PREFACE TO LYRICAL BALLADS 1800,1802 PR6LOGO A BAEADAS LIRICAS, ediciones de 1800 y 1802 The First Volume of these Poems has already been submitted to general perusal. It was published, as an experiment which, I hoped, might be of some use to ascertain, how far, by fitting to metrical arrangement a selection of the real language of men in a state of vivid sensation, that sort of pleasure and that quantity of pleasure may be imparted, which a Poet may rationally endeavour to impart. I had formed no very inaccurate estimate of the probable effect of those poems: I flattered myself that they who should be pleased with them zvould read them with more than common pleasure: on the other hand I was well aware that by those who should dislike them they would be read with more than common dislike. The result has differed from my expectation in this only, that I have pleased a greater number, than 1 ventured to hope I should please. For the sake of variety and from a consciousness of my own weakness I was induced to request the assistance of a Friend, who furnished me with the Poems of the Ancient Mariner, the Foster Mother's Tale, the Nightingale, the Dungeon and the Poem entitled Love. I should not, hozoever, liave requested this assistance, had I not believed that the poems of my Friend would in great measure have the same tendency as my ozvn, and that, thought there 30 El primer volumen de estos poemas ya ha sido someti-do a ia cuidadosa lectura de todos. Se publico como un experimento que, segun yo esperaba, podria servir de al-gun modo para averiguar que tipo de placer y que can-tidad del mismo puede racionalmente tratar de comuni-car un poeta, acomodando al orden metrico una selection del lenguaje real de la gente en estado de intensa emotion. No me equivoque mucho en la estimation del efecto probable de aquellos poemas. Abrigaba esperanzas de que quienes se sintieran satisfechos con ellos los leen'an con un placer fuera de lo comiin; por otra parte, era ple-namente consciente de que aquellos a quienes tal vez les disgustaran los leerian con un desagrado tambien fuera de lo comun. El resultado ha diferido del que yo pensa-ba solo en esto: en que he complacido a un numero mayor del esperado. En interes de la variedad, y consciente de mi propia debilidad, me sentf impulsado a solicitar la ayuda de un ami go que me proporcion6 los poemas "El viejo ma-rinero", "El cuento del aya", "El ruisenor", y el titula-do "Amor". A pesar de todo, no habrfa pedido su ayuda si no hubiera creido que los poemas de mi amigo tendrian en gran medida la misma tendencia que los mibs y que, aunque se hallara alguna diferencia, no ha- 31 W. WORDSWORTH — PREFACE TO LYRICAL BALLADS W. WORDSWORTH — FROI.OGO A BALADAS UR1Cj\S would be found a difference, there would be found no discordance in the colours of our style; as our opinions on the subject of poetry do almost entirely coincide. Several of my Friends are anxious for the success of these Poems from a belief, that if tlui views, with which they were composed, were indeed realized, a class of Poetry would be produced, well adapted to interest mankind permanently, and not unimportant in the multiplicity and in the quality of its moral relations: and on this account they have advised me to prefix a systematic defence of the theory, upon which the poems were written. But I was unwilling to undertake dale task, because I knew that on this occasion the Reader would look coldlif upon my arguments, since I might be suspected of having been principally influenced by the selfish and foolish hope of reasoning him into an approbation of these particular Poems: and I xoas still more unwilling to undertake the task, because adequately to display my opinions and fully to enforce my arguments would require a space zuholly disproportionate to the nature of a preface. For to treat the subject with the clearness and coherence, ofzohich I believe it susceptible, it wotdd be necessary to give a full account of the present state of the public taste in this country, and to determine how far this taste is healthy or depraved; which again could not be determined, without pointing out, in what manner language and the human mind act and react on each other, and without retracing the revolutions not of literature alone but likewise of society itself. I Iwve therefore altogether declined to enter regularly upon this defence; 31 bria discordancia en el tono de nuestro estilo, ya que nuestras opiniones acerca de la poesfa coinciden casi en todo. Varios amigos rnios desean el exito de estos poemas en la creencia de que, si se lograran de verdad los objetivos con los que se compusieron, se conseguiria una clase de poesia muy adecuada para interesar al genero humano de una forma permanente y no sin importancia en la mul-tiplicidad y cantidad de sus rela- ciones morales: y, por este motivo, me han aconsejado que escriba como pro-logo una defensa sistematica de la teorfa segiin la cual se escribieron los poemas. Sin embargo, yo me resistfa a em-prender la tarea porque sabia que en esta ocasion el lector consideraria con indiferencia mis argumentos, pues-to que podrfa ser sospechoso de haber estado influido principalmente por la esperanza egoista y tonta de per-suadirle para que aprobara estos poemas tan particula-res; y me sen Ha aun mas reticente a hacerlo porque el ex-poner adecuadamente mis opiniones y el reforzar al maxima mis argumentos requeriria un espacio totalmente desproporcionado para las dimensiones de un pr61ogo. Porque para tratar el tema con la claridad y la coheren-cia de las que es, me parece, susceptible, seria necesario dar una reladon completa del estado actual del gusto del publico en este pais, y determinar cuanto hay de sano o de depravado en dicho gusto: