William Wordsworth In "Preface to Lyrical Ballads," William Wordsworth explores what he believes to be the search for truth in art. His claim rests on the assertion that "all good poetry is the spontaneous overflow of powerful feelings" (Wordsworth 19). Wordsworth clearly equates the creation of poetry as an outward expression of an inner emotion or experience. His theory supports the fact that poetry is not simply something that is to be written but that it be read and understood by every man. This paper will examine how Wordsworth reaches this conclusion and successfully proves his points.

Wordsworth begins his "preface to Lyrical Ballads" by focusing on issues of style. He claims, "Humble and rustic life was generally chosen, because, in that condition, the essential passions of the heart find a better soil in which they can attain their maturity, are less under restraint, and speak a plainer and more emphatic language" (18). He believes that feelings "coexist in a state of greater simplicity" (18) and, as a result, are "more accurately contemplated, and more forcibly communicated" (18). From this perspective, Wordsworth is aiming the success of poetry as an art form at the human experience. His premise depends on the notion that poetry is meant to be a communication tool first and foremost. As a result, it is the responsibility of the poet to express him or herself in a manner appropriate. Wordsworth is correct in assuming that unless readers can gain pleasure from reading something they do not understand, the poet should descend from his or her "supposed height" and "express himself as other men express themselves" (23). This statement lies at the very heart of Wordsworth's notion.

In fact, Wordsworth rails against the poetry of the day that lended itself to social vanities. The object of poetry, according Wordsworth, is to relate to the experiences of the common man in a language that was used by common...

At the same time, he claims that things should be presented to the "mind in an unusual aspect . . . To make these incidents and situations interesting" (18). His argument is strengthened from the fact that from such common experiences, "the passions of men are incorporated with the beautiful and permanent forms of nature" (18). Furthermore, he argues that a common language that develops from such experiences is "more permanent, and a far more philosophical language" (18) than that employed by poets who think "they are conferring honour upon themselves and their art, in proportion as they separate themselves from the sympathies of men" (18). This separation, Wordsworth writes, is simply to satisfy their own "capricious habits of expression, in order to furnish food for fickle tastes, and fickle appetites, of their own creation" (18). These statements reflect the chasm that can exist between the artist and the audience when the artist becomes consumed with him or herself. His intention is to urge the artist back to sense of expression to which all men can relate.
Wordsworth's famous claim that "all good poetry is the spontaneous overflow of powerful feelings" (19) reflects the expressionist theory because poems that are of any value depend upon the poet who possessed more than "usual organic sensibility but had also thought long and deeply" (19). Expression of emotion or senses is central to the poem and the poem's value. Wordsworth declares that the feeling behind the poem, or work of art, "gives importance to the action and situation" (19). This is in contrast to the popular poetry of his day, which, in Wordsworth's view, relied on the situation and action to construct feeling. In other words, the success of a poem depends on the evolution of an emotion rather than syntax or how a poem is constructed. Clearly, we can see how Wordsworth was concerned with the message of a poem and how others could relate to it before…