k s t h e r e i s t hi s d e lica t e e go t i s m—thi s c o ns ci o u s n e s s
t ha t h e carri e s th e t o uch s t o ne w i thin him s e l f T h e i d ea l
.

o f s implici t y in ac c o rdanc e w i t h w hi ch h e c r i t i ci s e d C o l e r

id g e s e arly p o e m s w a s a ma tt e r o f tas t e , no t t h e r e s ul t o f
’
 COLERIDGE A ND H IS CIRCLE 1 2 5

ph il o s o phical th o u gh t id e al c o u ld m ak e no
. S uc h an

p e r m anent app e al e i th e r t o C o l er idg e o r t o W o r d s w o r th ;

b u t it fu r ni s h e d a guid e a nd a ch e ck t o th e ir b o ld e r a nd
m o r e phil o s o phical g e niu s T h e i nt e r es t in t h e e ld e r p o e t s
.
,

t o ha v e b e e n L amb s c o nt r ib u t i o n t o
’
e s p e cially , s e e m s

t h e ca u s e I t w a s h e wh o fur ni s h e d W o r d s w o r th w i t h t h e
.

li b rary o f o ld p o e m s a nd play s w hi ch w a s p e rhaps th e , ,

s t r o ng e s t a nd p u r e s t infl u e nc e u p o n h is w o r k b e tw e e n 1 8 0 0

a nd T o t h e s i m pli ci t y o f C o l e ridg e a nd S o u th e y ,

w hi ch w a s b e ginning t o di s t ur b th e p e r i o dical s o f th e day ,

h e add e d h is o wn m o d e s t c o nt r ibu t i o ns in t h e f o r m o f ,

s o n net s af t e r t h e ma nne r o f B o w l e s S om e o f t h e s e w e r e .

app e a r i ng in th e M onthly M a g a z irt e ab o u t th e t im e W o rd s

i

w o r t h w e nt t o B r i s t o l t o m e e t t h o s e tw o r e m a r kabl e
2 ‘

y o u th s S o u th e y a nd C o l e ridg e
, .
’

T h u s it may b e s e e n th a t f r o m th e s t i m u la t i ng c ent r e ,

furni sh e d by C o l e r idg e s a r g u m e nt a t iv e a nd c o nt agi o u s

’

s p e e c h a nd m a nne r t h e r e w e r e r adia t i ng li ne s o f infl u e nc e

, ,

in S o u th ey in L a b , i th e M onthly M a g a z ne no t t o
m
,
n i —
m e n t i o n m i no r di s cipl es lik e T h e lw e ll a nd L l o yd—w hi c h

all t end e d t o s p r e ad t h e id e al o f a m o r e s impl e a nd t ruly

p o e t i cal e xpr e s s i o n P o e t r y m u s t no l o ng e r b e dis t i ng u i sh e d
.

fr o m pr o s e by e x t e r nal mark s o f l ang u ag e it s b e au ty m u s t

be o s m e t h n e —
i g high r no t dr e s s a nd j e w e l r y ad o r ni ng it
fr o m w i th o u t b u t a s piri t ill u mi na t i ng a nd t r a ns fi
, g u r in g
it f r o m w i thin T hi s s piri t had a s y e t no na m e
. C o l e ridg e .

a nd L am b call e d it pa s s i o n o r i m agi na t i o n o r fa ncy , b ut , ,

w i th o u t b e i ng qui t e s ur e o f t h e t e r m t ha t m o s t cl e a r ly
e xp r e s s e d it H o w e v e r th ey b o th t h o ugh t th ey c o uld d is
.
,

t ing u is h it w h en t h e y f o u nd it a nd s o ugh t f o r it al w ay s ,

in t h e ir e n t e r p r i s i ng r e adi ng B u t w h e n C o l e r idg e m e t .

W o r d sw o r th h e a t o nc e r e c o gni z e d in him th e quali ty whi ch

,

h e c o ns id e r e d th e na m e l e s s e s s e nt ial o f p o e t r y ; a nd th e n
and th e r e b e gan th e s e c o nd s t ag e in thi s no bl e di s c u s s i o n .

1
L e tt e r s o f Ch a r les L am b 1 . 1 60 .

1
Th e L e t t er s o f S a m u e l T a y lo r C o le r id g e .
 CHA P T E R 5 .

C OLERIDGE A N D WORD S WORT H .

W ha t W o rd s w o r th br o ugh t di s cu s s i o n alr e a dy s o t o the

w e ll b e gun w e can o nly gu e s s fr o m t h e charac t e r that it
imm e dia t e ly a s sum e d H e s ee m s t o hav e in t e rpr et e d the
.

m o r e ab s t rac t r e a s o nin g o f C o l e ridg e in th e li gh t o f hi s

o ld imagina t iv e l o v e o f natur e , and his m o r e r e c e nt int e r e st

in th e p s y ch o l o gy and th e s o rr o w s o f th e p o o r and l o wl y .

O f t hi s s t ill , s a d mu s ic o f h u mani t y t h e r e a r e many

‘ ’

e ch o e s in th e v e rs e wri t t e n a f t e r h e l e f t C ambridg e I n d ee d .

t h e r e is alr e ady a hin t o f it in th e E v e ning Wal k an d t h e

—
D es c r ip tiv e S k e t c es a hin t m o r e full y d e v e l o p e d in t h e
h
t w o p o e ms , Th e F e m al e Va g r a nt an d S a lis b u r y P la in ,

w hich w e r e lat e r c o mbin e d in Gu ilt a rid S o r r o w T h e Old .

M a h Tr a v elling a nd t h e narra t iv e o f th e R u ine d C o tta g e 1

'
1
‘

h av e a similar m o t iv e I n the B o r d e r er s , c o mp o s ed as
.

W o rdsw o r th te lls u s in 1 7 95 1 7 96 , h e ha d al s o e xpl o r e d -

t h e m o r e strang e an d c uri o u s pr o c e s s e s in th e min d whi ch

l e ad t o th e s or r o ws tha t s o t r o ubl e d him ; an d ha d , f o r th e
fir s t t im e e nd e avo r e d t o mak e h is s yn t ax r e fl e c t th e m o v e
,

m e nts o f im p as s i o n e d t h o ugh t T h e b e s t thing in t h e .

B or d e r er s is th e l an guag e ; it i s a fi ne , cl e ar , fl ex ible imi t a

t i o n o f actual s p e e ch , a nd , a s s uch a n t i cipa t e s t h e m o r e ,

s p e cial e ffo r t o f th e L y r ica l B alla d s I n thi s s e l e c t i o n o f ‘

.

th e r e al languag e o f m en, a nd , i nci d e ntall y , o f th e languag e

’

o f S h a k e sp e ar e , h e s e e ms t o hav e a tt ain e d , f o r t h e fi r st

t im e
3
,a p e r f e ct c o mmand o f th e E n gli s h idi o m The .

1
P ri nt d s A nim l T a nq u illity nd D c y in th e O x f r d e d i t i o n
e a a r a e a o ,

wh ic h f llo w t h la t d i t i o n pri nt e d in W r d s w o rth li f et i m e

’
o s e s e o s .

1
I nc rp o ra t e d in th fi t b o o k o f th E x u i n
o e rs e c rs o .

T h e t ra n la t i n f Juv na l ( r e pri nt d in L t t f th Wo ds
1
s o o e e e er s o e r

w o th F m ily 1 94 9 8 ) i m r i d i m a t ic t h a n a ny th i ng W r d s
r a .
-
s o e o o

w o rth h d w ri t t n h i th e rt N d ub t t h i s i m i t a t i n o f t h re al ‘
a e o . o o o e

la nguag f m n m p l y d b y the a t iri t a ls h lp e d him t o

’
e o s e , a e o e s s s, o e

a t tai n a c o m m a nd o f E ngli h p h ra s e a nd y nt ax s s .
 w o a o s wo a r a T H EORY POETI C DI CTIO N
’
1 28 s OF

appr o pri at e mar k s , functi o ns , a nd e ffe c t s , ma t ur e d m y c on

j e c t u r e in t o full c o nvi c t i o n ) th at fanc y a nd imagina t i o n
w e r e tw o di s t inc t a nd wid e l y di ff e rin g faculti e s , wri t e s ’

C o l e ridg e 1
T hi s pr e s upp o s e s a w h o l e t h e o ry o f p s y chol o gy
.

a s a basi s f o r a th e o ry o f p o e t ry
— a t h e o r y which W o rd s

w o r t h d e v el o p e d and utili z e d in his c la s s ifi c a t io n o f hi s

p o e m s in acc o rdanc e wi th the human facul t i e s , and t h e i r

a ppr o pria t e mar k s , func t i o ns , an d e ff e c t s
’
t h e r e in illus
‘

B u t W o rd s w o r t h s o w n indicati o ns o f th e s c o p e
’
t r a ted .

o f th e t alk t hat inspir e d th e L y r ic a l B a lla ds g o e v e n furth e r .

H e p r e s upp o s e s a his t o ric al s urv e y o f s o cial p s y ch o l o g y ,

as w ell as a t h o r o ugh inv e s t i ga t i o n o f th e d e v e l o pm ent o f

languag e and lit era t u r e F o r t o t r ea t o f th e s ubj e ct wi th
.
‘

t h e cl e arn e s s a nd c o h e r e nc e o f which I b e li e v e it sus

c ep t ib le , h e s ays it w o ul d b e n e c e ssary t o giv e a full
’ ‘

ac c o u nt o f th e p r e s ent s t at e o f p u bli c t a s t e in t hi s c o un t ry
.

and t o d e t e r min e h o w far t hi s t a s t e is h e al thy o r d e prav e d ;

w hi ch again c o uld not b e d e t e rmin e d wi th o u t p o in t in g o u t
in wha t mann e r lan guag e a nd th e human min d act an d r e act
o n e ach o th e r , and wi th o u t r et racin g t h e r e v o lu t i o ns no t

o f li t e ra t ur e al o n e but lik ew i s e o f s o ci e ty i t s e l f T hi s
2 ’
.

ambi t i o u s o u t lin e m u s t al w ay s be b o rn e in mi nd in c r itic iz

in g an y s in gl e s t a t e m e nt c o nc e rnin g th e l anguag e o f p o e tr y .

m a d e by C o l e ridg e o r W o rds w o r th T h e ir u t t e r a nc e s w e r e
.

no t ca s ual o r arbi t rary T h ey w e r e par t o f a g r e a t a nd , in

—
,
.

g en e ral a s e l f c o n s i s t ent w h o l e , whi ch w a s ne v e r c o mpl e t e d

,

in d e t ail b u t w hich al w ay s f o rm e d th e back gr o und f o r a ny

,

in d ividual r e mark T h e s e para t e fragm e nts o f W o r d s

.

w o rth s lit e rary cri t i ci s m b e ar much th e s a m e r e la t i o n t o

’

each o th e r and t o a n unwri t t e n wh o l e , as th e s h o r t e r p o em s

, ,

t h e P r elu d e, and th e E xc u r s ion b e ar t o th e pr o j e c t e d

R e c lu s e .

T hi s u nwritt e n inquir y c e rtainly in clu d e d

1
8 . L . 1 . 60 .

1
P r e fac e t o th e Ly r ic a l B a lla ds .
 COLERIDGE A ND WORD SWORTH 1 2
9

A n a naly si s ofp o et ic fac u l t y in all it s mani f e s t a

th e
1

1 .

t i o ns w i t h s o m e i nq u i r y no t o nly i nt o t h e na t ur e o f th e
,

f eeli ng i nduc e d by p o et r y b u t i nt o t h e cha r ac t e r o f all

,

na t ur al p h eno m ena whi ch accid en t ally a s it w e r e p r o duc e , ,

a s pi r i t u al r e ac t i o n anal o g o u s t o tha t w hi c h th e p o e t ai m s
t o pr o d u c e o r t o r e p r o duc e .

2 . T h e o bs e r va t i o n o f t h e m a nne r in w hi c h th e p o e t ic
—
fac u l ty e xpr e s s e s i t s el f in u npr e m e di t a t e d s p e e ch in t h o s e
s p o nt a ne o u s a s s o cia t i o ns o f i m ag e s , a nd d e via t i o ns f r o m t h e

no rmal o r d e r and s t ruc t ur e o f la nguag e , f o r th e s ak e o f a

s p e cial e m p h a s i s , w hich a r e call e d fi g u r e s o f s p e e ch .

3 . T h e d e t e rmi n a t i o n o f t h e kind o f w o r d s a n d phra s e s

t ha t hav e b e e n t h e m o s t univ e r s al a nd p e r m a ne nt e xpr e s s i o n

o f thi s fac u l t y in E ngli s h .

T h es e t h r ee e l e m e n t s in th e di s cu s s i o n a r e all s ugg e s t e d
in th e d e fi nit io n o f th e pu r p o s e o f th e L y r ic a l B a lla d s which
—
W ord s w o r th gav e in 1 80 2 t o ch oo s e incid e n t s a nd s i t ua ‘

t i o n s fr o m c o m m o n li f e , a nd t o r e la t e o r d e s crib e th em ,

t h r o u gh o u t a s fa r a s w a s p o s s ibl e in a s e l e c t i o n o f languag e
,

r e ally u s e d by m en a nd a t th e s am e t i m e t o th r o w o v er
, , ,

t h e m a c e r t ai n c o l o ur ing o f i m agi na t i o n, wh e r e by o rdina r y

t hi ng s s h o u ld b e p r e s e n t e d t o th e mind in an u nu s ual
a s p e c t ; a nd f ur th e r a nd ab o v e a ll, t o m ak e th e s e i nci
, ,

d ent s a nd s i t u a t i o ns i nt er e s ti ng by t r aci ng in t h e m t r u ely

t h o u gh no t o s t e nt a t i o u s ly , t h e p r ima r y la w s o f o u r
na t u r e : c h ie fl y a s fa r a s r e ga r d s t h e m a nne r in w hi ch
w e a s s o c ia t e id ea s in a s ta t e of exc it e m e nt T hi s is fa r
’
.

f r o m b e i ng a na rr o w d e fi nit io n o f p oe t i c s tyl e W h eth e r .

w e s a y w ith D r yd e n, o r D ryd e n s m a s t e r L o nginu s o r

’

, ,

w i t h J o h n D enni s t ha t th e la nguag e o f p o e t r y is th e la n
,

g u ag e o f pa s s i o n; o r w h e th e r w i th A r i s t o tl e o r S h ell ey
, , ,

o r W al t e r P a t e r w e em pha s i z e th e s t r a ng e ne s s a dd e d t o
‘
,

b e a u ty in th e p o et s s tyl e ; o r w h e th e r w i th H o r ac e a nd
’ ’

, ,

t h e wh o l e s ch o o l o f L a t i n F r e nc h c r i t i ci s m r e p r e s ent e d by
-

P o p e w e e s p e cially i ns i s t o n t h e s e l e c t iv e p o w e r o f t h e
,

p o e t w e c a n s t ill fi
, nd o u r d e fi nit io n i nclud e d in th a t o f
1
3 0 WO RDSWORTH S TH EORY ’
OF POETI C DI CTION

W o r d sw o r th . th es e th r e e e l e m e n t s w e r e all
B u t , w hil e
s ugg e s t e d in his cri t icism fr o m t h e fi r s t , a nd impli e d in it

t o th e las t , t h e r e w a s a distinc t shi f t o f e mphasis T he .

p o et ic d e v e l o p m e n t t ha t b e gan in 1 7 98 w i t h a d e f e n s e o f
th e languag e o f th e l ow e r a nd middl e cla s s e s o f s o ci e t y e nd s
w i t h t h e p r e fac e o n th e la nguag e o f i m agina t i o n and fancy
in 1 8 1 5; and it is t h e la s t w hich is all o w e d t o s t and a s an
in t r o duc t i o n t o th e p o et s c o mpl e t e w o r k s f o r th e r e s t o f h is
’

li f e T h e languag e o f th e L y r ic a l B a lla ds w ill no t b e

.

e nt ir e ly u nd e r s t o o d un t il w e f o ll o w it t o it s ma t uri t y in

L a o da m ia a nd th e P r im r os e of th e R o c k .

T hi s u nf o r t una t e ly , w e ca nno t do w i thin th e narrow

,

limi t s o f t h e s e p age s No r c a n w e t rac e t h e ind e b t e dn e s s

.

o f W o r d s w o r t h t o t h e f o rmal ps y ch o l o gy a nd phil o s o phy

t o w hi ch C o l e r idg e in t r o duc e d him — th e t h e o r y o f t h e ass o

c ia t io n o f id e as a nd t h e phy s i o l o gic al o ri gin o f th e m in

H a r t l e y s O bs er v a tio ns o n M a n a nd D ar w in s Z o bii o m ia
’ ’ '

and t h e di s cus s i o n s o f S pin o z a w hi ch s o t r o ubl e d th e

inqui s i t iv e s py T h e e ff e c t o f t hi s ne w r e a d i ng o n W o r d s
.

’
w o r t h s di c t i o n al o n e wa s s o e x t e ns iv e and r e markabl e tha t
it d e mand s a n en t ir e ly s e p ara t e t r e atm e n t in c o nn e cti o n
wi th th e P r elu d e w h e r e th e s tyl e s o brillian t ly ex em p lifi
, ed

in th e L ines w r itte n a F ew M iles a b ov e T int er n A b b ey is

carri e d t o it s h e i gh t 1
I t i s o ne o f th e miracl e s o f p o e t ry
.

t hat lin e s wh i ch h av e t a k e n s uch a h o l d o n t h e p o pular

imagi nat i o n as th e s e s h o uld b e m e r e ly th e r e s ul t o f s ett in g
t o musi c t h e s e mi t e chni cal v o cabul ary o f t r e a t i s e s o n
-

physi o l o gy a nd p s ych o l o gy B u t w hil e it mu s t no t b e f o r

.

g o tt e n t h a t T int e rn A bb e y , no l e ss tha n th e t ru e L y r ic a l
B a lla ds i s an o ffsh oo t o f th e ne w e ff o r t an d cri t i ci s m ,
,

and t hat th e s tyl e t h e r e di s play e d was d e v e l o pin g s i d e by

s id e w i t h t h e s t yl e o f Th e T h o r n n e v e r th e l e s s w e mus t
,

c o nfi ne o u r s e lv e s , f o r t h e pr e s e n t t o t h e t h e o ri e s illu s t rat e d
,

in th e la tt e r .

1
S e e B e tt y ,a ‘
Wor ds wo r th a nd H a r t ley —Th e
’
Na tio n 97 51 E
. .
1 3 2 WORDSWORT H S T H EORY ’
OF POETI C DI CTION

Gr ee k s in t h e ir r eli gi o u s p o e ms add r e s s al w ays th e

t hat t h e
N umina L o ci , th e Genii , th e D r y ads , th e N aiads , e t c , e t c . .

A ll na t ural o bj e cts w e r e d ead , m e r e h o ll o w s t atu e s , b ut

th e r e wa s a Go dkin o r Godde s s ling inc lud ed in e ach I n .

t h e H e br ew p oe t ry y o u hnd n o thing o f th i s p o o r s tu ff , a s

p oo r in g e nuin e imagi n a t i o n as it is m e an in in t e ll e ct A t .

b e s t it is b u t fan cy , o r th e aggr e ga t i ng faculty o f th e mind ,

no t imagi na t i o n, o r th e m o dify ing a nd c o a d una t ing facul t y .

T hi s th e H e br ew p o e t s app e ar t o m e t o h av e p o s s e ss e d
b e y o n d a ll o th e rs , and n e x t t o th e m th e E ngli s h I n th e .

