Wordsworth said that "poetry is passion, it is the history or science of feeling". Coupled with Shelley's quote, this is a bold statement to make. Wordsworth not only defines poetry as the “science” of emotions – creating an authorial sense of logic – but also as the “history” of feeling. This suggests that the poem was able to "record" every past emotion, be it euphoria or despair. This statement in itself implies that other modes of documentation, such as prose, are inadequate for recording such emotions. And Wordsworth pushes this definition further. Shelley claims that poetry is the “record of the best and happiest moments”, while Wordsworth claims that “poetry [is] passion”. Poetry, therefore, is not just the act of testimony; reading and writing poetry creates these “happier moments.” Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Shelley's opening quote argues that poetry is a "record," suggesting that the poet's choice of words simply translates the sight into verse. However, Shelley's "Defence of Poetry" also argues for the importance of the poet in creating such happy moments within a poem. It is only through their imagination that words manage to exalt an 'opaque and dense world', from ephemeral humanity to eternal, true beauty. This continues when he mentions that poetry “removes the veil of familiarity from the world.” It is important to consider this metaphor of the 'veil', as an image that prevents humanity from seeing absolute beauty. The responsibility therefore falls to the poet, to reveal the world and bring its beauty into focus. This metaphor is, however, further complicated. A veil is assumed to be partially transparent, suggesting that humanity is a mere whisper away from exultation. Furthermore, Shelley perhaps suggests the power of language in making everything that is familiar, suddenly unknown again. As people, we get so used to our surroundings that we stop noticing them. By framing them so poetically, there is hope that the world will be reborn in the eyes of humanity and they will transcend ignorance of the arts and consistent monotony. This perhaps suggests that these poets place themselves, as the "best minds", on a pedestal. Only they are aware of these captivating and peculiar perspectives, and through poetry, they also allow the masses to share their lofty opinions. However, this exploration of Shelley's work is not entirely representative of the broader Romantic tradition. For example, Wordsworth, as a first generation Romantic poet, sees a beauty in the world that is not necessarily good, but still creates an impact on his life. Thus, Shelley's “Defense of Poetry” refuses to adhere to his own claim. Poetry does not simply record these moments of happiness; it is only through the transcendent quality of the verse that these same moments can appear as such, and without it they would remain as dark as reality. While Shelley focuses on the "best and happiest moments", Wordsworth's The Two-Part Prelude recalls memories that while not entirely positive, nevertheless remain important in shaping his life. However, his poetry is not entirely negative. Wordsworth often sees the potential of happiness, as if he is on a path that he knows will ultimately lead to him. This concept echoes throughout his poetry, expressed through the reparative motif. The world around Wordsworth is "purifying [...] The elements of feeling and thought [...] both pain and fear, until we recognize / A greatness in the heartbeats." For Wordsworth thepoetry is not simply the "recording" of the happiest moments. In writing these verses, the beauty lies in her interaction with the world, going beyond the testimony of one participant. He states that Nature has the power to "[purify] us", suggesting that it refuses to remain simply a landscape to be described. Nature is instead personified to act as a deity-like figure, producing not only happy "moments", but sharpening our senses so as to influence our entire future. As mentioned above, Wordsworth encourages a sense of anticipation in his verse. We are currently accused of being impure in both “feeling and thought,” waiting to “recognize” how sacred “heartbeats” actually are. Instead, humanity must rely on the power of Nature to make us see how beautiful life can be, until we ourselves come to realize it. Furthermore, the pronoun “we” rejects the exclusivity previously explored by Shelley. His poetry suggests that only poets can recognize such "grandeaur", yet Wordsworth's verses are almost full of hope that one day all people will reach this high prospect. Furthermore, Shelley's quote defines poetry as the record of the "best and happiest moments", but this is not entirely accurate with Wordsworth's Two-Part Prelude. He refuses to discount other emotions, such as "pain and fear", suggesting that these are equally important in shaping the "best minds". In feeling such negativity, the subsequent exultation at “greatness” will only seem more intense; the further down they go, the more they have to get back up. Wordsworth sees the potential to achieve a form of happiness, a "greatness" that suggests a hope for future greatness. Therefore, Wordsworth's poem is less a “record” of happiness, and more a hope for future joy and inspiration. Shelley's quote focuses predominantly on happiness. However, on the contrary, it limits these emotions to simple “moments”. In Wordsworth's other works, such as Tintern Abbey, he adheres closely to the Romantic tradition, using nature as a backdrop to this significant theme of time. Rather than these “moments” existing only in the present, Wordsworth uses this idea of ​​memory to suggest that even past happiness can influence a present epiphany. So it is possible that the world does not have to be constantly glorious, if one can always access these "best moments" through images in the mind. This would also mean that the poet has control over when he feels this euphoria; as opposed to a spontaneous emotion, you can choose a memory and therefore the feeling that accompanies it. Wordsworth explores how memories are not only restorative, but sometimes also imperative: These forms of beauty […] I had to them In hours of weariness sweet sensations Felt in the blood Despite some control in returning to these memories, the verb 'had to' implies an unpaid debt; the narrator relies heavily on his past happiness in an attempt to free him from the current darkness. Without this "beauty" to express through poetry, his imagination would be bereft, the world desolate, and the poet's mind incapable of creating such verses. Furthermore, the ambiguous language: “forms of beauty” gives poetry universality among other arts, suggesting that poetry is not exclusive in being able to record humanity's happiest moments. And these “moments” feel bittersweet; they are only possible by paying a debt of “hours of tiredness”. To counteract this bleak image, the sibilance of "sweet sensations" creates a lilting cheerfulness, as if this improvement in syntax were synonymous with a moment of happiness itself. Every emotion felt, positive or negative, is,, 1985)