Complete Analysis of the Original Text
Paragraphs 1-3
“THE FIRST volume of these Poems has already been submitted to general perusal. It was published, as an experiment, which, I hoped, might be of some use to ascertain, how far, by fitting to metrical arrangement a selection of the real language of men in a state of vivid sensation, that sort of pleasure and that quantity of pleasure may be imparted, which a Poet may rationally endeavour to impart.
I had formed no very inaccurate estimate of the probable effect of those Poems: I flattered myself that they who should be pleased withthem would read them with more than common pleasure: and, on the other hand, I was well aware, that by those who should dislike them, they would be read with more than common dislike. The result has differed from my expectation in this only, that a greater number havebeen pleased than I ventured to hope I should please.
Several of my Friends are anxious for the success of these Poems, from a belief, that, if the views with which they were composed were indeed realized, a class of Poetry would be produced, well adapted to interest mankind permanently, and not unimportant in the quality, and in the multiplicity of its moral relations: and on this account they have advised me to prefix a systematic defence of the theory upon which the Poems were written. But I was unwilling to undertake the task, knowing that on this occasion the Reader would look coldly upon my arguments, since I might be suspected of having been principally influenced by the selfish and foolish hope of reasoning him into an approbation of these particular Poems: and I was still more unwilling to undertake the task, because, adequately to display the opinions, and fully to enforce the arguments, would require a space wholly disproportionate to a preface. For, to treat the subject with the clearness and coherence of which it is susceptible, it would be necessary to give a full account of the present state of the public taste in this country, and to determine how far this taste is healthy or depraved; which, again, could not be determined, without pointing out in what manner language and the human mind act and re-act on each other, and without retracing the revolutions, not of literature alone, but likewise of society itself. I have therefore altogether declined to enter regularly upon this defence; yet I am sensible, that there would be something like impropriety in abruptly obtruding upon the Public, without a few words of introduction, Poems so materially different from those upon which general approbation is at present bestowed.
Analysis:
In the first paragraph, William Wordsworth begins by stating that the first volume of the poems has already been made available to the public for reading. He published these poems as an experiment with a specific goal in mind. Wordsworth wanted to see if he could bring pleasure to readers by using ordinary language that reflects the intense emotions and sensations experienced by real people. The main aim was to create an enjoyable experience for the readers by employing such language in a poetic and structured manner, which is what a poet strives to achieve.
In the second paragraph, Wordsworth admits that he had some expectations about how his poems would be received. He believed that those who liked them would derive more pleasure than usual from reading them. On the other hand, those who didn't like them would strongly dislike them. However, the actual outcome surprised him in a positive way because a greater number of people were pleased with the poems than he had initially dared to hope for.
In the third paragraph, William Wordsworth explains that some of his friends are hopeful about the success of these poems because they believe that if the ideas behind them are realised, it could lead to a new kind of poetry that would genuinely interest people in the long term. This poetry would be significant not only in its moral aspects but also in the variety of its moral connections with readers.
However, Wordsworth hesitates to include a systematic defense of the theory behind the poems, even though his friends suggest it. He worries that readers might perceive his arguments as self-serving, trying to convince them to like his poems. Additionally, writing a comprehensive defence would require too much space for a preface. It would involve discussing the current state of public taste in poetry and determining whether it is healthy or corrupted. This, in turn, would lead to exploring how language and the human mind influence each other and tracing the changes in literature and society over time.
Due to these complexities, Wordsworth decides not to delve deeply into a formal defence. Yet, he acknowledges that it would be improper to present such poems, which are significantly different from the currently praised ones, to the public without some introductory words to set the context.
Paragraphs 4-7
It is supposed, that by the act of writing in verse an Author makes a formal engagement that he will gratify certain known habits of association; that he not only thus apprises the Reader that certain classes of ideas and expressions will be found in his book, but that others will be carefully excluded. This exponent or symbol held forth by metrical language must in different eras of literature have excited very different expectations: for example, in the age of Catullus, Terence, and Lucretius, and that of Statius or Claudian; and in our own country, in the age of Shakespeare and Beaumont and Fletcher, and that of Donne and Cowley, or Dryden, or Pope. I will not take upon me to determine the exact import of the promise which, by the act of writing in verse, an Author in the present day makes to his reader: but it will undoubtedly appear to many persons that I have not fulfilled the terms of an engagement thus voluntarily contracted. They who have been accustomed to the gaudiness and inane phraseology of many modern writers, if they persist in reading this book to its conclusion, will, no doubt, frequently have to struggle with feelings of strangeness and awkwardness: they will look round for poetry, and will be induced to inquire by what species of courtesy these attempts can be permitted to assume that title. I hope therefore the reader will not censure me for attempting to state what I have proposed to myself to perform; and also (as far as the limits of a preface will permit) to explain some of the chief reasons which have determined me in the choice of my purpose: that at least he may be spared any unpleasant feeling of disappointment, and that I myself may be protected from one of the most dishonourable accusations which can be brought against an Author, namely, that of an indolence which prevents him from endeavouring to ascertain what is his duty, or, when his duty is ascertained, prevents him from performing it.