lo que, ademas, no podria determinarse sin senalar de que manera el lenguaje y el entendimiento humanos actuan y reaccionan reciproca-mente, y sin recordar los cambios no solo de la literature sino tambien de la propia sociedad. Asf pues, he de- 33 W. WORDSWORTH - PREFACE TO LYRICAL BALLADS yet I am sensible, that there would be some impropriety in abruptly obtruding upon the Public, ivithout a few words of introduction, Poems so materially different from those, upon which general approbation is at present bestowed. It is supposed, that by the act of ivriting in verse an Author makes a formal engagement that he ivill gratify certain known habits of association, that he not only thus apprizes the Reader that certain classes of ideas and expressions will be found in his book, but that others will be carefully excluded. This exponent or symbol held forth by metrical language must in different eras of literature have excited very different expectations: for example, in the age of Catullus Terence and Lucretius, and that of Statius or Claudian, and in our own country, in the age of Shakespeare and Beaumont and Fletcher, and that of Donne and Cowley, or Dryden, or Pope. 1 xvill not take upon me to determine the exact-import of the promise which by the act of writing in verse an Author in the present day makes to his Reader; but I am certain it will appear to many persons that I have not fulfilled the terms of an engagement thus voluntarily contracted. They who have been accustomed to the gaudiness and inane phraseology of many modern writers, if they persist in reading this book to its conclusion, will, rw doubt, frequently have to struggle with feelings of strangeness and aiuk-wardness: they will look around for poetry, and will be induced to inquire by wliat species of courtesy these attempts can be permitted to assume that title. I hope therefore the Reader will not censure me, ifl attempt to state W WORDSWORTH — PR0UOGO A BALADAS URICAS clinado por completo acometer, de forma estructurada, di-cha defensa; no obstante, me doy cuenta de que seria algo incorrecto imponer al publico, bruscamente y sin unas palabras de introduction, poemas tan profundamente distintos de los que gozan hoy de aprobacion general. Se da por supuesto que, por el hecho de escribir en verso, un autor adquiere el compromiso formal de satis-facer ciertos conocidos habitos de asociacidn; que, asi, in-forma al lector no solo acerca de las ideas y expresiones que encontraran en su libro, sino tambien de otras que seran cuidadosamente excluidas. Este exponente o sim-bolo ofrecido por el lenguaje de la metrica debe haber despertado en distintas epocas de la literatura expectativas muy diversas: por ejemplo, en la epoca de Catulo, Terencio y Lucrecio, y la de Estacio y Claudiano, y en nuestro pais en el cpoca de Shakespeare y Beaumont y Fletcher, y la de Donne y Cowley, o Dryden, o Pope. No asumire la responsbilidad de determinar el significado exacto de la promesa que, por el hecho de escribir en verso, un autor hace hoy en dia a sus lectores; pero estoy seguro de que a muchas personas les parecera que yo no he cumplido los terminos de un compromiso contraido de forma tan voluntaria. Quienes estan acostumbrados a la vistosidad y hueca fraseologia de nuestros escritores modemos, si persisten en leer este libro hasta el final, sin duda algu-na tendran que enfrentarse muchas veces a sensaciones de extraneza e incomodidad; miraran de un sitio a otro en busca de poesia y se sentiran inducidos a preguntar por que clase de cortesia puede permitirse que estos inten-tos se arroguen tal titulo. Espero, pues, que el lector no 14 35 W. WORDSWORTH — PREFACE TO LYRICAL BALLADS what 1 have proposed to myself to perform, and also (as far as the limits of a preface will permit) to explain some of the chief reasons zohich have determined me in my purpose: that at least he may be spared any unpleasant feeling of disappointment, and that I myself may be protected from the most dishonourable accusation which can be brought against an author, namely, that of an indolence ivhich prevents him from endeavouring to ascertain what is his duty, or when his duty is ascertained prevents him from performing it. The principal object then which I proposed to myself in these Poems was to choose incidents and situations from common life, and to relate or describe them, throughout, as far as was possible, in a selection of language really used by men; and, at the same time, to throw over them a certain colouring of the imagination, whereby ordinary things should be presented to the mind in an unusual way: and further, and above all, to make these incidents and situations interesting by tracing in them, truly though not ostentatiously, the primary laws of our nature: chiefly as far as regards the manner in which we associate ideas in a state of excitement. Low and rustic life was generally chosen because in that situation 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; because in that situation our elementary feelings exist in a state of greater simplicity/ and consequently may be more accurately contemplated and more forcibly communicated; because the manners of rural life germi- W WORDSWORTH — FROlOGO A BALADAS LtRICAS me censure si intento aclarar lo que me he propuesto lle-var a cabo, y tambien (siempre que los limites de un pro-logo lo permitan) explicar algunas de las principales ra-zones que me han orientado en mi proposito: que, al menos, se le pueda ahorrar cualquier desagradable sen-timiento de desilusion, y que yo mismo pueda estar pro-tegido contra la mas deshonrosa acusaci6n que se puede formular contra un escritor, a saber, la de una indolencia que le impide esforzarse por averiguar cuaJ es su deber o, cuando lo ha