Coleridge and Wordsworth saw the problems introduced by the Industrial Revolution as evidence of the failures of Enlightenment philosophy and the Neoclassical poetry that came out of it. This is not only an act of justice, but, in our decisions upon poetry especially, may conduce, in a high degree, to the improvement of our own taste; for an accurate taste in poetry, and in all the other arts, as Sir Joshua Reynolds has observed, is an acquired talent, which can only be produced by thought and a long continued intercourse with the best models of composition. Tough diction is not a requisite of good poetry, believes Wordsworth. Come to discover that my idea of traditional poetry was very mistaken. All the poems have a rustic, backwoods, working class quality to them. Poetry is the moral guide that imparts moral lessons but in sugar-coated form so that the learning becomes implied and plausible.
Accordingly, such a language, arising out of repeated experience and regular feelings, is a more permanent, and a far more philosophical language, than that which is frequently substituted for it by Poets, who think that they are conferring honour upon themselves and their art, in proportion as they separate themselves from the sympathies of men, and indulge in arbitrary and capricious habits of expression, in order to furnish food for fickle tastes, and fickle appetites, of their own creation. In a nutshell, Wordsworth believes that the most important function of a poet is to present the universal truths of human nature and in doing so, the poet must keep himself in a closer proximity to the real, simple passions of men that are relatable by all, and must use the language of the common man. Simply speaking, the highly sensitive poet is able to experience the beauty of ordinary life, capture his own emotions as they arise and is finally able to sit in a calm, peaceful space to use his imagination to recollect these emotions and finally write about them. For the first time he democratizes poetry and gives a universal appeal to it. They are of separate type reflecting only the lives of the Aristocratic people of the society. The invaluable works of our elder writers, I had almost said the works of Shakespeare and Milton, are driven into neglect by frantic novels, sickly and stupid German Tragedies, and deluges of idle and extravagant stories in verse.
The end of Poetry is to produce excitement in co-existence with an overbalance of pleasure. None of them stood out for me, which was disappointing as after my love of 'What if you slept' as quoted in the preface to Stiefvater's The Dream Thieves! The work was posthumously titled and publ William Wordsworth was a major English romantic poet who, with Samuel Taylor Coleridge, helped launch the Romantic Age in English literature with their 1798 joint publication, Lyrical Ballads. Slowly but gradually this state of mind disappears, and an emotion which is quite similar to the original is generated. The result has differed from my expectation in this only, that I have pleased a greater number, than I ventured to hope I should please. Many of these poems are cautionary tales encouraging kindness and empathy, and the rest are extolling the virtues of nature.
Therefore he makes an attempt to extend the area of poetry by including subjective elements and describing the natural objects that are contributing silently to our lives and supplying different feelings to our senses and sensibilities. Some real gems hidden away in the reams and reams of waffle made to sound intellectual, but just succeed in making Wordsworth's points seem arbitrary. Well Wordsworth and Coleridge certainly did. Wordsworth, while defining poetry, goes beyond the Aristotelian concept of poetry as an imitation of an action. Our feelings are the same with respect to metre; for, as it may be proper to remind the Reader, the distinction of metre is regular and uniform, and not like that which is produced by what is usually called poetic diction, arbitrary, and subject to infinite caprices upon which no calculation whatever can be made.
His writing style incorporated all of the romantic perceptions, such as nature, the ordinary, the individual, the imagination, and distance, which he used to his most creative extent to create distinctive… William Wordsworth grew up during an age of revolution. Unlike other poets his ideas lead straight to the point, and there are no completely abstract, innate or thought provoking ideas that can surmise from his poetry. Coleridge became less and less convinced of its power as an artistic tool and finally disclaimed it altogether, saying that he and Wordsworth might have subscribed to it in theory but fell far short of exploiting it in actuality. I will not abuse the indulgence of my Reader by dwelling longer upon this subject; but it is proper that I should mention one other circumstance which distinguishes these Poems from the popular Poetry of the day; it is this, that the feeling therein developed gives importance to the action and situation, and not the action and situation to the feeling. I'm starting on The Prelude again, though, and it's pretty great. Having said that, I really love the points Wordsworth makes about poetry as a whole, and just from the way he describes the role of poetry, especially in relation to its readers and other professions, it is clear how much he loved and was passionate about the written word.
Further, it is the language of men who speak of what they do not understand; who talk of Poetry as of a matter of amusement and idle pleasure; who will converse with us as gravely about a taste for Poetry, as they express it, as if it were a thing as indifferent as a taste for Rope-dancing, or Frontiniac or Sherry. Now the music of harmonious metrical language, the sense of difficulty overcome, and the blind association of pleasure which bas been previously received from works of rhyme or metre of the same or similar construction, an indistinct perception perpetually renewed of language closely resembling that of real life, and yet, in the circumstance of metre, differing from it so widely, all these imperceptibly make up a complex feeling of delight, which is of the most important use in tempering the painful feeling, which will always be found intermingled with powerful descriptions of the deeper passions. Having thus explained a few of the reasons why I have written in verse, and why I have chosen subjects from common life, and endeavoured to bring my language near to the real language of men, if I have been too minute in pleading my own cause, I have at the same time been treating a subject of general interest; and it is for this reason that I request the Reader's permission to add a few words with reference solely to these particular poems, and to some defects which will probably be found in them. A few of the poems were a bit tedious and long for my taste but some really captured feelings and thoughts in a beautiful way. I am sensible that my associations must have sometimes been particular instead of general, and that, consequently, giving to things a false importance, I may have sometimes written upon unworthy subjects; but I am less apprehensive on this account, than that my language may frequently have suffered from those arbitrary connexions of feelings and ideas with particular words and phrases, from which no man can altogether protect himself.
Hartley put fundamental emphasis on environment in the shaping of personality. And his emotions and passions are more enthusiastic, tenderer and more powerful. The poet should be the one speaking to men in their familiar language and not in a language out of their understanding capacity. More precious than silver and gold, Or all that this earth can afford. By contrast, Shakespeare they found crude. For four years, he clung tenaciously to his Godwinian outlook until he nearly suffered a nervous breakdown.
This quotation illustrates how important this benevolent effect is for the reader. They are, indeed, a figure of speech occasionally prompted by passion, and I have made use of them as such; but I have endeavoured utterly to reject them as a mechanical device of style, or as a family language which Writers in metre seem to lay claim to by prescription. Why trouble yourself about the species till you have previously decided upon the genus? I do not know how without being culpably particular I can give my Reader a more exact notion of the style in which I wished these poems to be written than by informing him that I have at all times endeavoured to look steadily at my subject, consequently, I hope that there is in these Poems little falsehood of description, and that my ideas are expressed in language fitted to their respective importance. I probably should have gotten hold of a version that had a good introduction — but too late now. They suffer from social vanity.