H e br e w p o e t s e ach t hin g has a li f e o f it s ow n, and y e t th ey

’
a r e all o u r li f e .

T h e s e di s t in c t i o n s a r e un d oubt e dl y C o l e ridg e s ; but t h e

’

illus t rati o n o f th e e ff e c t o f imagina t i o n coul d o nl y h av e

o ri gina t e d wi t h W o rd s w o r t h D uring th e fi
‘
r s t y e ar t ha t
.

M r W o rds w o r th a nd I w e r e n e i ghb o ur s , writ e s C o l e ri d g e ,

’ 1
.

o u r c o nv e r s a t i o n s turn e d fr e q u en t l y o n t h e t wo cardi nal

‘

p o in t s o f p o et ry , t h e p o w e r o f e x ci t ing th e symp at h y o f t h e
r e ad e r b y fai th ful adh e r enc e t o th e t ru t h o f natur e , a nd th e
p ow e r o f giving th e int er e st o f n o v e l ty by th e m o di f y in g
c o l o rs o f th e imagi nati o n T h e s u d d en c ha r m whic h a c c i
.
,

—
d ents of lig h t a nd s had e, whic h m oo n lig h t o r s u u s e t -
,

di fi u s ed ov er a k now n a nd fa m ilia r la nd s c a p e, a pp ea r ed to
re p r es ent th e p r a c tic a bility o f c om bining b o th .
’
T hi s at

on e c r e call s t h e r e c o gni t i o n o f th e t r a ns fig u r in g p o w e r o f
th e li gh t o f s un s e t w hi ch had b e e n W o rds w o r t h s fi
’
r st

p o e t i c inspi r a t i o n a t f o u r t ee n , a s w e ll as th e th e m e o f much
o f h is d e s crip t iv e wri t i ng a nd th e s ubj e c t o f h is o nly pi e c e
,

o f lit e r a
ry c r it ic is m
”
hith er to N o d o ub t , as h e sp o k e t o
"

C o l e r idg e o f t h e s e thi ng s , h e r e m em b e r e d th e curi o us e xp e

r ie nc e s o f hi s —
b o yh oo d h o w th e l o n e l y fi g u r e o f t h e

sh e ph erd o n t h e hillt o p , e nn o bl e d by mi s t and li gh t had ,

flash e d up o n hi s ey e a s t range an d g o dli k e f o rm how th e

,

un e xp e c t e d sight o f th e blac k crag h ad s t irr e d a nd t r o u bl e d

1
B . L . 2 .
5 . The i t alic s are m i ne .
 COLERIDGE A ND WORD SW ORTH '

1
3 3

h im f o r day s w i t h t h o u gh t s hug e a nd m igh ty f o r m s tha t

of

d o no t m o v e li k e living m e n H e kn e w t hat th e s h e ph e rd
o
.

w a s b u t a p o o r i ngl o r i o u s cr e a t ur e , a nd tha t th e black crag

,

w a s o nly a r o cky pr o t ub e ranc e , a s D r J o h ns o n w o uld

‘ ’
.

s a y ; b u t s uch e xp e ri e nc e s w e r e lik e t h e w aking o f o ld

m e m o r 1 e s , o r th e s udd e n vi s i o n o f s t ra ng e s piri t ual w o rlds

b ey o nd t h e v e il o f s e ns e T h e s e s had o wy e xal t a t i o ns w e r e
—
.

m o m e nt s o f f e ar a nd j o y a nd a s t o ni s h e d s e l f r e v e la t i o n .

I f his p o e t r y c o uld pr od uc e o n o th e r mi nd s th e e ffe c t t ha t

the p o e t r y o f nat u r e pr o duc e d o
‘ ’
n his — t h e n t h e gr e a t
p r o bl e m o f th e s o urc e a nd end o f i m agina t iv e a r t was
s o lv e d . T hi s ne w i nt e r pr e t a t io n o f th e b o yh o o d e xp e r i enc e
t ha t fi r s t ma d e h im a p o e t is t h e t h e m e o f t h e P r elu d e w hi ch ,

w a s b e gu n s h o r t ly af t e r this t im e , and is t hr o ugh o u t an

illu s t ra t i o n o f th e new c o nc e p t i o n o f i m agi nat i o n M uch .

t ha t h e th e r e wri t e s d o w n f o r C o l e ridg e h e mu s t alr e ad y

h av e s aid in th e au t o bi o graphi cal o u tp o uri ng s nat ural in th e
b e gi nning o f a n e nthu s ias t ic fri end s hip .

T h e di ff e r e n t phas e s o f t h e ne w t h e o ry o f imagina t i o n
a r e illus t ra t e d in Th e Th o r n T hi s , W o rd s w o rth s aid ,
‘ ’ 1
.

‘
gr ew o u t o f my o bs e rvin g o n th e ridg e o f Q uan t o c k H ill ,

o n a s t o rmy day a t h o r n w hich I h ad o f t e n p ass e d , in calm

,

a nd bri gh t w e a th e r w i th o u t n o t icing it
, I said t o mys el f ,
.

“
C ann o t I by s o m e i nv e n t i o n do as m uch t o mak e thi s T h o rn
p e rmanently an imp r e s siv e o bj e c t a s the s to rm h a s mad e it
t o my e y e s t hi s m o m e n t I n a t t emp t i ng t o d o t hi s h e
ch o s e , a s a m e dium o f c o mmuni ca tio n t o th e r e ad e r , th e
s i m pl e m i nd t ha t h e d e s c r ib e s a s i m agi na t iv e ra th e r t han

—
fanci ful a mind in w hich a s i ngl e o v e rw h e l m ing e m o t i o n ,
u ni t i ng w i th all th e dim s e ns e o f w o nd e r cha r ac t e ri s t i c o f

childr e n a nd u nl e a r n e d m en, giv e s u ni ty and i nt e n s i t y t o it s

i m pr e s s i o n s a s th e s t o rm s e e m s t o uni fy a nd t r a ns fi
, g u r e

t h e o u t s t a ndi ng f e a t ur e s o f a la nd s cap e T hi s s i ngl e em o

.

t i o n e xp r e s s e s i t s e l f in a t end e ncy t o r e c u r t o t h e o ne ab s o rb

S ee M em
1
o ir s 1 . 1 10 .
 woa p s wo a r fi s TH EORY POETIC DI CTIO N
’
1
34 or

ing id e a , and t o bring e v e r y th in g e l s e int o r elati o n with it ;

h enc e th e e lab o rat e r e p e t i t i o n s in th e p o e m .

To h e i gh te n t h e c o l o r in g o f imagina t i o n ‘ No r d s w o r th ,

d o e s no t h e s i t at e t o m ak e u s e o f di s t inc t ly r om ant ic sug

g e s t i o n s—s u ch a s th e s t irring o f t h e m o s s o n t h e child s
’

grav e b en e a th th e s pad e , and th e haun t ing v i s i o n o f t h e

baby s fac e S uch a s s o cia t e d id e a s , b o rr o w e d fr o m li t e ra
’
.

t ur e v e r y di ffe r e n t fr o m t ha t w hi ch h e e s say e d t o w ri t e ,

a r e al s o u s e d in T h e I d io t B o y a nd P e t er B e ll w h e r e all th e ,

arti s t i c e ff e ct s o f mo o nligh t , w ell kn o wn t o ch e ap r o manc e r s ,

a nd imag e s o f h o r s e ma n gh o s t s a nd bl o o m i ng w o o d b o v s
-

an d s pir e s a nd m o s q u e s a nd abb e y w ind o w s a r e mad e t o

‘ ’

at t e nd o n th e l ow l y fi g u r e s o f th e p o o r idi o t b o y an d t h e

di s r e pu t abl e p o tt e r .

f 2 . F ig u r es o S p ee c h .

On t h e subj e c t o f ima g ina t i o n W o rds wo r t h and C ol e ,

rid g e s ee m e d t o b e in a g r e e m en t fr o m t h e fi r st W ith .

lang u ag e it w a s no t s o A s e arly a s 1 80 2 C o l e rid g e b e gan .

‘
t o su s p e c t t ha t s o m e w h e r e o r o t h e r t h e r e is a radical di f

f e r e nc e in o u r th e o r e t i cal Opini o ns c o nc e rnin g p o et ry .

T hi s radi cal di ff e r e nc e s e e m s t o c o n s is t in t h e ir r e s p e c t iv e
u s e o f t h e t e rm la ng u a g e T o C o l e ridg e languag e m e an t.

w o r d s c o ns id e r e d in t h e ms e lv es a nd e s p e cially in th e ir ,

syn t ac t i cal r ela tio ns ; t o W o rd s w o r t h it m e an t th e w h o l e

z

imagi na t iv e e xpr e s s i o n o f th e th o ugh t—whi ch in m o s t ,

cas e s m e a nt fi
, g u r e s o f sp ee ch T hi s h e pr o bably did no.t
at fi r s t r e ali z e B e f o r e 1 8 0 2 his u s e o f th e t e r m s la ng u a g e
.
,

p hr as e olog y dic tio n e tc s eem s t o b e ra th e r l o o s e No

, , .
, .

d o ub t h e w a s c o n t inually infl u enc e d by C o l e ridg e s m o r e

,
’

d i s tinc t in t e rpr e t at i o n o f th e s e w o rd s .

B u t w h en in th e A pp e ndix o n P o e t ic D ic t i o n h e r e ally
, ,

und e r t ak e s t o de fi ne h is t e rms s e v e ral d iffi c u lt ie s in th e ,

1
L e t t er s o f Sam u el Ta y lo r C o ler idg e 2 .
3 86 -
3 87 .

1
B L . . 2 .
3 9 49 -
.
1 3 6 WO RD SWORT H S T H EORY ’
OF POETIC DICTIO N

th a t p e a s ant d ail y c o mmun e s w i t h t h e b e s t o bj e c t s

the
fr o m w hi ch th e b e st p art o f languag e is u s ually d e riv e d ,
an d t ha t the languag e ari s ing o u t o f r ep e at e d e xp e ri e nc e
‘

and r e gular f e elin gs is a mor e p e rman en t an d a f ar m o r e

phil o s o phi cal languag e than that fr e q u e n t l y sub s t i tu t e d f o r
it by p o et s A s H ar t l e y had t augh t him , th e langua g e o f
’
.

m e n is vi t ally m e t ap h o ri cal We c ont inually e xpr e ss one.

id e a in t e rm s o f an o th e r , and e xpl ain imag e s by o t h e r ass o

c ia t e d imag e s I n th e fi g u r
. a t iv e e xpr e s s i o ns and illustra
t i o ns t h a t m en d ail y u s e — e sp e ciall y w h e n s t r o ng f e e ling

pu t s a s t rain o n th e o rdinar y r e s o urc e s o f langua g e— ar e

f o und th e g e rm s o f p o e t ic art .

S imil e s , fabl e s , parabl e s , all e g o ri e s , w ri t e s H ar t l ey ,

‘ 1

a r e all i ns t anc e s o f natural anal o gi e s impr o v e d an d s e t o ff

‘

by a r t A n d t h ey h av e t his c o mm o n t o th e m a ll, t ha t the

.

pr o p e rti e s , b e auti e s , p e r f e ction s , d e s ir e s o r d e f e cts and ,

av e rsi o ns , whi ch a d h e r e b y ass o cia t i o n to the simil e ,

parabl e , or e mbl em o f an y k in d , a r e ins en s ibly , as it w e r e ,
t rans f e rr e d up o n t h e thin g r e pr e s e nt e d H e nc e th e passions .

a r e m o v e d t o g o o d o r e vil , s p e cula t i o n i s t urn e d into p r a c

t i c e , and e ith e r s o m e impor t an t t ruth f e l t an d r e ali z e d , o r

s o m e e rr o r a nd vi c e gil d e d o v e r a nd r e c o mm en d e d We .
’

cann o t s p e ak o f a r o s y fac e, or a fri e ndl y gr ee ting , o r

‘ ’ ‘ ’

a c o o l m a nn e r w ith o ut sp e ak i ng m et aph o ric all y ; a nd th e

‘ ’

m o st p e rmane nt an d e xpr e s s iv e m e taph o rs a r e t h o s e which

a r e f o un d d up o n t e m o s t univ r s al ph en o m e na up o n
e h e —
‘
t h o s e w hi ch a r e c o nn e ct e d with o u r m o ral s e n t im e nts a nd

animal s e nsations , with th e o p e rat i o ns o f th e e l e m ents and ,

th e app e aranc e o f th e vi s ibl e univ e rs e ; w i t h s t o rm an d sun

shin e , w i th th e r e voluti o n s o f th e s e a s o ns , wi th c o l d a nd
h e at , w i th l o s s o f fri en d s and k indr e d , wi th inj uri e s a nd
r e s e n t m e n t s , gra tit u d e a nd h o p e , f e ar a nd s o rr o w 2
.
’

W h e n W o rdsw o r th s t e rm , la ng u a g e is i nt e rpr et e d t o
’

e —
m an m e ta p h or pri m aril y th e e xpr e s s i o n o f o ne e xp er i
,

Oh M a n
1
1 . 297 .

1
P r fac
e e to the Ly r ic a l B a lla ds 1 80 2 .
 COLERIDGE A ND WORD SWORTH 1
3 7

e nc e in te r m s of a no t h e r — w e b e gi n t o u nd e r s t a nd w h e r e i n
t h e la ng u ag e o f th e p r e s e nt h a s t h e adva nt ag e o v e r t h a t o f
T h e p o e t t alk s a b o u t t h e fi a m e s o f l o v e a nd
‘
t h e ch e ap p o et
’
.

t h e li gh tning s o f th e fair lady s e y e s ; b u t b o t h th e p o pular

‘ ’ ’

p o e t a nd his r e ad e r s ac c o r di ng t o W o rd s w o r th in h is e a r ly
,

r e p u bli ca ni s m a r e t o o bu s y w i t h r o u t s dinn e r s m o r ning

,
‘
, ,

call s h ur ry fr o m d o o r t o d o o r fr o m s t r e e t t o s t r e et o n
, , ,

f o o t o r in ca rr iag e t o giv e m o r e tha n a pa s s i ng gla nc e t o

1
,
1

a ny ac t u al fla m e o r li gh tning T h e y t ak e t h e s e ph e n o m e na
.

o n fai th ; t h e i m ag e s a r e h a nd e d d o w n fr o m p o e t t o p o e t ,

g r o w i ng a li ttl e m o r e g ene r al a nd m o r e fad e d w i th e ach

t r an s m i s s i o n: B u t t h e p e a s an t e v e n t h e p e a s a nt o f li t t l e ,

imagi na ti o n livi ng in th e p r e s e nc e o f s to rm s a nd li gh t ning s

, ,

s i t t i ng w i th o u t e m o t i o n h o p e o r a im in t h e l o v e d p r e s enc e
, , ,

o f h is c o tt ag e fi re r e c e iv e s i nt o his h e a r t a cl e ar i m ag e o f
,

t h e s e thi ng s t hr o ugh l o n g o b s e rva t i o n a nd a s s o cia t i o n a nd

h enc e i f h e c o m pa r e s a f ee li ng t o a flam e h e a s s o cia t e s a
, ,

di s t i nc t imag e w i th th e id e a o f fla m e a nd th e m e t aph o r is ,

t ru e a nd w a s t hi s cl e a r ne s s a nd r e ali ty o f imag e ry
th a t W o r d s w o r t h w a s t r ying t o b r i ng back in t o p o e t ry
)
I d o no t k now h o w t o giv e m y r e ad e r a m o r e e xac t n o t i o n
‘

o f t h e s t yl e in w hi ch it w a s my w i s h a nd in t e n t i o n t o w ri t e
’

h e s ay s tha n by i nf o r mi ng him th a t I h av e a t all t i m e s

2 ‘

e nd e av o r e d t o l o o k s t e adily a t m
y s u bj e c t .
’

O f c o ur s e th e p o e t s ch o i c e o f w o r d s is vi t ally a ff e c t e d
’

by th e ch o ic e o f m et aph o r s a nd by th e ri g o r o u s e xclu s i o n ,

of fi g u r e s o f s p e e ch whi ch do no t r e ally r epr e s ent th e o bj e c t

d e s c r ib e d o r th e na t ur e o f th e f e e li ng w hich in m o m e nt s o f
, ,

e xci t e m e nt c o l o r s a nd e v e n di s t o r t s t h e p e r c e p t i o n o f t h e
,

o bj e c t A nd w h e n th e p o e t is s p e aki ng in t h e charac t e r o f
.

a n e xci t e d p e a s an t d r a m a t i c fi t nes s al s o li m i t s t h e v o c a b u
,

lary T h e o b s e rva t i o n o f th e s p e e ch o f s i m pl e m en c e r t ainl y

.

a ff e c t s th e w o r d s a nd e s p e cially th e s y nt ax o f t h e L y r ic a l
, ,

B a lla d s a s w e s hall s e e
, N e v e r th e l e s s , s o li tt l e h a s W o r d s
.

1
L r t L a dy B au m nt M y
et t e o e o , a 2 1 , 1 80 7 (L . W . F . 1 .

P r f ac t t h L y i l B ll d
1
e e o e r ca a a s .
 wo a p s wo m TH EORY POETI C DICTION
’

3 8 H s or
‘
1

w o r th s fam o u s th e or y t o d o w i th w o rds in t h e ms elv e s that

’

it m ay b e qu e s t i o n e d w h e t h e r it fairly e xclud e s t h e u s e o f
s uch a w o r d a s inc o m m u nic a b le in M a r gar e t s lam e n t , s o
1 ’

o f t e n ci t e d as a n e xampl e o f t h e i nc o n s i s t e nc y o f his th e o r y

wi th his prac t i c e :
r ap s o m e d u ng e n h ar th e e gro a n
Pe h s o e s ,

M ai m e d m a ng le d b y i nh u m a n m en;
,

0 t h o u up o n th e d
1 e rt t h r wn es o

I nh e it e s t t h e li o n d e n;
’
r s

O h a s t b e en s u m m ne d t th e d ee p
r o o ,

T h o u th o u nd a ll thy m a t s t k e p
, a e o e

A i nc o m m u nicab le s leep
h .

T his i s no t M argar e t s lang u ag e , th e cri t i cs p o int o ut wi th

’

’ ’
gl e e , inc o mmuni cabl e no t b e in g in th at s impl e w o man s
‘

v o cabula r y B ut i f th e a s s o cia t i o n o f i d e as is tru e an d

.

vi t al —if t h e w o rd s a r e a r e al expr e ssi o n o f th e m o th e r s

’

'

w i s t ful t h o ugh t : T h e y a r e a s le e p ; b u t th e y cann o t giv e

‘

h
t e ir s l ee p t o m e o r t o any o ne — t h en t h e au r ios a f elic ita s
’

o f t h e adj e c t iv e in t hi s c o nn e c t i o n, it s m o urn ful s o n o ri t y -

,

it s vagu e S hak e sp e ar e an s ugg es t i o ns , h av e n o t hing t o d o

wi th t he ma t t e r T h e r e is n o thing impl y i ng w id e e xp e ri e nc e
.

o r int e ll e c t u a l cul t ur e in M argar e t s t h o ugh t ; it i s o ne o f

’

t h o s e strang e in t ui t iv e a s s o cia t i o ns o f id e as t ha t c o m e t o
childr e n and p o e t s an d t h e s impl e s t h e ar t s I t is trul y h er .

m e th o d o f e xp r e s si o n al th o ugh th e p o e t s v o cabular y s u p
,
’

pli e s th e w o rd .