averiguado, impide que lo cumpla. Asf pues, el objetivo principal que yo me propuse en es-tos poemas rue escoger hechos y situaciones de la vida or-dinaria y relatarlos o describirlos todos, hasta donde fuera posible, mediante una selection del lenguaje que la gente utiliza en la vida real; y, al mismo tiempo, impregnarlos de un cierto toque de imaginati6n por medio del cual las co-sas ordinarias deberian presentarse al entendimiento de un modo desacostumbrado; y ademas, y sobre todo, hacer interesantes estos hechos y situaciones descubriendo en ellos, de forma fiel y no ostentosa, las leyes elementales de nuestra naturaleza: printipalmente por lo que se refiere a la manera que tenemos de asociar ideas cuando estamos bajo los efectos de la emotion. Se escogio por lo general a campesinos de clase baja porque en esa conditidn las pa-siones esentiales del corazon encuentran un terreno mejor donde poder alcanzar su madurez, son mas espontaneas, y usan un lenguaje mas llano y energico; porque en esa condition nuestras emotiones elementales se dan en un esta-do de mayor sencillez y, por consiguiente, pueden ser con-templadas de manera mas exacta y comunicadas con mas 36 37 W. WORDSWORTH — PREFACE TO LYRICAL 8Al IADS W. WORDSWORTH — FRÓLOCO A BALADAS LÍR1CAS nate from those elementary feelings; and from the necessary character of rural occupations are more easily comprehended; and are more durable; and lastly, because in that situation the passions of men are incorporated with the beautiful and permanent forms of nature. The language too of these men is adopted (purified indeed from what appear to be its real defects, from all lasting and rational causes of dislike or disgust) because such men hourly communicate with the best objects from zvhich tfie best part of language is originally derived; and because, from their rank in society and the sameness and narrow circle of their intercourse, being less under the action of social vanity they convey their feelings and notions in simple and unelaborated expressions. Accordingly such a language arising out of repeated experience and regular feelings is a more permanent and far more philosophical language than tliat which is frequently substituted for it by Poets, who think that they are conferring honour upon themselves and their art in proportion as they separate themselves from the sympathies of men, and indulge in arbitrary and capricious habits of expression in order to furnish food for fickle tastes and fickle appetites of their own creation. I cannot be insensible of the present outcry against the triviality and meanness both of thought and language, which some of my contemporaries have occasionally introduced in their metrical compositions; and I acknowledge that this defect where it exists, is more dishonourable to the Writer's own character than false refinement or arbitrary innovation, though I should con- fuerza; porque el modo de ser de los campesinos nace de esas emotiones elementales y, debido al invariable carácter de las ocupaciones rurales, se comprende más fácilmente y es más duradero; y, por ultimo, porque en esa condición las pasiones de la gente se afiaden a las formas hermosas y permanentes de la naruraleza. Además, se adopta el len-guaje de estas personas (purificado de los que parecen ser sus aurénticos defectos y de todos los constantes motivos rationales de rechazo y repugnantia) porque tales personas están en continua comunicación con los objetos mejores de loscuales procede lo mejor de nuestro lenguaje; y porque, por su categoría social y la igualdad y el estrecho circulo de sus relationes, están menos bajo la influencia de la va-nidad social y transmiten sus emociones e ideas con ex-presiones sencillas y sin elaborar. Por lo tanto, dicho lenguaje, proviniendo de experiencias y emociones que se repiten con regularidad, es un lenguaje más permanente y mucho más ŕilosóŕico que el que a menudo utilizan los pov e tas, los cuales piensan que se honran a sí misrnos y a su arte én la misma proportión en la que se alejan de la compren-sión de la gente, y se complacen en hábitos de expresión arbitrarios y caprichosos con el ŕin de alimentär gustos en-gaňosos y falsas apetencias de creatión propia1. No puedo ignorar la protesta actual contra la triviali-dad y la mezquindad tanto de pensamiento como de lenguaje que algunos de mi s coetáneos han introdutido oca-sionalmente en sus compositiones métricas; y reconozco que este defecto, donde se da, es más deshoruroso para la propia naturaleza del escritor que el ťalso refinamiento o la arbitraria Innovation, aunque, al mismo riempo, sos- W. WORDSWORTH — PREFACE TO LYRICAL BAUADS tend at the same time that it is far less pernicious in the sum of its consequences. From such verses the Poems in these volumes will be found distinguished at least by one mark of difference, that each of them has a worthy Purpose. Not that I mean to say, that I alxvays write with a distinct purpose formally conceived; but I believe that may habits of meditation have so formed my feelings, as that my descriptions of such objects as strongly excite those feelings, will be found to carry along with them a purpose. If in this opinion I am mistaken 1 can have little right to the name of a Poet. For all good poetry is the spontaneous overflow of poiuerful feelings; but though this be true, Poems to which any value can be attached, were never produced on any variety of subjects but by a man who being possessed of more than usual organic sensibility had also thought long and deeply. For our continued influxes of feeling are modified and directed by our thoughts, which are indeed the representatives of all our past feelings; and as by contemplating the relation of these general representatives to each