WORDSWORTH AND COLERIDGE Lyrical Ballads WORDSWORTH AND COLERIDGE Lyrical Ballads Critical Perspectives PATRICK CAMPBELL * ©Patrick Campbell 1991 Softcover reprint of the hardcover 1st edition 1991 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Totten ham Court Road, London W1T 4LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil daims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. Published by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin's Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 978-0-333-52259-2 ISBN 978-1-349-21564-5 (eBook) DOI 10.1007/978-1-349-21564-5 This book is printed on paper suitable for recyding and made from fully managed and sustained forest sources. A catalogue record for this book is available from the British Library. To My Mother and Father Contents List ofA bbreviations lX Introduction Xl 1 LYRICAL BALLADS: THE CURRENT OF OPINION Contemporaneous criticism: the magazines 1 Victorian and later criticism: some trends 7 2 CRITICISM IN CONTEXT, 1797-8 15 The social and political background 15 Biographical considerations: collaboration or conflict? 18 The philosophical context 22 Literary influences 28 3 LYRICAL BALLADS: RECENT INTERPRETATIVE STANCES 35 Formalist approaches: 'The Bridle of Pegasus' 35 The issue of'genre' 41 Psychoanalytical perspectives 47 Marxist, historicist and problematic readings 56 4 LYRICAL BALLADS: CRITICISM OF THE MAJOR POEMS 66 'The Ancient Mariner' 66 'Tintern Abbey' 76 'The Thorn' 83 'The Idiot Boy' 88 5 THE POET AS CRITIC: THE PREFACE (1800) 95 Vll Contents Vlll 6 PERSONAL PERSPECTIVES: THE 'OTHER' LYRICAL BALLADS 102 Three ballads 104 'The Female Vagrant' 104 'The Last of the Flock' 108 'Old Man Travelling' 112 Two laments 115 'The Complaint of the Forsaken Indian Woman' 115 'The Mad Mother' 117 'Goody Blake and Harry Gill' 120 'Simon Lee' 124 Two expostulatory pieces 128 'Expostulation and Reply' 128 'The Tables Turned' 130 Two credal1yrics 132 'It is the First Mild Day of March' 132 'Lines Written in Early Spring' 134 Two anecdotes 136 'We Are Seven' 136 'Anecdote for Fathers' 138 'The Nightingale' 140 7 FROM ADVERTISEMENT TO ALBATROSS: UNITY OR DIVERSITY? 147 Bibliography 163 Index 171 List of Abbreviations B&J Wordsworth and Coleridge, 'Lyrical Ballads', ed. R. L. Brett and A. R. Jones (London: Routledge and Kegan Paul, 1963, reissued as a University Paperback 1968). This edition uses the text of the 1798 edition and includes the 1800 poems and Preface. Line references to the 17 98 poems and page references to the 1800 Preface relate to this edition. BL S. T. Coleridge, Biographia Literaria (1817), ed. J. Shaw cross, 2 vols (Oxford: Clarendon Press, 1907). CC Alun R. Jones and William Tydeman (eds), Coleridge: 'The Ancient Mariner' and Other Poems, a Casebook (Lon don: Macmillan, 1973). CCH J. R. de J. Jackson (ed.), Coleridge: The Critical Heritage (London: Routledge and Kegan Paul, 1970). CL Collected Letters of Samuel Taylor Coleridge, ed. E. L. Griggs, 6 vols (Oxford: Clarendon Press, 1966-71). EL Letters of William and Dorothy Wordsworth. The Early Years, 1787-1805, ed. E. de Selincourt, 2nd edn, rev. Chester L. Shaver (Oxford: Clarendon Press, 1967). FN Notes dictated to Isabella Fenwick by William Words worth in 1843 and published in PW. LL Letters of William and Dorothy Wordsworth. The Later Years, 1821-1853, ed. E. de Selincourt, 3 vols (Oxford: Clarendon Press, 1939). PrW The Prose Works of William Wordsworth, ed. W.J. B. Owen and Jane Worthington Smyser, 3 vols (Oxford: Clarendon Press, 1974). PW The Poetical Works of William Wordsworth, ed. E. de Selincourt and Helen Darbishire, 2nd edn (Oxford: Clarendon Press, 1952-9). WC Alun R. Jones and William Tydeman (eds), Wordsworth: 'Lyrical Ballads', a Casebook (London: Macmillan, 1972). IX Introduction Northrop Frye, arguably the most distinguished of contempor ary critics, recently announced his sense of exhilaration at the number of approaches now used in the study of literary docu ments and undreamt