W hil e this e x t e n s i o n o f th e w o r d la ng u a g e u nd o ub t e dly

e xplain s much o f W o rd s w o r th s cri t i ci s m and prac t ic e , it
’

cann o t b e ass e r t e d t ha t h e al w ay s us e d th e t e rm in thi s

s en s e .I n th e L y r ic a l B a lla ds o f 1 7 98 in p ar t icular , h e was ,

d elib e rat e l y imi t ati ng th e s p ee ch o f th e l o w e r cla s s e s , with

all it s p e culiari t i e s o f v o cabulary a nd s y n t ax , a s we shall
s ee H e ne v e r c o uld d e h n e h is t erm s t o t h e s a t is fac t i o n o f
.

h is f r i e nd s C o l e ridg e did no t k n o w wha t h e m e an t b y

.

1
T h e A fflic tio n o f M a r g a r e t 50 56 ( O x f o r d
-
e d i ti on , p .
1 40 WORD SWORTH S TH EORY
’
or POETI C DI C TION

b o d y o f w o r d s c o mm o n to C hauc e r a nd t o alm o st an y
E nglishman o f th e y e ar 1 7 97 . H e who can u se th is c o n
cr e te , e m o t i o nal , an d i d i o mat i c sp e e ch wi th a ll t he p o w e r
o f whi ch it i s c apabl e has f o und th e t ru e a nd las t ing basi s

o f p o e t i c dic t i o n
.

T hi s th e o r y b o th W o r d s w o r t h an d C o l e ri d g e t ri e d t o
illus t ra t e, b u t wi t h o ne charac te ri s t i c di ff e r e nc e ; f o r in
th e A nc ient M a r iner C o l e ri d g e c o n t riv e s t o r e t ain a f e w
r o m an t i c archaisms , a nd W o r d sw o rth , in th e L y r ic a l B a l
la ds , k eep s s om e sp e cial r e alisti c f e a t ur e s o f th e sp e e ch o f
th e l o w e r and mid d l e cla s s es o f s o ci e ty . W i t h The A nc ient
M a r iner w e a r e no t h e r e conc e rn e d . B u t W o r d swor t h s
’

e ff o rt mus t b e car e full y anal y z e d .

 CH A P T E R 6 .

TH E LYRI CAL B A LL AD S .

A l th o u gh W o r d sw o r th s th e o ry o f p o et ic di c t i o n h ad a
’

s o u nd e r ba s i s in li t e r a r y t radi t i o n and in p s yc h o l o gy t ha n

an i gn o rant w o rld o f l e tt e r s w a s pr epar e d t o ad m i t hi s o wn ,

a ppli cati o n o f it in it s fi r s t e x t r e m e f o r m w a s v e ry li m i t e d
, ,

in t im e a nd in e in th e A dv e r t i s e m ent t o t h e
x t ent . Only
L y r ic a l B a lla ds o f 1 7 98 d o e s h e say t hat h e m e ans t o em pl o y
la ng u ag e o i c o nv e r s a t i o n in th e middl e a nd l o w e r
‘

th e
‘

cla s s e s o f s o c 1ety ; a nd o nly in thi s v o lum e d oe s h e a c t u ally

’

s u c c e e d in d o i ng s o B u t e v en h e r e h e m ak e s u s e o f t hi s
.

languag e s i m ply as a n e xp e r im ent a nd cl e a r ly indi ca t e s

‘

,
’

t ha t t h e e xp e ri m e nt a ppli e s o nly t o a pa r t — t h o ugh a maj o r

—
par t o f th e c o ll e c t i o n .

T h e p o e m s c o m p o s i ng th e m i no ri t y no t includ e d u nd e r ,

V o r d s w o r th 5 d e fi
J
nit io n o f h is p ur p o s e a r e e a s ily d e t e r
’

m in e d .A par t fr o m th e c o n t ribu t i ons o f C o l e ridg e a nd ,

apar t f r o m T i nt e r n A bb ey w hich , a s W o rd s w o r th him s e l f

,

indi ca t es , w a s c o m p o s e d in th e l o f t i e r and m o r e i m pa s s i one d

s t r ai n o f th e o d e , t h e y p r o v e t o b e th e p o e m s w r i t t e n b e f o r e
1

1 7 97 — t h e L ines lef t u p o n a S e a t in a Y e w— Tr ee Th e F e m a le ,

Va g r a rit th e L ines wr itt en nea r R ic h m o nd and t h e C o n

, ,

v ic t—no ne o f w hich s h o w a n t r ac e o f th e ballad li t e r a t ur e

y
-
.

One o th e r p o e m in th e v o l u m e s h o w s vi r t ually n o thi ng o f

t hi s infl u enc e T hi s is t h e Old M a rt Tr a v e lling w hi c h
.
,

o ccupi e s a u niqu e plac e in th e fi r s t e di t i o n I t is th e o nly .

r e pr e s e n t a t iv e o f a t yp e o f d eli ne a t i o n o f r u s t i c li f e in
blank v e r s e whi ch d e v el o p e d s id e by s id e w i th th e L y r ic a l
B a lla ds b u t w hi ch d o e s no t o th e r w i s e app e ar in prin t t ill
,

t h e V o l u m e s o f 1 80 0 T h e r e m ai ni ng p o e m s in t h e fi
. r s t e di

t i o n f o r m a h o m o g e neo u s g r o u p cl e arly r e fl e c t ing th e

,

1
S e e no t e on i
T nt e n r Ab b y e Ly i
in t h e r ca l B a lla ds , 1 80 2 - 1 80 5,
r pri nt
e ed by uc i
H t h ns o n in th e O xf r d d i t i
o e o n, p .
90 1 .
1 42 WORDSWORTH S TH EORY ’
or POETI C DI CTIO N

li te rary infl u e nc e s ugg e s t e d in th e t i t l e , and t h e t h e o ry o f

p o e t ic dic t i o n sugg e s t e d in th e A dv e r t i s e m e nt Th ey a r e .

t h e r e al e xp e rim e n t— —
th e a t t e mp t t o c o o rdi na t e t h e artl e s s
a r t o f th e ballad s w i t h W o r d s w o r t h s o w n o bs e rva t i o n o f
’

t h e p s ych o l o gical p r o c e s s e s u nd e rlying t h e s p e e ch o f simpl e

m e n ; th e r e s t a r e m e r e ly p o e m s w r i t t e n in va r i o u s m o o d s

a nd in vari o u s s tyl es .

T hi s gr o up o f th e t ru e L y r ic a l B a lla ds fall s in t o f o ur
mai n divi si o ns
1 . P hil o s o phi cal
and narra t iv e p o e ms in th e m e tr e and , ,

t o a c e r t ain e x t e n t , t h e styl e o f t h e ballads , b u t w h o lly

d i ff e ring fr o m t h e m i n subs t anc e .

( )
a P hil o s o phi cal an d r e fl e c t iv e p o e m s , in w hi ch th e
narra t iv e el e m e n t i s at a minimum
L ines wr itt en in E a r ly S p r ing
L ines wr it ten a t a S m a ll D is ta nc e fr o m m y H o us e
E xp os tu la tion a nd R ep ly
Th e T a b les Tu r ne d .

b
( ) N a r r a t iv e
p o e m s in th e na t ur e o f simpl e a ne c
d o t es d es i gn e d t o illu s t rate a phil o s ophi cal tru th tha t
is far l es s simpl e
We ar e S ev en
A ne c d o t e f or F a th er s
S im on L e e .

2 .
N arra t iv e an d l y ri cal p o e ms l e s s r e c o ndi t e in th o ught
, ,

b u t w ri t t e n
‘
in a m o r e impr e s siv e m e tr e t han i s usual in
th e B allads “
:

( )
a P o e ms mor e narrativ e t han l y ri cal
Goo dy B la k e a nd H a r r y Gill
Th e I dio t B oy
( P e t er B ell ) .

(b ) P o em s in w hi ch th e lyric al e l em e n t t e n d s to p r e

1
P r e fac e , 1 80 0 , p . x x xv .
1 44 WORDSWORTH S T H EORY ’
OF P OETI C DICTIO N

cr e t e w o r d s , n e ith e r m o r e no r l e ss simpl e than th e lan g uag e

o f th e maj orit y o f p o e ms in t h e Oxf or d B o o k of E ng lis h

Ver s e B u t wh e n w e e xamin e it in t h e li gh t o f th e d is cus

.

s i o n s o f W o rdsw o rth an d C o l e ridg e , e v e n t his fact b e c o m e s

in t e r e s t ing .

A s has alr e ady b e e n s ai d , th e t wo p o et s ha d som e noti o n

t hat t h e r e was a p e rman e n t b o d y o f E ngli s h w o rds —th e
nam e s o f c o mm o n t hings and univ e r s al e m o ti o ns which —
had r e main e d c o mpa ra t iv e ly unal te r e d sin c e th e d ay s o f
C hauc e r T his w a s t h e g e n e rally i nt e lli gibl e lan guag e o f
.

po et r y whi ch th e e i gh t e en th c e ntur y had al w ay s e nd e av o r e d

t o disc o v e r — a languag e
‘
simpl e, s e nsu o u s , a nd passi o nat e .
’

T hi s c o nt enti o n is fully j u s t ifi e d b y t h e L y r ic a l B a llad s .

A l th o ugh W o r d s w o r t h s av o w e d e ff o r t i s t o imi t at e th e
’

l anguag e t hat h e dail y h e ars o n the lips o f unl e arn e d m en,

stan z a a ft e r s t an z a o f the m o s t typi cal W o r d sw o rthian
v e rs e in thi s v o lum e c o n t ain o nl y w o rd s t hat may b e f o und
in S k e at s gl o ssary t o C hau c e r T hi s is t ru e, f o r instanc e ,
’
.

o f th e d e scrip t i o n o f th e lit tl e c o t t ag e g irl

I m et a li ttle c o tta g e girl ,

S h e w a s e igh t y ar s o ld s h e s ai d
e ,

H e h air wa s t h ic k w i th m a ny a curl
r
1

T h a t c lu st e re d ro u nd h er h ea d 2
,

an d of
‘
th e —
w o n d e rful lin e s q u a m u ihil ad g eniu m
u a u c ler i
’
whi ch H u t chins o n ch oo s e s a s th e supr em e exampl e
‘
o f a c a s e in w hich th e lin e am en t s o f th e po et p eep o ut
t hr o ugh h is clumsy dis guis e
3 ’

At i s o f th e d a y o nigh t
a ll t m e r

T h i w r e t c h e d wo m a n th i th e r g o es
s
,

A nd s he is k no wn t o ev er y s ta r ,

A nd e v er y wind t ha t b lows .
1

1
O ccurs in C hauc e r s p o etry ’
a s cr u l, c r u lle, m e a ni ng c u r ly
‘

We a r e S ev en 5 8
.

1
-
.

3
Ly r ic a l B a lla ds , ed . H u t c h i ns o n, p . 2 40 .

1
Th e T h or n 6 7 -
70 .
 TH E LYRICAL BALLAD S 1 45

E v en wh en th ep o e t is wri t i ng m o r e phil o s o phi cally h e ,

st ill s ee m s t o hnd th e v o cabula r y o f C ha u c e r no t inad e qua t e .

I n th e s t anz a ,
r e wh ich N a ture bri ng s ;
S we et is t h e lo
‘

i g i nt ell c t
O u r m e dd l n e

M i s s h ap s t h e b au t o u s f rm s o f th i ng s
e e e o
—We m ur d er t d i c t o sse
1
,

o nly th e w o rd di s s e c t is ent ir e ly u nkn ow n t o h is ma s t e r

‘
.

O f c o ur s e t h e r e a r e m any ca s es in w hi ch thi s is no t s o .

R u s tic in t h e li ne , S h e ha d a r u s tic w o o dla nd ai r

3 ‘
a nd
’

inter m itt ea in t h e li ne A nd h e ld s u ch iu t er m itt e a t alk

1 " ‘ ’ ’

, ,

a r e no t C hauc e rian T h e r e m a r kabl e t hi ng is tha t h e sh o uld

.

h av e c o m e s o n e ar th e v o cabula r y o f t h e fi r st finde r o f o u r
‘

’
fair lan guag e wh en h e w a s w ri t i ng in acc o rdanc e w i th a
,

t h e o r y in w hich th e 1m 1t a t io n o f C hauc e r w a s m er e ly a n
incid e nt al s ugg e s t i o n by C o l e r idg e I t is c e r t ainly a pr o o f .

o f t h e es s e n t ial s o und nes s o f t h is ne w c o nc e p t i o n o f t h e

u niv e r s al lang u ag e o f p o e tr y t ha t af t er s o m any c ent ur i e s

,
, ,

s o m e o f th e m o s t cha r ac t e ris t i c e xpr e ssi o ns o f an imagina

t io n s o i ndivid u al a s t h a t o f W o rd sw o r t h s h o uld b e s t r ic t ly
in th e v o cabul a r y o f Ch a u c e r f
i
W hil e thi s at t e mp t t o fi nd t h e r e ally p ermane n t e l e m e nt in
t h e E n gli s h la nguag e w a s und o ub t e dly t h e m o s t val u abl e

1
T h e T a b les Tu r ne d 2 5-28 .

1
T he e arli e st o ccurr nc e e of th is r
w o d no t e d in t h e N E D . . is in
T o p s ell, S er pents 6 2 1
3
The e arli est o ccurr nc e e o f th is wo rd no t e d in t h e N . E . D . is
in P a lla da diu s On H u s b a ndr y 1 . 1 0 27 (c .

“
The e arli est o ccurr nc e e of th e wo r d in t h i s s e ns e no t e d in t h e
N E . . D . is in Wy a tt D , ea th o f the C nt ou es s P e m b r o k e 42 1 -422

5
i n t h e C n d n t o t h p m f W r d s w r th
O i t h e w o r ds
'

o c or a ce e oe s o o o ,

I e t i m a t th a t ab ut 6 0 p
s e c nt o ccur in m f rm in th p t ry
o er e , so e o , e oe

o f C h auc r ; a b u t 6 8 p
e c nt in t h p etry f M i lt n ; a b ut 80
o er e . e o o o o

p e c ernt in t h e p o t r y o f S p n e r ; nd 90 p
e c e nt in t h e p t ry e s a er oe

o f S h ak es p ea r e .
1 46 WORDSWORT H S T H EORY
’
or P OETIC DICTION

f e atur e o f th e new th eor y , th e r e i s abun d ant e vi d enc e t hat

W or d sworth hims el f was m o r e e sp e ciall y inte r e s t ed in the
a rti s ti c p o ssibili t i e s o f e xclusiv e l y c oll o q uial turns o f e xpr e s

s ion . T h e s e o c cur c h ie fl y in th e po e ms in whi ch th e r e is a

som ewhat d ramatic a tte mpt t o imitat e t he mann e rs , as w e ll
a s th e e m o ti o ns , o f humbl e ch ara ct e rs 1 B y far t he l ar g e s t
.

prop o rti o n o f t h e m i s f o un d in Go o dy B la k e a nd H a r r y
Gill a nd Th e I dio t B oy a s w e ll as in th e late r , unpublish e d
,

p o e m o f T he Tink er , whi ch b el o ngs t o th e sam e typ e , an d

in th e fi r s t e d ition o f P e t er B ell whi ch , t h o ugh no t print e d
,

until 1 8 1 9 , i s a t ru e l y ri cal b alla d W h e r e th e e m o ti o nal a nd

.

l y ri cal e l e m e nt b e g ins to pr e d o minat e, th e s e c o ll o q uialisms

t e n d to d isapp ea r , a s in Th e Tho r n a nd Th e L as t of th e
F lo c k .T hi s i s a ra t h e r int e r e s ting fact—a possibl y u nin
t entio na l illustration o f W o rdsw o r th s o w n b e li e f t h at t h e
’

univ e r s al langua g e i s th e l anguag e o f th e h e ar t One w o ul d

.

n at urall y exp e ct t o hnd c o ll o quiali s ms in a d ramati c l y ric ,

wh e r e th e p o e t i s sp e ak ing through th e mouth o f a humbl e
charac t e r , ra th er than in a narrativ e , wh e r e h e sp e ak s in
his own p rs n e o . B u t th e —
h al f h umorous o bs e rva t i o n o f
e xt e rnal mann e rs l o w e rs th e sty l e , whil e e m o t i o n rais e s a nd

univ e rsali z e s it T hi s i s e sp e ciall y tru e in th e cas e of Th e

.

M a o M o th er , wh o s e p a th et i c s o n g is no t sulli e d by an y o f
’

t h e curious imp o r t at i o n s fr o m vulgar sp e e ch t ha t a r e so

fr e qu e n t in Th e I dio t B oy .

Th e c o ll o quiali sms a r e o f t wo sorts . T h ere a r e word s

which a r e c hiefl y c o nfi ne d t o s p e e ch an d t h e r e a r e w o rds
whi ch , th o ugh fr e qu e n t in li te ratur e an d capabl e o f b e auti
ful and n o bl e us e s , a r e e mplo y e d in th e L yr ic a l B a lla ds in a
mann e r no t c o mm o n o utsid e o f c o nv e r s a t ion . Th e c ol
lo q u ia lis m s o f th e fi r s t typ e hav e g e n e rally an o n o mat o po e tic

valu e I n th e e arli e r d e scrip t iv e p o ems , W o r d sw o r th had

.

alr ea dy sh o w e d a sp e cial int e r e s t in w o r d s e xpr e ssiv e o f

s o und T o tho s e whi ch h e t h e r e e mpl oy e d h e has no w
.

a dd e d a ch o ic e c o ll e c t i o n o f mor e h o m e l y cr e a t i o ns o f this
k in d
 ’
1 48 WORDSWORTH S TH EORY OF POETI C DI CTION

th er e i s a t o uch of
h o n e st vul gari ty Whi ch i s charac t e ristic
o f Th e T ink er t hr o ugh o ut N o thing in hi s p ub li s h e d w o r k
.

s o c o mpl e t e l y r e v e al s th e str a in o f rusti c g ood nat ur e in

W o rdsworth , unm o difi e d b y an y high e r t o uch e s o f p o e tr y ,

as thi s pi e c e, wi th it s ch ee r ful ru d e m etr e an d unp oli sh e d

1
phras e s
Who le a d s a h a pp y li f e
I f it s no t th e m e rry T i nk er ?
’

No t to o o ld av e a wi f e ;
to h
No t too m uc h a t h i nk e r .

R i ght b e f o r e th e F arm er s d o o r ’

D o wn h e s i t s ; his br o ws h e k ni t s
T h en his h a m m e r h e r o u es ; z

B a tt er ! ba t t e r ! ba tt e r !
H e b e g i ns t o c la tt e r ;
A nd wh i le t h e wo rk is g o i ng o n
Righ t g o o d a le h e b o w e s
2
z .

Bu t thi s p oem w a s Wi th h e l d fr o m print , an d th e s tyl e

e mpl o y e d in it was s e l d o m all o w e d t o app e ar in W o r d s

w o r t h s p oetry aft e r t h e L y r ic a l B a lla ds I n B enj a m in th e

’
.

Wa g g oner , h is m o s t succ e ss ful a t t e mp t a t hum o r , s o m e

t hi ng o f a br o a d l y , ru d e ly pl ay ful sympath y wi t h th e f o ibl e s
o f a humbl e sinn e r is r e t ain e d ; b u t it i s e xpr e ss e d in

languag e s o pur e a nd limpi d th at it w o ul d no t d i sgrac e

C hauc e r s o wn w e ll o f E ngli s h und efi
’
le d M an y o f t h e .