other, we discover what is really important to men, so by the repetition and continuance of this act feelings connected with important subjects will be nourished, till at length, if we be originally possessed of much organic sensibility, such habits of mind will be produced that by obeying blindly and mechanically the impulses of those habits we shall describe objects and utter sentiments of such a nature and in such connection with each other, that the understanding of the being to whom we address ourselves, if he be in a healthful 4o W. WORDSWORTH — PRÜI.OGO A BAIADAS ÜRICAS tengo que es mucho menos pemicioso er» el conjunto de sus consecuencias. Los poemas de estos volümenes se di-ferencian de tales versos al menos en una cosa: en que cada uno de ellos tiene un propösito loable. No quiero de-cir que siempre escriba con un propösito claro formal-men te concebido; pero creo que mis häbitos de contemplation han modelado mis emociones de tal manera que mis descripcdones de los objetos que estimulan ruerte-mente esas emociones llevan en si un propösito. Si en esto estoy equivocado, poco derecho puedo tener a llamarme poeta. Porque toda buena poesia consiste en el espontaneo desboniamiento de intensas emociones; pero, aunque esto sea asi, los poemas a los que se les puede conceder algun valor y sobre temas diversos, siempre han sido escritos por alguien dotado de una sensibilidad innata superior a la normal, y despues de una larga y profunda reflexion. Porque son nuestros pensamientos, como representantes de todas nuestras emociones pasadas, los que modifican y dirigen la continua afluencia de emociones; y, del mis-mo modo que reflexionando sobre la relation que esos representantes generales tienen entre si descubrimos lo que es realmente importante para las personas, asi tambien las sensaciones relacionadas con temas importantes se nu-trirän de la repetition y permanentia de este acto, hasta que, finalmente, si estamos poseidos desde un printipio por una gran sensibilidad innata, se crearän tales häbitos mentales que, obedetiendo ciega y mecänicamente a los impulsos de esos häbitos, descubriremos objetos y expre-saremos sentimientos de tal naturateza y tan relacionados unos con otros, que el entendimiento del ser al que nos 41 W WORIKWORTH — PREFACE TO LYRICAL BALLADS state of association, must necessarily be in some degree enlightened, his taste exalted, and his affections ameliorated. I have said that each of these poems has a purpose. I have also informed my Reader what this purpose ivill he found principally to be: namely to illustrate the manner in which our feelings and ideas are associated in a state of excitement. But, speaking in language somewhat more appropriate, it is to follow the fluxes and refluxes of the mind xvhen agitated by the great and simple affections of our nature. This object 1 have endeavoured ins these short essays to attain by various means; by tracing the maternal passion through many of its more subtle windings, as in the poems of The Idiot Boy and the Mad Mother; by accompanying the last struggles of a human being at the approach of death, cleaving in solitude to life and society, as in the Poem ofThe Forsaken Indian; by showing, as in the Stanzas entitled We are Seven, the perplexity and obscurity which in childhood attend our notion of death, or rather our utter inability to admit that notion; or by displaying the strength of fraternal, or to speak more philosophically, of moral attachment xvhen early associated with the great and beautiful objects of nature, as in The Brothers; or, as in the Incident of Simon Lee, by placing my Reader in the way of receiving from ordhuin/ moral sensations another and more salutan/ impression than we are accustomed to receive from them. It has also been part of my general purpose to attempt to sketch characters under the influence of less impassioned feelings, as in the Txvo April mornings, The Fountain, the Old Man 41 W WORDSWORTH — PROLOGO A BALAOAS UR1CAS dirigimos, si se encuentra en un estado favorable de aso-ciacion, bene necesariamente que sentirse de algun modo iluminado, su gusto elevado y sus afectos mejorados. He dicho que cada uno de estos poemas bene un pro-posito. Tambien he informado al lector de cual es el pro-posito principal: a saber, ilustrar el modo en que nuestros senbmientos e ideas se asocian cuando estan en estado de emocion. En otras palabras, y uhiizando un lenguaje mas adecuado, es seguir los flujos y reflujos del entendi-miento cuando se ve perturbado por las emociones gran-des y sencillas de nuestra naturaleza. En estas composi-ciones cortas he intentado lograr dicho objebvo de varias maneras: siguiendo la pasion maternal a braves de mu-chos de sus subles recovecos, como en los poemas "El chi-co idiota" y "La madre loca"; acompariando a un ser hu-mano en su ultimo combate a la hora de la muerte, totalmente solo, aferrandose a la vida y a la sociedad, como en el poema "El indio abandonado"; mostrando, como en las estrofas btuladas "Somos siete", la perpleji-dad y la oscuridad que en la infancia acompanan nuestra idea de la muerte o, mejor, nuestra total incapacidad para admibr esa idea; exponiendo la fuerza de los lazos fra-temales o, para decirlo mas hlosoficamente, morales cuando se asocian en una edad temprana con los grandes y hermosos objetos de la naturaleza como en "Los herma-nos"; o, como en el relato de "Simon Lee", colocando al lector en la achtud de recibir de sensaciones morales or-dinarias otra impresi6n mas saludable que la que nor-malmente solemos recibir. Tambien ha sido parte de mi proposito general intentar esbozar personajes que estan 43 W. WORDSWORTH — PREFACE TO LYRICAL RAUADS Travelling, The Two Thieves, etc., characters of which the elements are