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‘That summer’ ‘That summer’
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‘Look round for poetry’ ‘Look round for poetry’
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‘Lyrical and Rapid Metre’ ‘Lyrical and Rapid Metre’
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‘Perhaps a tale you’ll make it’ ‘Perhaps a tale you’ll make it’
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‘I cannot tell; I wish I could’ ‘I cannot tell; I wish I could’
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Select Bibliography Select Bibliography
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9 Wordsworth and Coleridge’s Lyrical Ballads, 1798
Get accessDaniel Robinson is Professor of English at Widener University. He co-edited A Century of Sonnets: The Romantic-Era Revival, 1750–1850 (1999), with Paula Feldman, and Lyrical Ballads and Related Writings (2001) with William Richey. He is the editor of Poems, The Works of Mary Robinson (2 vols., 2009) and author of Myself and Some Other Being: Wordsworth and the Life Writing (2014), William Wordsworth’s Poetry: A Reader’s Guide (2010) and The Poetry of Mary Robinson: Form and Fame (2011). His work has appeared in The Wordsworth Circle, Studies in Romanticism, European Romantic Review, Grasmere 2011, and Grasmere 2013.
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Published:12 November 2015
Cite
Abstract
Wordsworth and Coleridge’s Lyrical Ballads (1798) long has been recognized as a watershed of Romantic-period literature for its use of more colloquial, less affected language, its portrayal of the poor and other marginal figures, and for perhaps less obvious hints of submerged political agendas. As Wordsworth wrote in the 1798 ‘Advertisement’, one principal aim was to challenge readers’ ‘pre-established codes of decision’. He implies that this challenge includes subverting not only the aesthetics but possibly also the ethics of popular culture. Coleridge saw it as a joint endeavour; nonetheless, most of the poems are Wordsworth’s and even Coleridge’s major contribution, ‘The Rime of the Ancyent Marinere’, seems anomalous. This essay looks towards understanding the 1798 Lyrical Ballads as the only product of the famous collaboration that exists in any definite form; it is the only Lyrical Ballads that may be said to be Wordsworth and Coleridge’s Lyrical Ballads.
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