Books by William Wordsworth

Along with Samuel Taylor Coleridge, late 18th century and early 19th century English lyricist William Wordsworth was one of the most prominent poets of the Romantic era. His first work "Lyrical Ballads, with a Few Other Poems" was penned with Coleridge, though most of the volume is by Wordsworth, and its publication in 1798, is generally considered to mark the beginning of the English Romantic movement in literature. Second editions of "Lyrical Ballads" were released in 1800 and 1802. The entirety of the "Lyrical Ballads" are collected together here in this volume along with his 1807 publication "Poems, in Two Volumes" and numerous other miscellaneous poems. Wordsworth lines evoke the beauty of both nature and the commonplace everyday world. A description of Wordsworth's work may best be found in his own famous definition of poetry: "the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility". This edition collects together nearly the entirety of Wordsworth's non-narrative lyrical work in a truly representative volume, printed on a premium acid-free paper, with an introduction by John Morley.

A gorgeous gift edition of William Wordsworth's greatest poems, with an introduction by Peter Harness.

A scholarly edition of works by William Wordsworth. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

A scholarly edition of a work by William Wordsworth. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

A scholarly edition of works by William Wordsworth. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

A scholarly edition of works by William Wordsworth. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

Sangen om den gamle sømand (The Rime of The Ancient Mariner), som dette lille bind poesi har fået navn efter, er et af den romantiske litteraturs flotteste og mest indflydelsesrige digte. Det er skrevet af Samuel Taylor Coleridge omkring år 1800, og er ikke alene et eksistentielt digt om forholdet mellem verden og ensomheden og evigheden. Det er også en af de tidligste, såkaldt gotiske tekster, hvor uhyggen, der ryster sjælen, er et af virkemidlerne. Ib Johansen har nyoversat digtet og indledt det med et kyndigt forord til serien Bureauets Lommebibliotek hvor det udkommer sammen med andre digte af Coleridge og et udvalg af hans digterkollega og samarbejdspartner William Wordsworth. Det er der en god grund til. I endnu højere grad end Coleridge er Wordsworth en digter, der på samme tidspunkt indfanger de romantiske strømninger, som fik så stor betydning for den udvikling, der førte til vore dages individualitet og følelse i litteraturen. I udvalget af Wordsworth indgår hans forord til den digtsamling, de to udgav sammen, Lyrical Ballads, som blev startskuddet til den engelske romantik, og hvori han fortæller om det litterære ærinde, de er ude i, nemlig at gøre litteraturen mere tilgængelig for alle og enhver, ved at beskrive "hændelser og situationer fra det almindelige liv og at berette om dem eller beskrive dem, hele vejen igennem, så vidt det var muligt, ved at vælge at benytte sig af et sprog, som virkelig bliver talt af mennesker."

This collection brings together a rich and diverse selection of Wordsworth's works, from the epic autobiographical masterpiece The Prelude to much-loved shorter poems such as `I Wandered Lonely as a Cloud' and `She Was a Phantom of Delight'.

From the introduction by Seamus Heaney: Wordsworth's power over us stems from the manifest strength of his efforts to integrate several strenuous and potentially contradictory efforts. Indeed, it is not until Yeats that we encounter another poet in whom emotional susceptibility, intellectual force, psychological acuteness, political awareness, artistic self-knowledge and bardic representativeness are so truly and responsibly combined. He is an indispensable figure in the evolution of modern, a finder and keeper of the self as subject, a theorist and apologist whose preface to Lyrical Ballads 1802 remains definitive.

Featuring an extended introduction by scholar of British Romanticism, Alan Vardy, Fragments consists of Wordsworth's philosophico-aesthetic prose fragment "The Sublime & the Beautiful" and "Hawkshead & the Ferry." While a fragmented text, unfinished, almost certainly abandoned by the author, the difficulties of the former text no longer appear fatal so much as evidence of Wordsworth's rigorous struggle to come to terms not only with his own aesthetic experiences, but with the philosophical aesthetics of his epoch. What were once read as confusions may now be seen as productive of complex accounts of lived affective experiences. In critical terms, current aesthetic occupations have perhaps finally found Wordsworth's text.By placing the prose fragment in a separate appendix, the original editors of Wordsworth's Prose Works removed it from its actual place in The Unpublished Tour. New analysis of the manuscripts reveals that "The Sublime & the Beautiful" is actually part of the Tour. In reprinting the "Hawkshead & the Ferry" section of the Tour, our edition restores this original context, lost in the standard Oxford edition. The prose fragment begins in the precise place where "Hawkshead & the Ferry" ends - on the west side of Windermere looking north to the Langdale pikes. Were the missing pages of "The Sublime & the Beautiful" to be recovered, the transition from picturesque viewpoint to speculation on the philosophical status of that view would be apparent.Understanding the significance of our affective response to natural objects could not be more central to a Wordsworthian poetics predicated on the internalization of aesthetic sensations into perceptions and ideas, associations of one kind or another, and finally into the very stuff of the poetry. Fragmented or not, this prose treatise on a subject of such centrality to the poet's project can no longer be ignored. It is this general neglect that the present text hopes to address by publishing these fragments on their own for the very first time.