”
c o ll o q uial w o rd s j u s t li s te d w e r e o mi tt e d in c o r r e c t io nf an d
d o no t app e ar in th e Co nc or d a nc e a t all Oth e rs w e r e n e v e r .

us e d a ft e r th e ap p e aranc e o f th e L yr ic a l B a lla ds !
W or d s
ri nt e d f the Wor ds wor th a nd C o ler idg e
1
R ep in A D es cr ip tio n o

M a nus cr ip ts in t he P os s es s io n of M r T N or ton Long m a n, pp 6 7

. . .

68 ; c f Kni gh t, L if e of Wor ds wor th 1 3 1 0

. . .

2
T he Tink er 1-1 5.

c m g, fi d d le-f a d d le, tind er , e tc ,

. we r e om i tte d in r evi s i o n
, a nd

nev er em p lo y e d a gai n .

flur r y ( in th e p h ra s e in
‘
B ur r , c ur r , h o b- no b , hur ly - b ur ly , a

flu r r y ) , etc , a r e
. em p loy e d only in the Ly r ica l B lla ds B owz es a .
,

b a tter , b u m m ing , et c . o ccu r o nly in t h e u np ub li s h e d p o em

, The ,

Tink er .
 TH E LYRICAL B A LLADS I 49

wo r th limina t e d t h e o v r c o l l o quial e l e m en t s fr o m his

e e -

v o cab u la r y , a s car e f u lly a s h e r e m o v e d t h e p e dant ic o r

b o o ki sh e xpr e s s i o ns f r o m t h e e arly d e s crip t iv e p o e m s Th e .

f o r m er a r e a s li t t l e charac te ri s t i c o f h is ma t ur e s tyl e a s
th e la t t e r .

M o s t o f t h e c o ll o quial w o rds had s o m e ar t i s t i c ju s t ifi

'

ca

t i o n in t h e ir o n o mat o p o e t i c valu e ; b u t t hi s can h ardly b e

s aid o f many p ra s e s o
h f th e s a m e t yp e — no t a whit t h e
‘

b e t t e r h e , I f e a r y o u r e in a dr ea dfu l wa y
’ ‘
in a m ig hty
’ ’

,
‘

i i h
g y fl
’

f r e t n
’

, a m
‘
t u r r y ,

Sad c a s e, a s you m ay th i nk ,

F or v ry c o ld
e to g o to b e d,
A nd th e n f o r c ld
o no t s le ep a wink ,

M o st als o w e r e r ej e c t e d b y W o r d s w o r th s
of
’
etc . t h es e
m a t ur e t a s t e N o thi ng c o u ld giv e a b ett e r id e a o f th e
.
1

al m o s t uni f o rm n o bili t y o f his s t yl e t han t o l oo k up w o rd s

lik e d r ea dfu l fr e t, m ig h ty e t c in t h e C o nc o rdanc e a nd t o

, , .
, ,

find th e q u o t a t i o n fr o m th e L y r ic a l B a lla ds s t anding o ut

l o n e ly c o ntra s t t o such lin e s a s

I m p lo r es u ntri e d leep o f d e ath

t h e dr e a df u l s .
2

Dim d ea dfu l fac e th ro ugh t h e g lo o m ap p ear

3
r s .

I lo v e th e b ro ok s wh ic h d o wn t h e ir c h a nnels f
4
r et .

A nd s ee t he ch i ld r en s p o rt up o n th e sh o r e

A nd h e ar t h e m ig h ty w a t e r s r o lli ng e e m o v r re .
5
E

p r ennia l b o w r a nd m urm uri ng pi ne

A nd t h e s e e e s s

B graci o u s a t h m u ic nd t h e b lo o m
e s e s a

A nd ll th e m ig h ty ravi s h m nt o f s pri ng
6
a e .

N o ne xpr e i o n h r m ent o ne i d o ccurs in Wo r d s wo rth s

1 ’
of th e e ss s e e

p o et ry u t i deo s o f th e L y r i a l B c a lla ds .

D S Q uar t
2
. . o 6 43 .

3
'

I b zd 6 50 . .

‘
’

I m m o r ta h ty 1 96 .

'
5
I b zd . 1 7 o- 1 7 1 .

6
L a dy ! t h e s o ng s o f S pr ing wer e in th e g r ov e 1 2- 1 4 .
1
50 WO RD SWORT H S T H EORY ’
OF P OETI C DI C TION

T hi s full ne s s o f c o nt en t , thi s ima g inat iv e d i g nity , a r e th e

r e all y ty pical f e at ur e s o f W o r d sw o rth s s tyl e , wh e th e r h e ’

i s borr o win g hi s ac t ual w o r d s fr o m a p e asant or fr o m

S ha k e sp e ar e T hi s h e hims el f r e ali z e d m o r e an d m o r e
.
1
.

H ow ev e r , a t t h e b e ginnin g , his int e r e st in t h e p oor a nd

lowl y m a d e him f o rg et t h a t h e wa s usin g th e m a s ty p e s ,
a nd t h e ir l a n g ua g e a s a univ e r s al e xpr e ssi o n o f univ e rs al

f e e lings , rath e r t han a s an e xt e rn al mar k o f a sin g l e class ,

a nd a singl e stag e o f cultur e W h e n h e t ak e s a lin e o f
— —
.

g nuin p r y
e e o e t o i pur and e m o tiona l E n g lish d ir e c t l y
e

fr o m th e lip s o f a p e asant , a s h e s o m e t im e s d o e s , w e a r e
2

grat e ful in d e e d f o r th e gi ft ; but wh e r e thi s e ss entiall y

p o e ti cal ch aract e r i s lac k in g , th e lan g ua g e o f th e c o untr y
villag e r i s no t in its el f pr e f e ra bl e t o that o f th e polit e L on
d on e r T h e r e al valu e o f th e l anguag e o f th e L yr ic a l
.

B a lla d s i s no t th a t it i s th e sp ee ch o f th e low e r an d mi dd l e
‘

class e s of s o ci ety , but that it is univ e rsal lan g uag e o f th e

’

h e art in p e rman ent an d univ e rsal E nglish w o r d s .

2 . S yntax .

W h en turn from th e s t u d y o f w o r d s per s e to t h e ir

we
l gical r lation
o e t o e ach o t —
h e r in th e s ent e nc e i e , th e . .

s y ntax , we fi nd th at th e combin e d infl u enc e o f th e R eliq u es

a nd o f W or d sw o rth s ne w principl e s ha d a much m o r e
’

d is t inc t , an d possibl y a d e l e teri o us , infl u enc e up o n hi s p o et i c

C f M em oir s 1
1
. . 1 29 .

2
O f S im o n L ee Wo r d s wo rth s a y s : Th e ex p r e s s i o n wh en th e
‘

h o u nd s we re o ut I d e arly lo v e t h e ir v o ic e s
, [ S im on L ee 48 ] wa s
”

wo r d f o r wo r d fro m t h e li p s o f t h e 0 111 m a n wh o s e r ve d a s t h e
’

m o d el f o r t h e s up e r a nnu a t e
fl h u nt s m a n [ M em o ir s 1 Th e .

b e au t i fu l li ne s in Th e S o lita r y R eaper ,

T h e m u s ic in m y h e art I b o r e
L o ng af t er it wa s h ear d no m o re ,

a r e a lm o s t wo r d f o r wo r d fro m t h e j o urna l o f Wo r d s wo rt h s ’

Q ua k e r fri end T ho m a s Wi lk i ns o n S ee th e p a s s a g e fro m the

, .

j o urnal quo te d in H arp er s Willia m Wor ds wor th 2 66

,
’
. .
1
5
2 WORDSWORTH S T H EORY ’
OF POETIC DI CTIO N

a nd , a s W o r d s w orth notic e d h e e xpr e ss e s this emphasis ,

simply b y r ep e ating th e important i d e a a gai n a nd a gai n

no t by an y att em pt to sub o r d inat e th e l e ss imp o r t an t things
t o it T h e r e sul t i s th at hi s sp e e ch h as exactl y th e q uali t i e s
.

t h a t C o l e ri d g e d isc o v e r e d in t oo much o f W o r d s w orth s

’

p o et ry— pr o lixity r e p e titi o n and an e dd yin g ins t e ad o f a

‘

, ,

pr o gr e s s i o n o f t hough t ’1
Y e t this e moti o nal r ath e r t han
.

int e ll e c t ual s yntax h a s it s w o rth f o r th e p oe t ; an d f o r o ne

wh o h a d s ough t a gr e a t e r fl e x ib ility in th e imitati o n o f
classical L atin , th e di sc o v e r y o f th e p o s s ibiliti e s o f vari e ty
a nd e xpr e s siv e n e ss in his o wn nativ e i d i o m w a s inva luabl e .

T h e r e s ult o f r e pr o d ucin g th e s yn t a x o f th e unl e ar n ed

wa s no t unli k e th e r es ul t o f imi t a t ing t h e ir v o cabular y .

A s th e w o r d s tha t W o rds w o r t h us e s a r e th e wo rds o f

C hauc e r , so h is s yn t ax is th e s yntax o f a still e arli e r p e ri o d .

W hat K e lln e r say s o f th e pr o s e o f A l fr e d e xac tl y d e scrib e s

2

t h e c o n s t ruc t i o n o f s e n
'

t e nc e s in th e L m c a l B a lla ds : A l fr e d
‘

y
cha ng e s his c o ns t ruct i o n in cons e qu e nc e o f e v e r y ch ang e
g o in g o n in h is mind , whil e in a m o d e rn au th o r th e fl o w
o f th e id e as is ch e ck e d b y t h e r e ady p a t t e rn o f t h e s n
y
t actical c o nstruc t i o n T h e s y n t ax o f o l d e r p e rio d s
.

—
i s na t ural , na if th at i s , it f o ll o w s much m o r e cl o s e l y th e
'

dri f t o f th e id e a s , o f m e n t al image s ; th e dic t i o n , t h e r e f o r e ,

l o o k s a s i f it w er e e x t e mp o ri s e d , as i f wri tt e n o n th e spur
o f th e m o m e n t , w hil e m o d e rn s yn t ax f e tt e r e d b y lo gi c , ,

is a r t ifi c ia l, t h e r e sul t o f li t e rary t raditi o n , a nd t h e r e f o r e ,

far fr o m b e in g a tru e mirr o r o f what i s go ing o n in t h e

th e d ri ft o f i d e as , o f
’ ‘
mind 2
T o f o ll o w m o r e cl o s e ly
m e nt al imag e s , t o mak e h is language a tru e mirr o r o f what
’

is g o ing o n in th e mi n d , e spe ciall y o f th e mann e r in whi ch

f
w e a s s o cia t e id e as in a sta t e o e xcit e m e nt thi s was th e—
o bj e c t o f W o r d s w o r th in s o m e o f th e much d e ri d e d man

ne r is m s in t h e L yr ic a l B a lla ds A s h e hims e l f s aid , h e .

al w ay s ha d a w o rth y purpos e ‘
.
’

1
B L . . 2 . 10 9 .

H is to r ic a l Ou tlines
2
o f E ng lis h S y nta x, p 9 . .
 TH E LYRICAL B ALLADS

T he f c t o f e m o t i o n ( o r lack o f t h o ugh t ) o n s yn t ax i s
ef e

mani f e s t in vari o us ty p e s o f s ent enc e s in th e L y r ic al

B a lla ds fr o m t h e s t ruggling a tt emp t t o r e la t e s u bj e ct t o
,

pr e dic at e t o the unavailing e ff o r t t o cr e a t e s t ruc t u r e s a t

o nc e c o mpl e x a nd u nifi ed E v e n t h e m o s t s impl e s e n t e nc e
.

is an i nt e ll e c t ual achi e v e m en t T h e fu s i ng o f t h e id e a s o f
.

s ubj e c t and pr e dica t e in o ne o rgani c w h o l e o f t e n pr es e nt s

a n alm o s t insup e rabl e diffi c u lty t o th e u ncul t iva t e d o r

e xci t e d mind T h l S i s i llu s t r a t e d in o ne o f th e m o s t f r e
.

qu en t m a nne r i s m s o f u ne duca t e d s p e e ch w hi ch is al s o a ,

s p e ci al f e a t ur e o f th e s t yl e o f th e p o pula r ballad s W h en .

it o ccu r s in l i t e r a t u r e , it is o f t e n c o pi e d f r o m t h e m .

The dy nt y t wa s b o t h s a d a nd s a r .
1

T h e y e r lle o f F y fie , w ith o wg h t e n s t r y ff e
'

H e b o wy nd h y m o e S u lwa y ? v r
T h e n f o r th e Sy r C au li ne h e wa s le d cle .
3

4
A nd S c a r le t t e h e w a s fl y ing e
'

a to o te .

Th e mind in it s in t e r e s t in th e s u bj e c t , t end s t o l o s e s igh t

,

o f th e p r e dica t e , a nd t o cli ng t o t h e i m ag e s u gg e s t e d by t h e

s ub s t an t iv e I n o r d e r t o pr o c e e d , it h a s t o t ak e a f r e s h
.

start s o t o s p e ak
, w i th th e pr o no un r e pr e s e n t i ng th e s u b
,

s t a nt iv e a nd s o q u ickly pas s t o t h e v e rb
, E xa m pl e s o f t hi s .

s y nt ac t i c al e c u liari ty a r e v e ry f r qu ent i n t h L r ic a l
p e e y
B a lla ds w he r e it app e a r s f o r t h e fi
5
r s t t im e in W o rd s w o r t h s
’
,

p o etry .

T he ca nno t ch u e b u t e e
ey e it s s .
6

B ut t h e le a s t m o t i o n wh ic h t h y e m ad e,

I t s em e d a t h ri ll f p l a ur e
7
e o e s .

1
Ch evy C ha s e 85 .

2
Th e B a t tle o f O tt er b o u r ne 5 6 -
.

3
S ir C a u line, ar I I
P t 17 .

R o b in H o o d Gu y f Gis b or ne
‘
a nd o 57 .

5
The re are th irty -
two e xa m p l es o f it in t h e t h irt ee n Ly r ic a l

B a lla ds .

°
E xp0 5tu la ti0 n a nd R eply 1 7 .

7
L ines W
r itt e n in E a r ly S pr ing 1 5- 1 6 .
1 54 WORDSWORT H S T H EORY ’
OF POETI C DI C TIO N

Yo ur lim b s t h e y ar e aliv e .
1

Th e p o ny h e is m i ld a nd g oo d .
2

Sh a m e o n m e , S ir ! t h i s lu s ty la m b ,
H e m a k e s m y t e ar s to fl o w
a
.

Th e o wle t in th e m oo nl igh t air ,

He sho u ts fro m nob o dy kno ws wh e r e .

‘

The d o cto r h e ha s m ade him w ai t .

5

Th e bab e I carry on m y a rm ,
“
He s av es fo r m e m y p re ci o u s so ul .

A la s ! a la s ! t ha t loo k s o wi ld
It nev e r nev e r ca m e fr o m m e
, .

Th e p e culiar mann e ri sm o f s tyl e h e r e illustrat ed was o ne

t hat W or d sw o rth to o k f ew pain s t o corr e ct in t h e lat e r
T h e lin e s H is a ncl es , t hey a r e
p

‘
e di t i o ns o f th e s e poe ms .

s w o ln an d thick , b e com e
8 ’

H is b o dy d wi nd le d a nd a wry
, ,

Re s t s u p o n a nk le s s wo ln a nd th ic k .

In th e lin e s
The o wle t in th e m oo nl i ght air
He sho ut s fro m no b o dy kno ws wh er e,
9

he is o mitt ed ; and th e lin e , A nd S u s an s h e b e g ins t o f e ar , ‘

i s chan g e d t o A n d S u s an now b e gins t o f e ar

‘
T h e lin e, .
’

H er fac e it was e n ou gh for m e , i s a lte r e d b y p unc t u a

‘ ’
11

1
We A r e S ev en 3 4 .

2
Th e I dio t B a y 3 1 3 .

3
T he Las t o f th e F loc k 1 7 - 1 8 .

T h e I d io t B oy 3 -4 .

5
I b id 1 7 5
. .

T h e M a d M o th er 47 -48
6
.

7
I b zd 87 -8 8
’

. .

S
S im o n L e e 3 5 .

T h e I dio t B oy 4- 5 .

I bid 1 87 . .

T h e T h o r n 20 0 .
1 56 WORDSWORTH S TH EORY ’
OF P OETI C DI C TION

b e tw ee n th e two b y r e d uplic at ing th e subj e ct T h e s e t wo .

t y p e s o f r e d uplica t i o na r e t hus illu s t rat e d a nd d e s crib e d b y

K e lln e r
Yo ur h us b a nd h e is go ne t o s av e far o ff ,

Wh i ls t o th e s r com e t o m a k h im lo s e a t h o m e
e
—S h
.

a k es ped r e .

S h e e arly le f t h e r s lee p le s s b e d,
T h e f a ir es t m a id o f T em o tda le
’

—
.

S c o tt .

‘
Th e s ein s t anc e s illu s t ra t e tw o di ffe r e n t p sych o l o gi cal p r o
c e ss e s , a nd acc o rdingl y two d i ffe r e nt c o ns t ruc t i o ns I n th e .

fir s t cas e , th e s ubj e c t i s f o r e m o s t in th e c o n s ci o usn e ss o f

th e sp e a k e r , an d t h e o th e r id e a c o nn e c t e d w i th it , V iz , th e .

pr e d i cat e , is dimm e d f o r a m o m en t , s o t hat it t ak e s th e

sp e a k e r s o m e t im e t o ca t ch h o ld o f it again I n th e s e c o n d .

ca s e , th e sp e ak e r is s o much und e r th e impr e s si o n o f wh a t

h e i s going t o p r edic a te t ha t h e f o rg e t s f o r a m o me nt t o
,

t e ll th e p e rs o n addr e ss e d wh a t h e i s pr e dic a t in g about , and

it t ak e s s o m e ti m e un t il h e fi nd s o u t his mi sta k e I n b o th .

ca s e s t h er e is a di s t i nct p aus e b e tw e e n t h e t wo e xpr e ssion s

f o r t he sam e s ubj e c t ; in bo th ca s e s th e b e ar e r has th e
impr e s s i o n t ha t t h e r e is s o m e e m o ti o n a t w o r k in th e min d
o f t h e sp e ak e r B o t h t h e s e circums t anc e s ma k e th e e xpr e s
.

s i o n a fav o ri t e fi f p ch 1 ’

g u r e o s ee .

T hi s s e c o nd t yp e o f r e dupli ca t i o n is also not unc o mm o n in

th e L y r ic a l B a lla d s zz

1
H is t or ica l Ou t lines o f E ng lis h S y nta x , p .
40 .

C f t h e p aro d y o f P e t er B e ll b y J o h n H a m i lt o n R e yno ld s wh ic h
2
.

a pp ear e d in 1 8 1 9 , ju s t b e f o re Wo r d s wo rt h s o wn p o em o f th at na m e
’
.

( I t is o ne o f th e f e w p aro d i e s o f Wo r d s wo rth wh ic h r e a lly r e pro

duc e th e p o et ’
s m a nneri s m s of s y nt ax . The qu o te d p aro dy b
o ft y

H o rac e S m i th in R ej e c t e d A ddr es s es , f o r i ns t a nc e h a s no t cau ght

,

the p o et s
’
st y le a t a ll.
)
No w I ari s e , a nd a w ay w e g o ,
M y li ttle h o b b y -h o r s e a nd m e .
 TH E LYRICAL BALLA DS 1
57

It st and s e e r ct , t his a g e d th o r n .
1

a
T h t he ha d d i ed , th ta c r u el f a th e r !
2

A la s ! ’
tis
‘

v ery li ttle , a ll

Wh ic h th e y can d o b et w e e n t h e m .
3

v e ry similar
o ccur s wh en th e i nt e r e s t in th e pr e dica t e
o bscur e s t h e o b j e c t

A la s ! I sho u ld h av e h d him a st i ll ,

M y J o hh h y , t i ll m y d y i ng d a y
4
.

