natural plan is to take the earliest, and not the latest; and this has
some recommendations. It seems more simple, more natural, and certainly
the easiest. We have a natural sequence, if we begin with the earliest
and go on to the latest readings. Then, all the readers of Wordsworth,
who care to possess or to consult the present edition, will doubtless
possess one or other of the complete copies of his works, which contain
his final text; while probably not one in twenty have ever seen the
first edition of any of his poems, with the exception of 'The Prelude'.
It is true that if the reader turns to a footnote to compare the
versions of different years, while he is reading for the sake of the
poetry, he will be so distracted that the effect of the poem as a whole
will be entirely lost; because the critical spirit, which judges of the
text, works apart from the spirit of sympathetic appreciation, in which
all poetry should be read. But it is not necessary to turn to the
footnotes, and to mark what may be called the literary growth of a poem,
while it is being read for its own sake: and these notes are printed in
smaller type, so as not to obtrude themselves on the eye of the reader.

Against the adoption of the earlier text, there is this fatal objection,
that if it is to be done at all, it must be done throughout; and, in the
earliest poems Wordsworth wrote--viz. 'An Evening Walk' and 'Descriptive
Sketches',--the subsequent alterations almost amounted to a cancelling
of the earlier version. His changes were all, or almost all,
unmistakably for the better. Indeed, there was little in these works--in
the form in which they first appeared--to lead to the belief that an
original poet had arisen in England. It is true that Coleridge saw in
them the signs of the dawn of a new era, and wrote thus of 'Descriptive
Sketches', before he knew its author, "Seldom, if ever, was the
emergence of a great and original poetic genius above the literary
horizon more evidently announced." Nevertheless the earliest text of