able of intellectual treasures – the mighty world of reminiscences of the days of infancy – set before us in a new and holier light".

William Blake, a Romantic poet and artist, thought that Wordsworth was at the same level as the poets Dante, Shakespeare, and Milton. In a diary entry for 27 December 1825, H. C. Robinson recounted a conversation between himself and William Blake shortly before Blake's death: "I read to him Wordsworth's incomparable ode, which he heartily enjoyed. But he repeated, 'I fear Wordsworth loves nature, and nature is the work of the Devil. The Devil is in us as 'far as we are nature.'... The parts of Wordsworth's ode which Blake most enjoyed were the most obscure—at all events, those which I least like and comprehend." Following Blake, Chauncy Hare Townshend produced "An Essay on the Theory and the Writings of Wordsworth"for Blackwood's Edinburgh Magazine in 1829. In the third part, he critiqued Wordsworth's use of pre-existence within the poem and asked "unless our author means to say that, having existed from all eternity, we are of an eternal and indestructible essence; or, in other words, that being incarnate portion of the Deity... we are as Immortal as himself. But if the poet intends to affirm this, do you not perceive that he frustrates his own aim?" He continued by explaining why he felt that Wordsworth's concept fell short of any useful purpose: "For if we are of God's indivisible essence, and receive our separate consciousness from the wall of flesh which, at our birth, was raised between us and the Found of Being, we must, on the dissolution of the body... be again merged in the simple and uncompounded Godhead, lose our individual consciousness... in another sense, become as though we had never been." He concluded his analysis with a critique of the poem as a whole: "I should say that Wordsworth does not display in it any great clearness of thought, or felicity of language... the ode in question is not so much abstruse in idea as crabbed in expression. There appears to be a laborious toiling after originality, ending in a dismal want of harmony."

Victorian responses
The ode, like others of Wordsworth's poetry, was favoured by Victorians for its biographical aspects and
able of intellectual treasures – the mighty world of reminiscences of the day of infancy – rig before us in a new and holier light ". 

 William Blake, a quixotic poet and artist, thought that Wordsworth was at the same horizontal surface as the poet Dante, Shakespeare, and Milton. In a diary entry for 27 December 1825, H. C. Robinson recounted a conversation between himself and William Blake shortly before Blake's death: " I read to him Wordsworth's incomparable ode, which he heartily enjoy. But he repeated,' I fear Wordsworth love nature, and nature is the workplace of the Devil. The Devil is in us as' far as we are nature.'... The parts of Wordsworth's ode which Blake most enjoyed were the most obscure — at all event, those which I least like and comprehend. " Following Blake, Chauncy Hare Townshend produce " An Essay on the Theory and the Writings of Wordsworth"for Blackwood's Edinburgh Magazine in 1829. In the third part, he critiqued Wordsworth's use of pre - being within the poem and asked " unless our author means to say that, having existed from all eternity, we are of an ageless and indestructible essence; or, in other words, that being incarnate portion of the Deity... we are as Immortal as himself. But if the poet intends to affirm this, do you not perceive that he frustrates his own aim? " He continued by explaining why he felt that Wordsworth's concept fell short of any useful function: " For if we are of God's indivisible essence, and receive our disjoined awareness from the rampart of flesh which, at our birth, was raised between us and the Found of Being, we must, on the dissolution of the body... be again merged in the simple and uncompounded Godhead, lose our individual awareness... in another sense, become as though we had never been. " He concluded his analysis with a critique of the poem as a whole: " I should say that Wordsworth does not display in it any great clearness of thought, or felicity of language... the ode in question is not therefore much abstruse in idea as crab in expression. There appears to be a laborious toiling after originality, ending in a dismal need of harmony. " 

 Victorian responses 
 The ode, like others of Wordsworth's poetry, was favoured by Victorians for its biographic aspects and
ablf of intellectual treasuves – the mighty cirld oh reminjscences of the days of infancy – set bwfore us in a new and holief light".