simple, belonging rather to nature than to manners, such as exist now and will probably always exist, and zvhich from their constitution may be distinctly and profitably contemplated. I xvill not abuse the indulgence of my Reader by dwelling longer upon this subject; but it proper tliat I should mention one other circumstance zvhich distinguishes these Poems from the popular Poetry of the day; it is this, that the feeling therein developed gives importance to the action and situation and not the action and situation to the feeling. My meaning will be rendered perfectly intelligible by referring my Reader to the Poems entitled Poor Susan and The Childless Father, particularly to the last Stanza of the latter Poem. I will not suffer a sense of false modesty to prevent me from asserting, that I point my Reader's attention to mark of distinction far less for the sake of these particular Poems than from the general importance of the subject. The subject is indeed important! For the human mind is capable of excitement without the application of gross and violent stimulants; and he must have a very faint perception of its beauty and dignity who does not know this, and who does not further know that one being is elevated above another in proportion as he possesses this capability. It has therefore appeared to me that to endeavour to produce or enlarge this capability is one of the best services in which, at any period, a Writer can be engaged; but this service, excellent at all times, is especially so at tlie present day. For W. WORDSWORTH — TROLOCO A J.fRfCAS bajo la influencia de emociones menos apasionadas, como en "Dos mananas de abril", "La fuente", "El viejo viaje-ro", "Los dos ladrones", etc., personajes sencillos, perte-necientes mas a la naturaleza que a la civilizacion, tal como existen hoy y probablemente existiran siempre, y que por su caracter pueden ser estudiados de forma da-ra y provechosa. No abusare de la benevolencia del lector insisuendo mas sobre el tema; pero es conveniente que mencione otro detalle que distingue a estos poemas de la poesia tan de moda en la actualidad; es este: que la emo-cion producida en esas circunstancias realza la accion y la situacion, y no la accion y la situadon a la ernocion. Para entender perfectamente lo que quiero decir, remito al lector a los poemas titulados "Pobre Susana" y "El padre sin hijos", sobre todo la ultima estrofa del segundo. No permitire que una falsa modestia me impida indi-car al lector que se fije en esta diferencia, no tan to en con-sideracion a estos poemas concretos sino por la impor-tancia general de! tema. jEl tema es lo verdaderamente importante! Porque el entendimiento humano puede emo-cionarse sin necesidad de estimulos groseros y violentos; quien no sepa esto y quien, ademas, ignore que un ser es superior a otro en la misma medida en la que posea esta capacidad, debe de tener una percepdon muy tenue de su belleza y dignidad. Por eso, me parece que esforzarse en poner de martifiesto y ampliar dicha capacidad es uno de los mejores servicios que un escritor puede prestar en cualquier momento de la historia. Pero este servicio, ex-traordinario en todo momento, es especialmente extra -ordinario hoy en dia, porque existen multiples causas. 44 W. WÜRDSWORTH — PRÜF ACE TO LYRICAL BALLADS W. WORDSWORTH — PRÖLOOO A BAIADAS IJRICAS a multitude of causes unknown to former times are now acting with a combined force to blunt the discriminating powers of the mind, and unfitting it for all voluntary exertion to reduce it to a state of almost savage torpor. The most effective of these causes are the great national events which are daily taking place, and the increasing accumulation of men in cities, where the uniformity of their occupations produces a craving for extraordinary incident which the rapid communication of intelligence hourly gratifies. To this tendency of life and manners the literature and theatrical exhibitions of the country have conformed themselves. The invaluable works of our elder writers, I had almost said the works of Shakespeare and Milton, are driven into neglect by frantic novels, sickly and stupid German Tragedies, and deluges of idle and extravagant stories in verse. When I think upon this degrading thirst after outrageous stimulation I am almost ashamed to have spoken of the feeble effort with which I have endeavoured to counteract it; and reflecting upon the magnitude of the general evil, I should be oppressed with no dishonourable melancholy, had I not a deep impression of certain inherent and indestructible qualities of the human mind, and iikezvise of certain powers in the great and permanent objects that act upon it which are equally inherent and indestructible; and did I not further add to this impression a belief that the time is approaching when the evil will be systematically opposed by men of greater powers and with far more distinguished suc- 46 desconocidas en épocas anteriores, que están actuando de forma combinada con el fin de embotar la fuerza dis-cernidora del entendimiento e, Lncapacitándolo para todo ejercicio libre y voluntario, reducirlo a un estado de sopor casi salvaje. Las más eficaces de estas causas son los gran-des acontecimientos nacionales2 que están teniendo lu-gar diariamente, y la creciente aglomeráciou de gente en las ciudades, donde la monotonia de sus trabajos produ-ce un ansia de sucesos extraordinarios que la rápida di-fusion de notiöas3 satisface hora tras hora. La misma literatura y las representaciones teatrales del pais se han sometido a esta tendencia de la vida y las costumbres. Las inapreciables obras de nuestros mayores, casi debie-ra decir las obras de Shakespeare y Milton, se ven des-plazadas por novelas sensibleras, tragedias alemanas em-palagosas