S om ti m e s , how e v e r , t h e r e duplica t i o n i s r e all y d u e t o a

e

qui c k m en t al c o nv e r s i on o f th e subj e c t i nto the o bj e c t .

Thy l ip s , I f eel th em , bab y .

5

A nd t h is p oo r th o n t h e r y c la s p it ro u nd 6

Bu t th es e nly s impl e exampl e s o f c o n s t ruc t i o n s tha t

a re o

o ccur in m o r e c o mpli ca t e d f o rms — f o rms whi ch o f t en c om e

ve ry n e ar th e li ne wh e r e th e br o k e n e m o t i o nal syntax pass e s
o v e r i nt o a m o r e s u s t ain e d int e ll e c t ual s t r u c t u r e Th e sug .

g e s t i on o f s u s t ai ne d th o ugh t imm e dia t e ly c o nv e r t s

F o nd lo v er s , y et no t qui t e h ob no b ,

1
The T h om 56 -
.

2
'

I b zd . 1 42- 1 43 .

3
S im o n L ee 55 56 -
.

R e y no ld s P e t er B e ll
4
I dio t B oy 245- 246
’
Th e . Cf .

And ga th er d e c
le e h e s are t o him ,

To P e t er B e ll li k e ga th er e d
, fl o we r s .

Th e M a d M o t h er 3 3
5
.

T he T h om 1 7 .

7
Th e I dio t B oy 2 99 - 3 0 0 .
1 58 WORD SWORT H S T H EORY ’
OF P OETI C DI C TIO N

E v en h e , of ca ttle th e m o st m i ld ,

Th e p o ny h a d h is sh are .
1

H im wh o m s he lo v es , h er I d iot Boy .
2

I n th e s e cas e s pronoun s ee ms to b e us e d , no t in a som e

th e
what h elpl e s s a nd impulsiv e e ff o rt to k ee p h o l d o f th e sub
j ec t , but wi t h d e lib e ra t e f o r e thou g ht I n t h e fi r s t q u o tation , .

‘
fon d lov e rs i s in int e ntional a ppo sition with th e y
’
in ‘ ’

th e t wo oth e rs , t he pronoun s ee ms t o b e us e d t o point f o r

war d to the subs t an t iv e, which i s purp o s el y withh e l d f or a
m o m ent , inst e a d o f b e in g par e nth e ticall y ins e rt e d o n s e c o n d
t hough t S uch ni c e gra d ations sugg e s t t h e m o r e int e ll e ctual
.

u s e s t o whi ch W or d sw o r t h s pra cti c e in imi t atin g th e

’

untau ght c a d enc e o f e xt emp o ra n eo us sp ee ch coul d b e put .

I n the end it g av e him a fi ne a nd fl exib le ins t rum e n t .

B ut i f the min d in whi ch f e e lin g triumphs o v e r th o u ght

has s o m e diffi c u lty in fusin g t h e primar y e l e m e nts o f a .

s ent enc e int o an o r g ani c who l e , it wax e s incr e asin g l y h elp

l e ss as it att e mpts t o r el at e th e larg e r uni t s thus f o rm e d .

O ft e n th e r e i s no suc h att e mpt Th e simpl e units a r e m e r e l y .

plac e d sid e by s id e , a s in a chil d s fi r s t r ea d e r : I hav e a ’ ‘

cat M y c a t i s whit e M y ca t e ats rats T hi s i s a favorit e

. . .
’

m e tho d in th e L y r ic al B a llad s
H er e yes w i ld , h e r h e a d is bar e ,
are

T he s u n h a d burnt h e r c o a l- b lac k h air ;

H er e y e bro ws h av e a ru s t y s t ai n,
A nd s h e ca m e far fro m o v e r t h e m ai n .

S h e h a s a ba b y o n h e r a r m
3
.

I m eta li ttle c o tta ge g irl ,

wa s e igh t y e ar s o ld s h e s ai d
4
She , .

I h av e a b oy o f fi
ve ye ars o ld,

H is fac e is fair a nd fr e sh t o s ee ;

1
Th e I dio t B oy 2 50 -
2 51 .

2 '

I b zd 1 6. .

T h e M a d M o th e r
3
1 -5 .

4
We A r e S ev e n 5 6 -
.
1 60 WORDSWORT H S TH EORY ,
OF P OET I C DI CTION

A clos e r r ela t i o n b e tw e e n th e ind ep end en t a s s erti o ns i s

a t t emp t e d in th e par en t h et i cal s t ructur e s o fr e q u ent in c on
v e rsa t i o n I n s t e a d o f e mpl o yin g s ub o rdinat e claus e s an d
.

m o d i f y in g phras e s , th e d e tail s a r e i nse r t e d in to th e midst o f

o t h e r s tat e m e n t s , j us t a s th ey o c cur t o th e mind , e ach in

t h e f o rm o f a compl e t e littl e s e nt e nc e

H is h e a d h e rai s e d—th ere

wa s in s igh t ,
I t caugh t his ey e, h e s a w it p lai n
U p o n th e h o u s e- t o p , gli tt e ri ng bri gh t ,
A bro a d a nd g i ld e d va ne 1
.

T is no w som e t wo a nd tw ent y y ear s ,

S i nc e sh e ( h e r na m e
arth a Ra y ) is M
Gav e w i t h a m ai d en s t ru e g o o d —
wi ll
’

H e c o m p a ny t o S t ep h en H i ll
r .
2

wh e n a compl e x s ent e nc e i s alm o s t achi ev e d ,

S om e t im e s ,
th e sub o rdinat e cl aus e h a s a t e n d e ncy t o d e tac h its el f an d
b e c o m e ind ep en d e n t , as in th e f o llowin g cas e :
T h er e s ’
no t a m o th e r , no no t o ne ,

Bu t wh en s h e h e ar
wh t y o u h s a av e d one ,

Oh ! B e tty s h e ll b e in
’
ht
3
a fri g .

I n thi s s e n t enc e th e
l o gi cal r e lati o n o f th e s eparate parts
mi gh t b e e xpr e ss e d thus : T h e r e i s no t a m o th e r wh o will ‘

no t b e in a fri gh t w h e n s h e h e ar s w hat y o u h av e d o n e
’
.

B u t in hi s e xci t em e n t , th e s p e ak e r l o s e s track o f t h e r e la
t i o n o f th e last clau s e t o t h e fi r s t , a nd l e ts it e m e rg e in t o

g r eat e r in d e p end enc e T h e d isp o si t i o n t o mak e e ach i d e a a

.

s eparat e a s s e r t i o n i s a l s o Vi s ibl e in th e lin e ,

In J o hnny s le f t h a nd y o u m y s e e
’
-
a

Th e gr e e n b o ugh s m o t i o nle s s a nd d e a d
’ 4
,

1
A nec d o t e f or F a th er s 49 52 — .

2
Th e Th om 1 1 5- 1 1 8 . C f Ch evy Cha s e 89 9 0
.
-

T h en b e s p a k e a
‘
s q uy a r o ff No r th o m b a r lo nde ,
R ic . Wy th a ry nt o n wa s h is na m
’
, etc .

3
T h e I dio t B oy 24-26 .

4
I bid 88-8 9
. .
 TH E LYRI CAL BALLAD S 1 61

as c o m par e d w i th th e m o r e i nt e ll e c t ual a nd li t e rary c on

s t ruc t i o n t o whic h W o rd s w o r t h a l t e r e d it

In J o h nn
’
s f a
y le t h nd y o u m a y s e e
-

Th e gr e en b o ug
h m o t o nle s s a nd d e i ad .

S o m e t im e s , t o o , t h e r e is a c o nne c t ing w o r d us e d l oo s el y
to r e f e r to an id e a in the m i nd o f t h e sp e ak e r no t e xplici t l y

e xp r e s s e d :

a
S h e t lk e d a nd s n t h e wo o d s u g a m o ng ,

A nd it w a s in t h e E n l s h t o n gi gu e .
1

O f ten r e la t i on is m e r e ly s u gg e s te d r a th e r than cl earl y

indica te d
P ro u d of he r s el f
pro u d o f h im , a nd ,

She s e e him in h is t rav elli ng t ri m

s

H ow qui tly h e J o hnny g o s

e r e .
2

E v en wh en a c o mpl e x s ent enc e is ac t ually c o ns t ruc t e d

,
,

it is s o m et im e s n e c e s s ary t o bind th e par t s t o g e th e r by a

’

r e dupli ca ti o n no t u nlik e tha t e mpl o y e d in th e j o ining o f

subj e c t a nd pr e dicat e A s in th e o ne cas e a pr o n o un w a s
.

u s e d t o r e f e r to th e s ubs t an t iv e s o in thi s an adv e r b p o in t , ,

ing back t o th e s u b o rdina t e c o nj u nc t i o n is i ns e r t e d in t h e ,

n C 1p a l i
s la u s e
p r 1

B u t w h en t h e ic e r a m d i d f t t er ou r st e s e ,

wo u ld h a k
3
Oh th n h o w h eo ld b o n er es s e .

N w t h o ugh h k no w p o o r J h nny w ll
o , e s o e ,

Y t f o h i li f h ca nn t t ll
e r s e e o e

Wh a t h h g o t up n h i b ac k
e as o s .
4

But to li s t all th e p e c u liari t i e s o f i m p u l s iv e s p ee ch t o b e

f o u nd in th e L y r ic a l B a lla ds is i m p o s s ibl e We m igh t s p e ak .

o f th e fl e x i l —
b e o r d e r o f w o rd s o i i nv e r s i o ns no t arbi t rary ,

T h e M a d M o th e r 9 - 1 0
2
.

2
T h e I dio t B o y 99 - 1 0 1 .

2
Go o dy B la k e H a r r y Gill 4 1 - 42
a nd .

I d io t B o y 1 24 1 26
4
The -
.
1 62 WORDSWORT H S T H EORY ’
OF POETI C DI C TION

a nd uni d i o mati c , as in th e d e scriptiv e p o e ms , b ut natur a l

an d e xpr e ssiv e ; o f th e t ri c k o f r e p e at in g a d j e ctiv e s or
a dv er b s ; o r
l
of r ep e ating th e n o un w i th s o m e a dd e d
m o difi e r ; o f t h e u s e o f a n o un f o r an a d j e c t iv e ( H i s fac e
‘
2

wa s gl o o m ; hi s h e ar t wa s etc b ut thi s w o ul d .

s w e ll o ur s t ud y t o unwi el d y d im e nsi o ns Just b e caus e .

m n t —
W or d s wo rth i s try in g t o wri t e as e al k t o r e giste r in
th e syn t ax all th e s hi f t in g i d e a s and curr e n t s o f e m o ti o n
it i s v e ry diffi c ult t o clas s i f y hi s c o ns t ructions T h ey c o n .

f o rm t o no sys t e m E ach s e nt e nc e i s a living or g ani sm , a s

.

w a y ward an d indivi d ual a s o t h e r or g anisms in th e ir

un d isciplin e d natural stat e .

I n man y cas es th e r e ad e r may wax im p at i e nt, an d s ay

wi th C o l e rid g e : I t i s ind e e d v e r y p o s s ibl e t o a d o p t in a
4 ‘

p o e m th e unm e anin g r e pe titi o n s , h abi t ual phra s e s , an d

o t h e r blan k c o u n t e rs , whi ch a n un furnish e d or c o n fus e d

un d e rsta n d ing inte rp o s e s a t sh o rt int e rvals , in o r d e r t o k ee p

h o l d o f hi s s ubj e c t , whi ch is s t ill slippin g fro nt him , and 2

t o giv e him t im e f o r r e c o ll e cti o n ; o r in m e r e a id o f ,

vacancy , a s in th e scan t y c o mp ani e s o f a c o un t r y s t a g e th e

s a m e play e r p o p s bac kw ar d s an d for w ard s , in o r d e r to p r e
v ent th e app e aranc e o f e mp ty sp ac es , in t he pr o c e s s i o n o f
M acb e th , o r H e nry V III B ut wh at assis ta nc e t o the p o et ,
.

o r o rnam e nt t o th e p o e m , th e s e can supply , I a m at a l o ss t o

c o nj e c t ur e
’
.

B u t th i s i s o ne o f th e in s t anc e s in w hi ch C o l e ri d g e s ’

cri t i ci s m i s d e ci d e dl y p ee vish W ha t e v e r mi gh t hav e b ee n

.

t h e ab s o lu t e valu e o f t h e s e t ricks o f sp ee ch , as a p r e liminar y

inquiry int o the s o urc e s o f li t e rary s tyl e an e xp eri m e n t ,

Go o dy B la k e
2
H a r r y Gill 1 0 1 ; A ne c d o t e f o r F a t her s 1 2 57 ;
a nd ,

T h e T h o m 5 4 ; T h e I dio t B o y 96 ; etc
. S uc h r e p e t i t i o n is c h arac
.

t e r is t ic o f th e b a lla d s ; c f S ir A ldih g a r 1 47 : T h en wo e fu l, wo e ‘
.

f ul wa s h e r h art ’
.

T h e M a d M o th e r
2
2 7 -2 8 ; T h e I dio t B o y 28 - 29 ; Th e C o m pla int
o f the F or s a k en I nd ia n Wo m a n 3 6 e t c , .

T is s i lenc e v er y s i d e
3
Cf Th e I dio t B oy
‘
a ll o n e
’
. 254: .

4
B L 2 43
. . . .
1 64 WORDSWORT H S T H EORY ’
OF POETI C DI CTION

T wo p o o r o ld d a m es , as I ha v e l mowu
’
.
1

T h ere s ’
no o ne k no ws , as I h a ve s o ld .
2

H is h u nt i ng f a t s h av e
e h im b ere f t
O f his ri gh t ey e , a s y ou m ay s ee .
3

Y e t ne v er ha d sh e, w e ll or s ic k ,

As ev er y m an w h o k new h er s ays ,

A pi l b f r eh and
e e o , wo o d or st ic k .
2

T h es e and li k e a r e o bvi o u s ly parall e l ed , no t o nl y in th e

th e
habi t s o f ru s t i c st o r y t e ll e r s , b u t by th e n arra t ive d e vic e s
-

of th e balla d s
Th e s w o r de wa s s c h a r p e a nd s o e c a n r byt e ,

I t e ll y o u in s er ta y u e
5
.

I wis , if y o u t h e tr o u th e w o u ld k no w,
T h e re wa s m a ny a w e ep n i g ey e .
°

B u t it i s in th e u s e o f th e balla d r e p e ti t i o n t hat W o r d s -

w o r th s o m et im e s fail s m o st si gnally , b ut m o r e of t en a chi e v e s

h is m o s t o r iginal a r t i s t ic succ e s s T hi s d e vi c e o f sty l e i s elo .

q u en t l y d e f e n d e d in a n o t e t o Th e Th o m in th e v o lum e o f
1 80 0 T h e r e is a num e r o u s cla s s o f r e ad e r s who imagin e
7 ‘
:

t ha t t h e s am e w o rds ca nno t b e r e p e a t e d wi t h o u t t au t o l o gy
T hi s is a g r e a t e r r o r : vir t ual t au t o l o gy is much o f t e ne r
pr o d uc e d by di ffe r e nt w o r d s w h e n th e m e anin g is e xac t ly
t h e s am e W o r d s , a P o et s w o r d s m o r e par t icularly , o ugh t
.
’

t o b e w e igh e d in t h e balanc e o f f ee ling , a nd no t m e a s ur e d

by t h e s pac e whi ch th e y o ccupy up o n pap e r F o r t h e Re a d e r .

cann o t b e t oo o f t e n r e min d e d tha t P o et ry is pa s si o n : it i s

th e hi s t o ry o r s ci e nc e o f f e e ling s No w e v e ry m a n mus t . ,

1
Go o dy B la k e a nd H a r r y Gill 3 4 .

2
T he T h o r n 1 62 .

3
S im on Le e 26 .

2
Go o dy B la k e a nd H a r r y Gill 53 - 55 .

5
Th e B a t tle o f O t t er b o u m e 10 9
-
1 10 .

T h e R is ing in th e N o r th 51 - 52
2
.

7
Re print e d in th e O xf r
o d e d t o n, p p 899 90 ii .
-
0 .
 TH E LYRI CAL BALLAD S 1 65

k no w tha t an a tte mp t i s rar e ly mad e t o c o m mu nica t e i m pa s

s io ne d f e e ling s w i th o u t s o m e thing o f an acc o m panyi ng
c o n s ci o u s ne s s o f th e inad e quat en es s o f o ur o w n p o w e r s ,

o r th e d e fi c ie nc ie s o f languag e . D uri ng s uch e ff o r t s t h e r e

w ill b e a cravin g in t h e mind , an d a s l o ng a s it i s u ns a t is fi ed

t h e S p e a k e r w ill cli ng t o t h e s am e w o rd s o r w o rd s o f t h e
,

s a m e charact e r . T h e r e a r e al s o vari o us o th e r r e a so n s why

r e p e t i t i o n a nd appar e n t t au to l o gy a r e fr e qu en tly b e auti e s o f
t h e high e s t kin d .A m ong th e chi e f o f t h e s e r e a so n s is th e
i nt e r e s t whi ch th e mind att ach e s t o w o r d s , no t o nly a s
s y m b o l s o f th e pa s s i o n , but a s thing s , ac t iv e and effi c ie nt ,

w hich a r e of t h em s e lv e s par t o f t h e pa s s i o n A nd fur th e r ,.

f r o m a spirit o f f o nd ne ss e xul t a t i o n a nd gra t i t ud e , t he

‘
, ,

mind luxu r ia t e s in t h e r e p et i t i o n o f words w hi ch app e ar

s u cc e s s full y t o communi ca t e it s f e e li ng s
’
.

