3.0 Objectives
3.1. Introduction
3.1.1. The Romantic Revival
3.1.2. Impact of French Revolution
Self Check Questions for 3.1.1. and 3.1.2.
3.2.1 The Genesis of Preface
3.2.2 Aims of the Preface
3.2.3 Definition of Poetry
Self Check Questions for 3.2.1., 3.2.2., 3.2.3.
3.2.4 Concept of Imagination
3.2.5 Themes and Subject Matter of Poetry
3.2.6 Function of Poetry
3.2.7 Diction of Poetry
Self Check Questions for 3.2.4., 3.2.5., 3.2.6., 3.2.7.
3.3 Summing up
3.4 Reading List
Much before William Wordsworth started writing,the early Romantic poets like James Thomson (1700-48),Oliver Goldsmith (1728-74),Thomas Chatterton (1752-70),Thomas Gray (1716-71),William Collins-59),William Cowper (1731-1800),George Crabbe (1754-1832),Robert Burns (1759-95), and William Blake (1757-1827) deviated from the neo-classic insistence on rules. Wordsworth is perhaps the only romantic poet who made his poetic experiences the locus of his critical discourse. Unlike Coleridge, he was not a theorist. Instead he unravelled before us the workings of the mind of the poet, and therefore, Wordsworth’s literary criticism ceases to be criticism in its most literal sense. It comes out as the matrix where the poet’s mind generates emotions and feelings with that much of intensity and passion required for transmitting them into poetic experience which forms the basis of poetic composition. From this perspective, Wordsworth’s Preface to the second edition of Lyrical Ballads in 1800 can be seen as a poetic "manifesto," or “statement of revolutionary aims.”