william wordsworth 的简介及创作 请问william wordsworth 的简介及创作th...

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Notes about this poem:
1. Wordsworth made use of the description in his sister's diary, as well as
of his memory of the daffodils in Gowbarrow Park, by Ullswater. Cf. Dorothy
Wordsworth's Journal, April 15, 1802: "I never saw daffodils so beautiful.
They grew among the mossy stones . . .; some rested their heads upon these
stones, as on a pillow for weariness; and the rest tossed and reeled and
danced, and seemed as if they verily laughed with the wind, that blew upon
them over the lake; they looked so gay, ever glancing, ever changing."

2. 'They flash upon that inward eye... ': Wordsworth said that these were
the two best lines in the poem and that they were composed by his wife.

Biography and Assessment:

Wordsworth was born in the Lake District of northern England[...]The
natural scenery of the English lakes could terrify as well as nurture, as
Wordsworth would later testify in the line "I grew up fostered alike by
beauty and by fear," but its generally benign aspect gave the growing boy
the confidence he articulated in one of his first important poems, "Lines
Composed a Few Miles Above Tintern Abbey . . . ," namely, "that Nature
never did betray the heart that loved her."
[...]
Wordsworth moved on in 1787 to St. John's College, Cambridge. Repelled by
the competitive pressures there, he elected to idle his way through the
university, persuaded that he "was not for that hour, nor for that place."
The most important thing he did in his college years was to devote his
summer vacation in 1790 to a long walking tour through revolutionary
France. There he was caught up in the passionate enthusiasm that followed
the fall of the Bastille, and became an ardent republican sympathizer.
[...]
The three or four years that followed his return to England were the
darkest of Wordsworth's life. Unprepared for any profession, rootless,
virtually penniless, bitterly hostile to his own country's opposition to
the French, he knocked about London in the company of radicals like
William Godwin and learned to feel a profound sympathy for the abandoned
mothers, beggars, children, vagrants, and victims of England's wars who
began to march through the sombre poems he began writing at this time.
This dark period ended in 1795, when a friend's legacy made possible
Wordsworth's reunion with his beloved sister Dorothy--the two were never
again to live apart--and their move in 1797 to Alfoxden House, near
Bristol. There Wordsworth became friends with a fellow poet, Samuel Taylor
Coleridge, and they formed a partnership that would change both poets'
lives and alter the course of English poetry.

[...]

Through all these years Wordsworth was assailed by vicious and tireless
critical attacks by contemptuous reviewers; no great poet has ever had to
endure worse. But finally, with the publication of The River Duddon in
1820, the tide began to turn, and by the mid-1830s his reputation had been
established with both critics and the reading public.

Wordsworth's last years were given over partly to "tinkering" his poems,
as the family called his compulsive and persistent habit of revising his
earlier poems through edition after edition. The Prelude, for instance,
went through four distinct manuscript versions (1798-99, 1805-06, 1818-20,
and 1832-39) and was published only after the poet's death in 1850. Most
readers find the earliest versions of The Prelude and other heavily
revised poems to be the best, but flashes of brilliance can appear in
revisions added when the poet was in his seventies.

Wordsworth succeeded his friend Robert Southey as Britain's poet laureate
in 1843 and held that post until his own death in 1850. Thereafter his
influence was felt throughout the rest of the 19th century, though he was
honoured more for his smaller poems, as singled out by the Victorian
critic Matthew Arnold, than for his masterpiece, The Prelude. In the 20th
century his reputation was strengthened both by recognition of his
importance in the Romantic movement and by an appreciation of the darker
elements in his personality and verse.

William Wordsworth was the central figure in the English Romantic
revolution in poetry. His contribution to it was threefold. First, he
formulated in his poems and his essays a new attitude toward nature. This
was more than a matter of introducing nature imagery into his verse; it
amounted to a fresh view of the organic relation between man and the
natural world, and it culminated in metaphors of a wedding between nature
and the human mind, and beyond that, in the sweeping metaphor of nature as
emblematic of the mind of God, a mind that "feeds upon infinity" and
"broods over the dark abyss." Second, Wordsworth probed deeply into his
own sensibility as he traced, in his finest poem, The Prelude, the "growth
of a poet's mind." The Prelude was in fact the first long autobiographical
poem. Writing it in a drawn-out process of self-exploration, Wordsworth
worked his way toward a modern psychological understanding of his own
nature, and thus more broadly of human nature. Third, Wordsworth placed
poetry at the centre of human experience; in impassioned rhetoric he
pronounced poetry to be nothing less than "the first and last of all
knowledge--it is as immortal as the heart of man," and he then went on to
create some of the greatest English poetry of his century. It is probably
safe to say that by the late 20th century he stood in critical estimation
where Coleridge and Arnold had originally placed him, next to John
Milton--who stands, of course, next to William Shakespeare.