The principal object, then, proposed in these Poems was to choose incidents and situations from common life, and to relate or describe them, throughout, as far as was possible in a selection of language really used by men, and, at the same time, to throw over them a certain colouring of imagination, whereby ordinary things should be presented to the mind in an unusual aspect; and, further, and above all, to make these incidents and situations interesting by tracing in them, truly though not ostentatiously, the primary laws of our nature: chiefly, as far as regards the manner in which we associate ideas in a state of excitement. Humble and rustic life was generally chosen, because, in that condition, the essential passions of the heart find a better soil in which they can attain their maturity, are less under restraint, and speak a plainer and more emphatic language; because in that condition of life our elementary feelings coexist in a state of greater simplicity, and, consequently, may be more accurately contemplated, and more forcibly communicated; because the manners of rural life germinate from those elementary feelings, and, from the necessary character of rural occupations, are more easily comprehended, and are more durable; and, lastly, because in that condition the passions of men are incorporated with the beautiful and permanent forms of nature. The language, too, of these men has been adopted (purified indeed from what appear to be its real defects, from all lasting and rational causes of dislike or disgust) because such men hourly communicate with the best objects from which the best part of language is originally derived; and because, from their rank in society and the sameness and narrow circle of their intercourse, being less under the influence of social vanity, they convey their feelings and notions in simple and unelaborated expressions. 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.
I cannot, however, be insensible to the present outcry against the triviality and meanness, both of thought and language, which some of my contemporaries have occasionally introduced into their metrical compositions; and I acknowledge that this defect, where it exists, is more dishonourable to the Writer’s own character than false refinement or arbitrary innovation, though I should contend at the same time, that it is far less pernicious in the sum of its consequences. From such verses the Poems in these volumes will be found distinguished at least by one mark of difference, that each of them has a worthy purpose. Not that I always began to write with a distinct purpose formerly conceived; but habits of meditation have, I trust, so prompted and regulated my feelings, that my descriptions of such objects as strongly excite those feelings, will be found to carry along with them a purpose. If this opinion be erroneous, I can have little right to the name of a Poet. For all good poetry is the spontaneous overflow of powerful feelings: and though this be true, Poems to which any value can be attached were never produced on any variety of subjects but by a man who, being possessed of more than usual organic sensibility, had also thought long and deeply. For our continued influxes of feeling are modified and directed by our thoughts, which are indeed the representatives of all our past feelings; and, as by contemplating the relation of these general representatives to each other, we discover what is really important to men, so, by the repetition and continuance of this act, our feelings will be connected with important subjects, till at length, if we be originally possessed of much sensibility, such habits of mind will be produced, that, by obeying blindly and mechanically the impulses of those habits, we shall describe objects, and utter sentiments, of such a nature, and in such connexion with each other, that the understanding of the Reader must necessarily be in some degree enlightened, and his affections strengthened and purified.
It has been said that each of these poems has a purpose. Another circumstance must be mentioned 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.
Analysis:
In 4th paragraph, William Wordsworth addresses the expectations and assumptions associated with writing poetry. He explains that when an author chooses to write in verse, it is believed that they are making a formal commitment to satisfy certain known patterns of thought and expression. This means that the readers can expect certain themes and language while other aspects will be intentionally excluded. However, Wordsworth points out that the specific promises conveyed by writing in verse may have varied throughout different eras of literature, such as during the times of Catullus, Terence, and Lucretius, compared to later periods like that of Shakespeare, Donne, or Pope in English literature.
Wordsworth acknowledges that some readers, who are accustomed to the flashy and empty language used by many contemporary writers, may find his poetry strange and awkward in comparison. They might question how these attempts can be considered poetry at all. He hopes that the reader will not criticize him for attempting to clarify his intentions and purpose in this preface. He wants to explain what he has set out to achieve with his poems and the reasons that influenced his choices. By doing so, he aims to spare the reader from any disappointment and to protect himself from the dishonorable accusation of being indolent – not making an effort to understand his responsibility as an author or failing to fulfill it once understood, as this would be detrimental to his reputation.
In 5th paragraph, William Wordsworth explains the primary objective behind his poems. His main intention was to select incidents and situations from ordinary life and portray them in language that is genuinely used by real people. At the same time, he sought to infuse these common occurrences with a touch of imagination, presenting them in an unconventional and imaginative manner. Moreover, he aimed to make these incidents and situations interesting by revealing the fundamental aspects of human nature, especially concerning how our minds associate ideas when experiencing strong emotions.
Wordsworth chose to focus on humble and rustic life because he believed that in such conditions, the essential emotions of the heart can flourish more freely, as people are less restrained and communicate more honestly. He found that in rural life, the basic human feelings coexist in a simpler and purer state, allowing for more accurate and powerful expression. The manners and customs of rural life also arise from these elemental feelings and are more easily understood and long-lasting. Additionally, in such a setting, the passions of people blend harmoniously with the beautiful and enduring aspects of nature.
The language used in these poems is inspired by the language of ordinary people, particularly those living in rural areas. Wordsworth believed that the language of these individuals, though purified from certain defects, is more genuine and rooted in the best sources from which language originates. The simplicity and unelaborated expressions of this language, derived from repeated experiences and regular emotions, make it more enduring and philosophically meaningful than the artificially crafted language used by poets who seek to separate themselves from the genuine emotions and understanding of common people. These poets cater to the ever-changing tastes and desires they create, whereas Wordsworth values the connection with human sympathies and the use of a more permanent and authentic language.
In the sixth paragraph, William Wordsworth addresses the criticism directed at some of his contemporaries for incorporating trivial and mean thoughts and language into their poems. He admits that this defect, where it exists, reflects poorly on the character of the writer, even more so than false refinement or arbitrary innovation. However, he argues that such shortcomings are less harmful in their overall consequences.
Wordsworth asserts that the poems in his volumes are distinguished from those criticized by the fact that each of his poems has a worthy purpose. He may not always begin writing with a predefined purpose, but his meditative habits have guided and influenced his feelings, resulting in descriptions of objects that carry a sense of purpose. He believes that good poetry arises from the spontaneous overflow of powerful feelings, and poems of value are produced by individuals with heightened sensitivity who have also engaged in profound and prolonged contemplation.
