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One of the interpretations in this work, however, is not only possible, but even more probable. I had said Wordsworth is quite definite about there having been none to praise Lucy. If he says "none" he must be allowed to mean it. If we give full weight to this "none", we are forced to conclude that the poet himself is to be counted among the people who loved Lucy without her.
It is now that the words "she lived unknown" begin to sound with a new reverberation. emphasis comes to be placed on "lived", and the words can be interpreted as meaning not only that she lived without any kind of renown, but that while she was alive she was not really known by anybody6, including the poet, for what she truly was. It is only now that she is dead, now that what was taken for granted has vanished from the familiar scene that he realizes the value of what he has lost.
Some readers may object that a poem, which can be given two such interpretations, cannot be said to have used language with precision. To an objection of that kind, the best reply is that precision does not necessarily involve meaning one thing and one thing only. The poet is concerned here with a human experience, a human experience of more complexity than appears at the first sight.
To make us feel the full force of the experience, he packs as much meaning as he can into an extremely small pace. That this compression leaves us guessing about the poet's valuation of Lucy while she was alive is not to be accounted a weakness, since a degree of uncertainty on this score is itself part of the experience that the poem sets out to communicate. The ambiguity of the poem, therefore, paradoxically does make for precision, as it is a means of putting the experience before the reader as fully and disturbingly as possible.
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