Some comments:

1.We often go through life as if we were unconscious of what is going on
around us - like clouds. We notice many things some of which are beautiful
and some ordinary. But being distracted - not poets, who would naturally
notice and be gay at the sight - we fail to be lifted by the simple but
awesome beauty that surrounds us. WW was not being a poet at the time and
so he "little thought what wealth to him the show had wrought." He was
forced to try to re-experience it from memory - his inward eye - in order to
fill his heart with the pleasure he missed when he actually saw the daffodils.

To me, the poem serves as a reminder that our happiness is best served if we
live our lives as poets and notice the simple beauty that nature gives us
daily. Where ordinary people see flowers, the poet sees stars, dancers,
happy celebrations of nature's miracles and is pleasured. Live as a
poet!!!!!

2.I always thought
of the poem as a simple poem of yellow gay springtime. Having really
looked at the poem something clicked and I have a profound understanding
that I had overlooked -

The word 'DANCE' is in every stanza - Dance the cosmic creative energy
that transforms space into time, is the rhythm of the universe. Round
dancing, was a dance that imitated the sun's course in the heavens and
enclosed a sacred space. The round, yellow, golden cups of the daffodil
can easily symbolize the sun, the sacred sun of incorruptibile wisdom,
superior and noble.

Dancing as the Dance of Siva is the eternal movement of the universe the
'play' of creatio, or the 'fluttering' frenzy emotional chaos of
Dionysian/Bacchic.

The stars, messengers of the gods, the eyes of night, and hope, toss
their 'head,' the seat of both our intelligence and folly, honor and
dishonor.

Lying on a couch in a vacant pensive mood could easily be a way to
discribe a meditative state where the forces of the universe and our
connection with the ceaseless movement, the ebb and flow of life as a
wave dances could be pondered.

That last line "And dances with the Daffodils." could it be the dance of
angels round the throne of God. If this is a poem of the cycle of
existence and the circling of the sun/God of course what wealth and
glee.

3.A poem can stir all of the senses, and the subject matter of a poem can range from being funny to being sad.

威廉·华兹华斯（William Wordsworth，1770-1850年），英国浪漫主义诗人，曾当上桂冠诗人。其诗歌理论动摇了英国古典主义诗学的统治，有力地推动了英国诗歌的革新和浪漫主义运动的发展。

他是文艺复兴运动以来最重要的英语诗人之一，其诗句“朴素生活，高尚思考”被作为牛津大学基布尔学院的格言 。

主要创作：

1、抒情诗： 《抒情歌谣集》、《丁登寺旁》。

2、 长诗： 《序曲》、《远游》。

3、 自传体叙事诗 ：《革命与独立》。

4、诗歌：《露西》、《咏水仙》、《不朽的征兆》。

扩展资料

华兹华斯是“湖畔诗人”的领袖，在思想上有过大起大落——初期对法国大革命的热烈向往变成了后来遁迹于山水的自然崇拜，在诗艺上则实现了划时代的革新，以至有人称他为第一个现代诗人。

他是诗歌方面的大理论家，虽然主要论著只是《抒情歌谣集》第二版（1800年）的序言，但那篇小文却含有能够摧毁十八世纪古典主义的炸药。

他说，诗必须含有强烈的情感，这就排除了一切应景、游戏之作；诗必须用平常而生动的真实语言写成，这就排除了“诗歌词藻”与陈言套语。

华兹华斯认为“所有的好诗都是强烈情感的自然流露”，主张诗人“选用人们真正用的语言”来写“普通生活里的事件和情境”，而反对以18世纪格雷为代表的“诗歌词藻”。

他进而论述诗和诗人的崇高地位，认为诗非等闲之物，“诗是一切知识的开始和终结，它同人心一样不朽”，而诗人则是“人性的最坚强的保护者，支持者和维护者。他所到之处都播下人的情谊和爱”。

