Lyrical Ballads William Wordsworth and Samuel Taylor Coleridge

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The following entry presents criticism of Coleridge and Wordsworth's poetry collection, Lyrical Ballads (1798). For further information on Samuel Taylor Coleridge see also, Rime of the Ancient Mariner Criticism and “Kubla Khan” Criticism. INTRODUCTION Literary historians consider the Lyrical Ballads (1798) a seminal work in the ascent of Romanticism and a harbinger of trends in the English poetry that followed it. The poetic principles discussed by Wordsworth in the “Preface” to the 1800 edition of Lyrical Ballads constitute a key primary document of the Romantic era because they announce a revolution in critical notions about poetic language, poetic subject matter, and the role of the poet. Biographical Information At the time that Wordsworth and Coleridge were planning the Lyrical Ballads, Wordsworth had already published two works, Descriptive Sketches and An Evening Walk, in 1793. Coleridge left Oxford University without finishing his degree but had already published several works, including a play, The Fall of Robespierre (written with Robert Southey in 1794), and Poems on Various Subjects (1796). Coleridge, however, had no steady income and contemplated becoming a Unitarian minister when he unexpectedly received an annuity from Thomas and Josiah Wedgwood, enabling him to continue to work on his writing. Coleridge and Wordsworth had first met in Bristol in 1795 and maintained their correspondence over the next two years. Coleridge came to visit Wordsworth at Racedown in 1797, and the two discovered a powerful mutual admiration and rapport. Soon after Wordsworth and his sister Dorothy moved to Nether Stowey to be closer to Coleridge. Coleridge became Wordsworth's mentor, encouraging him and helping to shape his poetry. The two became inseparable companions. Their intellectual discussions and critiques of one another's poetry led to the idea of collaborating

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