William Wordsworth and Samuel Taylor Coleridge Lyrical Ballads Criticism - Essay

The Spectator (essay date 1890)

(Nineteenth-Century Literary Criticism)

SOURCE: “Lyrical Ballads.The Spectator 64 (April 5, 1890): 479-80.

[In the following review, the anonymous author praises Edward Dowden's reprint edition of Lyrical Ballads, asserting that Wordsworth's literary influence has been more enduring than that of Coleridge.]

This reprint of the first edition of the joint production of Wordsworth and Coleridge is valuable, of course, more as setting up a visible monument of a great era in the history of English literature, than for its restoration of a few obsolete readings of some of the most remarkable poems in the English language. There is something gratifying in possessing and physically handling a...

(The entire section is 1812 words.)

The Athenæum (essay date 1890)

(Nineteenth-Century Literary Criticism)

SOURCE: “Lyrical Ballads.The Athenæum 95 (May 10, 1890): 599-600.

[In the following review, the anonymous author notes that Lyrical Ballads did not meet with the critical response it deserved when originally published and recommends a closer study of the poems to highlight their merit.]

This reprint should be received as a welcome gift by the poor scholar. It is not called by the much-abused name of “facsimile,” but it possesses all the advantages which could attach to that unattainable ideal. The little book is simply a neat, well-edited reprint, following its original line for line and page for page. The chief virtue of a reprint is to be...

(The entire section is 2861 words.)

Marjorie Latta Barstow (essay date 1917)

(Nineteenth-Century Literary Criticism)

SOURCE: Barstow, Marjorie Latta. “The Lyrical Ballads.” In Wordsworth's Theory of Poetic Diction, pp. 141-82. New Haven: Yale University Press, 1917.

[In the following excerpt, Barstow discusses Wordsworth's experimental use of the language of common individuals in Lyrical Ballads, noting that his attempt to reflect psychological states through diction was not successful.]

Although Wordsworth's theory of poetic diction had a sounder basis in literary tradition and in psychology than an ignorant world of letters was prepared to admit, his own application of it, in its first extreme form, was very limited in time and in extent. Only in the...

(The entire section is 12752 words.)

Roger N. Murray (essay date 1967)

(Nineteenth-Century Literary Criticism)

SOURCE: Murray, Roger N. “Paradox and Equivocation.” In Wordsworth's Style: Figures and Themes in the “Lyrical Ballads” of 1800, pp. 11-24. Lincoln: University of Nebraska Press, 1967.

[In the following excerpt, Murray explores Wordsworth's use of illusory imagery in the Lyrical Ballads of 1800, emphasizing that the poet employs this technique to make a connection between the real and supernatural realms.]

Every student of the English Romantic poets knows that Wordsworth's task in the Lyrical Ballads was “to give the charm of novelty to things of every day,” as Coleridge puts it,1 and he also knows of Wordsworth's predilection for...

(The entire section is 3714 words.)

Donald Davie (essay date 1969)

(Nineteenth-Century Literary Criticism)

SOURCE: Davie, Donald. “Dionysus in Lyrical Ballads.” In Wordsworth's Mind and Art, edited by A. W. Thomson, pp. 110-39. Edinburgh: Oliver and Boyd, 1969.

[In the following essay, Davie discusses Wordsworth's emphasis on the pleasure of perception as the hallmark of his poetry, placing the poet's ideas in the context of classical and Romantic theories of composition.]


“I am myself,” said Wordsworth, “one of the happiest of men; and no man who does not partake of that happiness, who lives a life of constant bustle, and whose felicity depends on the opinions of others, can possibly comprehend the best of my poems.” It was...

(The entire section is 10220 words.)

Stephen Maxfield Parrish (essay date 1973)

(Nineteenth-Century Literary Criticism)

SOURCE: Parrish, Stephen Maxfield. “The Ballad as Pastoral.” In The Art of the “Lyrical Ballads,” pp. 149-87. Cambridge: Harvard University Press, 1973.

[In the following excerpt, Parrish maintains that in the Lyrical Ballads of 1798 and 1800, Wordsworth combined eighteenth-century traditions of the ballad and pastoral genres.]

