Lyrical Ballads, with a Few Other Poems is a collection of poems by William Wordsworth and Samuel Taylor Coleridge, first

published in 1798 and generally considered to have marked the beginning of the English Romantic movement in literature. The immediate effect on critics was modest, but it became and remains a landmark, changing the course of English literature and poetry. Wordsworth and Coleridge set out to overturn what they considered the priggish, learned and highly sculpted forms of 18th century English poetry and bring poetry within the reach of the average person by writing the verses using normal, everyday language. They place an emphasis on the vitality of the living voice that the poor use to express their reality. Using this language also helps assert the universality of human emotions. Even the title of the collection recalls rustic forms of art the word "lyrical" links the poems with the ancient rustic bards and lends an air of spontaneity, while "ballads" are an oral mode of storytelling used by the common people. In the 'Advertisement' included in the 1798 edition, Wordsworth explained his poetical concept: The majority of the following poems are to be considered as experiments. They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purpose of poetic pleasure.[1] If the experiment with vernacular language was not enough of a departure from the norm, the focus on simple, uneducated country people as the subject of poetry was a signal shift to modern literature. One of the main themes of "Lyrical Ballads" is the return to the original state of nature, in which people led a purer and more innocent existence. Wordsworth subscribed to Rousseau's belief that humanity was essentially good but was corrupted by the influence of society. This

may be linked with the sentiments spreading through Europe just prior to the French Revolution.

William Wordsworth was an English romantic poet, who helped launch the romantic poetry era, along with his counterpart Samuel Coleridge. In his Preface to Romantic Ballads, Wordsworth provides his audience of an understanding of his style of poetry. In fact he strays away from the complex, verbose and mindboggling poetry presented before his time, ascribing to the statement written by David Thoreau in Walden, Simplicity, Simplicity, Simplicity! Even though Thoreau is speaking in a completely different context, the statement he makes provides to understand what Wordsworth is advocating. Wordsworth claims that there is certain simplicity to poetry, it shouldnt contain over arching themes and incomprehensible ideas that can be ascertained by a full analysis of the poem itself. He ascribes to a completely different principle, the idea of words holding a direct meaning, linking to the natural elements that support maturity and growth, and maintaining a central and comprehensible thought.

In the beginning of Wordsworths Preface to Lyrical Ballads, he addresses his predecessors and talks about poetry before his time. They who have been accustomed to the gaudiness and inane phraseology of 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 (Stanza 4). Wordsworth

thus claims thats his predecessors will have issues with his poetry based on simplicity and the language that he maintains throughout his poems. 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. In fact, He substantiates his ideas with natural and rustic themes, humble and rustic life was generally chosen, because, in the condition, the essential passions of the heart find a better soil in which they can attain maturity, are less under restraint, and speak a plainer and more emphatic language, because in that condition of life our elementary feelings co-exist in a state of greater simplicity (Stanza 5). In turn, Wordsworth claims that in order to main direct and simplistic in poetry, that one should use nature to reveal his or her thoughts and ideas. Not only is nature relevant in everyones life, but it also fosters a sense of maturity when relatable to human emotions and poetry.

All in all, I think Wordsworth makes two valuable points that poetry should be simple and direct, as well as that it should be linked to aspects of nature and beauty. He also refers to the gaudiness of his predecessors poetry, in terms of intricate vocabulary and, innate literary themes and techniques. Unlike his predecessors, he rebels against their form of poetry by presenting a different format. However, I believe that Wordsworth and his predecessors can come to terms on one aspect that he maintains in his, Preface to Lyrical Ballads. Simply put by Wordsworth, 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 (Stanza 6). In turn, Wordsworth claims that poetry is something that comes naturally by feelings that have been deeply fostered and thought out. He also believes that poetry can be on multiple topics and not restricted on one subject, which is wholly true, as poetry has been arranged on multiple topics and not necessarily linked to the natural aspects that Wordsworth highly prescribes.