He explains that our feelings are shaped and channeled by our thoughts, which serve as representatives of our past experiences. By understanding the connections between these representative thoughts, we discover what truly matters to humanity. Through repeated acts of contemplation, our feelings become aligned with important subjects, leading to the development of certain mental habits. As a result, when poets follow these habits instinctively, they describe objects and express sentiments in such a way that the reader's understanding is enlightened, and their emotions are deepened and purified. In essence, poetry has the power to refine and elevate the reader's sensibilities through this process of contemplation and expression.
In the 7th paragraph, William Wordsworth highlights two key characteristics that set his poems apart from the popular poetry of his time. Firstly, he reiterates that each of his poems serves a distinct purpose, emphasizing that there is a meaningful intention behind the portrayal of incidents and situations in his work.
Secondly, Wordsworth draws attention to the relationship between feeling and action or situation in his poems. Unlike much of the popular poetry of the day, where the focus might primarily be on the action or situation itself, he emphasizes that the feeling expressed in his poems gives importance and significance to the action and situation. In other words, the emotions and sensations experienced by the characters or the poet himself take precedence and provide deeper meaning to the events being described. This emotional depth and significance given to feelings enhance the overall impact and connection with the reader, distinguishing his poetry from the prevailing trends of his time.
Paragraphs 8-10
A sense of false modesty shall not prevent me from asserting, that the Reader’s attention is pointed to this mark of distinction, far less for the sake of these particular Poems than from the general importance of the subject. The subject is indeed important! For the human mind is capable of being excited without the application of gross and violent stimulants; and he must have a very faint perception of its beauty and dignity who does not know this, and who does not further know, that one being is elevated above another, in proportion as he possesses this capability. It has therefore appeared to me, that to endeavour to produce or enlarge this capability is one of the best services in which, at any period, a Writer can be engaged; but this service, excellent at all times, is especially so at the present day. For a multitude of causes, unknown to former times, are now acting with a combined force to blunt the discriminating powers of the mind, and, unfitting it for all voluntary exertion, to reduce it to a state of almost savage torpor. The most effective of these causes are the great national events which are daily taking place, and the increasing accumulation of men in cities, where the uniformity of their occupations produces a craving for extraordinary incident, which the rapid communication of intelligence hourly gratifies. To this tendency of life and manners the literature and theatrical exhibitions of the country have conformed themselves. 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.—When I think upon this degrading thirst after outrageous stimulation, I am almost ashamed to have spoken of the feeble endeavour made in these volumes to counteract it; and, reflecting upon the magnitude of the general evil, I should be oppressed with no dishonourable melancholy, had I not a deep impression of certain inherent and indestructible qualities of the human mind, and likewise of certain powers in the great and permanent objects that act upon it, which are equally inherent and indestructible; and were there not added to this impression a belief, that the time is approaching when the evil will be systematically opposed, by men of greater powers, and with far more distinguished success.
Having dwelt thus long on the subjects and aim of these Poems, I shall request the Reader’s permission to apprise him of a few circumstances relating to their style, in order, among other reasons, that he may not censure me for not having performed what I never attempted. The Reader will find that personifications of abstract ideas rarely occur in these volumes; and are utterly rejected, as an ordinary device to elevate the style, and raise it above prose. My purpose was to imitate, and, as far as possible, to adopt the very language of men; and assuredly such personifications do not make any natural or regular part of that language. They are, indeed, a figure of speech occasionally prompted by passion, and I have made use of them as such; but 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. I have wished to keep the Reader in the company of flesh and blood, persuaded that by so doing I shall interest him. Others who pursue a different track will interest him likewise; I do not interfere with their claim, but wish to prefer a claim of my own. There will also be found in these volumes little of what is usually called poetic diction; as much pains has been taken to avoid it as is ordinarily taken to produce it; this has been done for the reason already alleged, to bring my language near to the language of men; and further, because the pleasure which I have proposed to myself to impart, is of a kind very different from that which is supposed by many persons to be the proper object of poetry. Without being culpably particular, I do not know how to give my Reader a more exact notion of the style in which it was my wish and intention to write, than by informing him that I have at all times endeavoured to look steadily at my subject; consequently, there is I hope in these Poems little falsehood of description, and my ideas are expressed in language fitted to their respective importance. Something must have been gained by this practice, as it is friendly to one property of all good poetry, namely, good sense: but it has necessarily cut me off from a large portion of phrases and figures of speech which from father to son have long been regarded as the common inheritance of Poets. I have also thought it expedient to restrict myself still further, having abstained from the use of many expressions, in themselves proper and beautiful, but which have been foolishly repeated by bad Poets, till such feelings of disgust are connected with them as it is scarcely possible by any art of association to overpower.
If in a poem there should be found a series of lines, or even a single line, in which the language, though naturally arranged, and according to the strict laws of metre, does not differ from that of prose, there is a numerous class of critics, who, when they stumble upon these prosaisms, as they call them, imagine that they have made a notable discovery, and exult over the Poet as over a man ignorant of his own profession. Now these men would establish a canon of criticism which the Reader will conclude he must utterly reject, if he wishes to be pleased with these volumes. and it would be a most easy task to prove to him, that not only the language of a large portion of every good poem, even of the most elevated character, must necessarily, except with reference to the metre, in no respect differ from that of good prose, but likewise that some of the most interesting parts of the best poems will be found to be strictly the language of prose when prose is well written. The truth of this assertion might be demonstrated by innumerable passages from almost all the poetical writings, even of Milton himself. to illustrate the subject in a general manner, I will here adduce a short composition of Gray, who was at the head of those who, by their reasonings, have attempted to widen the space of separation betwixt Prose and Metrical composition, and was more than any other man curiously elaborate in the structure of his own poetic diction.
