A history of criticism and literary taste in Europe, from the earliest texts to the present day. Volume 3 (of 3), Modern criticismSaintsbury, George
History
A history of criticism and literary taste in Europe, from the earliest texts to the present day. Volume 3 (of 3), Modern criticism
Saintsbury, George
Criticism -- History; Literature -- History and criticism; Literature, Medieval
The _Preface_, with the little group of other prefaces and observations
which supplements it,[349] provides a bundle of documents unequalled in
interest except by the _De Vulgari Eloquio_ in the special class, while,
as it happens, it goes directly against the tenor of that precious
booklet. Wordsworth, there can be no doubt, had been deeply annoyed by
the neglect or the contemptuous reception of the _Lyrical Ballads_, to
which hardly any one had done justice except the future Archdeacon
Wrangham, while his own poems in simple language had offended even more
than _The Ancient Mariner_ had puzzled. To some extent I do not question
that—his part of the scheme being to make the familiar poetical, just as
it was Coleridge’s to make the unfamiliar acceptable, the uncommon
common—the refusal of “poetic diction” which he here advances and
defends was a _vera causa_, a true actuating motive. But there is also,
I think, no doubt that, as so often happens, resentment, and a dogged
determination to “spite the fools,” made him here represent the
principle as much more deliberately carried out than it actually was.
And the same doggedness was no doubt at the root of his repetition of
this principle in all his subsequent prose observations, though, as has
been clear from the first to almost all impartial observers,[350] he
never, from _Tintern Abbey_ onwards, achieves his highest poetry, and
very rarely achieves high poetry at all, without putting that principle
in his pocket.
[Sidenote: _That to_ Lyrical Ballads, 1800.]
That the actual preface begins with a declaration that he was rather
more than satisfied with the reception of his poems, and that the
appearance of a systematic defence is set down to “request of friends,”
is of course not in the least surprising, and will only confirm any
student of human nature in the certainty that pique was really at the
bottom of the matter. As a matter of fact, there is no more typical
example of an aggressive-defensive _plaidoyer_ in the whole history of
literature.
[Sidenote: _Its history._]
Public-domain text, read in full here on John Shaqi.
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