参考资料来源：百度百科-威廉·华兹华斯

简介：
华兹华斯（William Wordsworth，1770-1850年），英国浪漫主义诗人。其诗歌理论动摇了英国古典主义诗学的统治，有力地推动了英国诗歌的革新和浪漫主义运动的发展。

创作：
1、创作生涯：1798年9月至1799年春，华兹华斯同多萝西去德国小住，创作了《采干果》、《露斯》和短诗《露西》组诗，同时开始写作长诗《序曲》。
1802年10月，华兹华斯和相识多年的玛丽·郝金生结婚。这段时间，华兹华斯写了许多以自然与人生关系为主题的诗歌，中心思想是大自然是人生欢乐和智慧的源。1803年华兹华斯游苏格兰，写了《孤独的收割人》。1807年他出版了两卷本诗集，这部诗集的出版，总结了从1797至1807年他创作生命最旺盛的10年。
华兹华斯与柯勒律治（Samuel Taylor Coleridge）、骚塞（Robert Southey）同被称为“湖畔派”诗人（Lake Poets）。他们也是英国文学中最早出现的浪漫主义作家。他们喜爱大自然，描写宗法制农村生活，厌恶资本主义的城市文明和冷酷的金钱关系，他们远离城市，隐居在昆布兰湖区和格拉斯米尔湖区，由此得名“湖畔派”。
“湖畔派”三诗人中成就最高者为华兹华斯。他于1798年和柯勒律治合作发表了《抒情歌谣集》，华兹华斯和柯尔律治从拥护法国革命变成反对，于是前者寄情山水，在大自然里寻找慰藉，后者神游异域和古代，以梦境为归宿。两人的诗歌合集题名为《抒情歌谣集》，于1798年出版，《抒情歌谣集》宣告了浪漫主义新诗的诞生。两年后再版时，华兹华斯加了一个长序。在这篇序中，华兹华斯详细阐述了他的浪漫主义文学主张，主张以平民的语言抒写平民的事物、思想与感情，被誉为浪漫主义诗歌的宣言。
在《决心与自立》（Resolution and Independence，1802年）一诗中，华兹华斯描写了一位年老体衰却要不停奔波劳作的捞水蛭人。
此后，华兹华斯的诗歌在深度与广度方面得到进一步的发展，在描写自然风光、平民事物之中寓有深意，寄托着自我反思和人生探索的哲理思维。完成于1805年发表于1850年的长诗《序曲》则是他最具有代表性的作品。
华兹华斯创作最旺盛的时期是1797至1807年的10年。其后佳作不多，到1843年被任命为“桂冠诗人”时已经没有什么作品了。然而纵观他的一生，其诗歌成就是突出的，不愧为继莎士比亚、弥尔顿之后的一代大家。

2、创作主张：
华兹华斯是“湖畔诗人”的领袖，在思想上有过大起大落——初期对法国大革命的热烈向往变成了后来遁迹于山水的自然崇拜，在诗艺上则实现了划时代的革新，以至有人称他为第一个现代诗人。
他是诗歌方面的大理论家，虽然主要论著只是《抒情歌谣集》第二版（1800年）的序言，但那篇小文却含有能够摧毁十八世纪古典主义的炸药。
他说，诗必须含有强烈的情感，这就排除了一切应景、游戏之作；诗必须用平常而生动的真实语言写成，这就排除了“诗歌词藻”与陈言套语；诗的作用在于使读者获得敏锐的判别好坏高下的能力，这样就能把他们从“狂热的小说、病态而愚蠢的德国式悲剧和无聊的夸张的韵文故事的洪流”里解脱出来。
华兹华斯认为“所有的好诗都是强烈情感的自然流露”（poetry is the spontaneous overflow of powerful feelings），主张诗人“选用人们真正用的语言”来写“普通生活里的事件和情境”，而反对以18世纪格雷为代表的“诗歌词藻”。他进而论述诗和诗人的崇高地位，认为诗非等闲之物，“诗是一切知识的开始和终结，它同人心一样不朽”，而诗人则是“人性的最坚强的保护者，支持者和维护者。他所到之处都播下人的情谊和爱”。