T h e s t r e ng th a nd th e w e ak ne s s o f t hi s p o s i t i o n a r e b o th
illu s t r a t e d in the L y r ic a l B a lla d s . W o rd s w o r th did no t
accura t e ly di s t i ngui s h b e tw e en th e cas e s w h er e languag e
is r e all y inad e qua t e t o e xpr e ss f ee ling—wh e r e a no rmal
h u ma mind i s h e lpl e s s u n d e r an ab o rmal e m o t i o n a nd
n .
n —
t h e ca s e s in w hich t h e inad e quacy is d u e o nly t o t h e v e r y
e l e m e n t a r y p o w e r s o f s us t ain e d t h o ugh t o r e xpr e s s i o n in

t h e p e rs o ns wh o s e psych o l o gical pr o c e s s es h e ch o s e t o
i m i t a t e I n th is i ns t a nc e , h e f o r g o t t o apply th e pri ncipl e
.

t h at h e hims e l f f o und s o f r ui t ful — th e p r incipl e t ha t a ll

fig ur e s o f sp ee ch mu s t b e ju s tifi e d b y p a s s ion I n s uch
.

p o e m s a s Th e L a s t of th e F lo c k Th e M o d M o th er and Th e
, ,

C o m p la int of th e F o r s a k en I ndia n Wo m a n th e r e is t h e ,

j u s t i fyi ng pa s s i o n; and th e r e curri ng r e f r ain s a r e f el t t o

b e a s ar t i s t ically e ff e c t iv e a s th e y a r e t r u e t o t h e f ee ling
t o b e e xp r e s s e d . B u t t o o o f t e n th e o u tw ar d f o rm e xi s t s
w i th o u t a s u ffi c ie nt e m o t i o nal o r a r t i s t i c r e a s o n f o r it as ,

w ill b e s ee n B u t e v e n wh e r e th e r e p e t i t i o n d o e s no t hav e
.

it s s o u r c e in e m o t i o n 1t is a l e gi t i m a t e m o d e o f e mpha s i s
, ,

p r o vid e d th a t it s uppl e m en t s i ns te ad o f s upplan t ing the

, ,

e mphasi s tha t a pr o p e r s e l e c t i o n a nd s ub o rdina t i o n o f

1 66 WO RDSWORTH S T H EORY ’
OF POETI C DI CTIO N

d e tails can giv e . mpha s i s r e all y e xi sts in th e

S uch an e

R eliq u es T h e th e m e o f th e st o ry i s g e n e rall y s o m o m e n
.

t o u s , so m e l o d r amati c ( b e in g us uall y t h e dan g e r o f vi o l e n t

d e ath t o s o m e p e rs o n o r gr o up o f p e rs o ns ) , an d th e out
s t an d ing circums t anc e s s o imp o rtan t , t hat th e p o e t mus t
n e c e ssaril y o mi t mi no r d e tail s I n th e naiv e a nd rapi d
.

narrativ e , th e r e p e t iti o n g iv e s a r e ali t y t o d et ail s t hat th e

hurri e d f e e lings o f t h e r e ad e r w o uld n e gl e ct , o r s e rv e s t o
e mphasi z e s o m e r e ally imp o r t an t situati o n B u t in th e .

maj o rity o f W o r d s w o r th s ballad s th e swi f t n e s s o f m o v e

’

m e nt i s lac k ing , and t h e sl o w a nd th o ugh t ful r e adin g t ha t

h e d eman d s o f t en mak e s th e r e p e t i t ion unn e c essar y a s a
mat t e r o f narra t i v e t e chniqu e A n a naly s i s o f th e vari o us
u s e s t o which W o r d sworth ha s p u t th e balla d —
.

r e p et iti o n
will mak e t hi s cl e ar e r .

I n th e g r o up o f th e philo s o phic al p o ems , t his d evi c e i s

a lm o st th e onl y f e a t ur e tha t W o r d sworth s th o ughtful v e rs e
’

h a s in comm o n with hi s naiv e m o d e l s Th e ori gin a l p a tt e rn.

o f such s tan z as a s th e f o ll o win g i s o bvi o us

Why Wi llia m, , g r ey s tone

on a
t h t o ld ,

T b u s f o th e length o f h a lf a d a y
r ,

Why Wi llia m s it y o u th u s alo ne

, , ,

A nd d r e a m y o ur t i m e a wa y ? 1

Up ! ! myup e nd a nd frile yo c ar ur lo o k s ,
W i i
hy a ll t h s to l a nd t o le ? r ub
Up ! up ! m y fri
e nd , a nd t yo qui ur b oo k s ,

Or s urely y o u ll g ro w d o ub le
’
.

These at on c e r e call the familiar st ructur e of th e ball a d s

H e r e t a k e h e r , C h i ld of Elle , h e s ay d ,

A nd gav e h e lilly e wh i t h a nd ;
r e

H ere t a k e m y d e ar a nd o nly c h i ld ,

A nd wi th h e h a l f m y la nd
r
f’

1
E xp o s tu la tio n a nd R eply 1 -4 .

T h e T a b les Tu r ne d 1 -4
2

—
.

2
The C hild o f E lle 1 89 1 92 .
1 68 WORDSWORTH S TH EORY ’
OF POETI C DICTIO N

are r e call e d in th e stan z a ,

I f I t h es e t h o u gh t s m ay p re v e nt
no t ,

If s uch be of m y cre e d th e p la n ,

H av e I no t re a so n to la m e nt
Wh at m a n ha s m a d e o f m a n? 1

H e r e it w ill b e n t ha t th e cl o sing o f th e p o e m with a

s ee

r e curr e nc e t o t h e t h o u gh t w ith which it b e gan , o r wh i ch

f o rms th e c e ntr e o f it , is an e ff e ctiv e m e ans o f s e curin g
unity , an d o f e mph asi z ing th e t h e m e .

I n th e narrativ e p o e ms th e r ep e t i t i o n is m o r e fr e qu e nt ,
and p o s s ibl y l e ss ju s t ifia b le I n We a r e S ev en th e r e p e ti
.

t i o n o f th e w o r d s whi ch f o rm th e titl e w i t h vari o us m o difi ,

—
c ati o ns S ev e n in a ll, S e v e n a r e w e , Y e t y o u a r e s e v e n ,
‘ ’ ‘ ’ ‘ ’

S e v e n b o y s an d girl s a r e w e , 0 M as t e r w e a r e s e v e n
‘ ’ ‘ ’

, ,
‘
—
N a y , w e a r e s e v e n i s th e r e p e ti t i o n o f th e o ne e ss e nt ial
’

t h o ught in th e p o e m , and r epr e s e n t s t h e o b s t ina t e clingin g

o f t h e chil d s mind t o o ne i d e a ; an d h e nc e it is e ff e c t iv e
’
.

I n Go ody B la k e a nd H a r r y Gill t h e r e is a s imilar e ffo r t t o

e mpha s i z e th e t h e m e , o r ra t h e r t h e climax o f t h e s t or y b y

r e p e titi o n :

T h a t e v e rm o r e his t e eth t h e y c ha t t er ,

Ch a tte r ch a tt e r ch a tt r
, , e , st i ll .

In Th e A nec d o te
f i
or s F a ther s thi s
hardly t h e cas e H e r e , .

wh e r e th e p o et i s sp ea k ing in his o wn p e r s o n , an d i s no t
r e it e ratin g an imp o r t ant id e a th e r ep et i t i o u s charact e r o f
,

th e narra t iv e p o r t i o n simpl y s hows a diffi c u lty in g e t t in g

o n—a n unn e c e ssar y e dd ying o f t h o ugh t ab o u t som e thing

t ha t s hould no t h o ld it s o l o ng

‘
M y li t t le b o y , wh ic h li k e y ou m o e, r ’

I ai d nd t o k h im b y th e a m
s , a o r

O ur h o m b y K il
‘
e d eligh t fu l s h o r e
’
ve s ,

O r h e r e a t Lis wy n farm

1
L ines W it ten in E a
r r ly Sp r ing 2 1 - 24 .
 TH E LYRICAL BALLAD S 1 69

‘
A nd t ell m ha d y o u
e, th e ra r ’
b e,
I ai d s , a nd h e ld him b y t h e a rm ,
‘
A t K ilv e
’
s s m o o th s h o re b y th e green s e a,

O r h ere at Li wy n farm
s

H e r e it is bvi o u s tha t th e s e c o nd s t an z a r e ally add s no thing

o

t o th e fi r st— a s W o rd s w o r t h r e c o gni z e d a f t e r C o l e ridg e had

u s e d t his pa s sag e a s an e xampl e o f t h e t end ency t o e ddy

rath e r than t o pr o gr es s I n la te r e di t i o n s h e o m i tt e d t h e
.

fir s t s tan z a t o th e gr e at impr o v e m en t o f t h e p o em .
,

B ut it i s in t h e lyrical p o e m s whe r e t h e r ep e t i t i o n b e c o m e s
a r e frain , t ha t W o rd s w o r th s a tt emp t t o mak e li t e ra r y
a r t ifi c e a n ac cura t e r e fl e c t io n o f p s ych o l o gi cal p r o c e s s e s i s

m o s t s ucc e s s ful L i k e o th e r p o e t ical d e vi c e s t h e r e frai n

.
,

h a s its o ri gin in a charac t e ri s t i c o f impa s s i o n e d f ee ling .

T h e mind und e r th e infl u enc e o f a gr e a t e m o t i o n is in te ns e ly

pr eo ccupi e d w i th a s ingl e id e a , o r gr o up o f a s s o ciat e d id e a s .

A r o und t h e s e all o th e r id e a s t e nd t o circl e ; in t hi s e v e ry

t r ain o f th o ugh t b e gin s a nd e nd s W h e n a new and ali en .

s e ri es o f i m ag e s is s ugg e s t e d
. t h e mind f o ll o w s it b u t a,

li tt l e way , and t h e n fi nd s s o m e m e a ns o f li nki ng it w i th

t h e s ingl e o v e rwh e lmin g f ee ling Ge n e rally a s W o r d s .
,

w o r th n o t i c e d t h e id e a is r e p e a t e d again and again in t he

,

s am e o r v e ry s i m ilar w o rd s B u t in many s o ng s t h e r e is
.

no e ff o r t wh a t e v e r t o t ra c e th e pr o c e s s by which th e mi nd
r et urns t o t h e r e frain I t is m e r ely add e d e v e ry t im e a t
.

t h e e nd o f a s t an z a o r s e t numb e r o f v e r s e s , wh e th e r it h a s
a ny r e al c o nn e c t i o n wi th t h e m o r no t .

T o m ak e a na t ural , ra th e r th a n a n a r t ifi c ia l u s e o f t hi s ,

d evic e is th e a im o f W o r d s w o r th in all th e p o e m s w e hav e

g r o u p ed a s lyri c s O f t h e s e Th e T h o r n s e e m s th e l e a s t
.
,

e ff e c t iv e. T hi s is par t ly du e t o t he i nt r u s i o n o f t h e s had o wy
s p e ak e r wh o is n e i t h e r a n o ld s kipp e r no r t h e p o e t hi m s e l f
, ,

b u t s o m e thin g b e t we e n , and wh o m o r eo v e r is no t t e lli ng , ,

h is o w n s t o r y T h e ly r ical e l e m e nt is t hu s pa r t ly d i s s ipa t e d
.

1
A u e c d o t e f o r F a th er s 29 —
36 .
1 70 WORDSWORTH S T H EORY ’
OF POETI C DI C TION

b e f o r e it pi e rc e s through th e s o m ewh at ali en m e d ium t o

t h e imagi na t i o n o f th e r e a d e r N ev e rth e l e ss , in intr o d ucin g
.

t h e r e frain ,
O h m i s e ry ! Oh m i s e ry !
Oh wo e t o m e ! O m i ser y !

W o r d sworth r epr e s en t e d it as a natural r e sult o f t h e

ha s
t e nd e nc y o f t h e adh e s iv e min d o f th e o ld s e aman t o
clin g t o th e i d e a t ha t has impr e ss e d him , an d t o r ep e at it
—
in th e sam e w o rd s as w e ll a s an e xpr e ssion o f th e f ee lin g
o f t h e poor w o man .

I n The L a s t of t he F lo c k th e r e i s a d o ubl e r e fra in whi ch

i s much m o r e s k il full y us e d Th e sp e ak e r naturall y b e gins
.

with th e ex p lana t i o n ,
Sh a m e on m e, S ir ! th i s lu s t y la m b ,
He m ak e s m y t e ar s t o fl o w .

T o -da y I f et ch e d h im fro m the ro c k ;

H e is th e la s t of a ll my flo c k ,

whi ch sugg e sts th e histor y o f th e fl o c k W h en h e com e s t o .

th e accoun t o f hi s fi f ty com e l y sh eep , t h e contrast b e tw e e n

th e m e mor y o f th e s e a nd th e o ne last lamb in hi s a rms
su dd e nl y f orc e s i t s el f up o n him , a nd h e r e curs t o hi s fi r st

t hou g h t , b ut e xpr e ss e s th e t hought in di ff e r e nt w o r d s

This lu s ty la m b o f a ll m y s tor e

Is a ll tha t is a liv e

a d ding ,

A nd no w I car e no t i f we die
A nd p e ri sh a ll o f p o v e rt y.

T hi s las t r e fl ec tio n imm e di at el y su gg e sts t he r e st o f hi s

s t or y , an d h e b e gins again H e ha d t o s e ll hi s floc k o ne b y
.

o ne t o bu y hi s lit t l e childr e n br e a d , h e s a y s A s h e sp e ak s , .

th e w o e fuln e ss of thi s t a k e s p o ss e ssi o n o f hi s m in d ; a nd ,

ac c o r d ingl y , ev e r y a d d e d gr o up o f d e tail s natura ll y e n d s in
t h e r e fl e c t ion, F o r m e it was a wo e ful da y , which b e com e s
‘ ’

th e r e frain :
1 7 2 WORDSWORTH S TH EORY ’
OF POETI C DI CTION

F o r-e v r
e f a lo ne a m I
le t ,

T h en wh er e f o r e h o u ld I f e ar
s t o d ie ?

In th e last lin e s t h e t wo r e frains uni t e :

My p o o r f o r s a k e n c h i ld ! i f I
F o r o nc e c o u ld h av e t h e e c lo s e t o m e ,

Wi th h app y h eart I t h e n s ho u ld d ie ,

A nd m y la s t t h o ug h t s w o u ld h a ppy b e .

I f eel m y b o dy d ie a wa y ,

I s h a ll no t s e e a no t h er d a y .

H e r e c e r t ainly th e e ddying o f t h o ugh t i s us e d w i t h w on

d e r f ul artisti c e ff e ct , as sub t l e as it i s b e auti ful an d pa t h e t ic .

I n Th e M a d M o ther the r e p e t i t i o n i s s t ill m o r e d el icat e .

I t i s u s e d c hie fly in a r e mar k abl e c o mpl e x o f rhym e s , which

r ep e a t an d e ch o e ach o th e r The r e s ult i s a curiou s haunt
.

ing ca d e nc e E v e r y rhym e falls o n t h e e a r li k e a r e frain ,

.

t h o u g h f e w a r e a w ar e in wha t t hi s r e frain li k e q ualit y -

c o nsi s t s .

T o trac e fur th e r W o r d s w o r t h s u s e o f th e r e al languag e

’

o f m en, an d t h e p s y ch o l o g i cal p r o c e ss e s b ehin d it , i s p e r

hap s unn e c e s sary A larg e b o o k c o ul d b e w ri tt en o n hi s

.

u s e o f r e p e t i t i o n a l o n e ; b u t t h e d i s cussi o n o f e ach singl e

e xampl e of e v e r y d i ff e r e n t u s ag e w o uld b e m o r e lab o ri o us

t han e d i f y ing F rom t h e e xampl e s alr e a d y cit e d it i s e v i

.

d e nt tha t th e language of th e L y r ic a l B a llad s is as much

t h e r e sul t o f c o nsci o u s a r t a s th e languag e o f P a r a dis e L os t .

I t was a d e lib e rat e and th o r o ugh appli ca t ion o f a t h e o ry

w hi ch s e e m e d s t rang e e n o ugh t o ind o l en t r e vi e w e rs , b u t
‘ ’

which h a s much in comm o n w ith th e t h e o r y a t t h e basi s o f

t h e m or e s c ient ifi
i

c stud y o f languag e f o r th e las t c e ntury

1
.

l K e llne r H is to r ica l Ou t lines o f E ng lis h S y nta x p 1 0

.
, In , . .
‘

t h e s t u dy o f E ng li s h s y nt ax t h e vu lgar t a lk ca nno t b e o v e rlo o k e d

na y —b u t f o r t h e d i fficu lt y o f g ett i ng t ru s t wo rth y m a t e ria ls —we
, ,

o ug h t in d i s cu s s i ng t h e e v o lu t i o n o f s y nt ax t o s t ar t fr o m t h e ru s t ic
, ,

t a lk j u s t a s a b o t a ni s t in d e a li ng w i th t h e e v o lu t i o n o f t h e s t ra w
, ,

b e rry w i ll no t t a k e t h e a r t ifi
, c ia l frui t b u t t h e w i ld s t ra wb e rr y o f
,

t h e w o o d a s t h e s t ar t i ng p o i nt o f his s t u dy
’
-
.
 T H E LYRI CAL BALLAD S 1 73

Of c o ur s e , 1n h is e xp e r i m ent W o r d s w o r th mad e s o m e
,

a r t i s t i c mi s t ak e s a nd f e ll i nt o s e v e r al bad habi t s A m a n o f
,
.

no t much u s e d t o c o m p o s i t i o n is no t li k e ly
’

t w en ty e igh t
‘
-
, ,

t o p r o duc e p o e t ry u ni f o rmly e xc e ll e nt in w o r kmans hip . He

is t h e l ess lik e ly t o d o s o wh en h e has th e misf o r t un e t o b e
b o r n in a bad a g e , a nd mus t r e disc o v e r p o et ic principl es a nd
m o d el s f o r him s e l f .

A m o ng th e e vil r es u l t s o f th e e xp e rim e n t w a s th e
—
unn e c e s sary u s e o f th e vari o us t ag s why s h o uld I f e ar t o
‘

s ay et c
.
— whi ch o c ca s i o nally fi ll hal f a lin e wi th no th ing
a t all a nd t h e l o s s o f t ha t e ne rg e t i c f o r w ard m o v em e n t s o

cha r ac t e ri s t i c o f h is d e s crip t iv e p o em s T h e e ddying r ep e

.

t it io u s nar r a t iv e o f th e u nt r ain e d s p e ak e r h a s it s e m o t i o nal

us e s ; b u t it is no t an id e al s t andard .T h e e ffe c t o f a p o e m
s h o uld r e s ul t , a s far a s p o s s ibl e fr o m it s i nne r s t r uc tu r e
, .

W h e r e t h e r e is a c o n t i nual ne c e s s i ty f o r ex t e r nal b o l s t e rs
—
r ep e t i t i o n s a nd app e al s to th e r e ad e r a r t in it s hi gh e s t s en s e
d o e s no t e xi s t T h e r e is no t a skil ful adap t a t i o n o f m e an s t o
.

t h e a t t ai nm e n t o f a d e s ir e d e nd .

O f t hi s hi gh imp e r s onal a r t , wh e r e th e m e an s a r e c o n
c e a le d lik e t h e b o ny s t r uc t u r e o f a living o rga ni s m , in s t e ad

o f s ham e l e s s ly Haun t e d W o rd s w o r th w a s t o giv e many

,

e xampl e s . I nd e e d t h e r e a r e s o m e e xam pl e s o f it in th e
r i ll —
L y c a l B a a ds in Th e Co m pla iu t of th e F o r s a k en I ndia n
Wo m a n a nd T he M a o M o ther f o r i ns t anc e g en e rally t h e
’
,

a r t in t hi s c o ll e c t i o n o f p o e m s is no t s o o bvi o u s a s it s e e m s .

B u t o v e r agai ns t th e t ri u m p h s w e m a y plac e s uch a failu r e

in s t r uc t ur e a s t h e o r i gi nal S im o n L e e o n w hi ch W o rd s
,

w o r t h s o wn al t e ra t i o ns w e r e t h e b e s t p o s s ibl e c r i t i ci s m
’
.

I n S im o n L e e t h e p o e t is s p e aki ng in his o wn ch a r ac t e r ,

no t tha t o f a p e a s a nt o r th e ga r r u l o u s o ld s kipp e r in Th e
T h om ; b u t h e is ne a r ly a s h e lpl e s s t o m a s s d e t ail s a nd
!

e nt ir e ly t o fi nis h o ne th o u gh t b e f o r e h e p r o c e e d s t o t h e ne x t .