Analysis
In the paragraph 8, William Wordsworth sheds any false modesty and asserts that the attention of the reader is drawn to a particular mark of distinction in his poems. He clarifies that this emphasis is not solely for the sake of his own poems but because of the general importance of the subject at hand.
Wordsworth believes that the human mind is capable of being stimulated without the need for excessive and extreme influences. He contends that the capability to be emotionally moved and inspired is a sign of beauty and dignity in a person, and those who possess this capacity are elevated above others. Therefore, he sees it as essential for writers to endeavor to foster and expand this capability in their readers.
The poet expresses concern about the current state of affairs where various factors are combining to dull the discerning powers of the mind and reduce it to a state of almost numbness. These factors include the significant national events occurring regularly and the concentrated urbanization, leading to a desire for extraordinary and sensational events to counteract the monotony of daily life. The literary and theatrical offerings of the time have conformed to this craving for sensationalism, resulting in the neglect of invaluable works of older writers like Shakespeare and Milton, in favor of frivolous novels and extravagant verse stories.
While he acknowledges that the modest attempt in his poems may seem feeble in the face of such degradation, Wordsworth remains hopeful. He firmly believes in certain inherent and indestructible qualities of the human mind, as well as the enduring powers of the great objects that influence it. He is confident that the time will come when this damaging tendency for excessive stimulation will be systematically opposed by individuals of greater abilities, leading to a more positive and successful change.
In the 9th paragraph, William Wordsworth addresses the style of his poems and seeks the reader's permission to explain certain aspects to avoid potential criticism. He informs the reader that personifications of abstract ideas are rarely found in his poems, as he aimed to imitate and adopt the language of ordinary people. Such personifications do not naturally occur in everyday language, and he rejects them as a mere stylistic device to elevate the writing above prose.
He goes on to mention that he has deliberately avoided what is commonly known as "poetic diction," which includes ornate and artificial language often associated with poetry. Wordsworth takes pains to steer clear of it to bring his language closer to that used by regular people. He clarifies that the pleasure he seeks to convey through his poems is different from what many believe to be the traditional objective of poetry.
The poet explains that his approach to writing involves looking closely and honestly at the subject matter, aiming to be faithful in his descriptions. He endeavors to express his ideas in language that matches their significance. This practice, he believes, contributes to the quality of good poetry, as it emphasizes good sense. However, he acknowledges that this approach has limited his use of certain phrases and figures of speech that have been commonly employed by poets over generations. He has also refrained from using expressions that, though proper and beautiful in themselves, have been overused and associated with bad poetry, causing feelings of disgust.
Wordsworth's goal is to keep his poetry genuine and close to the language and experiences of everyday people, rather than relying on artificial devices that have become clichéd and insincere.
In the 10th paragraph, William Wordsworth addresses a criticism often raised by certain critics about the use of language in poetry. Some critics argue that if a poem contains lines that appear too similar to prose in their arrangement and language, it indicates the poet's lack of skill and knowledge. They label such lines as "prosaisms" and take pride in pointing them out, considering it a notable discovery of the poet's supposed ignorance.
Wordsworth disagrees with this viewpoint and suggests that such critics are establishing a flawed canon of criticism. He asserts that in a good poem, even those of the most elevated character, a substantial portion of the language, aside from its meter, should not differ significantly from that of good prose. He further contends that some of the most captivating parts of the best poems will be found to be strictly in the language of prose when prose is well written. He states that this fact can be demonstrated with numerous examples, including passages from the writings of renowned poets like Milton.
To illustrate his point, Wordsworth brings up the example of Gray, a poet known for his meticulous attention to poetic diction and one who sought to blur the distinction between prose and metrical composition. He implies that even Gray's work can be shown to contain elements where the language is not markedly different from that of prose.
By defending the use of language resembling prose in poetry, Wordsworth challenges the rigid notions of his critics and encourages readers to reject their narrow canon of criticism. He believes that a poet's skill lies in their ability to use language effectively, regardless of whether it resembles prose or verse, as long as it contributes to the power and beauty of the poem.
Paragraphs 11-15
In vain to me the smiling mornings shine,
And reddening Phœbus lifts his golden fire:
The birds in vain their amorous descant join,
Or cheerful fields resume their green attire.
These ears, alas! for other notes repine; 5
A different object do these eyes require;
My lonely anguish melts no heart but mine;
And in my breast the imperfect joys expire;
Yet morning smiles the busy race to cheer,
And new-born pleasure brings to happier men; 10
The fields to all their wonted tribute bear;
To warm their little loves the birds complain.
I fruitless mourn to him that cannot hear,
And weep the more because I weep in vain.
It will easily be perceived, that the only part of this Sonnet which is of any value is the lines printed in Italics; it is equally obvious, that, except in the rhyme, and in the use of the single word ’fruitless’ for fruitlessly, which is so far a defect, the language of these lines does in no
respect differ from that of prose.
