Concepts of Poet: Comparison and Contrast

In making a claim for treatment of the personalities, environment, and subjects of everyday intent, Wordsworth implicitly criticizes the poetic tonicity of the preceding age, which often takes the form of epic and often takes as its subject the classical theogony or a highfalutin deterrent example abstraction.

Wordsworth's second strand of thought is the view, which seems consistent with the contemporaneous matter of Romanticism, that "all in force(p) poetry is the spontaneous all overflow of tidy feelings" (304) that the poet creates good poetry according as he or she has "a disposition to be affected more than otherwise men by absent things as if they were present [and] and expertness of conjuring up in himself passions" (307) appropriate to poetic production. The poet's mogul to train himself to a habit of mind and technical competence that opens him to the greatest rush of feeling, to lose himself as it were in "an wide-cut delusion, and even con lay down and identify his own feelings" (308) with the objects of poetry, is the source of good poetry. Wordsworth's characterization of the poet's craft is the discipline of "emotion recollected in ataraxis" (312). The emotion so informs the tranquil moment of poetic foundation garment that good poetry must result.

This whole enterprise is only--or anyways more--possible in connection with the rustic subjects of melodic Ballads. But toward

the end of his essay Wordsworth says that "all knowledge," whether natural, scientific, aesthetic, or philosophical, comes within the poet's purview, and further, that the poet, by reason of his unique sensitivity, is uniquely suffice to enter into, or more exactly to allow inlet into him, the characters and environment of the poetic subject, and point the poet in the direction of a creation that will "excite thought or feeling in the reader" (Wordsworth 313).

Indirectly, this line of thought argues that Wordsworth's revolutionary claims for Lyrical Ballads as the herald of death of the old poetic style and the birth of the new in terms of real life may have been overblown, however innovative the poetry itself index have been at the time.

It did non represent so such(prenominal) a departure from but a response to found poetic or other conditions, which Eliot would style tradition. From a twentieth-century position it can be seen that Wordsworth and Coleridge were exponents of early Romanticism, which was itself a response to the dexterous character of the late Enlightenment, and which would degenerate into the more sentimental, unfocused post-Romantic cultural channelions of the later nineteenth century. This last-named cycle of expression, Eliot deplores, when he says that poetry does not (= should not) turn emotion loose but escapes from it, does not express (the poet's) personality but escapes from it (502). This judgment can be interpret as Eliot's Modernist aspect, Modernism being a response to the post-Romantic nineteenth-century culture.

How the poet gets to a proper proportion of consciousness and unconsciousness in the aid of the textual artifact as Eliot sees it amounts to his refutation of Wordsworth's claim for the poet's uniquely sensitive habit of mind. Indeed, if Eliot is right and Wordsworth wrong on that point, consequently in theory Wordsworth's claim of poetic jurisdiction over the whole of the universe is valid only according as the individual
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