of a century ago. While these critical initiatives have sometimes bypassed the genre of poetry, Lyrical Ballads has hardly suffered from neglect. Indeed, the chorus of critics is still far from unanimous about the volume's merit and meaning - continuing testimony to its perennially elusive appeal. There is nothing novel about such responses. Lyrical Ballads was widely discussed upon its publication in 1798, and the appearance of the Preface two years later merely fanned the flames of controversy. That these initial reactions were mixed should surprise no one. For a start, the reviewers were unaware that there were two authors with different objectives. And Wordsworth was at pains to stress that he was reconnoitring new terrain: the Advertisement talks of 'experiments' and the reader's inevitable 'strangeness and aukwardness' when con fronting the unfamiliar. For his part Coleridge would later recall their wish to 'give the charm of novelty to things of every day' (BL, ch. 14). Yet the degree of real innovation, indeed the very meaning of that word 'experiments', has been debated ever since. Though there are few dissenters to the view that Lyrical Ballads occupies a pivotal place in English literary history, many critics now set it apart from other verse outpourings of the day more on grounds of formal excellence or intensity than on the basis of its innovative content - or even its language. Such a sober assessment is countered by commentators who see in the volume and its prose glosses a reflection of cultural and Xl Lyrical Ballads Xll political cnsts, an energised reaction to moribund and hack neyed traditions. For these analysts, novelty resides everywhere in the enterprise: in the poets' stated aims, in the versification, diction, genres and themes of the poems themselves, even in the attention-seeking title. Twentieth-century parallels would have to be sought in Yeats's revolutionary desire to embrace the 'enterprise' of 'walking naked' in Responsibilities, or Eliot's conscious rejection of Georgian diction and values in Prufrock - 1917. At all events the volume's roller-coaster ride through literary history is testimony to the caprice of critical fashion. Oddly, while the growing chorus of approval for Lyrical Ballads pro vided ammunition for the argument that both poets had shot their creative bolts by 1810, the individual ballads often failed to register with the poetry-reading public. In Palgrave's Golden Treasury, a cultural barometer of Victorian taste, only two of forty-one poems by Wordsworth were from the 1798 edition. Nor have authorial judgements always stood the test of time. 'Goody Blake and Harry Gill' was a Wordsworth pet poem; he would have been insulted by its appearance in a modern anthology of 'Sick Verse' ( 1963). On the other hand, 'The Ancient Mariner' almost failed to make the second edition because of Words worthian doubts. What characterises the recent critical debate is its scholarly and scrupulous character. The poems and their prose super structure may be 'problematic' or 'paradoxical', but that is all the more reason for close and attentive analysis. And, if both the volume as a whole and its constituent parts reveal inconsistency and diversity as well as unity, then it is incumbent upon the critic to attend to this textual complexity. Regrettably, such an embarras de richesse has meant some curtailment of scope. It soon became clear to me that, in a study ofthis length, meaningful comparison with the second edition of 1800 was an impossible pipe-dream, as was exhaustive coverage of the criticism of every single ballad. And how much space could be devoted to Coleridge? After all, his contribution - a mere four poems out of twenty-three- was statistically slight. At the same time it was impossible to ignore the status of 'The Ancient Mariner', a celebrated poem that critics usually cosset in splendid isolation, conveniently forgetting not only its lead-off role in the collection but also any links it may have with the