On the other hand, Wordsworth criticizes some of his contemporizes and his predecessors style and diction claiming that, the reader will find that personifications of abstract ideas rarely occur in these volumes; and utterly rejected as an ordinary device to elevate style, and raise it above prose. My purpose was 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 (Stanza 9) In turn, Wordsworth claims that intangible ideas and loquacious concepts will not be in his ballads, in fact he claims that his writing will appeal to the common man and be written in a language that can be understood by all man. Wordsworth also echoes the same sentiments about diction, claiming that he will never use any tangible diction because he wants to keep his writing and his poetry as clear and concise as possible in language understood by man, with a common purpose.

From their rain in society and sameness and narrow circle of their intercourse, being less under the influence of social vanity, they convey their feeling and notions in simple and unelaborated expressions (Stanza 5). As

suggested above, Wordsworth believe that poets are classless beings uninfluenced by societys qualms, and express their feelings and notions simplistically and unequivocally without regret. Unlike other predecessors and contemporaries who used verbose and complex themes to express their thoughts, Wordsworth is simplistic, maintains a central point, and naturalistic in every aspect. In his 'Preface' to the 1798 edition of the Lyrical Ballads Wordsworth presented his poetic manifesto, indicating the extent to which he saw his poetry, and that of Coleridge, as breaking away from the 'artificiality', 'triviality' or over-elaborate and contrived quality of eighteenth century poetry. The 'Preface' is itself a masterpiece of English prose, exemplary in its lucid yet passionate defence of a literary style that could be popular without compromising artistic and poetic standards. Yet it is also vital for helping us to understand what Wordsworth and Coleridge were attempting in their collection of verse, and also provides us with a means of assessing how successfully the poems themselves live up to the standards outlined in the 'Preface'. The 'Preface' covers a number of issues and is wide-ranging in its survey of the place of the Lyrical Ballads on the contemporary literary scene. The topics covered include the following: 1. The Principal object of the poems. Wordsworth, in this extract, places the emphasis on the attempt to deal with "natural" (rather than cosmopolitan) man, arguing that such men live much closer to nature and, therefore, are closer to the well-springs of human nature. Behind this we can see how much Wordsworth owes to that eighteenth century preoccupation with "natural Man", associted particularly with the writings of Rousseau. He sees his poetry, in its concerns with the lives of men such as Michael, as an antidote to the artificial portraits of Man presented in eighteenth century poetry. The argument is developed when he outlines his reasons for dealing with "humble and rustic life". 2. For Wordsworth (and Coleridge) this choice of subject matter necessarily involves a rethinking of the Language of poetry. Note, however, that

Wordsworth admits to some licence in "tidying up" the language of "ordinary men". Does this affect the persuasiveness of his theories about "natural men"? 3. This leads Wordsworth to an attempt to define poetry and its effects on the reader. Wordsworth's project is an idealistic one, and clearly Poetry, for him, has a vital role in educating the mind and sensibility of his readers, a moral purpose. This quotation illustrates how important this benevolent effect is for the reader. 4. Inevitably, perhaps, the above leads Wordsworth towards asking What is a Poet? . His answer illustrates the underlying assumptions about the poet as genius, as special person, capable of re-articulating thought and feeling so as to educate the reader.

Glossary object The principle object, then proposed in these poems was to choose incidents and situations from common life, and to relate and describe them, throughout, as far as 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 uysual aspect; and, further,, and above all, to make these situations and incidents interesting by tracing in them, truly though not ostentatiously, the primary laws of our nature: chiefly as regards the manner in which we associate ideas in a state of excitement. Humble and rustic life 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 co-exist 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 these 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. Language 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 and disgust) because such men hourly communicate with the best objects from which with the best part of language is originally derived; and because, from their rank in society and the sameness and narrow circle of their intrercourse, being less under the influence of social variety, they convey their feelings and notions in simple and unelaborated expressions. Accordingly, such a language, arising out of the 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 appetites, of their own creation. Definition of poetry For all good poetry is the spontaneous overflow of powerful feeling: 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 posessed of more than ususal 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 representative 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 such sensibility, such habits of mind will be produced, that by obeying blindly and mechanically the impulses of these habits, we shall describe objects, and utter sentiments of sucha a nature, and in such connection with each other, that the understanding of the Reader must necessarily be in some degree enlightened, and his affections strengthened and purified.