T h e f o ll o w ing is th e o r d e r in w h ich t h e d e t ail s o f S i m o n s ’

app e ara nc e w e r e fi r s t g iv e n z— a nci e nt hu nt i ng f e a t s — o ne

ey e le f t -
a c h e e k lik e a c h e r r y—l o s s o f h is ma s t e r a nd
1 74 WO RD SWORT H S T H EORY ’
OF POETIC DI C TION

— — —
fri e nds o u e ey e lef t a is a b led lim bs l o s s o f k indr ed
’

his wi f e—dis a bled lim bs —pr e s e nt a t te mp t s a t a gri cultur e

— —
anci ent hunting f e ats his w i f e his pr e s e nt a t t e mpts a t
agri cultur e—hi s dis a bled lim b s H e r it i s appar e n t tha t. e

t h e r e is no c o nt r o l o v e r th e d etail s , no a tt e mp t t o group
th em a t all th e mind o f t he po et circl e s r o un d and r o un d
am o ng th e m— advancing a li tt l e in t he pr o c e s s , t o be sur e ,
but no t in th e fa s hi o n o f a w e ll d i s ciplin e d in t e ll e ct I t will .

a l s o b e s ee n th at in t h e na t ur e o f t h e c as e t h e r e i s n o t hin g

t o pr o d uc e hi s a ppar e n t h e lpl e ssn e ss — no diffi c u lty in th e

simpl e facts , no passi o n t o d isor g ani z e th e min d I t was .

simpl y a b a d h abi t in t o Wh ic h his a tt e mp t to imi t at e t h e

m e th od s o f un t rain e d sp e a k e rs h a d led him T his h e .

hims e l f lat e r r e ali z e d A f t e r num e r o us a nd p e rpl e xing

.

chang e s , th e po e m assum e d its pr e s e n t f o rm , in which th e ‘

t ra its an d e vi d e nc e s o f S im o n s e arl y vi g o ur a r e c o nc e ntr e d

’

wi thin s t an z as I II I , w hil e th o s e o f hi s sa d d e clin e a r e

-

z I —
br o ugh t t o g eth e r in s t an as V V I I , th e c o ntrast b e in g
“
mar k e d by th e phras e, B u t oh , th e h e av y chan g e 1
; a nd
’

a r e as onabl e o r d e r is su b s t i t ut e d for th e cha o s o f th e fi r st

e di t i o n .

S imilar chan g e s w e r e in t r o d uc e d in t o Th e Thom Of .

c o urs e in thi s p oe m t h e r e is m o r e r e as o n f o r th e r e p et ition ,

b e c au s e th e wri te r i s sp e aking in t he charac t e r o f a tal k ativ e
o ld s e aman , wh o s e mind is o v e r w h e lm e d b y a t e rribl e , t ra g i c

s t or y B ut e v e n h er e W o r d s w o r th lat e r s a w that h e ha d
.

g o n e t o o far , an d omi tte d s e v e ral w h o ll y unn e c e ssar y an d

r e p e t i t i o u s s tan z a s , with o ut a lt e ring th e impr e s s ion whi ch
h e wi s h e d t o conv ey A s t h e y s t and in th e O x for d edi
.

tion , S im on L ee a nd Th e T hor n a r e p erhap s m o r e r e all y

t ypi cal o f W o r d s w o r t h s b e st a r t in 1 7 98 t han t h ey we r e
’

in th e f o rm whi ch th e y fi r s t as s um e d H e has prun e d th e

.

e xcr e s c e nc e s w i th o u t d e s t r o yi ng t h e e s s e n t ial chara c t e r .

B u t a s t ill b e t t e r cri t i ci s m o f th e s tyl e o f th e L y r ic a l

B a llad s is t o b e f o und in th e s e c o nd v o lum e o f p o e m s ad d e d
1
Ly r ic a l B a lla ds , cd . H u t c h i ns o n, no t e on S im on L ee .
1 76 WORD SWORT H S T H EORY
’
OF POETI C DI C TION

H er e, d e spit e a f ewpol y sy llabic wor d s , li k e tu m u ltu ous ,

h a b ita tion, e t c , th e vocabular y i s no t e s s entiall y chan g e d ;
.

but h ow di ffe r e nt i s wh at C ol e ri d g e calls th e or d o nna nc e

o f th e s y
t el — t h e vari o us and e xpr e s s iv e s yn t ax ! I n th e
fir s t s t an z a o f Th e Th om th e r e a r e prac t icall y no c onjunc
t i o n s ; no typ e o f s e n t e nc e i s e mpl o y e d sav e t h e s impl e st
ind ep end e n t claus e s s et s id e b y s id e W h e r e sub o rdinat i o n
.

a nd r e lati o n a r e impli e d , t h e y a r e no t e xpr e ss e d , as in th e

lin e s , 1

it lo o k s s o o ld ,

I n t ru th y o u d fi nd it h ar d t o s a y
’

H o w it c o u ld ev e r h av e b ee n y o u ng ,

I t lo o k s s o o ld a nd gra y ,

wh e r e th e pr o s e e xpr e s s ion w o ul d b e z I t l o o ks s o ol d an d
‘

gray that in truth y ou woul d fi nd it hard t o t e ll h o w it

c o uld e v e r hav e b ee n y o ung .T h e omi s s i o n o f th e c o n
’

j uncti o n tha t, a nd th e r ep e t i t i o n o f it l oo k s so o ld a nd
‘

g ray , giv e th e charact e ri sti c e ddy ing m o v e m ent t o t h e

’

v e rs e , and a c e r t ain h elpl e s sn e ss t o th e s y n tax B u t in .

M ic ha el t h er e i s no suc h diffi c u lty A ll th e n e c e ssar y c o n

.

m eeting t issu e o f c o nj unc t ions a nd d e m o nstrativ e s i s h e r e ;

a nd t h e r e i s a st e ady o nwar d m o v e m e nt , with no r e p e t iti o n ,

no pickin g up o f d r o pp e d s t i t ch e s—s o t o sp e a k T h e p oet .

s t ill t al k s t o th e r e ad e r ; th e r e i s th e t o n e , th e mann e r ,
‘ ’

o f sp o k e n lan g uag e in t h e u s e o f t h e s e c o nd p e rs o n , a nd

in s uch a n e xpr e ssi o n as B u t c o urag e ! e t c ; but th e

‘ ’
.

sp e a k e r is no l o ng e r an e x ci t e d rus t i c wh o fi nds hi s lan

guag e sli ghtl y ina d e quat e t o th e o cca s i o n , a nd cann o t
k ee p e v e ry thing in hi s mind at o nc e H e i s th e sp e ctato r.

ab extr a , calmly t h o u g h s ympath e tically h o ldin g all th e ‘

d e t ail s in his min d in t h e ir pr o p er r e la t i o n t o e ach o th e r ,

a nd s e t t ing th e m b e f o r e th e b e ar e r s t e adil y and wi t h o u t
,

h a ste .

A s i m ilar imp r o v e m en t in t h e c h a r ac t e r o f t h e m o r e
lyri cal s tyl e i s t o b e d i s c o v e r e d in th e b e au t i ful fragm ent,
2
T h e Th om 1 -4 .
 TH E LYRICAL BALLADS 1 77

The D a nis h B oy, wh ich e mpl oy s a s t anz a al m o s t e xac t ly

lik e th a t o f Th e Th o m , and m a k e s a s imila r a tt e m p t t o giv e
a r o m a nt ic a s s o c ia t i o n t o a par t i cular s p o t by c o nne c t ing it
w i th a hal f vi s i o nary fi g u r e

B e twe e n t wo s i s t e r m oo rla nd ri lls

r i a p t t h a t s em t li
The e s s o e s o e

S acr e d t o fl o w et f th e h i ll er s o s,

A nd acr d t o t h e s k y
s e .

A nd in t h i m o th nd Op en d ll
s s o a e

T h ere is a t em p t trick n t r e ; es -
s e e

A c rne r t n b y ligh tni ng u t

o -
s o e c ,

Th la t t n e f a c t t ag e h u t ;
s s o e o o -

A nd in t h i d ll you s s e ee

A th i ng no to rm c n e d es tro y s a e
’
r ,

T h e s h a d o w o f a D a ni sh B y
1
o .

B u t t hi s d o e s no t m e an t ha t W o r d s w o r th has
‘

his fi r s t at t e mp t t o mak e s yn t ax f o ll o w m or e a ccura t e ly t h e

m o v e m e n t o f t h o ugh t H e has m e r e ly l e arn e d t ha t th e e ff e c t

.

o f e x t e mp o r a ne o us s p e e ch may b e c o nv e y e d w i t h o u t a n

ab s o lut e ly li t e ra l imita t i o n o f all it s r e p et i t i o n s and inep ti

t u des . I n The B r o ther s f o r in s t anc e , th e chara c t e r is t ic s o f
,

t h e s yn t ax o f th e L y r ic a l B a lla d s a r e r e t ai ne d w i t h furt h e r ,

i m p r o v em en t s an d varia t i o ns b u t a t th e s a m e t im e t h e r e
5 g r e a t e r s kill in th e arrang e m e n t o f d etail s , and a r e al

t i nc t i o n o f s tyl
T h e o p en i ng 1s a m o d e l o f e xp o s i t i o n

T h es e T o uri s t s H av en pre erv u s l n e d s m u s t liv

, e s e e e

A p ofi t b l li f e :
r a om e g la nc a lo ng s e e

R api d a nd ga y i f t h arth w er e air

, as e e ,

A nd th e y w r e b u t t fl ie t o wh l a b o u t
e er s ee

L ngo t h ir u m m r la t d ;
as e m s s wi se e s e so e, a

U p n t h e f r eh e a d
o f a j u t t i ng crag
o o

S it p e h d w i t h b k nd p nci l n t h ir kne
’
rc oo a e o e e,

A nd lo o k a nd cri bb le cribb l o n a nd lo k
s , s e o ,

U nt i l a m n m igh t t rav l t w lv
a t u t m i le e e e s o s,

O r ap n acr e f hi n igh b o r s c o rn
’
r e a o s e .

Bu t f o t h a t m pi ng s n o f I d le n s
, r o o es

Why c a n h e t arry y ond r ? e

2
T h e D a nis h B oy 1-1 1 .
1 7 8 WO RDSWORT H S T H EORY ’
OF P OETI C DI CTION

Here th em e th o d o f pr o c e d ur e fr o m th e g en e ral to th e
parti cular c o ul d har d l y b e b et te r e d T h e r e i s th e s t ate m e nt
.

c o nc e rning th e charac t e r o f tourist s in g e n e ral th e divi s i o n

o f t h e g e nu s int o sp e ci e s ; and t h e n t h e r e f e r e nc e t o t h e

par t i cular in d ivi d ual wh o s t ands b y hims e l f T h e s ente nc e .

struc t ur e , t o o , i s vari e d a nd fl exib le ; y e t th e t o n e o f c on

v e rsa t i o n i s main t ain e d thr o ugh o u t , a nd th e v o cabular y is
stri c t ly th e v o cabular y o f o r d inary sp e e ch O f c o urs e , .

w h e n th e o ld vi car b e gins t o t e ll h is s t o r y , h e fall s in t o

th e p e culiari t i e s o f s p ee ch which w e a r e won t t o call
ungrammat i cal ; b u t th e pr o g r e ssiv e m o v e m ent is no t l o st .

T h e e xpr e ssiv e n e s s o f th e d e via t i o n s fr o m s t an d ar d s y n t ax ,

m ar k e d b y itali cs , will b e n o t i c e d at onc e , a s w e ll as a fi ne
an t i q u e q uali t y in th e langua g e, which r e min d e d L amb o f
S hak e sp e ar e
T h a t s Wa lt er E wba nk
’
.

H e h a d a s wh i t e a h e a d a nd fre sh a c h e e k
A s e v e r we r e p r o du c d b y y o u th a nd a g e
’

E ng e nd e ri ng in t h e b lo o d o f h a le f o ur s c o r e .

F or fi v e lo n g genera t i o ns h a d th e h e art
O f Wa lt e r s f o re fa th e r s o e r fl o w d t h e b o u nd s
’ ’ ’

O f th e ir i nh eri t a nc e, th a t s i ngle c o tt a g e ,
Yo u s ee it y o nd er , a nd th o s e f e w gre e n fi elds .

T h e y t o il d a nd wro ught , a nd s t i ll, fro m s ire t o

’
s o n,

E ach s truggle d nd e ach y i eld e d a s b e f o re

A li ttle —
, a

y e t a li tt le— nd o ld Wa lt e
a r ,

Th ey lef t t o h im t h e fa m i ly h e art a nd la nd ,

Wi th o th e r burth ens th an th e cr0 p it b o r e .

Y e ar af t e r y e ar t h e o ld m a n s t i ll p e s e r v d
’
r

A h e f ul m i nd nd b ufi e t e d w i th b o nd
'

c ar , a ,

I nt e r e t a nd m o rt g a g e s ; a t la s t h e s a nk
s ,

A nd we nt i nt o h is grav e b e f o r h is t i m e e .

P o o r Wa lt e r ! w h e th r it wa s c
’
e th t s pu r r d are a him
Go d nly k nows b ut t o th e v e ry la s t
o , ,

H e h a d t h e li gh t s t f o o t in E nne r d a le
e .
1

A s Th e B r o th er s i s the b e st e xam pl e o f th e r e al lan g ua g e

of m en a tt e mpte d in t he v o lum e o f 1 7 98 , s o Ru th i s a
1
T h e B r o th e r s 20 0 -
2 19 .
1 80 WORDSWORT H S T H EORY ’
OF POETI C DI C TION

Bu t , a s y o u h a v e b ef or e b e en t o ld
T h s St i l n , p o t e,rip i g S r iv ga
y a nd b o ld ,

Had r a m d ab u t wi th va g ra nt ba nd s
o e o

Of I nd ia ns in th e we s t
1
.

E v en s th ey d i d ; a nd I m ay y
o sa

T h a t t o s w eet Ru th th a t h app y d a y
W s m o r e t h a n h u m a n li f
a e .
2

A arn h e r winter b e d s upp li s

B e ,

Bu t t i ll t h e warm th o f s u m m r s k i e s e

A nd s u m m r d a y s is g o ne e ,

( A nd in this ta le we a ll a g r e e )
She s le e p s b ene a th the gr e en wo o d t r ee,
A nd o the r hom e a
h th no ne .
2

T h ey m er g e d in t h e g en e ral e xc ell enc e o f th e sty l e,

ar e

a nd s e e m a na t ural par t o f it .

A gain , th e r e is s o m e th in g p e culiarl y e ffe c t iv e in the

oc casi o nal u s e o f th e balla d r ep e tition , -

Er e s he h a d wep t , e r e s h e h a d m o urne d ,

A yo u g n a nd h pp y h ld , 4
a c i

a nd th e n a v e, ballad li k e, en d ing i s v e r y b e auti ful

-

F arewel l a nd wh en thy d a y s a e t o ld r

I ll fa t e d Ru th ! in h a llo w e d m o u ld
'

T b y c rp se s h a ll b u ie d b e
o
‘

r ,

F o t h ee a fu ne ra l b ell s h a ll ri ng
r ,

A nd a ll th e c o ng r e ga t i o n s i ng
A C hri s t ia n p s a lm f o th e e r .
5

1
R u th 10 9
-
1 10 , 1 13 -
14 .

2
I b id . 10 0 -1
02 .

3
I b id . 1 99-2 0 4 .

‘
I b id . 22 1 -222 . C i Th e Child
. o f E lle 1 6 9- 1 7 0

F air E m m el ne i s igh d fair E m m eli ne e , w ep t ,

A nd a ll d i d t rem b li ng s t a nd .

5
I bid . 22 3 -
228 .
 TH E LYRICAL BALLADS 1 81

H e nc e a s ea rly a s 1 8 0 0 W o rd s wo rt h wa s al r e ady o ut
, ,

g r o w ing t h e A dv e rt i s em e nt t o t h e L y r ic a l B a lla d s a nd w i t h ,

it t h e e xp e rim e n t al p e r i o d o f h is car ee r S o m e t rac e s o f

.

t h e o riginal t h e o ry o f c o ur s e r e m ain b o t h in t h e hard

,

—
bi t s o f li t e ral mat t e r o f fac t s t a t e m e n t in p o em s lik e A lic e
,
-

F ell and in his o cca s i onal d e f e n s e o f s o c a ll e d

‘
, prosaic -
’

l a ng u ag e C e rt ai nly th e or iginal t h e o ry c o n t inu e d t o in t e r

.

es t him un t il ab o u t 1 8 0 5 , t h e la s t r e pri n t in g o f t he L yr ic a l
B a lla ds o f 1 8 0 0 w i t h t h e i r pr e fac e Bu t f o r t h e r e al s o u r c e
.

o f h is p o e t i c dic t i o n h e nc e f o r t h w e mu s t l o o k mainly t o

h is r e ading I n t he v o lu m e s o f 1 8 0 7 t h e infl u e nc e o f
.

S p e n s e r a nd o f t h e E li z ab e t h a n library furni s h e d by L amb

'

is e v e r y w h e r e e vid e nt e s p e cially
, t h e pur e and qui e t
cad e nc es o f t he la t e r E li z ab et han s D ani el D rayt o n a nd , , ,

B e aum o n t Th e s o nn e t s w h ich f o rm s o num e r o u s and s o

.
,

b e a u t i f u l a pa r t o f h is p o e t ry a f t e r 1 80 0 , we r e w ri tt en u nd e r
t h e i m m e dia t e infl u e nc e o f M il t on T h e no bl e a nd u niqu e
.

la ng u ag e o f th e P r elu d e is cr e at e d o ut o f t h e appar e nt ly
u np r o m i s ing t ermi no l o gy o f th e phil o s o ph e r s , H a r t l ey a nd
D arwin . No d o u b t t h e e l o qu e nt di s c o u r s e s o f C o l e ridg e
s e rv e d a s an in t e rm e diary s t e p in t hi s alch e mic t ransmu t a

t ion . T h e p oe t ry o f 1 8 1 4 1 8 1 6 w a s infl u enc e d by t h e

-

—
re r e ading o f V irgil and ot h e r L a t in au t h o r s T h e r e is a .

p e ns iv e V irgilian g r aci o u s n e s s o f languag e in s o m e o f h is

t o o much n e gl e c t e d la t e r p o e ms s uch as t h e E g y ptia n M a id
, .

T h e lang u ag e o f t h e la t e r p o e m s al s o r e fl e c t s t h e s t i ff b u t ,

o f t e n d e e ply pa th e t i c L a t in o f e arly e ccl es ia s t ical li t e r a

,

t ure . F r o m s o urc es lik e t h e s e no t fr o m t h e s p ee ch o f t h e

,

dal e s m e n w a s the gr e a t e r part o f W o rd s w o r t h s ph r a s e

,
’

ol og
y u l t im a t e ly d e riv e d .

B u t a f t e r all it w a s t h e t h e or y s u g g e s t e d in t h e A dv e r
, ,

t is e m e nt wh ich t a u gh t W o r d s w o rt h t o mak e t hi s u s e o f
b o o k s T hr o ugh his appa r e n t r epudiat i o n o f t he languag e
.

o f b o o k s h e e n t e r e d i nt o h is li t e rary inh e ri t anc e H is .

t h e o r y o f p o e t ic dic t i o n s e r v e d a s a t e s t by w hich h e m igh t

s e e k o u t th e g e nui ne m e t al o f p o e t ry a nd appr o pria t e it
,
1 82 WORDSWORT H S T H EORY ’
OF POETI C DICTIO N

to hims e l f H e had al r e ady sh o wn a dis po si t ion t o t e st

.

and appr o pri at e in hi s u s e o f borr o we d phr a s e s in th e

D es c r ip tiv e S k e tc hes B u t t h e t ou chston e , whil e g o o d as
.

far as it w en t , had no t b ee n s uffi c ient H e had l e arn e d t o

.

j ud g e n a t ural ima g e ry u s e d in po e try in accordanc e wi t h

hi s o wn e xp e rie nc e , and t o includ e in hi s o wn w o r k t h e
e xpr e ssi o ns w hich s a t is fi e d him B u t h e had no t l e arn e d
.

to j ud g e o f l a n g uag e and t he p s ych o l o g y o f human e xpr es

si o n H e m e r ely t ook w h a t pl e as e d him , and w hat pl e as e d
.

him was t he s t ran g e t h e o ri g inal , th e fan t as t ic H e had

, .

no s oc ial c o nsciousn e ss—no kn o wl e d g e o f t h e w a y in w hich

o t h e rs mi g h t r e act t o t he w o rds t hat h e us e d T h e t h eo ry
.

o f t h e L yr ic al B a lla ds awak e n e d in him thi s s o ci al c o n

s c io u s ne s s . H e wish e d to l ea r n h o w livin g m en sp o k e , h o w
t h ey had a lw a y s sp o k e n H e l ea r ne d t o t e st hi s l a n g u a ge
.

in a cc o r d a nc e both with g ene ral usa g e a nd with a ctual p sy

c ho lo g y . T his g a v e him a c o nt r o l o v e r t he r e sourc e s o f
'

his o wn t o n g u e such a s only t he s chol arl y p o et s ma y hav e .