By the foregoing quotation it has been shown that the language of Prose may yet be well adapted to Poetry; and it was previously asserted, that a large portion of the language of every good poem can in no respect differ from that of good Prose. We will go further. It may be safely affirmed, that there neither is, nor can be, any essential difference between the language of prose and metrical composition. We are fond of tracing the resemblance between Poetry and Painting, and, accordingly, we call them Sisters: but where shall we find bonds of connexion sufficiently strict to typify the affinity betwixt metrical and prose composition? They both speak by and to the same organs; the bodies in which both of them are clothed may be said to be of the same substance, their affections are kindred, and almost identical, not necessarily differing even in degree; Poetry2 sheds no tears ’such as Angels weep,’ but natural and human tears; she can boast of no celestial choir that distinguishes her vital juices from those of prose; the same human blood circulates through the veins of them both….
Taking up the subject, then, upon general grounds, let me ask, what is meant by the word Poet? What is a Poet? to whom does he address himself? and what language is to be expected from him?—He is a man speaking to men: a man, it is true, endowed with more lively sensibility, more enthusiasm and tenderness, who has a greater knowledge of human nature, and a more comprehensive soul, than are supposed to be common among mankind; a man pleased with his own passions and volitions, and who rejoices more than other men in the spirit of life that is in him; delighting to contemplate similar volitions and passions as manifested in the goings-on of the Universe, and habitually impelled to create them where he does not find them. to these qualities he has added a disposition to be affected more than other men by absent things as if they were present; an ability of conjuring up in himself passions, which are indeed far from being the same as those produced by real events, yet (especially in those parts of the general sympathy which are pleasing and delightful) do more nearly resemble the passions produced by real events, than anything which, from the motions of their own minds merely, other men are accustomed to feel in themselves:— whence, and from practice, he has acquired a greater readiness and power in expressing what he thinks and feels, and especially those thoughts and feelings which, by his own choice, or from the structure of his own mind, arise in him without immediate external excitement.
But whatever portion of this faculty we may suppose even the greatest Poet to possess, there cannot be a doubt that the language which it will suggest to him, must often, in liveliness and truth, fall short of that which is uttered by men in real life, under the actual pressure of those passions, certain shadows of which the Poet thus produces, or feels to be produced, in himself.
Analysis
In this passage, William Wordsworth delves into the essence of poetry and the nature of a poet. He begins by acknowledging that certain lines in a sonnet may resemble prose, except for their italics and some minor deviations. This leads him to assert that there is no essential difference between the language of prose and metrical composition in good poetry.
Wordsworth contemplates the role of a poet and defines him as a man speaking to other people. However, this man possesses more heightened sensibility, enthusiasm, tenderness, and a deeper understanding of human nature than the average person. He takes pleasure in his own emotions and volitions, and he finds joy in the spirit of life within him. The poet delights in observing similar emotions and volitions manifest in the workings of the universe and has the ability to evoke them even where they do not naturally occur.
The poet can conjure up emotions within himself, though not identical to those arising from real events, but closely resembling them, especially in the pleasurable aspects. This enables him to express his thoughts and feelings more readily and powerfully than others. Nevertheless, Wordsworth acknowledges that the language the poet uses may sometimes fall short of the liveliness and truth of language used by people experiencing genuine emotions.
He emphasizes that while the poet describes and imitates passions, it remains a somewhat mechanical process compared to the freedom and intensity of actual human experience. However, the poet's objective is to bring his own feelings closer to those he describes, even momentarily slipping into a delusion where he identifies with their emotions. Yet, the poet exercises selectivity in the language he employs, removing elements that might be painful or repulsive to the reader while aiming to convey pleasure.
Ultimately, Wordsworth highlights that the poet's faith lies in the belief that no words produced by imagination can match the authenticity and truthfulness of those stemming from real human experience. By employing this principle of selection and staying close to reality, the poet creates a powerful and meaningful connection with the reader, transcending the limitations of mere artifice and conjuring the genuine emotions of the human soul.
Paragraph 16 18
However exalted a notion we would wish to cherish of the character of a Poet, it is obvious, that while he describes and imitates passions, his employment is in some degree mechanical, compared with the freedom and power of real and substantial action and suffering. So that it will be the wish of the Poet to bring his feelings near to those of the persons whose feelings he describes, nay, for short spaces of time, perhaps, to let himself slip into an entire delusion, and even confound and identify his own feelings with theirs; modifying only the language which is thus suggested to him by a consideration that he describes for a particular purpose, that of giving pleasure. Here, then, he will apply the principle of selection which has been already insisted upon. He will depend upon this for removing what would otherwise be painful or disgusting in the passion; he will feel that there is no necessity to trick out or to elevate nature: and, the more industriously he applies this principle, the deeper will be his faith that no words, which his fancy or imagination can suggest, will be to be compared with those which are the emanations of reality and truth.
But it may be said by those who do not object to the general spirit of these remarks, that, as it is impossible for the Poet to produce upon all occasions language as exquisitely fitted for the passion as that which the real passion itself suggests, it is proper that he should consider himself as in the situation of a translator, who does not scruple to substitute excellencies of another kind for those which are unattainable by him; and endeavours occasionally to surpass his original, in order to make some amends for the general inferiority to which he feels that he must submit. But this would be to encourage idleness and unmanly despair. 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. Aristotle, I have been told, has said, that Poetry is the most philosophic of all writing: it is so: its object is truth, not individual and local, but general, and operative; not standing upon external testimony, but carried alive into the heart by passion; truth which is its own testimony, which gives competence and confidence to the tribunal to which it appeals, and receives them from the same tribunal. Poetry is the image of man and nature. The obstacles which stand in the way of the fidelity of the Biographer and Historian, and of their consequent utility, are incalculably greater than those which are to be encountered by the Poet who comprehends the dignity of his art. The Poet writes under one restriction only, namely, the necessity of giving immediate pleasure to a human Being possessed of that information which may be expected from him, not as a lawyer, a physician, a mariner, an astronomer, or a natural philosopher, but as a Man. Except this one restriction, there is no object standing between the Poet and the image of things; between this, and the Biographer and Historian, there are a thousand.
