ABSTRACT
As M. H. Abrams indicates, even in the title of his influential work, Natural Supernaturalism, however, the division is curious not for its separation of the natural from the supernatural, but for the way it makes them interdependent. Wordsworth and Coleridge, in their 'plan of the Lyrical Ballads', continue, in a sense, to develop Horace Walpole's 'Gothick' theory of a 'blend of two kinds of romance, the ancient and the modern', he superstitious and the realistic. In his second preface to The Castle of Otranto, Walpole declares his intention to present realistic modern characters in order to raise further interest in the novelty and wonder supplied by a fabulous narrative. Wordsworth's haunted poetry evokes the spectacle of the creative imagination. The fantastic underlies the affect of Wordsworth's poetics and proves to be inextricably tied up for him with the creative power of poetry itself and to inform the very mind of modern humanity.
