Preface to the Lyrical Ballads is an epoch-

making document
"Preface to the Lyrical Ballads" is an epoch-making document criticism of English
literature. Wordsworth has declared a break of the Neo-classical tradition in English
poetry. This is a piece in which he has given an epoch-making definition of poetry. He
has discussed the characteristics of a poet, his functions and his dominions
elaborately. In fact, with the publication of this "Preface", Wordsworth started
Romantic Revival which changed the classical tradition of English poetry. His
remarkable speech on the poetic diction has also moved the literary personalities of
the contemporary age.

"Preface to the Lyrical Ballads" is marked by its realistic quality. Wordsworth has
drawn poetry from the rosy world to the real world. He wants to acquaint his readers
with flesh and blood. Before the Romantic Age, the poetry of English literature was
based on town and artificial life. Poetry of the Neo-classical Age dealt with coffee-
house, decorated drawing rooms ets. But Wordsworth is the only man who changes
this tendency of poetry. He declares that poetry will deal with the common people who
live in the rural areas. He advocates it as their feelings, passions and emotions are
pure and unadulterated.
Wordsworth's definition of poetry is also epoch-making. He says, "Poetry is the
spontaneous overflow of powerful feelings; it takes its origin from emotion
recollected in tranquility." According to Wordsworth, heart dominates over head in
writing a poem. A poet must be speculative or contemplative. His feeling and emotions
will be reflected in his poem. These feelings will come to his mind when he will remain
in tranquility.

"Poetry is the breath of all knowledge," says Wordsworth. Poetry is more perfect than
any other branch of knowledge. Wordsworth further says, "Poetry is the first and last
of all knowledge." The function of poetry is great. It nourishes the emotions and
feelings of the readers. It gives the readers pure joy and pleasure. So Wordsworth
says that the end of poetry is to produce excitement in co-existence with overbalance
of pleasure. So only duty of poetry is to delight the readers, not to instruct. Thus
Wordsworth differs from the neo-classicists. The Neo-classical poets were in favour of
didacticism. But the Romantic poets give emphasis only on pleasure and not on
teaching. Thus Wordsworth brings about a revolution in the function of poetry.
Wordsworth says that poetry is superior to all knowledge. A poet does not face such
type of obstacle as an astronomer, a scientist or a historian faces. The obstacle which
hinders the poet is the capability of giving immediate pleasure. A poet deals with
universal truth. His feelings or thoughts may not be appreciated by the readers
immediately. But as soon as the readers understand the meaning, they get ecstasy.
So a poet is a light giver to the ignorant.

A poet is a man speaking to men. This is the liberal definition of poet given by
Wordsworth. Before the Romantic Revival, the poets were considered to be extra-
ordinary creations. But Wordsworth changes this idea. A poet talks in the language of
the common people. He tries to bring his ideas near the flesh and blood. He is a man
of the flesh and blood. But it is obviously true that a poet must possess a more
comprehensive mind, inner sight and contemplative power. Hence, a poet is a man
whose attitude to things is different from that of the ordinary men.

Wordsworth's theory of poetic diction also lends weight to the view that it is landmark
of literary criticism. Wordsworth declares that there is no essential difference between
the language of poetry and that of prose. He says that metre is superadded. It adds
the beauty to the poem. He wants to avoid figurative language in poems. His theory of
poetic diction is condemned by some critics even by Coleridge. But it has a rare value.
When Wordsworth tells of the language of poetry, he may mean syntax or grammar.

However, "Preface to the Lyrical Ballads" is a landmark of English critical theory. But
this is not completely blameless. Wordsworth himself does not maintain this theory in
many of his poems. He declares that the language of poetry may be the language of
the common people. But he himself has not used the language of the common folk in
many of his poems. But if we consider that Wordsworth is the first man who like a
humanitarian declares it, we can evaluate his "Preface" as a rare asset of English
critical theory.

 Wordsworth's theory of language || What innovations in poetry do you

a scribe to Wordsworth? Discuss with reference to the Preface to the
Lyrical Ballads?