Nor let this necessity of producing immediate pleasure be considered as a degradation of the Poet’s art. It is far otherwise. It is an acknowledgement of the beauty of the universe, an acknowledgement the more sincere, because not formal, but indirect; it is a task light and easy to him who looks at the world in the spirit of love: further, it is a homage paid to the native and naked dignity of man, to the grand elementary principle of pleasure, by which he knows, and feels, and lives, and moves. We have no sympathy but what is propagated by pleasure: I would not be misunderstood; but wherever we sympathize with pain, it will be found that the sympathy is produced and carried on by subtle combinations with pleasure. We have no knowledge, that is, no general principles drawn from the contemplation of particular facts, but what has been built up by pleasure, and exists in us by pleasure alone. The Man of science, the Chemist and Mathematician, whatever difficulties and disgusts they may have had to struggle with, know and feel this. However painful may be the objects with which the Anatomist’s knowledge is connected, he feels that his knowledge is pleasure; and where he has no pleasure he has no knowledge. What then does the Poet? He considers man and the objects that surround him as acting and reacting upon each other, so as to produce an infinite complexity of pain and pleasure; he considers man in his own nature and in his ordinary life as contemplating this with a certain quantity of immediate knowledge, with certain convictions, intuitions, and deductions, which from habit acquire the quality of intuitions; he considers him as looking upon this complex scene of ideas and sensations, and finding everywhere objects that immediately excite in him sympathies which, from the necessities of his nature, are accompanied by an overbalance of enjoyment.
Analysis
In this passage, Wordsworth acknowledges that while the character of a poet may be revered and elevated, the poet's work of describing and imitating passions is somewhat mechanical compared to the freedom and intensity of real-life action and suffering. However, the poet's desire is to closely connect with the feelings of the individuals whose emotions he portrays. He may even momentarily immerse himself in their experiences, identifying with their feelings, and modifying the language accordingly to evoke pleasure in the reader.
Some may argue that since the poet cannot always match the language suggested by the genuine passion, he should consider himself like a translator, substituting different excellencies in his work. However, Wordsworth disagrees with this notion, seeing it as an encouragement of laziness and despair. He highlights that true poetry is not just a source of amusement or idle pleasure; it is the most philosophic form of writing. The poet's objective is to convey truth, not just localized truths, but universal and powerful truths that move the heart with genuine passion.
Poetry, according to Wordsworth, mirrors both humanity and nature, and its aim is to give immediate pleasure to readers, appealing to them as fellow human beings rather than as professionals in specific fields. The poet faces only one limitation: the necessity of pleasing the reader while conveying truth and passion. In contrast, biographers and historians confront numerous obstacles in attaining fidelity and usefulness in their work.
In essence, Wordsworth champions the dignity of poetry as an art form that transcends mere entertainment. He emphasizes that the poet's mission is to bring truth alive through passionate expression, touching the hearts of readers and resonating with their shared humanity. In contrast to other forms of writing, poetry enjoys a unique freedom to directly approach the essence of things and convey the genuine emotions of life.
In the 18th passage, Wordsworth addresses the idea that the necessity of producing immediate pleasure through poetry should not be seen as a degradation of the poet's art; instead, it is a genuine acknowledgment of the beauty of the universe. It reflects the poet's sincere appreciation for the world, not in a formal or forced manner, but as a natural expression of love and admiration for life.
The poet's task of bringing pleasure to the reader is made easy when they view the world with a spirit of love. This act is not only an expression of beauty but also a tribute to the inherent dignity of humankind and the fundamental principle of pleasure that governs our existence. Wordsworth suggests that our capacity for sympathy is rooted in pleasure, and even in situations of pain, our sympathy is sustained by subtle connections with pleasure.
He draws parallels between the poet and other fields of knowledge, such as science, chemistry, and mathematics, where even amidst difficulties and unpleasant aspects, the pursuit of knowledge is accompanied by pleasure. Just as the anatomist derives pleasure from their knowledge despite dealing with painful subjects, the poet observes the infinite complexity of human experience, where pain and pleasure constantly interact and create a rich tapestry of emotions.
The poet contemplates human nature and ordinary life, recognizing that individuals possess immediate knowledge, convictions, intuitions, and deductions, all of which are rooted in their experiences and habits. Through this lens, the poet perceives a complex array of ideas and sensations, and everywhere, they find objects that evoke sympathies in them, accompanied by a predominance of enjoyment due to their innate nature.
In essence, Wordsworth celebrates the poet's role in capturing the beauty and complexity of life, conveying the connections between pain and pleasure, and infusing their work with the joy and appreciation that arise from a genuine love for the universe and its inhabitants. This approach not only enriches the poet's art but also resonates deeply with readers, as it reflects the intrinsic link between pleasure and the human experience.