One nearly forgotten episode in the history of Lyrical Ballads points up with wonderful irony the tensions of that unequal balance between poetry of the supernatural and poetry of common life: if Coleridge had been able to finish “Christabel” Wordsworth would never have written “Michael.” The episode sprawled over...

(The entire section is 13866 words.)

Stephen Prickett (essay date 1975)

(Nineteenth-Century Literary Criticism)

SOURCE: Prickett, Stephen. “Unity and Diversity.” In Wordsworth and Coleridge: The “Lyrical Ballads,” pp. 22-50. London: Edward Arnold, 1975.

[In the following excerpt, Prickett highlights several key poems of the Lyrical Ballads as contributing to the unity of this collection.]

So much for the barebones story of the Lyrical Ballads. But what of the poems themselves? We have already seen how hard it was for contemporary readers and reviewers to grapple with the central paradox of this immodest collection of verses: that this diversity of themes and styles had a life and unity which depended on the very tensions of a tight-rope act in which the...

(The entire section is 11974 words.)

Mary Jacobus (essay date 1976)

(Nineteenth-Century Literary Criticism)

SOURCE: Jacobus, Mary. “‘The Tragic Super-Tragic’ and Salisbury Plain.” In Tradition and Experiment in Wordsworth's “Lyrical Ballads” (1798), pp. 133-58. Oxford: Clarendon Press, 1976.

[In the following excerpt, Jacobus provides a detailed reading of Wordsworth's Salisbury Plain, noting that the poem is pivotal because it signals the poet's growing awareness of the realities of human suffering.]

Wordsworth's earliest attempts to portray suffering are clumsy and overstated, ‘The tragic super-tragic’, in contrast to the effective understatement of his later narrative poetry:

Then common death was none, common mishap,

(The entire section is 9915 words.)

Heather Glen (essay date 1983)

(Nineteenth-Century Literary Criticism)

SOURCE: Glen, Heather. “Morality through Experience: Lyrical Ballads 1798.” In Vision and Disenchantment: Blake's “Songs” and Wordsworth's “Lyrical Ballads,” pp. 224-59. Cambridge: Cambridge University Press, 1983.

[In the following excerpt, Glen compares selected poems from the 1798 Lyrical Ballads with William Blake's Songs of Innocence and Experience.]

But since a certain inequality of situation is necessary, and the present inequality, apparently more than that necessity requires, I am only desirous that the shade of distinction should rather be relieved than darkened; that in the picture of human life, the poor should...

(The entire section is 15046 words.)

Stephen Parrish (essay date 1985)

(Nineteenth-Century Literary Criticism)

SOURCE: Parrish, Stephen. “‘Leaping and lingering’: Coleridge's Lyrical Ballads.” In Coleridge's Imagination: Essays in Memory of Pete Laver, edited by Richard Gravil, Lucy Newlyn, and Nicholas Roe, pp. 102-16. Cambridge: Cambridge University Press, 1985.

[In the following essay, Parrish examines Coleridge's understanding of the ballad form, both as seen through his collaboration with Wordsworth in Lyrical Ballads and through his notion of the supernatural.]


One of the most colourful volumes of literary scholarship ever given to the world is a study of the working of Coleridge's imagination, ‘an absorbing adventure...

(The entire section is 6888 words.)

Susan Eilenberg (essay date 1988)

(Nineteenth-Century Literary Criticism)

SOURCE: Eilenberg, Susan. “‘Michael,’ ‘Christabel,’ and the Poetry of Possession.” Criticism XXX, no. 2 (1988): 205-224.

[In the following essay, Eilenberg examines the substitution of Wordsworth's “Michael” in place of Coleridge's “Christabel” as the last poem in the 1800 edition of Lyrical Ballads. The author then evaluates the interrelationship between “Michael” and “Christabel,” as well as that of their authors.]

Literary history suggests a significant intertextual relation between two poems not ordinarily read together, Wordsworth's “Michael” and Coleridge's “Christabel.” “Michael” was written during the autumn of...

(The entire section is 7740 words.)

Patrick Campbell (essay date 1991)

(Nineteenth-Century Literary Criticism)

SOURCE: Campbell, Patrick. “Lyrical Ballads: The Current of Opinion,” and “Criticism in Context, 1797-98.” In Wordsworth and Coleridge: “Lyrical Ballads,” pp. 1-14, 15-34. Basingstoke: Macmillan, 1991.