y estúpidas, y montones de historias en verso, despreciables y exageradas'. Cuando pienso en esta de-gradante sed de estimulos horrorosos, casi me avergüenzo de haber mencionado el debil intento con el que he pro-curado contraatacarla; y reflexionando sobre el mal en generál, me senhn'a angustiado con una digna melanco-lia si no tuviera una profunda confianza no sólo en cier-tas cualidades del entendimiento humano que son inhe-rentes e indestructibles, sino también en determinadas fuerzas existentes en los grandes y permanentes objetos que actúan sobre él y que son, igualmente, inherentes e indestructibles; y si, además, no aňadiera a esta confianza la creencia de que cada vez está más cercano el momente en el cual el mal encontrará la oposición sistemática de personas más capacitadas y con mucho más éxito que yo. W. WORDSWORTH — PREFACE TO LYRICAL BALLADS Having dwelt thus long on the subjects an aim of these Poems, I shall request the Reader's permission to apprise him of a few circumstances relating to their style, in order, among other reasons, that I may not be censured for not having performed what J never attempted. The Reader will find that personifications of abstract ideas rarely occur in these volumes; and, I hope, are utterly rejected as an ordinary device to elevate the style and raise it above prose. I have proposed to myself to imitate, and, as far as is possible, to adopt the very language of men; and assuredly such personifications do not make any natural or regular part of that language. They are, indeed, a figure of speech occasionally prompted by passion, and I have made use of them as such; but I have endeavoured utterly to reject them as a mechanical device of style, or as a family language which Writers in metre seem to lay claim to by prescription. I have zvished to keep my Reader in the company of flesh and blood, persuaded that by doing so I shall interest him. I am, however, well aivare that others who pursue a different track may interest him likeioise; I do not interfere with their claim, 1 only wish to prefer a different claim of my own. There xoill also be found in these volumes little of what is usually called poetic edition; I have taken as much pains to avoid it as others ordinarily take to produce it; this I have done for the reason already alleged, to bring my language near to the language of men, and further, because the pleasure which I have proposed to myself to impart is of a kind very different from that which is supposed by many persons to be the proper object of poetry. 1 4» W WORDSWORTH — PROLOGO A BALADAS UR1CAS Habiendome extendido demasiado en la temitica y el proposito de estos poemas, ruego al lector me permita info rmarle de algunos detalles relativos a su estilo para que, entre otras razones, no pueda acusarme de no haber reali-zado lo que jamas tuve intention de realizar. El lector vera que la personificacidn de ideas abstractas raramente se da en estos volumenes; y confio en que sea totalmente dese-chada como un mecanismo habitual para elevar el estilo y situarlo por entima de la prosa. Me he propuesto a mi mis-mo imitar y, hasla donde sea posible, adoptar el lenguaje pro-pi o de la gente y, ciertamente, tales personificaciones no forman parte natural ni corriente de ese lenguaje. Son, en realidadruna figura retorica ocasionalmente inspirada por la pasi6n y asi es como yo las he utilizado; pero he procu-rado evitarlas por completo ya que son un ardid mecani-co de estilo o bien una especie de lenguaje comiin que los que escriben en verso parecen reivindicar como precepti-vo. He querido mantener al lector en relacidn con objetos de carne y hueso, persuadido de que asi conseguire atraer su interes. Sin embargo, soy plenamente consciente de que otros que siguen un camino distinto tal vez tambien con-sigan interesarle. No pretendo dificultar su reivindication, lo unico que quiero es reivindicar para mi algo diferente. Por otro lado, se encontrara en estos volumenes poco de lo que se suele llamar dicci6n poetica; me he esfbrzado tanto en evitarla como otros en emplearla; he hecho esto por la raz6n anteriormente alegada: acercar mi lenguaje al lenguaje de la gente; y, ademas, porque el placer que me he propuesto comunicar es muy distinto al que muchas per-sonas consideran que es el objeto propio de la poesia. No 49 W. WORDSWORTH — PREFACE TO LYRICAL BALLADS do not know how without being culpably particular I can give my Reader a more exact notion of the style in which I wished these poems to be xvritten than by informing him that I liave at all times endeavoured to look steadily at my subject, consequently I hope it will be found that there is in these Poems little falsehood of description, and that my ideas are expressed in language fitted to their respective importance. Something I must have gained by this practice, as it is friendly to one property of all good poetry, namely good sense; but it has necessarily cut me off from a large portion of phrases and figures of speech which from father to son have long been regarded as the common inheritance of Poets. I have also thought it expedient to restrict myself still further, having abstained from the use of many expressions, in themselves proper and beautiful, but which have been foolishly repeated by bad Poets till such feelings of disgust are connected zvith them as it is scarcely possible by any art of association to overpower. If in a Poem there should be found a series of lines, or even a single line, in which the language, though naturally arranged and according to the strict laius of metre, does not differ from that prose, there is numerous class of critics who, when they stumble upon these prosaims as they call them, imagine that they have made notable discovering, and