Wordsworth's "Preface to the Lyrical Ballads" is a milestone of the Romantic Revival

in English literature. It is the critical essay which erects a wall between the Neo-
classical tradition of poetry and that of the Romantic Age. In this essay, Wordsworth
has declared the new theory of poetry. He has also brought the poets in close to the
flesh and blood. He has represented himself as a great humanitarian when he
advocates that a poet is a man talking to men. A poet does not write only for the poets
but for the men.
During the Neo-classical Age, the poets were considered to be extraordinary persons.
They always dealt with the aristocrats and the decorated drawing rooms, fashionable
courtly ball, masquerades etc. The peots of the Neo-classical Age believed in writing
poetry that head had to dominate over heart. They used the language of the
aristocrats. As a result, the common people could not approach their poems. The
poetic diction and the use of verse or the rhyme scheme were also inscrutable to the
average readers.
But Wordsworth has broken the nourished tradition of the Neo-classical poetry. He
has changed the theory of poetry. According to Wordsworth, "Poetry is the
spontaneous overflow of powerful feelings; it takes its origin from emotion recollected
in tranquility." Though this definition gives rise to hornet's nest and condemned by
many critics, we must remember that this definition then in the nineteenth century
created a new school of poets and poetry. T. S. Eliot has also condemned it. He says
that not emotion but concentration, meditation and labour are essential for poetry.

Wordsworth's idea of poet and Wordsworth's theory of language  is also new in

"Preface to the Lyrical Ballads". Before Wordsworth, the people looked upon the poets
as " Bates" or creator or something extraordinary. But Wordsworth declares that a
poet is a man who talks with men. He speaks in the language used by the rustic
people. He thinks as the ordinary people think. But there is a subtle difference
between a poet and an ordinary man. A poet must have a comprehensive soul. A poet
is very much sensitive. He always soars in his own sensitive world but his feet are
always firmly rooted into the earth where the men live.

In the aspect of Poetic Diction, Wordsworth is very much liberal. He says that the
language of poetry must be that of prose. According to him, metre is superadded. He
also advocates in favour of using simple words, phrases and vocabulary. He opposes
to use figurative language. Before Wordsworth the poets of the Neo-classical Age
were always devoted to bombasting words, phrases and figurative language. Thus in
this respect, Wordsworth's theory of Poetic Diction is new. But we cannot but mention
that this theory of Poetic Diction was severely attacked even by Coleridge. Coleridge
says that the arrangement of words in poetry and in prose is not the same. Even
Wordsworth fails to maintain it in many of his poems.
Wordsworth thinks that poetry is the first and last of all knowledge. It is the finer spirit
of knowledge. It is to produce excitement with over-balance of pleasure. Wordsworth
does not like to instruct through poetry. He aims at giving delight not to didact the
readers. He further says that poetry does not need much labour. It will come out of lips
without much labour.

However, we can here add that "Preface to the Lyrical Ballads" is a manifesto of the
Romantic Movement. It is a landmark in the history of English criticism. In this critical
piece, theory of poetry, poet, poetic diction etc. by Wordsworth are new and
innovative. Many of his theories are condemned. But this is an epoch-making critical
essay in English literature.

Comment on the Shortcomings of Wordsworth's

theory of Poetic diction
"Preface to the Lyrical Ballads" is the only literary criticism of William Wordsworth. It is
praised in many ways. It is regarded as an epoch-making document. It is also
appreciated as a landmark of criticism or as an unofficial manifesto of the Romantic
Movement. Such evaluations are not absolutely meaningless. But we should always
keep in mind that no literary work can be said free from faults. In this sense, "Preface
to the Lyrical Ballads" has some shortcomings and limitations. It gives us the theory of
poetic diction creation of Wordsworth. Wordsworth talks about the theme, language
and metre of poetry here. His theory often seems inconsistent with his practice in his
own poetry. It also appears simply inadequate as a theory as well. Moreover, it is
severely criticised by S. T. Coleridge and T. S. Eliot.
Generally, it seems that Wordsworth's theory of poetic language is merely a reaction
against the Neo-classical theory of poetic diction. But such a view is true only partial.
His impulse is less a revolt against Neo-classical diction than a desire to find a
suitable language for the new territory of human life. He conquers it for poetic
treatment. He aims at dealing in his poetry with rustic and humble life. It is quite
natural that he should also advocate simplicity of language to suit the simplicity of
theme. Moreover, he believes that a poet is essentially a man speaking to men. So he
must make use of language really used by men. Wordsworth believes that there is no
essential difference between the language of prose and metrical composition. Only
the difference lies in the use of metre. So he condemns the artificial language of
Alexander Pope and his contemporaries.
Wordsworth himself is not free from criticism. Coleridge is the first critic to criticise his
views expressed in "Preface to the Lyrical Ballads". He is particularly critical of his
theory of poetic diction and his defence of metre. He exposes many weaknesses of
Wordsworth's theory. Wordsworth talks of a selected and purified language. Coleridge
argues that such type of language would differ in no way from the language of any
other men of commonsense. After such selection, there would be no difference
between the rustic language and the language used by common men in their ways of
life. Again Wordsworth permits the use of metre implying a particular order and
arrangement of words. So Coleridge concludes that there is and there ought to be an
essential difference between the language of prose and metrical composition. Metre
medicates the whole atmosphere and the language of poetry is bound to differ from
that of prose. The use of metre is as artificial as the use of poetic diction. If one is
allowed, it is absurd to forbid the use of the other. Both are equally good sources of
poetic pleasure.