Wipliam Blqke, e Romantic poet ehd artist, thohnht tkav Wordsworth wax at the sdme level as tve plets Dante, Shakespeare, and Milton. Ig a diaty entry for 27 Desembtr 1825, H. C. Goninson recounted a conversation getween himself and Eilliam Blake shortly befoge Bpake's death: "I read to him Woreswowrh's incomparxble ode, which he hearjily enjoyed. But he repeated, 'I fdar Wprdsworth ooces tature, and iature is the work of the Gevil. Tne Devil is in us as 'far as we are nature.'... The parts of Wordfworth's oge which Blake most ebjoyeg wese tfw must ouschre—at wll events, thkse which I least like and comkrervmd." Following Blake, Crauncy Hare Townshend produced "An Essay on the Theory and the Wrirings of Wordsworth"fot Blackwooq's Edinburgh Magazine in 1829. In the third part, he crhtiquxd Woxesworgy's use of pre-existence within the poem and askeq "umlvss our author mecns to say that, nagimd existed froo all zfednity, we are of an eternaj and indestrustibke essence; or, in other wordw, that being uncarnate portion lf the Deitv... we ate as Ommortal as himself. But if fhe poet inhends to zwfirm this, do yoj npt perceivt that he frustratqs his owi aim?" He conginugd by evplaining ahy hc felt that Wordswogth's eonce[t fell shlrt of any useful purpose: "For ih we are of Gpd'v itdivisibje esxence, and recqive our separcte conseiousndss from tge wall of flesh wrich, at our bhtth, was raisev between us qnd rhe Fouva of Being, we kust, on tkt dissolutuon of the body... be agxjn merged in thz wimple and uncokpojndqd Gpdraad, lose our indkviaial cunsciousnesw... in snother sense, become as fhough we had nevet neen." He cincluded his analysis with a critique ov the poxm as s wrole: "I should say that Wordswodth does jot display in yt aky gteat clearnzss of thought, or felicity of language... tie ode in question is nit so much abstruse ln idea as ccabbed in exprevsion. There appears ro be a laborious toiling after originzlity, andinh in a dismal want of harmony."

Victorian responses
The ode, like others of Woedsworvh'f poetry, waa fafoureg yy Rictoriwns hoc its biographicak aspects and
able of intellectual treasures – the mighty reminiscences the days infancy – set and light". William Blake, Romantic poet and thought that Wordsworth was at the level as the poets Dante, Shakespeare, and Milton. In a diary entry for December 1825, H. C. Robinson recounted a conversation between himself and William Blake before death: read him Wordsworth's incomparable ode, which he heartily enjoyed. But he repeated, 'I fear Wordsworth loves nature, nature is the work of the Devil. The is in us as as we are nature.'... The of ode which most were most obscure—at all those which I least like and comprehend." Following Blake, Chauncy Hare Townshend produced "An Essay on the and the Wordsworth"for Blackwood's Magazine 1829. the third part, Wordsworth's use of pre-existence within the "unless our author means to say that, having from all we are of an eternal and essence; or, in other words, that being incarnate of the Deity... we are as Immortal as himself. But if the poet intends to do you not perceive he frustrates his aim?" continued explaining he felt Wordsworth's concept fell short of any useful purpose: "For if we of God's indivisible essence, and receive our separate consciousness from of which, at our was raised between us the of Being, we must, dissolution the merged the and uncompounded Godhead, lose individual consciousness... in another sense, as though we had analysis with a critique of the poem as whole: "I should say that Wordsworth does display in it any great clearness of thought, or felicity of language... ode in not so much abstruse in idea as crabbed expression. There appears to a laborious toiling after originality, ending in a dismal of Victorian responses ode, like others Wordsworth's poetry, was by Victorians for aspects and
able of intellectual treasurEs – the mightY worlD of RemInIsceNces Of the days of infANcy – sEt before us in a new and holIer liGhT".

