In the following excerpt, Glen compares selected poems from the 1798 Lyrical Ballads with William Blake's Songs of Innocence and Experience.

In the following excerpt, Campbell provides an overview of critical reaction to Lyrical Ballads from earliest responses to the 1990s. Campbell then sketches the social and political context in which the collection was published and explores the philosophical aspects of the collaboration between Wordsworth and Coleridge.

In the following excerpt, Parrish maintains that in the Lyrical Ballads of 1798 and 1800, Wordsworth combined eighteenth-century traditions of the ballad and pastoral genres.

In the following excerpt, Barstow discusses Wordsworth's experimental use of the language of common individuals in Lyrical Ballads, noting that his attempt to reflect psychological states through diction was not successful.

In the following excerpt, Eilenberg focuses on Wordsworth's “Lucy” poems as they reflect his sense of loss and his relationship to nature and his own poetry.

In the following excerpt, Prickett highlights several key poems of the Lyrical Ballads as contributing to the unity of this collection.

In the following essay, Davie discusses Wordsworth's emphasis on the pleasure of perception as the hallmark of his poetry, placing the poet's ideas in the context of classical and Romantic theories of composition.

In the following excerpt, Jacobus provides a detailed reading of Wordsworth's Salisbury Plain, noting that the poem is pivotal because it signals the poet's growing awareness of the realities of human suffering.

In the following essay, Stabler discusses Lyrical Ballads in the context of British satirical writings against the perceived threat of Jacobinism.

In the following essay, Pfau provides a revisionist reading of the “Preface” to the Lyrical Ballads, looking past the traditional connotations of the Romantic verbiage that Wordsworth employs and finding “a landmark document in romantic cultural and social theory.”

In the following essay, McEathron discusses Wordsworth's appropriation and reworking of the popular “peasant poetry” phenomenon for use in the Lyrical Ballads.

In the following essay, Eilenberg examines the substitution of Wordsworth's “Michael” in place of Coleridge's “Christabel” as the last poem in the 1800 edition of Lyrical Ballads. The author then evaluates the interrelationship between “Michael” and “Christabel,” as well as that of their authors.

In the following essay, Parrish examines Coleridge's understanding of the ballad form, both as seen through his collaboration with Wordsworth in Lyrical Ballads and through his notion of the supernatural.

In the following essay, Liu examines the influence of the French Revolution on Wordsworth's poetry in Lyrical Ballads, suggesting that he attempted to work out his personal and political response to revolutionary ideas through his poetry.

In the following excerpt, Murray explores Wordsworth's use of illusory imagery in the Lyrical Ballads of 1800, emphasizing that the poet employs this technique to make a connection between the real and supernatural realms.

In the following review, the anonymous author notes that Lyrical Ballads did not meet with the critical response it deserved when originally published and recommends a closer study of the poems to highlight their merit.

In the following review, the anonymous author praises Edward Dowden's reprint edition of Lyrical Ballads, asserting that Wordsworth's literary influence has been more enduring than that of Coleridge.