Although Romantic poets typically rejected the conventions of classical poetry, Wordsworth here revisits a poetic form that dates to antiquity: “Surprised by Joy” is a traditional threnody, or a “song of lamentation.” 

Threnodies take as their subject the loss of someone dear; they describe fathomless sadness over that loss and offer suggestions for how to handle such psychological distress. Wordsworth acknowledged his debt to Plutarch and Milton, who both crafted epic threnodies. Wordsworth also expressed admiration for William Shakespeare’s Sonnets, particularly “Sonnet 18,” “Sonnet 30,” and “Sonnet 71,” which examine the fragility of life, the deep impact of loss, and the unforgiving persistence of memory. 

“Surprised by Joy” follows these conventions. The speaker explores the profound grip of sorrow even in a moment of unexpected happiness. Typical of the threnody, the speaker is shocked and feels guilty about feeling a brief release from his grief. The speaker’s direct address to the lost loved one in Line 6, assuring the departed that they will never be forgotten, is also an aspect of the threnody. Most notably, the speaker predicts never entirely letting go of this trauma—being left bereaved without recourse is often an emotional note struck in this form.

After Wordsworth, the threnody has continued to be used. Several heartbreaking works by American Transcendentalist Ralph Waldo Emerson after the drowning death of his young son and numerous poems written by British soldier poets about World War I rely on this poetic form. More contemporary examples include “The Emperor of Ice Cream” by Wallace Stevens; “Howl” by Beat poet Allen Ginsburg; and “The Truth the Dead Know” by Anne Sexton. Songs, like “Tears in Heaven” by Eric Clapton; “Angel” by Sarah McLaughlan; “See You Again” by Wiz Khalifa; and “Ghosteen” by Nick Cave and The Bad Seeds, can also be threnodies.