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to prevent the most inexperienced reader from judging for himself (I have already said that I wish him to judge for himself); but merely to temper the rashness of decision, and to suggest, that, if Poetry be a subject on which much time has not been bestowed, the judgment may be erroneous; and that, in many cases, it n necessarily will be so.
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.
APPENDIX TO LYRICAL BALLADS1
PERHAPS, as I have no right to expect that attentive perusal without which,-confined as I have been to the narrow limits of a preface,—my meaning cannot be thoroughly understood, I am anxious to give an exact notion of the sense in which the phrase poetic diction has been used; and for this purpose, a few words shall here be added concerning the origin and characteristics of the phraseology which I have condemned under that
The earliest poets of all nations generally wrote from passion excited by real events; they wrote naturally, and as men feeling powerfully as they did, their language was daring, and figurative. In succeeding times, Poets, and men ambitious of the fame of Poets, perceiving the influence of such language, and desirous of producing the same effect without being animated by the same passion, set themselves to a mechanical adoption of these figures of speech, and made use of them, sometimes with propriety, but much more frequently applied them to feelings and thoughts with which they had no natural connection whatsoever. language was thus insensibly produced, differing materially from the real language of men in any situation. The reader or hearer of this distorted language found himself in a perturbed and unusual state of mind; when affected by the genuine language of passion he had been
1 First published in 1802, as an 'Appendix" to Lyrical