What is a Poet? 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 one 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 compelled 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 those produced by real events yet (especially in those parts of the general sympathy which are pleasing and delightful) do more nearly remember 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.

Wordsworths Preface to the Lyrical Ballads declares the dawn of English Romantic Movement. Wordsworth and Coleridge, with the publication of the Lyrical Ballads, break away with the neo-classical tendencies in poetry. As the reading people are not familiar with his new type of poetry, Wordsworth puts forward a preface to this book. In this preface, he tells us about the form and contents of this new type of poetry. Wordsworth, in the beginning, states the necessity of bringing about a revolution in the realm of poetry as the Augustan poetry has become clich. He painfully

notices that the Eighteenth century poets have separated poetry from the grasp of common people. He resolves to liberate this poetry from the shackles of socalled classical doctrines. He, in collaboration with his friend Coleridge, begins to write poem for the people of all classes. Wordsworth thinks that the language of the Augustan poetry is highly artificial and sophisticated. That is why he suggests a new language for Romantic poetry. This is why he suggests a new language for Romantic poetry. This is why he suggests a new language for Romantic poetry. These attempt chiefly deals with Wordsworths views of poetry. Wordsworth thinks that poetry is the spontaneous overflow of powerful feelings. To him, the intensity of feelings is more important than the form. To make poetry life like, he wants to use the language of common people as the common people express their feeling unfeignedly. But he tells about a selection, because common people use gross and unrefined language. So, he will purify the language of rustic people until it is ready for use. Wordsworth seems to contradict his own views as he prefers a selection to the original language spoken by the rustic people. T. S. Eliot, in his The Use of Poetry and the Use of Criticism, objects to Wordsworths view. Eliot tells that a poet should not imitate the language of a particular class because he ought to have a language of his own. Eliots view gains ground as Wordsworth in his later poems, fails to use his prescribed language. His diction is, in fact peculiar to him. But Wordsworths definitions of poetry ad the poet are unique. He maintains that poetry is more philosophical than any other branch of knowledge. He likes the poet to a prophet who is endowed with a greater knowledge of life and nature. The neo-classical poets consider the province of poetry to be the world of fictions. But for Wordsworth the province of poetry is the world of truth, not a world of make-believe. Wordsworth like Samuel Johnson believes that only the

manifestations of general truth can please all people. That is why he rejects the hackneyed poetic style of the Augustan period. Wordsworth differs with the neo-classical writers in his belief about the process of poetry. The neo-classical writers think that the poets mind is a sensitive but passive recorder of a natural phenomenon. But Wordsworth strongly opposes this view and thinks that the mind of the poet is never a passive recorder. In his view, the poets mind half creates the external world which he perceives. The external world is thus, in some degree, the very creation of human mind. Wordsworth seems to establish the fact that the poets mind and the external nature are both interlinked and interdependent. Wordsworth unlike the classicists can not separate the mind which suffers from the mind which composes. Wordsworth points out the common characteristics of both poetry and science. But he places poetry over science for the fact that the large part of poetry is based on imagination. He beautifully discovers that science only appeal to intellect while poetry appeals to heart. For this, the pleasures of science are shared by few while the pleasures of poetry are open to all. Again the truth of science is subject to change while poetry does not suffer from such threat. Wordsworth breaks with the classical theory of poetry when he advocates for the intensity of emotion. To him, reason is not at all important. This is a subjective view. It cannot be said that Wordsworth is absolutely right in his theory of poetry. But it must be recognized that his views are innovative and creative. His rejection of classical doctrines leads to the creation of a new type of poetry which prefers him emotions to reason. As a result a group of talented poets has emerged in the province of English poetry. At the same time, he has contributed to the field of literary criticism. If Blake is considered to be the precursor of romantic poetry, Wordsworth and Coleridge are the two early exponents of romantic poetry. And it is wise of Wordsworth to form a ground for this new poetry through the Preface to the Lyrical Ballads.