Coleridge objects to Wordsworth's views on the use of common language. He says

that the views can be applicable only in some cases. Again when the rustic language
is purified of its crudities and oddities would be practically the same as the language
used by any other class of men. Furthermore, Coleridge feels that the language of the
rustics would prove to be too scanty to provide the suitable diction for the expression
of varied experiences. He also criticised the "Preface" for the needless obscurity of its
latter half. The diction employed is also unnecessarily elaborate and constrained.
Coleridge again refuses that the best parts of our language are derived from Nature.
The best words are abstract nouns and concepts. These are derived from the
reflective acts of the mind. This reflection grows as man advances from the so-called
primitive state. A man has advanced in thought. He has acquired new ideas and
concepts. These new ideas and concepts cannot be expressed through the use of
rustic language which is primitive and undeveloped. If the poet wants to use the rustic
language, he must also think like the rustics. The language of the rustics is curiously
inexpensive. It would be putting the clock back. Instead of progression, it would be
retrogression.

T. S. Eliot rejects Wordsworth's theory of poetry having its origin in 'emotions

recollected in tranquility'. He points out that in the process of poetic composition there
is neither emotion nor recollection nor tranquility. Moreover, poetry cannot be
spontaneous overflow of powerful feelings. In this respect, Eliot opines----
"Poetry is not a turning loose of emotion but an escape from emotion; it is not the expression
of personality but an escape from personality".

Thus Eliot ignores the personality or emotion to a poet. The personal emotions of a
poet may be simple or crude. But the emotion of his poetry may be complex and
refined.Such are the weaknesses of Wordsworth's theory. It must also be admitted
that he did not adhere to his theory in his own practice. Inverted and poetic
constructions are frequent in his poetry. His vocabulary is often not drawn from rustic
life. He does not always use the language of real men of the rustics of Cumberland.
He does not practice his own theory in his " Tintern Abbey ", " Immortality Ode" and
"The Prelude". The language of the poems is not the language of common man. So
his theory is often either inconsistent with his practice or simply inadequate as a
theory.

To conclude, we may mention the view of Derek Roper regarding the demerits of "
Preface to the Lyrical Ballads". He points out that it is not a tactful piece of writing if
we consider it as an introduction to a selection of poems. It is too long and its prose is
rather uneven in tone and style. Moreover, Wordsworth does not always practise his
theory in his own poems. He is not rigid in practising them. As a theory of poetry,
"Preface to the Lyrical Ballads" seems to be inadequate. It has strong weakness and
limitations. But its significance is also far-reaching and undeniable.

Do you think that Wordsworth's views on the functions of

rhyme and metre in poetry are confusing? Give reasons for
your answer?
William Wordsworth rejects the eighteenth century poetic diction for its artificiality and
pomposity in his epoch-making critical piece, "Preface to the Lyrical Ballads". He
expresses his views on the use of metre in poetry in this literary criticism. He
expresses his views on the functions of rhyme and metre here. He says that the use
of metre in poetry should not be confused with poetic diction. There is nothing
arbitrary and capricious about metre. It is regular and uniform. Both the reader and
writer can submit to it according the established rules. The rules governing met are
fixed. But there are no such fixed rules about poetic diction. However, Wordsworth's
views on the functions of rhyme and metre in poetry seem to be confusing.

