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CHAPTER XIV Occasion of the Lyrical Ballads, and the objects originally pro
posed-Preface to the second edition-The ensuing controversy, its causes and acrimony-Philosophic definitions of a poem
and poetry with scholia. DURING the first year that Mr. Wordsworth and I were neighbours, our conversations turned frequently on the two cardinal points of poetry, the power of exciting the sympathy of the reader by a faithful adherence to the truth of nature, and the power of giving the interest of novelty by the modifying colors of imagination. The sudden charm, which accidents of light and shade, which moon-light or sun-set diffused over a known and familiar landscape, appeared to
represent the practicability of combining both. These are 10 the poetry of nature. The thought suggested itself (to
which of us I do not recollect) that a series of poems might be composed of two sorts. In the one, the incidents and agents were to be, in part at least, supernatural; and the
excellence aimed at was to consist in the interesting of the 15 affections by the dramatic truth of such emotions, as would
naturally accompany such situations, supposing them real. And real in this sense they have been to every human being who, from whatever source of delusion, has at any time
believed himself under supernatural agency. For the 20 second class, subjects were to be chosen from ordinary life;
the characters and incidents were to be such, as will be found in every village and its vicinity, where there is a meditative and feeling mind to seek after them, or to notice them, when
they present themselves. 25 In this idea originated the plan of the "Lyrical Ballads”;
a in which it was agreed, that my endeavours should be directed to persons and characters supernatural, or at least romantic ; yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension 5
5 of disbelief for the moment, which constitutes poetic faith. Mr. Wordsworth, on the other hand, was to propose to himself as his object, to give the charm of novelty to things of every day, and to excite a feeling analogous to the supernatural, by awakening the mind's attention from the lethargy 10 of custom, and directing it to the loveliness and the wonders of the world before us; an inexhaustible treasure, but for which, in consequence of the film of familiarity and selfish solicitude we have eyes, yet see not, ears that hear not, and hearts that neither feel nor understand.
15 With this view I wrote “ The Ancient Mariner,” and was preparing among other poems, “ The Dark Ladie," and the "Christabel," in which I should have more nearly realized my ideal, than I had done in my first attempt. But Mr. Wordsworth's industry had proved so much more successful, and 20 the number of his poems so much greater, that my compositions, instead of forming a balance, appeared rather an interpolation of heterogeneous matter. Mr. Wordsworth added two or three poems written in his own character, in the impassioned, lofty, and sustained diction, which is char- 25 acteristic of his genius. In this form the “Lyrical Ballads” were published ; and were presented by him, as an experiment, whether subjects, which from their nature rejected the usual ornaments and extra-colloquial style of poems in general, might not be so managed in the language of ordi- 30 nary life as to produce the pleasureable interest, which it is the peculiar business of poetry to impart. To the second edition he added a preface of considerable length; in which, notwithstanding some passages of apparently a contrary import, he was understood to contend for the extension of 35 this style to poetry of all kinds, and to reject as vicious and indefensible all phrases and forms of style that were not included in what he (unfortunately, I think, adopting an equivocal expression) called the language of real life. From 5 this preface, prefixed to poems in which it was impossible to deny the presence of original genius, however mistaken its direction might be deemed, arose the whole long-continued controversy. For from the conjunction of perceived
power with supposed heresy I explain the inveteracy and in 10 some instances, I grieve to say, the acrimonious passions,
with which the controversy has been conducted by the assailants.
Had Mr. Wordsworth's poems been the silly, the childish things, which they were for a long time described as being; 15 had they been really distinguished from the compositions of
other poets merely by meanness of language and inanity of thought; had they indeed contained nothing more than what is found in the parodies and pretended imitations
of them; they must have sunk at once, a dead weight, into 20 the slough of oblivion, and have dragged the preface along
with them. But year after year increased the number of Mr. Wordsworth's admirers. They were found too not in, the lower classes of the reading public, but chiefly among
young men of strong sensibility and meditative minds; and 25 their admiration inflamed perhaps in some degree by
opposition) was distinguished by its intensity, I might almost say, by its religious fervor. These facts, and the intellectual energy of the author, which was more or less con
sciously felt, where it was outwardly and even boisterously 30 denied, meeting with sentiments of aversion to his opinions,
and of alarm at their consequences, produced an eddy of criticism, which would of itself have borne up the poems by the violence, with which it whirled them round and round.
With many parts of this preface, in the sense attributed to 35 them, and which the words undoubtedly seem to authorize,
I never concurred; but on the contrary objected to them as erroneous in principle, and as contradictory (in appearance at least) both to other parts of the same preface, and to the author's own practice in the greater number of the poems themselves. Mr. Wordsworth in his recent collection has, , 5 I find, degraded this prefatory disquisition to the end of his second volume, to be read or not at the reader's choice. But he has not, as far as I can discover, announced any change in his poetic creed. At all events, considering it as the source of a controversy, in which I have been honored 10 more than I deserve by the frequent conjunction of my name with his, I think it expedient to declare once for all, in what points I coincide with his opinions, and in what points I altogether differ. But in order to render myself intelligible I must previously, in as few words as possible, explain my 15 ideas, first, of a POEM; and secondly, of Poetry itself, in kind, and in essence.
The office of philosophical disquisition consists in just distinction; while it is the priviledge of the philosopher to preserve himself constantly aware, that distinction is not 20 division. In order to obtain adequate notions of any truth, we must intellectually separate its distinguishable parts; and this is the technical process of philosophy. But having so done, we must then restore them in our conceptions to the unity, in which they actually co-exist; and this is the \result of philosophy. (A poem contains the same elements
A as a prose composition; the difference therefore must consist in a different combination of them, in consequence of a different object being proposed. According to the difference of the object will be the difference of the combination. 30 It is possible, that the object may be merely to facilitate the recollection of any given facts or observations by artificial arrangement; and the composition will be a poem, merely because it is distinguished from prose by metre, or by rhyme, or by both conjointly. In this, the lowest sense, 35