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细节
WORDSWORTH, William (1770-1850) and Samuel Taylor COLERIDGE (1772-1834). Lyrical Ballads, with Other Poems. London: Biggs and Co. for T.N. Longman and O. Rees, 1800.
2 volumes, 8o (156 x 95 mm). With the genuine blank c8 in vol. I. Wove paper, watermarked "LLOYD 1795." (Vol. I: b3.4 loose, A1 title lightly rubbed; Vol. II: short tear on K1 touching one line of text; tiny wormtracks in upper blank margin at beginning of both vols.) Contemporary diced russia gilt, morocco lettering pieces (light wear at extremities); cloth folding case. Provenance: some contemporary marginalia on D3v and K6v in vol. I -- E. H. Keasbury (inscriptions on flyleaves, 3 page letter presenting the volumes to:) -- Fanny Emma -- R.W. Chapman (bookplate in vol. I) -- purchased from Seven Gables Bookshop, New York, 13 November 1968.
FIRST COMPLETE EDITION, being the second edition of vol. I and FIRST EDITION, FIRST ISSUE of vol. II. With the following points: Vol. I: [a]3 is cancelled and reading "The first volume" (no priority); I3-4 are uncancelled and page 137 reads "been" in line 9 and "to" in line 13; page 196 reads "agency" (for "agony"). Vol. II: 01-2 are uncancelled; page 64 reads "Oft had I" in line 1 and "wide Moor" in line 6; page 83 has a comma after "last days" in line 6; page 92 reads "He" (capitalized) in line 2; and page 129 has "when they please" properly spaced.
The Lyrical Ballads here published contains all of the poems in the first edition of volume I, plus an additional poem, the first printing of Wordsworth's masterful Preface, and the entirely new second volume containing forty-one new poems. In his Preface, Wordsworth reacts against the stultification and artificiality of late 18th-century verse and builds a poetics meant "to make the incidents of common life interesting by tracing in them, truly though not ostentatiously, the primary laws of our nature... For all good poetry is the spontaneous overflow of powerful feelings." His "outline of the supreme function of poetry, expressed in such phrases that poetry 'takes its origin from emotion recollected in tranquillity', set a new tone; and it became in effect the revolutionary manifesto of the romantic poets of the next generation" (PMM 256). Or, as T.S. Eliot wrote, "Wordsworth is really the first, in the unsettled state of affairs in his time, to annex new authority for the poet, to meddle with social affairs, and to offer a new kind of religious sentiment which it seemed the peculiar prerogative of the poet to interpret" (The Uses of Poetry and the Use of Criticism). Ashley VIII, pp.6-9; Wise Wordsworth 5. (2)
2 volumes, 8o (156 x 95 mm). With the genuine blank c8 in vol. I. Wove paper, watermarked "LLOYD 1795." (Vol. I: b3.4 loose, A1 title lightly rubbed; Vol. II: short tear on K1 touching one line of text; tiny wormtracks in upper blank margin at beginning of both vols.) Contemporary diced russia gilt, morocco lettering pieces (light wear at extremities); cloth folding case. Provenance: some contemporary marginalia on D3v and K6v in vol. I -- E. H. Keasbury (inscriptions on flyleaves, 3 page letter presenting the volumes to:) -- Fanny Emma -- R.W. Chapman (bookplate in vol. I) -- purchased from Seven Gables Bookshop, New York, 13 November 1968.
FIRST COMPLETE EDITION, being the second edition of vol. I and FIRST EDITION, FIRST ISSUE of vol. II. With the following points: Vol. I: [a]3 is cancelled and reading "The first volume" (no priority); I3-4 are uncancelled and page 137 reads "been" in line 9 and "to" in line 13; page 196 reads "agency" (for "agony"). Vol. II: 01-2 are uncancelled; page 64 reads "Oft had I" in line 1 and "wide Moor" in line 6; page 83 has a comma after "last days" in line 6; page 92 reads "He" (capitalized) in line 2; and page 129 has "when they please" properly spaced.
The Lyrical Ballads here published contains all of the poems in the first edition of volume I, plus an additional poem, the first printing of Wordsworth's masterful Preface, and the entirely new second volume containing forty-one new poems. In his Preface, Wordsworth reacts against the stultification and artificiality of late 18th-century verse and builds a poetics meant "to make the incidents of common life interesting by tracing in them, truly though not ostentatiously, the primary laws of our nature... For all good poetry is the spontaneous overflow of powerful feelings." His "outline of the supreme function of poetry, expressed in such phrases that poetry 'takes its origin from emotion recollected in tranquillity', set a new tone; and it became in effect the revolutionary manifesto of the romantic poets of the next generation" (PMM 256). Or, as T.S. Eliot wrote, "Wordsworth is really the first, in the unsettled state of affairs in his time, to annex new authority for the poet, to meddle with social affairs, and to offer a new kind of religious sentiment which it seemed the peculiar prerogative of the poet to interpret" (The Uses of Poetry and the Use of Criticism). Ashley VIII, pp.6-9; Wise Wordsworth 5. (2)