In " Preface to the Lyrical Ballads ", Wordsworth offers a justification why he has
written in verse. He has dealt with t universal passions of men and nature. Critics
might remark that these subjects could very well have been written about in prose. But
Wordsworth has chosen verse because it would give him the chance of using metre.
Thus he is able to enhance the pleasure of his poetry. It is pointed out that people of
all times hai admitted that metrical language has exceptional chance. Some critics
argue that very little pleasure of poetry depends upon the use of metre. They also say
that metre should be accompanied by suitable poetic diction if full pleasure is
produced. Wordsworth does not agree with this view. He feels that such critics
underrate the ability of metre to give pleasure. He argues that metre itself can give
pleasure to a great extent. Actually, there are some poems in which humble subjects
and naked style have continued to give pleasure through generations. The poet is
thus quite justified in using metre even while rejecting poetic diction.

According to Wordsworth, metre is associated with poetry. Poetry is associated with

the certain qualities of language, thought and emotion. Therefore, subject-matter is
associated with these qualities of language, thought and emotion. By the act of writing
in metre, a poet makes a formal engagement that he will gratify certain known habits
of association. These habits refer to the qualities of language, thought and emotion.
Wordsworth argues that metre paves the way for the artificial distinction which may
involve pompous and empty phraseology. Thus he might appear to be rejecting metre
in poetry. But in his "Preface", he actually establishes the nature and value of metre in
a precise manner. Regarding the regularity and uniformity of metre, he says-----
    

" 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. "

He again speaks of the charm which is acknowledged to exist in metrical language. It

proves that the relation of metre to poetry is not one of associations. There is a
necessary inherent relation between them.

Poetry needs a selection of the language really used by men for true taste and feeling.
This distinguishes poetry from prose. But metre is associated with this selection of
language. If it is superadded to this selection, a dissimilitude will be produced
altogether sufficient for the gratification of rational mind. Metre thus contributes to the
pleasure of poetry. It obeys certain laws accepted by the poet and the reader as well.
These laws do not interfere with the passion. Wordsworth says that metre needs in
poetry to heighten and improve the pleasure which co-exists with it. When we closely
examine his views of it, we find that he confuses metre with rhythm.

Wordsworth offers other justifications for the use of metre. He says that the end of
poetry is to produce excitement in co-existence with an over-balance of pleasure.
Excitement is an irregular and unusual state of mind. In a state of excitement, ideas
and feelings do not follow one another in an ordinary manner. The presence of
something regular would serve moderate and temper the excessive excitement. Metre
is regular and would serve to be the tempering influence. It is something usual and
regular. It would restrain and soften the tumult of emotions. It may sound paradoxical
to speak in favour of something which is not found in the language spoken in real life.
It is confusing that more pathetic situations and sentiment may be tolerated in metrical
composition rather than in prose. In such cases, where there is a great pain in
situation or sentiment, metre throws an unsubstantial and dream-like quality over the
description.

Metre acts as a distancing agent. The painful thing seems remote and so tolerable for
it. The use of metre mingles pleasure with the painfulness of the subject or sentiment
and lessens the pain. Again metre gives passion to the words. Thus it enables a poet
to give rise to the appropriate emotional excitement in the reader. Moreover, it
becomes a general principal that the human mind is pleased from a perception of
similarity in dissimilarity or vice versa. It is this principal that is beyond our pleasure in
metaphor and simile. The use of metre provides a similar contrast which is conducive
to pleasure. Wordsworth does not deal in detain with this rather relevant point.
Thus Wordsworth has expressed his views on metre in poetry in his immortal critical
piece, "Preface to the Lyrical Ballads". He tries to defend metre in poetry here. But his
defence is weak. He has to accept the inevitability of metre. At one point, he calls it
adventitious. But his own argument makes it an integral aspect of poetry. He takes up
a stanza of Dr. Johnson to prove that subject-matter is more essential than metre in
poetry. The subject-matter in this respect is hateful. But the metre used in the stanza
enables us to endure the pathetic situation. Thus Wordsworth's views on the functions
of rhyme and metre in poetry are confusing.