Paragraphs 19-20
To this knowledge which all men carry about with them, and to these sympathies in which, without any other discipline than that of our daily life, we are fitted to take delight, the Poet principally directs his attention. He considers man and nature as essentially adapted to each other, and the mind of man as naturally the mirror of the fairest and most interesting properties of nature. and thus the Poet, prompted by this feeling of pleasure, which accompanies him through the whole course of his studies, converses with general nature, with affections akin to those, which, through labour and length of time, the Man of science has raised up in himself, by conversing with those particular parts of nature which are the objects of his studies. The knowledge both of the Poet and the Man of science is pleasure; but the knowledge of the one cleaves to us as a necessary part of our existence, our natural and unalienable inheritance; the other is a personal and individual acquisition, slow to come to us, and by no habitual and direct sympathy connecting us with our fellow beings. The Man of science seeks truth as a remote and unknown benefactor; he cherishes and loves it in his solitude: the Poet, singing a song in which all human beings join with him, rejoices in the presence of truth as our visible friend and hourly companion. Poetry is the breath and finer spirit of all knowledge; it is the impassioned expression which is in the countenance of all Science. Emphatically may it be said of the Poet, as Shakespeare hath said of man, ‘that he looks before and after.’ He is the rock of defense for human nature; an upholder and preserver, carrying everywhere with him relationship and love. In spite of difference of soil and climate, of language and manners, of laws and customs: in spite of things silently gone out of mind, and things violently destroyed; the Poet binds together by passion and knowledge the vast empire of human society, as it is spread over the whole earth, and over all time. The objects of the Poet’s thoughts are everywhere; though the eyes and senses of man are, it is true, his favorite guides, yet he will follow wheresoever he can find an atmosphere of sensation in which to move his wings. Poetry is the first and last of all knowledge—it is as immortal as the heart of man. If the labors of Men of science should ever create any material revolution, direct or indirect, in our condition, and in the impressions which we habitually receive, the Poet will sleep then no more than at present; he will be ready to follow the steps of the Man of science, not only in those general indirect effects, but he will be at his side, carrying sensation into the midst of the objects of the science itself. The remotest discoveries of the Chemist, the Botanist, or Mineralogist, will be as proper objects of the Poet’s art as any upon which it can be employed if the time should ever come when these things shall be familiar to us, and the relations under which they are contemplated by the followers of these respective sciences shall be manifestly and palpably material to us as enjoying and suffering beings. If the time should ever come when what is now called science, thus familiarized to men, shall be ready to put on, as it were, a form of flesh and blood, the Poet will lend his divine spirit to aid the transfiguration, and will welcome the Being thus produced as a dear and genuine inmate of the household of man. It is not, then, to be supposed that any one, who holds that sublime notion of Poetry which I have attempted to convey, will break in upon the sanctity and truth of his pictures by transitory and accidental ornaments and endeavor to excite admiration of himself by arts, the necessity of which must manifestly depend upon the assumed meanness of his subject.
What has been thus far said applies to Poetry in general; but especially to those parts of composition where the Poet speaks through the mouths of his characters; and upon this point it appears to authorize the conclusion that there are few persons of good sense, who would not allow that the dramatic parts of composition are defective, in proportion as they deviate from the real language of nature, and are coloured by a diction of the Poet’s own, either peculiar to him as an individual Poet or belonging simply to Poets in general; to a body of men who, from the circumstance of their compositions being in metre, it is expected will employ a particular language. It is not, then, in the dramatic parts of composition that we look for this distinction of language; but still it may be proper and necessary where the Poet speaks to us in his own person and character. To this I answer by referring the Reader to the description before given of a Poet. Among the qualities there enumerated as principally conducing to form a Poet, is implied nothing differing in kind from other men, but only in degree. The sum of what was said is, that the Poet is chiefly distinguished from other men by a greater promptness to think and feel without immediate external excitement, and a greater power in expressing such thoughts and feelings as are produced in him in that manner. But these passions and thoughts and feelings are the general passions and thoughts and feelings of men. and with what are they connected? Undoubtedly with our moral sentiments and animal sensations, and with the causes which excite these; with the operations of the elements, and the appearances of the visible universe; with storm and sunshine, with the revolutions of the seasons, with cold and heat, with loss of friends and kindred, with injuries and resentments, gratitude and hope, with fear and sorrow. These, and the like, are the sensations and objects which the Poet describes, as they are the sensations of other men, and the objects which interest them. The Poet thinks and feels in the spirit of human passions. How, then, can his language differ in any material degree from that of all other men who feel vividly and see clearly? It might be proved that it is impossible. But supposing that this were not the case, the Poet might then be allowed to use a peculiar language when expressing his feelings for his own gratification, or that of men like himself. But Poets do not write for Poets alone, but for men. Unless therefore we are advocates for that admiration which subsists upon ignorance, and that pleasure which arises from hearing what we do not understand, the Poet must descend from this supposed height; and, in order to excite rational sympathy, he must express himself as other men express themselves….
Analysis:
In this portion, Wordsworth continues to emphasize the intimate connection between the poet, human nature, and the universe. The poet's attention is primarily directed to the knowledge and sympathies shared by all human beings, obtained through their daily lives and experiences. He perceives man and nature as inherently linked and believes the human mind to be a reflection of nature's most beautiful and interesting aspects.
Wordsworth acknowledges that both the poet and the man of science find pleasure in knowledge, but their approaches are distinct. The man of science seeks truth as a remote and distant benefactor, while the poet rejoices in the presence of truth as a visible friend and daily companion, shared by all. Poetry is, therefore, the breath and finer spirit of all knowledge, expressing passion and emotion present in all scientific endeavors.
He asserts that poetry is immortal, as it is as eternal as the heart of man. Even if scientific discoveries revolutionize the way we perceive the world, the poet will remain ready to accompany and express the sensations that arise from these discoveries, making them accessible and relatable to all. If science becomes familiarized to humanity, the poet's role will be to embrace and celebrate these revelations as an integral part of human existence.
Wordsworth argues that a true poet will not adorn their works with superficial and transient embellishments, seeking admiration for themselves. Instead, they will maintain the sanctity and truth of their creations by adhering to the language of nature, expressing general passions and feelings shared by all human beings.