exult over the Poet as over a man ignorant of his own profession. Now these men would establish a canon of criticism which the Reader will conclude he must utterly reject if he wishes to be pleased with these volumes. And it zuould be a most easy task to prove to 5° W. WORDSWORTH — PRÖLOGOA BALADAS LlRICAS se como, sin ser especialmente culpable, puedo dar al lector una idea mas exacta del estilo en que deseaba que es-tos poemas fueran escritos, si no es informandole de que he procurado en todo momento prestar gran atenciön al tema; por consiguiente, espero que se vea que en estos poemas hay poca falsedad en la description y que mis ideas estän ex-presadas en un lenguaje adecuado a la importantia de cada Lino. Algo debo haber ganado a traves de esta practica, ya que es favorable a una propiedad de toda buena poesia, a saber, el sentido comün; pero inevitablemente me he des-conectado de una gran parte de expresiones y figuras re-töricas que, de generation en generation, se han conside-rado durante mucho tiempo como la herencia comün de los poetas. Tambier» he creido conveniente limitarme aün mäs eludiendo muchas expresiones, en si mismas apro-piadas y bellas pero que han sido absurdamente repetidas por malos poetas, hasta el pun to de que el sentimiento de repugnancia esta tan unido a el las qtie, debido a algiin arte de asotiatiön, me es casi imposible vencerlo. Si, por casualidad, en un poema se encuenrra una serie de versos, o incluso un solo verso, en el que el lenguaje, aunque ordenado de forma natural y segun las estrictas le-yes de la metrica, no se diferencia de la prosa, existe un nu-meroso grupo de criricos que, cuando tropiezan con esos prosaismos, como los denominan ellos, imaginan que han hecho un descubrimiento memorable y se lanzan exultan-tes sobre el poeta como sobre alguien que desconoce su propia profesiön. Pues bien, estas personas solian estable-cer unas normas de critica que el lector concluira debe re-chazar por completo si desea disfrutar de estos volüme- W WORDSWORTH — PREFACE TO LYRICAL BALLADS him that not only the language of a large portion of every good poem, even of the most elevated character, must necessarily, except with reference to the metre, in no respect differ from that of good prose, but likeivise that some of the most interesting parts of the best poems will be found too be strictly the language of prose xohen prose is well written. The truth of this assertion might be demonstrated by innumerable passages from almost all the poetical writings, even of Milton himself I have not space for much quotation; but, to illustrate the subject in a general manner I will here adduce a short composition of Gray, who ivas at the head of those who by their reasonings have attempted to widen the space of separation behvixt Prose and Metrical composition, and was more than any other man curiously elaborate in the structure of his own poetic diction. In vain to me the smiling morning shine. And reddening Phoebus lifts his golden fire: The birds in vain their amorous descant join. Or chearful fields resume their green attire: These ears alas! For other notes repine; A different object do these eyes require; My lonely anguish melts no heart but mine; And in my breast the imperfect joys expire; Yet Morning smiles the busy race to cheer. And new-born pleasure brings to liappier men; The fields to all their wonted tribute bear; To warm their little loves the birds complain. I fruitless mourn to him that cannot hear W. WORDSWORTH — PROLOGO A BALADAS ijRICAS nes. Y seria una tarea facilisima demostrarle que no solo el lenguaje de una gran parte de todo buen poema, inclui-dos los de caracter mas elevado, no debe en esencia dife-renciarse en modo alguno de una buena prosa exoepto en la metrica, sino que ademas algunas de las partes mas in-teresantes de los mejores poemas emplean precisamente el lenguaje de la prosa cuando la prosa esta bien escrita. La verdad de esta afirmacion podria demostrarse con in-numerables pasajes de casi todos los escritos porticos, in-cluso del propio Milton. No tengo espacio para muchas ci-tas, pero, para ilustrar el tema de una manera general, presentare aqui una breve composicion de Gray, el cual es-taba al frente de los que con sus razonamientos han inten-tado agrandar el espacio de separaci6n entre la prosa y la composiri6n po^tica, y era mis meticuloso y exigente que ningun otro con la estructura de su propia diccion poetica. En vano lucen para mi las mananas sonrientes, y el iluminador Febo eleva su fuego dorado: en vano unen los pajaros sus amorosos trinos, o los alegres campos se visten de verde: jAy estos oidos! por otras notas se quejan; Un objeto diferente piden estos ojos; mi angustia solitaria no conmueve mas que a mi corazdn y expiran en mi pecho los gozos no logrados; sonxie, sin embargo, la man ana y alegra las tareas de los hombres, y un nuevo placer llega a las personas mas felices; dan los campos a todos su acostumbrado tributo; para alegrar a sus crias cantan los pajaros. Yo en vano me lamento ante quien no puede oirme 53 W. WORDSWORTH — PREFACE TO LYRJCAL BALIADS And weep the more because I weep in vain. (Sonnet on the Death of Richard West) It will easily be perceived that the only part of this Sonnet which is of any value is the lines printed in Italics; it is equally obvious that except in the rhyme, and in the use of the single word 'fruitless' for fruitlessly, which is so far a defect, the language of these lines does in no respect differ from that of prose. Is there then, it will be asked, no essential difference between the language of prose and metrical composition? By the foregoing quotation lahve shown that the language of Prose may yet be well adapted to Poetry; and I have prevously asserted