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He observations prefixed to that portion of these Volumes, which was published many years ago, under the title of “ Lyrical Ballads," have so little of a special application to the greater part, perhaps, of this collection, as subsequently enlarged and diversified, that they could not with any propriety stand as an Introduction to it. Not deeming it, however, expedient to suppress that exposition, slight and imperfect as it is, of the feelings which had determined the choice of the subjects, and the principles which had regulated the composition of those Pieces, I have transferred it to the end of the second Volume, to be attended to, or not, at the pleasure of the Reader.
In the Preface to that part of “ The Recluse,” lately published under the title of “ The Excursion," I have alluded to a meditated arrangement of
minor Poems, which should assist the attentive Reader in perceiving their connection with each other, and also their subordination to that Work. I shall here say a few words explanatory of this arrangement, as carried into effect in the present Volumes.
The powers requisite for the production of poetry are, first, those of observation and description,i.e. the ability to observe with accuracy things as they are in themselves, and with fidelity to describe them, unmodified by any passion or feeling existing in the mind of the Describer : whether the things depicted be actually present to the senses, or have a place only in the memory. This power, though indispensable to a Poet, is one which he employs only in submission to necessity, and never for a continuance of time; as its exercise supposes all the higher qualities of the mind to be passive, and in a
state of subjection to external objects, much in the same way as the Translator or Engraver ought to be to his Original. 2dly, Sensibility, which, the more exquisite it is, the wider will be the range of a Poet's perceptions; and the more will he be incited to observe objects, both as they exist in themselves and as re-acted upon by his own mind. (The distinction between poetic and human sensibility has been marked in the character of the Poet delineated in the original preface, before-mentioned). 3rdly, Reflection,—which makes the Poet acquainted with the value of actions, images, thoughts, and feelings; and assists the sensibility in perceiving their connection with each other. 4thly, Imagination and Fancy,—to modify, to create, and to associate. 5thly, Invention,-by which characters are composed out of materials supplied by observation; whether of the Poet's own heart and mind, or of external life and nature; and such incidents and situations produced as are most impressive to the imagination, and most
fitted to do justice to the characters, sentiments, and passions, which the Poet undertakes to illustrate. And, lastly, Judgment, -to decide how and where, and in what degree, each of these faculties ought to be exerted; so that the less shall not be sacrificed to the greater; nor the greater, slighting the less, arrogate, to its own injury, more than its due. By judgment, also, is determined what are the laws and appropriate graces
every species of composition. The materials of Poetry, by these powers collected and produced, are cast, by means of various moulds, into divers forms. The moulds may be enumerated, and the forms specified, in the following order. 1st, the Narrative,-including the Epopoeia, the Historic Poem, the Tale, the Romance, the Mock-heroic, and, if the spirit of Homer will tolerate such neighbour.' hood, that dear production of our days, the metrical Novel. Of this Class, the distinguishing mark, is, that the Narrator, however liberally his speaking agents be introduced, is himself
the source from which every thing primarily flows. Epic Poets, in order that their mode of composition may accord with the elevation of their subject, represent themselves as singing from the inspiration of the Muse, Arma virum que cano; but this is a fiction, in modern times, of slight value: the Iliad or the Paradise Lost would gain little in our estimation by being chaunted. The other poets who belong to this class are commonly content to tell their tale; so that of the whole it may be affirmed that they neither require nor reject the accompaniment of music.
2ndly, The Dramatic,-consisting of Tragedy, Historic Drama, Comedy, and Masque; in which the poet does not appear at all in his own person, and where the whole action is carried on by speech and dialogue of the agents ; music. being admitted only incidentally and rarely. The Opera may be placed here, in as much as it proceeds by dialogue; though depending, to the degree that it does, upon mu.