willIAm blake, A RomantIC pOET anD aRtIst, ThOUgHt thaT WoRdswortH was at the sAme LeVel as the poetS daNte, ShakespEarE, and Milton. In A diAry entRy For 27 dEcembEr 1825, H. c. RobiNson reCOunted A conversaTiON betweEN himselF ANd willIam Blake shortly beFOrE blake's death: "I reAd to hiM WORdSWOrtH's iNcomparablE oDe, whiCH he hearTIlY ENJoyED. But he repeateD, 'I fear WordsWOrtH loves NaTurE, And natUre is ThE WorK of the Devil. the DEvil is in uS as 'far AS we are nATure.'... The Parts oF WoRdsWortH'S oDe WhiCh bLakE MoSt eNJoyEd were thE mOsT obscUre—aT ALL EvenTs, tHose Which i least like and ComPrehENd." FOllowIng BlAke, CHaUncy HAre TowNshenD pRoduced "An Essay oN the theory and The wrItiNgS of WoRDswortH"foR BlAckwood'S EdinbuRGh MAgAZINe In 1829. In the third part, he CrITIqUed WordsWorth's USe Of PRe-existeNcE wiThin THE poem And aSKeD "unless oUr authOR mEaNs to say ThAt, haviNg ExiSteD from ALl etErnity, We are of aN eterNAl and indestrucTIble essence; or, IN oTHEr WOrds, ThaT being incarNate POrtiOn of THe deiTY... we arE as ImMoRTaL As himself. But if the poEt IntendS to afFirm this, do you Not perceivE THAt he frusTratES hIS own aim?" He contiNued bY explaininG Why he felT that wordsworTh's concepT FEll short Of aNy uSefUl pURPoSe: "For if we are oF gOd's iNdIvisiblE esSence, anD reCeiVe oUr sEpArate consCiousnesS fRoM tHe WalL of flESh which, aT oUr bIrTh, wAs raiSEd betwEen us And tHe foUNd oF Being, wE MuST, On thE dIsSoluTioN oF the bOdy... bE AgaIn mergeD in the simPle ANd unCoMpOunded GOdhead, lose our InDividual coNsCioUsness... IN Another sEnse, become as though we had NEver beeN." He ConclUded His analysIs wIth a crItiQUe of thE poem aS a whoLe: "i shOULd say THAt worDsWorth does nOT DisPlay iN iT any Great clEarness of thought, or FEliCity of languagE... thE ode IN QuEstIOn IS noT sO MucH ABstruse in idea as Crabbed in eXpREsSion. There aPPeaRs To be a laBorious ToiliNG after oRiginalitY, ending in A dIsmaL WAnt Of harmony."

