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Wordsworth and Vaughan When reading T.S. Eliot's critical remark, "It must be observed that the speech of these poets is as a principle simple and pure," one may assume that he was referring to the Romantics (Eliot 2328). Especially, we could apply this announcement to poets the ilk of Wordsworth, who eschewed poetic affectations and "tricked out" speech for ideas which originated and flowed obviously (Wordsworth 270). Yet Eliot hadn't concentrated his critical eye there, this moment. Instead, he squinted a century back into some lesser-referenced literary category, the Metaphysical poets (Eliot 2328). That the Metaphysical poets along with the Romantics share a characteristically simple/natural diction is vital. While they are undoubtedly distinct colleges, if we could demonstrate that they are even remotely stylistically similar, then we might have grounds to admit similarities between a poet from every, respectively. Thus, I propose considering Wordsworth in relation to a previous man, Henry Vaughan. I'm not the first to do this; much was said of this connection between these men seeing their corresponding poems "The Retreat" and "Ode: Intimations of Immortality"--by comparing them that I cannot argue any original insight. However, there's more common to those two men than two poems, also in analyzing what Wordsworth desires from poetry and the poet in his "Preface to the Lyrical Ballads" people view that Vaughan had several of those poetic qualities Wordsworth demanded of himself. Even more intriguing, Wordsworth's changed outlook from "Lines Composed a Few Miles Above Tintern Abbey" into the "Elegiac Stanza" replicates Vaughan's change from "To Amoret" into "The Night." Where Vaughan's verse originally addressed worldly natural and love.