[In the following excerpt, Campbell provides an overview of critical reaction to Lyrical Ballads from earliest responses to the 1990s. Campbell then sketches the social and political context in which the collection was published and explores the philosophical aspects of the collaboration between Wordsworth and Coleridge.]


‘Up to 1820 the name of Wordsworth was trampled under...

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Susan Eilenberg (essay date 1992)

(Nineteenth-Century Literary Criticism)

SOURCE: Eilenberg, Susan. “The Haunted Language of the Lucy Poems.” In Strange Power of Speech: Wordsworth, Coleridge, and Literary Possession, pp. 108-35. New York: Oxford University Press, 1992.

[In the following excerpt, Eilenberg focuses on Wordsworth's “Lucy” poems as they reflect his sense of loss and his relationship to nature and his own poetry.]

The economy of the Lucy poems involves neither property nor, in any obvious sense, possession. It figures no struggle for ground, no exorcism of previous inhabitants. For such loss as these poems record—emotional rather than financial or literary—there can be, it would seem, no recompense. The poems...

(The entire section is 11962 words.)

Thomas Pfau (essay date 1993)

(Nineteenth-Century Literary Criticism)

SOURCE: Pfau, Thomas. “‘Elementary Feelings’ and ‘Distorted Language’: The Pragmatics of Culture in Wordsworth's ‘Preface to Lyrical Ballads.’” New Literary History, no. 24 (1993): 125-46.

[In the following essay, Pfau provides a revisionist reading of the “Preface” to the Lyrical Ballads, looking past the traditional connotations of the Romantic verbiage that Wordsworth employs and finding “a landmark document in romantic cultural and social theory.”]

Few texts of the romantic period are more firmly anchored in the curricular and pedagogical agenda of current romantic studies than Wordsworth's “Preface to Lyrical...

(The entire section is 9452 words.)

Yu Liu (essay date 1996)

(Nineteenth-Century Literary Criticism)

SOURCE: Liu, Yu. “Revaluating Revolution and Radicalness in the Lyrical Ballads.Studies in English Literature 36, no. 4 (autumn 1996): 747-61.

[In the following essay, Liu examines the influence of the French Revolution on Wordsworth's poetry in Lyrical Ballads, suggesting that he attempted to work out his personal and political response to revolutionary ideas through his poetry.]

Wordsworth's Lyrical Ballads has been treated consistently in the past thirty years or so as both a consequence and an expression of deterministic history.1 In particular, the inspirational origin and the motivational impetus of that poetic project are...

(The entire section is 5852 words.)

Jane Stabler (essay date 1998)

(Nineteenth-Century Literary Criticism)

SOURCE: Stabler, Jane. “Guardians and Watchful Powers: Literary Satire and Lyrical Ballads in 1798.” In 1798: The Year of the “Lyrical Ballads,” edited by Richard Cronin, pp. 203-30. Basingstoke: Macmillan, 1998.

[In the following essay, Stabler discusses Lyrical Ballads in the context of British satirical writings against the perceived threat of Jacobinism.]

An enhanced sense of the dynamics of satire in the Romantic period may modify our understanding of the early reception of Lyrical Ballads. For a long time Lyrical Ballads was accepted uncritically as one of the originary texts of Romanticism. Readers followed William Hazlitt's...

(The entire section is 9765 words.)

Scott McEathron (essay date 1999)

(Nineteenth-Century Literary Criticism)

SOURCE: McEathron, Scott. “Wordsworth, Lyrical Ballads, and the Problem of Peasant Poetry.” Nineteenth-Century Literature 54, no. 1 (June 1999): 1-26.

[In the following essay, McEathron discusses Wordsworth's appropriation and reworking of the popular “peasant poetry” phenomenon for use in the Lyrical Ballads.]

One of the unwritten histories within Romanticism is that of the relationship between Wordsworth's rustic poetics and the so-called “peasant” and “working-class” poetry of the late eighteenth and early nineteenth centuries. That it remains unwritten is, in some ways, an indication that Wordsworth has continued to win the battle for...

(The entire section is 9116 words.)