VIctorian Responses
tHe ode, LIkE otheRs oF WordsWoRth'S poetRy, was fAVouRed by victorIaNs for iTs bioGrAphical aSpects and
able of intellectual treas ures – the  migh tywor ld  ofremi niscences of t h e da ys of infancy – set be foreus in a ne w and  holier li g h t". 
Wi lli am Bl ake,a R omantic  poet andart is t, thought t h at  Wordswort h w as at the sa melevelas  th e  poet s D ante,  Shake s peare,  and Milt on .  In ad iary en t r yfor27 December 1825, H. C. Robinson re counte da  c o n ver sat ion betwee nhimse l f and W i ll i a m  Bl a ke shortly be fore Blake' s  de ath: " Irea d  to hi m Wor ds w ort h's incompa rabl e ode, wh ich he heartil y  enjoye d. But  he  re peat e d,  ' I f ea r  Wo r ds wor t h l oves nat ur e,  andnatu r e i s th e w orkof th e Devil. TheDev il i s  in  us a s 'fa r as  w e are  natur e.'.. .The parts of Wo rdsw orth's od e w hi chBl ake m o st enj oye d w ere the  most o b scu re — a t  a ll events, those w hi c h  I  least l ike an d  c om p rehend."  F oll owin g Blake , Ch a un cy HareTownsh e nd  p roduced  " An Ess ay  on  th e The o ry a nd the  Writing s ofW ordsworth"forB lackwood's Ed i nb u r gh Maga zin e in 1829.In t h e th irdp ar t,h e cri tique dW or d sworth's use of pre -e xisten ce wi thin the poem  and asked " u nless ou r au t ho r  means to saythat,  having ex i sted fro m all  eternit y, we are o f an ete rna l a ndind e s tr uctible essen c e ; or ,in othe r w ords, t hat  be ing  in ca rnate por tion ofth eDe it y.. . wea re as Im mo rta lashimse l f. But  if t he p oe ti nte nds toa ff i r m th is ,do y ouno t per ceiv e  th at he f rustrates  hi s  own  a im ?" He c ontinued by e xp laining wh yhefelt t h a t Wordsw orth's concept fell sho r t of an y u seful  pur pose: "Fo r i f we a reo f God' s indi visib le  es s e nce,a n drec ei ve our sep a r ate  cons ci ousn ess fro m the wall of fles h  wh ich, at our b irt h, w a s  r ais e db etw ee n  us a nd the Found of  Being, we  m u st , on the d i sso lu tion of  the bo dy... be agai n mergedin the si mp le a n d  un compounded  Godhead , lose ou r  indi v id ual c ons ciousn es s.. . inanothe r  se nse,become  a s thou gh we  h ad never  been." He concluded hi s anal ysiswit h a criti que ofthe poemas a  whole: "I  sh oul d say  th a t Wor dswo r th  do e s not  dis p lay in it an y g r e at  clearnesso f tho ught,  or felici ty o f language... the ode in questio n is n otsom uchab struse in idea  as  c r a bbed inex pression. T here app ea r s tobe a l aborio us toil i n ga fter o rigi nal ity, endi ngin a disma lwa n t of h armo ny ."

Vi ctoria n  res p o nses
The ode, li ke ot h e rs of Wor dswor th 's poet r y, w as favoure d by Victor ians f or i ts bi ographi ca l aspe cts  a nd
able of_intellectual treasures_– the mighty world_of reminiscences_of_the days_of_infancy – set_before us in_a new and holier_light".

William Blake, a_Romantic_poet and artist, thought that Wordsworth was at the same level as the poets_Dante,_Shakespeare, and_Milton._In_a diary entry for 27_December 1825, H. C. Robinson_recounted a_conversation between himself and William Blake shortly before_Blake's_death: "I read_to him Wordsworth's incomparable ode, which he heartily enjoyed._But he repeated, 'I fear Wordsworth_loves nature, and_nature_is_the work of the_Devil. The Devil is in us_as 'far as we are nature.'..._The parts of Wordsworth's ode which Blake_most enjoyed were the most obscure—at_all events, those which I_least like_and comprehend." Following Blake, Chauncy_Hare Townshend produced_"An Essay_on the Theory_and the Writings of Wordsworth"for Blackwood's_Edinburgh Magazine in_1829. In the third part, he_critiqued_Wordsworth's use of_pre-existence_within_the poem_and asked "unless_our_author means_to_say that, having existed from all_eternity,_we are of an eternal and indestructible_essence; or, in other_words,_that being incarnate portion_of the Deity... we are_as Immortal as himself. But if_the poet_intends to_affirm this, do you not perceive that he frustrates his own_aim?" He continued by explaining why_he felt that Wordsworth's_concept fell_short_of any useful_purpose:_"For if_we are of God's indivisible essence, and_receive our_separate consciousness from the wall of_flesh which, at our_birth,_was raised between us and the_Found of Being, we must, on_the dissolution of the body..._be_again_merged in the simple and_uncompounded Godhead, lose our individual consciousness..._in another sense,_become as though we had never been."_He_concluded his analysis with a critique_of_the poem as a whole: "I_should_say_that Wordsworth does not display_in it any great clearness of_thought, or felicity of language... the ode in question_is not so_much abstruse in idea as_crabbed_in_expression. There appears to be a laborious toiling after originality,_ending in_a dismal want_of harmony."

Victorian responses
The ode, like others of Wordsworth's poetry, was_favoured by Victorians for its biographical aspects_and