A ft e r 1 7 98 it is alm o s t imp o ssibl e to ca tch W o rdswo r th in

a q u e sti o nabl e u s e o f a w o rd o r a slip of g rammar H i s .

vocabulary has a pu r i ty and pr ec i si o n w hich n e i t h e r M il t on

T n —
nor e n y s o n , t h e s el f c o ns c iou s a r t is t s in lan g ua g e can
r

—
,

e q ual h o w e v e r th ey may surpas s him in s pl e nd o r a nd

—
s o n o r o us musi c H i s s en t enc e s t ruct ur e is r emar k abl e ali k e
.

f o r its p e culiar fl ex ib ilit y and f o r its stri c t o b s e rvanc e o f

grammar a nd i d i o m H e c o n t inu e s t o r e ad m o r e an d m o r e
.

in th e fi eld o f E n gli s h lit e r a tur e , b u t w i th d i scrimina t ion ;

at a ny m o m ent h e i s r e ad y t o giv e an ac c o unt o f t he li t e rar y

fai th th a t i s in him H e had r e d i s c o v e r e d th e principl e s o f
.

E n glish p oet ry , and in s o d o ing had di sc o v e r e d hims e l f .

I t is in t hi s di s c o v e r y no t in any e xp e r im en t al imi t a t i o n
,

of th e sp ee ch o f T o m , D ick , o r H arry , that t h e tru e si g

nifi ca nc e o f W o rdsw o rt h s t h eo ry o f po et ic dic t i o n li e s
’
.
1 84 WORDSWORT H S T H EORY ’
OF P OETI C DICTION

H A Z LI TT , WI LL I AM L i t erar y Rem ai ns Lond o n, . . 1 83 6 .

H ORAC E Q UI NT U S F LACC U S A r s P o et ica ( Ar t . . of P o et y , r ed . Cook .

)
B o s t o n, 1 892 .

H U TTON , R C
I H ARD H OLT . E ss y s, a T h e olo gica l a nd L i t erary . Lo nd o n ,

1 88 8 .

JO H N S O N , S AM U EL L iv e s . of the En l sh gi P o et s (cd . H i ll) . O xf o r d ,

5
1 90 .

JO N S O N , B E N . T i m b er ( e d i g) . S h ell n . B o s t o n, 1 8 92 .

KELLNER LEON H i s t o , of E ng li s h S y nt ax
. Lo nd o n a nd
rical O utli ne s .

Ne w Y o r k 1 892 , .

P ET I T DE JU LLEVI LLE H i s t o ir e de la L a ngu e et d e la Litt er a t u r e F ra ncai s e

.

d es O ri g i nes a 1 90 0 P ari s 1 8 97 .
, .

L AMB C H AR LES Wo rk s ( e d Luca s ) L o nd o n 1 90 3 1 90 5

, . . .
,
-
.

L AMB C H ARLES L ett er s ( e d M ac d o na ld ) L o nd o n 1 90 3

, . . .
, .

LE GOU I S E M I LE , T h e E ar ly L i f e o f Wi llia m Wo r d s wo r t h
. Ne w Y o r k .
,

1 8 97 .

LI E N E M A N , K U RT . D ie B eles enh e t i von Wi llia m Wo r d s wo rth . We i m ar ,

1 90 8 .

L UCAS , E V L if e f C h ar les L a m b Ne w Y o r k a nd L o nd o n 1 90 5
. . The o .
, .

M OORE J L T u d o r S t uar t V i e w o n t h e Gr o wt h S t a t u a nd D e t i ny
, . .
-
s , s, s

o f t h e E ng li s h L a nguag e H a lle 1 9 1 0 .
, .

P OP E A LE X ANDER
, Wo rk s ( e d C u r t h p nd E lwi n) L o nd o n 1 87 1 89
. . o o e a .
,
-
.

P RATT A LI CE E
, T h U s o f C o l r in t h e V e r
. o f t h e E ngli sh Ro m a nt ic
e e o se

P tsoe Ch icago 1 898 .

, .

Q UI NT I L I AN M ARC US F A BI U s I n t i t ut e o f O ra t o r y ( t Wa t s o n) Lo n
, . s s r . .

d o n, 1 89 1 - 92 .

RE YNOLDS M YRA Th e T r a t m nt o f N a t ur e in E ngli s h P o etr y b et ween

, . e e

P o p e a nd W r d s wo rt h C h icag o 1 896 o .
, .

ROB I NSON H ENRY CRA BB , D iar y R em i ni c enc e s a nd C o rr e s p o nd enc e .

, s ,

( e d S a d ler ) B s t n 1 86 9
. . o o , .

S COTT JO H N
, Cri t ica l E s s a y s o n S o m e o f t h P o em s o f S ev era l E ngli s h
. e

P ts
oe L o nd o n 1 7 8 5
.
, .

S H A I RP JO H N C
, A s p ct s o f P o tr y B o t o n a nd New Y o r k 1 892
. e e . s , .

S M I T H G GRE GO RY
, E li ab eth a n Cri t ica l E s s a y s
. O x f o r d 1 90 4
. z .
, .

S P EN C E JO SE H
, A n c do t O b s erva t i o ns a nd C h arac t er o f B o k s a nd
P . e es, , s o

M n L o nd o n 1 820
e .
, .

S P I NGARN JO EL E C ri t ica l E s a y s o f th e S ev ent ent h C ent ur y O x f o r d

, . s .
,

1 90 8 .

WARTON JO S EP H ay Geniu s Wri t i ng s

‘

, . An E ss on th e a nd of P op e . Lo n
d o n, 1 7 82 .

WORD S WORT H C H R I STO P H ER , . M em o ir s of Wi llia m Wo r d s wo rt h ( cd .

Ree d ) . B o s t o n, 1 8 51 .
 B B I LIOGRAPH Y 1 85

WORDS WORT H CH R I STO P H ER S o cia l L if e a t th e E ngli sh U niv er s i t i e s in

, .

t h e E ig h t e e nt h C e nt ur y C a m b ri dg e 1 87 4 .
, .

WORDS WORT H WI LLI AM Lyrica l B a lla d s B ri s t o l 1 7 9 8 ( I n t h e p o s

, . .
, .

s es s m n o f M s C ynth ia M o rga n S t J o h n )
r . . .

WORDS WORT H WI LL I AM Lyrica l B a lla d s Lo ndo n 1 7 98

, . .
, .

WORD S WORT H WI LLI AM Lyrica l B a lla ds ( e d H u t c h i ns o n) Lo nd o n

, . . .
,

1 7 98 .

WO RDS WORT H WI LL I AM , . Lyrica l B ll a ads , w thi o th e r P o em s . L o nd o n,

1 80 0 .

WORDS WORT H WI LL IAM Lyrica l B a lla d s w i th P a st o ra l a nd O t h er

, .
,

P o em s L o nd o n 1 80 2
.
, .

WOR D S WORT H WI LL I AM Ly rica l B a lla d s P h i la d elp h ia 1 80 2

, . .
, .

WORD S WORT H WIL L I AM , Ly rica l B a lla d s w i th P a st ora l a nd O th er

.
,

P o em s L o nd o n 1 80 5
.
, .

WORDS WORT H WI LLI AM P o em s L o nd o n 1 80 7

, . .
, .

WORDS WORT H WI LLI AM P o em s i nc lu d i ng Ly ri c a l B a lla d s a nd t he M is

, .

c e lla neo u s P i e c es o f t h e A u t h o r w i th a dd i t i o na l P o em s a ne w , ,

P r e fac e a nd a S upp lem e nt ar y E s s a y L o nd o n 1 8 1 5 .

, .

WORDS WOR I H WI LLI AM M i s c ella neo u s P o em s L o nd o n 1 820

’ ‘

, . .
, .

WORDS WORT H WI LLI AM P o et ica l Wo rk s L o nd o n 1 827

, . .
, .

WORDS WORT H WI LL I AM P o et ica l Wo r k s Lo nd o n 1 83 6

, . .
, .

WORDS WORT H WI LLI AM P o et ica l Wo rks L o nd o n 1 840 1

, . .
,
-
.

WORDS WORT H WI LL I AM P o em s Lo nd o n 1 845

, . .
, .

WORDS WORT H WI LLI AM P o et ica l Wo rk s ( e d Knight ) i nc lu d ing a L i f e

, . .
,

o f Wo r d s w o r t h E d i nburgh 1 882 89
.
,
-
.

WORD S WORT H WI LL I AM P o et ica l Wo rk s ( e d D o wd en) w i th M em o ir

, . . .

L o ndo n 1 892 93 ,
-
.

WORD S WORT H WI LL I AM P o et ica l Wo r k s ( e d H ut ch i ns o n) L o nd o n

, . . .
,

Ne w Y o r k 1 90 7 , .

P r o s e Wri t i ng s o f Wo r d s wo r t h ( e d K nigh t ) L o ndo n 1 893 . .

, .

L et t er s o f th e Wo r d s wo rth F a m i ly fro m 1 7 87 t o 1 8 55 ( e d K night ) . .

B o s t o n a nd L o nd o n 1 90 7 , .

Wo r ds wo rt h s P r e fac e s a nd E s s a y s o n P o e try ( e d A J Geo rg e )

’
. . . .

B o s t o n, 1 8 92 .

Wo r d s wo rth s L i t erary Cri t ici s m ( e d N o we ll C S m i t h ) L o ndo n 1 90 5

’
. . .
, .

WORDS WORT H WI LLI AM , P o em s a nd E x t rac t s C ho s e n b y Wi llia m

.

Wo r d s wo r th f o r a n A lb u m pre s ent e d t o L a dy M ary L o wth er C hri s t ,

m a s, 1 819 . L o nd o n, 1 90 5 .

A crip t i
D es on o f t he Wo r r nd C l ri d g e
d s wo th a o e M a nu s crip t s in t h e
p i
o s ses s o n o f Mr T . . N o rt o n L ng m a n ( d W
o e . . H le a Wh i t e ) . Lo n
do n a nd New Y o rk 1 8 97 , .

T ra n ac t i
s o ns o f t h e Wo r d s w o r t h So ci ety . E d nb i urgh , 1 8 82 - 8 7 .
 I ND E X O F P R O P E R NA M E S

A dd i s o n 1 6 3 9 57 58 59
, , , , , , 61 D arw i n E ra s m u s , , 1 0 2 , 1 1 4, 1 1 5, 1 1
A l fre d 1 52, . 1 1 8, 1 3 0 , 181 .

A ri o s t o I 7 1 1 1
, , . i
D e l lle, 93 .

A ri s t o tle 7 23 58 59 1 29
, , , , , . D em o s t h e ne s , 1 1 3 .

A rno ld M a tth ew vii 2 6

, , , , . D e nh m , 23 a .

A cha m 6 7 9
s , , , . i J
D e nn s , o h n, 52, 1 29 .

D e Q u inc ey , xiv .

ag xi
B eh o t , , 2 . D eVe r e, b ey , , A u r xi xiv .

a i
B e tt e, 93 . D o nne, 7 , 1 6 .

au J
B e m o nt , o h n, 1 8 1 . D o w d e n, xi .

Be aupu y, 1 1 1 . ra
D y t o n, 1 3 , 1 4, 1 5, 1 8 1 .

B em b o , 1 7 . r
D yd en, , 4, 6 , 1 1 , 1xiv
3, 2 1 -
24, 2
r ar
B e n d o f Cla ir v ea u x , 3 6 .
3 9, 4 1 ) 48 ) 49 , 51 , 5
Bl air, 49 .
54, 57 , 58 , 60 , 6 1 , 7 4, 1 0 0 , 1 1 2, 1 2
i au
B o le , 22 , 3 3 , 3 4, 3 5, 55 r
D y e , 6 3 , 8 7 , 99
B o y er 1 1 3, .

B o wle s , 8 5, 87 , 88, 9 9, 1 1 4, 1 1 8, 1 1 9, E K,5

. . .

1 25 . E ly o t , S ir Th o m a s , 6 .

r
B o wne , S ir T h o m s , 1 5, 22 a .

ur
B ns , 3 , 6 1 , 94, 1 1 8 , 1 1 9 . Gar d i ne r, B i sh o p , 6 .

rg r
B u e , 1 22, 1 23 , 1 24 . Ga s c o ig ne, 8, 20 .

r
By o n, 1 4 . Ga y , 40 .

Gi lb e rt , S ir H u m p h r e y, 5 .

a ar 7
C es , . Go ld s m i t h , 3 , 3 8, 54, 57 , 58 , 6 1 .

a pi o n 1 5
C m , . Gra y , 3 , 54, 57 , 6 0 , 6 2, 92, 93 , 10
C a t ullu s 1 1 3 , . 115 .

C h arle I I 4s , . Gu ns t o n, 46 .

C h auc e r 2 4 , , , 10 , 43 , 1 1 2, 1 1 7 , 1 3 9,
1 40 , 1 44, 1 4 5, 1 48 , 1 52 H a m i lt o n, Wi llia m Ro w a n, 1 0 7
H arp e r, Wi llia m M , xi
. .

C h ek e , S ir o h n, 7 J . . .

C ic r
e o , 7 , 9, 1 1 , 1 2, 1 1 3 . H a r t le y , 1 3 0 , 1 3 6 , 1 8 1 .

C ri g
o le d e, V I I , V I I I , ix , x, , 3 , 4, xiv H arv e y , Ga b ri el, 6 , 7 , 8, I 5 .

7 , I 3 , 1 4, I 6) 3 9, 52) 53 , 6 2 , 6 6 , 6 7 : H a z li tt , xiv .

6 8, 8 5, 86 , 9 9, 1 0 2 , 1 0 4, 1 0 7 , 1 0 8, H e nry V I I I , 1 6 2 .

10 9, 1 10 , 1 1 2, 1 13 -1
40 , 1 4 1 , 1 44, H o m e , 93 .

1 48 , 1 51 , 1 52, 1 6 2 , 1 6 9, 1 7 6 , 1 8 1 . H o m e r, 1 9 , 1 1 3 , 1 1 7 .

C o le ri d ge S ara xiv , , . H o rac e, 8, 9 , 1 1 , 23 , 28, 3 6 , 1 1 2, 1 1

C o lli ns 62 8 5 87 1 0 0 1 1 5
, , , , , . 1 29 .

C o o p er L a ne xi
, , . H u t c h i ns o n, T h o m a s xi , , 1 44 .

C o rn i lle 23
e , . H u t t o n, R H , xi . . .

C o wley 7 1 6 53 , , , .

C o wp e r 3 3 6 3 9 57 6 1 62
, , , , , , , 88 , 9 2, J ffr y 90
e e , .

94, 1 18 . J o h ns n S a m u el o , , 1 1 , 23 , 30 , 3 1, 4
54, 58 , 6 0 , 6 6 , 1 23 , 1 3 3 .

a i
D n el, S m a u el , 13 , 1 5, 1 8 1 . Jo ns o n, B e n, 1 3 , 1 4, 1 6 , 2 1 , 22, 2 5 .

a
D nt e, 2 .
Ju llev ille, P et t d e, 22, 26 i .
 Y AL E S T UD I E S I N E N GL I S H .

A LB ERT S . COOK , E D I T OR .

I . The re ign S o urc e s o f M o d ern E ngli s h Ve r s ific a tio n

Fo .

C H ARLTON M L E WI S P h D .
, . .

E lf ic : A New S t u dy o f his L i f e a nd Wri t i ng s

r C AROL I NE .

LO UI SA WH I TE P h D , . .

T h e L i f e o f S t C e c elia fro m M S A s h m o le 43 a nd M S
‘

.
, . .

C tt n T ib e riu s E V I I w i th I nt ro d uc t i o n V aria nt s a nd
o o .
, , ,

Gl s ary
o s B ERT H A E LLEN LOVE WE LL P h D
.
, . .

D ryd e n D ra m a t ic T h eo r y a nd P rac t ic e M ARGARET S H ER

’
s .

woon, P h D . .

V . S t u d i e s in Jo ns o ns C o m
’
e dy . E L I SABET H WOODBR ID GE , Ph D. .

A Glo s s ary of We s t S ax o n Go s p els L a t i n We s t

th e ,
-
S ax o n
a nd We s t S ax o n L a t i n M ATT I E A NST I C E H ARRI S
-
.
, P
hD . .

A nd re a s : The L g end o f S t A nd rew t ra ns la t e d fro m th e

e .
,

Old E ng li s h , w i t h a n I nt ro d uc t i o n R OBERT K I LB U RN ROOT .

,

Ph D . .

VI I I . The C la ica l M y th lo gy o f M i lto ns E ngli sh P em s

ss o
’
o .

C H AR LE S GROSVENOR O s c oon P h D , . .

A Gui d e t o t h e M i dd l E ngli sh M et rical Ro m a nc e s d ea li ng e

w i th E ng li h nd Germ a nic L e g end s a nd w i th t h e C y c le

s a ,
s

o f C h ar le m a g ne a nd f A r th ur A NNA H U NT B I LL I NGS o .
,

Ph D . .

Th e Earli e t L iv e s o f D a nt e t ra n la t e d fro m th e I t alian o f

s , s

Gi vanni B o ccacci
o nd L i o nar d o B ru ni A r t i no o JAMES a e .

ROB I NSON S M I T H .

A S tu dy in E pic D v e lo p m ent I RENE T M Y E RS P h D e . .

, . .

r
T he S h o t S to ry H ENRY S EI DEL C ANBY P h D .
, . .

K i ng A lfre d Old E ngli h V rs i on o f S t A u gu s t i ne s S o lilo

’
s s e .
’

qui s e ,edit d w i t h I nt ro d uc t i o n N o t es
e a nd Glo s s ary , , .

H ENRY L EE HA RGROVE P h D , . .

X IV . T h e P h o n l gy o f t h e N o rth um bria n Glo s s o f St M a tth ew

o o . .

E M I LY H O WARD F OL EY P h D , . .
 YALE ST U DIES I N ENGLISH 1 89

XV . Es s ay s on the ry b y P lutarch nd S t dy u a nd Use of P o et a

B a il
th Gr a t t ra n la t e d fr m t h e Gr e k w i t h n I nt ro
s e e , s o e , a

n F RED ER I C K M ORGAN P A DEL O RD P h D

d uc t i o . F , . .

X VI T h . T ra n la t i o n
e f B w u lf sA C ri t ica l B i b li o grap h y
s o eo : .

CH A U N C EY B TI N K ER P h D .
, . .

X V I I Th e A lc h m i t b y B n J o ns o n d i t d w i th I ntro d uc t i o n
. e s , e , e e ,

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fr o m th e Old E ngli s h L A WREN CE M ASON P h D .
, . .