He reiterates that the poetic language should not differ fundamentally from the language of everyday life, especially when the poet speaks through the mouths of characters. The poet's distinctiveness lies not in kind but in degree – a greater ability to feel and express emotions and thoughts without immediate external stimuli.
In conclusion, the poet's language is rooted in the universal experiences and emotions of humankind, expressing the general passions and feelings that connect us all. The true poet seeks to excite rational sympathy and engages with all humanity through their work, rather than catering exclusively to the admiration of a select few. Poetry is a mirror reflecting the essence of human nature and the grand elements of the universe, binding people together across time, space, and differences of culture and language.
Paragraphs 21- 23
I have said that poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity: the emotion is contemplated till, by a species of reaction, the tranquillity gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind. In this mood successful composition generally begins, and in a mood similar to this, it is carried on; but the emotion, of whatever kind, and in whatever degree, from various causes, is qualified by various pleasures, so that in describing any passions whatsoever, which are voluntarily described, the mind will, on the whole, be in a state of enjoyment. If Nature be thus cautious to preserve in a state of enjoyment a being so employed, the Poet ought to profit by the lesson held forth to him and ought especially to take care that, whatever passions he communicates to his Reader, those passions, if his Reader's mind be sound and vigorous, should always be accompanied by an overbalance of pleasure. Now the music of harmonious metrical language, the sense of difficulty overcome, and the blind association of pleasure which has 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 the meter, 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 always found intermingled with powerful descriptions of the deeper passions. This effect is always produced in pathetic and impassioned poetry; while, in lighter compositions, the ease and gracefulness with which the Poet manages his numbers are themselves confessedly a principal source of the gratification of the Reader. All that it is necessary to say, however, upon this subject, may be effected by affirming, what few persons will deny, that, of two descriptions, either of passions, manners, or characters, each of them equally well executed, the one in prose and the other in verse, the verse will be read a hundred times where the prose is read once….
Nothing would, I know, have so effectually contributed to further the end which I have in view, as to have shown of what kind the pleasure is, and how that pleasure is produced, which is confessedly produced by metrical composition essentially different from that which I have here endeavoured to recommend: for the Reader will say that he has been pleased by such composition; and what more can be done for him? The power of any art is limited; and he will suspect that if it be proposed to furnish him with new friends, that can be only upon condition of his abandoning his old friends. Besides, as I have said, the Reader is himself conscious of the pleasure which he has received from such composition, composition to which he has peculiarly attached the endearing name of Poetry; and all men feel an habitual gratitude, and something of an honourable bigotry, for the objects which have long continued to please them: we not only wish to be pleased, but to be pleased in that particular way in which we have been accustomed to be pleased. There is in these feelings enough to resist a host of arguments; and I should be the less able to combat them successfully, as I am willing to allow that, in order entirely to enjoy the Poetry which I am recommending, it would be necessary to give up much of what is ordinarily enjoyed. But, would my limits have permitted me to point out how this pleasure is produced, many obstacles might have been removed, and the Reader assisted in perceiving that the powers of language are not so limited as he may suppose; and that it is possible for poetry to give other enjoyments, of a purer, more lasting, and more exquisite nature. This part of the subject has not been altogether neglected, but it has not been so much my present aim to prove that the interest excited by some other kinds of poetry is less vivid and less worthy of the nobler powers of the mind, as to offer reasons for presuming that if my purpose were fulfilled, a species of poetry would be produced, which is genuine poetry; in its nature well adapted to interest mankind permanently, and likewise important in the multiplicity and quality of its moral relations.
From what has been said, and from a perusal of the Poems, the Reader will be able clearly to perceive the object which I had in view: he will determine how far it has been attained; and, what is a much more important question, whether it be worth attaining: and upon the decision of these two questions will rest my claim to the approbation of the Public.
Analysis
In this final portion, Wordsworth elaborates on the nature of poetic pleasure and the impact of metrical composition on the reader. He reiterates his view that poetry is the spontaneous overflow of powerful feelings, originating from emotion recollected in tranquility. The poet contemplates these emotions until they give rise to similar feelings in the mind of the reader. However, he acknowledges that various pleasures can qualify the emotions, so the poet must ensure that the reader's mind is in a state of enjoyment, even when reading about powerful passions.
Wordsworth believes that the music and harmony of metrical language, the sense of difficulty overcome, and the association of pleasure from similar works of rhyme or meter contribute to the gratification of the reader. This effect is particularly significant in tempering the painful feelings found in poems dealing with deeper passions. In lighter compositions, the ease and gracefulness of the poet's verse are themselves a source of delight for the reader.
He acknowledges that many readers have found pleasure in traditional metrical compositions and have an attachment to them. However, he contends that by embracing the poetry he recommends, a purer, more lasting, and exquisite form of enjoyment can be discovered. Although his aim is not to prove that other kinds of poetry are inferior, he argues that the poetry he proposes can be more genuine, morally significant, and capable of permanently engaging mankind.
Wordsworth leaves it to the reader to determine the extent to which his objectives have been achieved and whether they are worth pursuing. The success of his claim to the public's approval depends on their assessment of his poetry's merit and the value they see in his proposed approach.
In essence, Wordsworth seeks to revolutionize poetry by urging poets to use language that more closely resembles real-life speech, making emotions and experiences relatable to all readers. He believes that genuine poetry can have a profound impact on the human psyche, connecting people to the natural world and to each other. His hope is that his poetry will be able to achieve this lofty purpose and be embraced by the readers for its lasting and meaningful impact.
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