that a large portion of the language of every good poem can in no respect differ from that of good Prose. I will go further. I do not doubt that in may be safely affirmed, that there neither is, nor can be, any essential difference betiveen the language of prose and metrical composition. I ansiver that there neither is nor can be any essential difference. We are fond of connection sufficiently strict to typify the affinity between metrical and prose composition? Tliey both speak by and to the same organs; the bodies in which both of them are clothed may be said to be of the same substance, their affections are kindred and almost identical, not necessarily differing even in degree; Poetry* sheds no tears 'such as Angels weep', but ' I here use the word Toetry' {though against my own judgement) as opposed to the words Prose, and synonomous with metrical composition. But much confusioon has been introduced into criticism by this contradistinction of Poetry and Prose, instead of the more philosophical one of Poetry and Matter of fact, Science. The only strict antithesis to Prose is Metre; nor is 54 W WORDSWORTH — PRÓLOGO A UALADAS l.fRtCAS y lloro más porque lloro inútilmente. (Soneto a la muerle de Richard West)5 Se dará uno fácilmente cuenta de que la única parte de este soneto que tiene algún valor son los versos en letra eursiva; es también obvio que, exceptuando el ritmo y el uso de la palabra fruitless por fruitlessly, lo cual no es más que un deŕecto, el lenguaje de estos versos no se diferencia en nada del de la prosa. Por la cita anterior he demostrado que el lenguaje de la prosa puede adaptarse muy bien a la poesía, y he aŕir-mado anteriormente que una buena parte del lenguaje de todo buen poéma puede no diferir en absoluto del de una buena prosa. Iré más lejos. No me cabe duda de que se puede afirmar con pléna seguridad que ni existe ni puede existir ninguna diferencia esencial entre el lenguaje de la prosa y el de la composición poética. Nos gusta encontrar la semejanza entre la poesía y la pintura y, por eso, las Uamamos hermanas: pero ^dónde encontra-mos lazos de conexión suficientemente precisos que sim-bolicen la afinidad entre un eserito poético y otro de prosa? Los dos hablan por y para los mismos órganos; las envolturas con que los dos se visten puede decirse que son del mismo tipo, sus inclinaciones son parecidas o casi idénticas, no diferenciándose ni siquiera en el grado; la poesía* no derrama lágrimas "como las que derraman •"Unližo aquí la palabra 'Poesía' (aun en contra de mi propio criterio) como opuesta a la palabra Prosa y sinónima de composition métrica. Sin embargo, se ha introdurido en la critica mucha confusion por esta oposición de Poesía y Prosa, en vez de la más filosófica de Poesía y estudio de los hecho probados o Cienria. La única antitesis rigurosa de la Prosa es la Métrica; tampoco es 55 W. WORDSWORTH — PREFACE TO l.YRfCAi. BAUADS natural and human tears; she can boast of no celestial Ichor that distinguishes her vital juices from those of prose; the same human blood circulates through the veins of them both. If it be affirmed that rhyme and metrical arrangement of themselves constitute a distinction which overturns what I have been saying on the strict affinity of metrical language with that of prose, and paves the way for other artificial distinctions which the mind voluntarily admits, I answer that the language of such Poetry as I am recommending is, as far as is possible, a selection of the language really spoken by men; tfiat this selection, wherever it is made ivith true taste and feeling, will of itself form a distinction far greater than would at frist be imagined, and will enrirely separate the composition from the vulgarity and meanness of ordinary life; and, if metre be superadded thereto, I believe that a dissimilitude will be produced altogether sufficient for the gratification of a rational mind. What other distinction would we have? Whence is it to come? And here is it to exist? Not, surely, where the Poet speaks through the mouths of his characters: it cannot be necessary here, either for elevation of style, or any of its supposed ornaments: for, if the Poet's subject be judiciously chosen, it will naturally, and upon fit occasion, lead him to passions the language of which, if selected truly and judiciously, must necessarily be dignified and variegated, this, in truth a strict antithesis; because lines and passages of metre so naturally occur in writing prose, that it would be scarely possible to avoid them, even if it were desirable. (Wordsworth's foobioto.l 56 W WORDSWORTH — PRÖt.OGO A BALADAS LfRlCAS los ängeles"*, strto Iägrimas naturales y humanas; no pue-de vanagloriarse de ningun Ikor7 celestial que distinga sus fluidos vitales de los de la prosa; la misma sangre hu-mana circula por las venas de ambas. Si se afirma que el ritmo y el orden metrico por si mis-mos constituyen una distinciön que tira por tierra lo que he venido sosteniendo acerca de la rigurosa afinidad del len-guaje metrico con el de la prosa, y prepara el terreno para otras distinciones artificiales que el entendimiento admi-te de buen grado, respondo que el lenguaje de la poesfa que estoy recomendando es, en la medida de lo posible, una selection del lenguaje que la gente habla en la realidad; que dicha selection, siempre que se haga con verdadero gusto y sentimiento, establecera por si misma una distinciön mucho mayor que la que pudiera imaginarse en un primer momento, y separarä totalmente la composition de la vulgaridad y mezquindad de la vida cotidiana. Si a eso se anade la metrica, creo que se produtira una disparidad del todo suficiente para la satisfaction de una mente rational. iQue otra distinciön tendriamos? 1 de dönde procederä?