3、风格特点：
华兹华斯的小诗清新，长诗清新而又深刻，一反新古典主义平板、典雅的风格，开创了新鲜活泼的浪漫主义诗风。他的十四行诗雄奇，他的《序曲》（1805年）首创用韵文来写自传式的“一个诗人的心灵的成长”，无论在内容和艺术上都开了一代新风。华兹华斯关于自然的诗歌，优美动人，他的这类诗歌的一个突出特点就是——寓情于景，情景交融。这种风格，是作者通过对诗歌的题材、诗歌所用的语言，以及对诗歌所用的格律、诗体和作诗歌词汇的选择体现出来的。

他是我很喜欢的诗人呢 给你介绍吧~

　　威廉 华兹华斯
　　（1770～1850）
　　Wordsworth，William
　　英国浪漫主义诗人。1770年4月7日生于北部昆布兰郡科克茅斯的一个律师之家，1850年4月23日卒于里多蒙特。8岁丧母。5年后，父亲又离开了他。亲友送他到家乡附近的寄宿学校读书。1787年进剑桥大学，曾在1790年、1791年两次访问法国。其间与法国姑娘阿内特·瓦隆恋爱，生有一女。1795年从一位朋友那里接受了一笔遗赠年金，他的生活有了保障，也有了实现回归大自然夙愿的可能，便同妹妹多萝西移居乡间。1797年同诗人柯尔律治相识，翌年两人共同出版《抒情歌谣集》。1798～1799年间与柯尔律治一同到德国游历，在那里创作了《采干果》、《露斯》和组诗《露西》，并开始创作自传体长诗《序曲》。1802年与玛丽·哈钦森结婚。此时开始关注人类精神在与大自然交流中得到的升华，并且发现这一主题与传统的宗教观实际上并行不悖，因此重新皈依宗教。同时，在政治上日渐保守。
　　华兹华斯诗歌创作的黄金时期在1797～1807年。随着声誉逐渐上升，他的创作逐渐走向衰退。到了1830年，他的成就已得到普遍承认，1843年被封为英国桂冠诗人。由于他与柯尔律治等诗人常居住在英国西北部多山的湖区，1807年10月的《爱丁堡评论》杂志称他们是湖畔派的代表诗人。18世纪末、19世纪初在英国西北部的湖畔有一些诗人聚集，其诗作多描写湖区，故称他们为“湖畔派”。
　　早期诗歌《晚步》和《素描集》中，对大自然的描写基本上未超出18世纪的传统。然而，从《抒情歌谣集》开始，一反18世纪的诗风，将一种崭新的风格带到诗歌创作中，开创了英国文学史上浪漫主义诗歌的新时代。他为《抒情歌谣集》的再版所写的序言被认为是浪漫主义文学的宣言。他的作品还有《不朽的征兆》以及由《序曲》和《漫游》两部分组成的哲理性长诗《隐者》等。
　　1770年4月7日，威廉·华兹华斯（William Wordsworth）出生在英国坎伯兰郡的考克茅斯。华兹华斯排行第二，上有一个哥哥，下有一个妹妹和两个弟弟。其父是个律师。华兹华斯8岁丧母，13岁丧父，少年时期一直在几家亲戚的监护之下，住在寄宿学校中，与兄弟姐妹们分开生活。五个孩子从父亲那里继承的遗产主要是对一位贵族的8500镑的债权。但这贵族在1802年去世之前，一直不愿偿还这笔钱，可以说，华兹华斯青少年时期的生活是十分贫寒的。但是他生活地区的美丽自然风光，疗救和补偿了他在物质与亲情上的缺失，因而华兹华斯的对早年的回忆并不觉得贫苦。他对自然有着“虔诚的爱”，将自然看成是自己的精神家园。受学校老师的影响，开始写诗。华兹华斯的第一首诗歌完成于1784年。
　　--------------------------------------------------------------------------------
　　1787年他进入剑桥大学圣约翰学院学习，熟读了希腊拉丁文学，学习意大利文、法文和西班牙文。1790年和1791年两次赴法。当时正是法国大革命的年代，年轻的华兹华斯对革命深表同情与向往。回国后不久，局势剧变，华兹华斯对法国大革命感到失望。1795年，他和妹妹多萝茜以及诗人柯勒律治居住在北部山地的湖区，并在此消磨了一生。1798年华兹华斯与柯勒律治共同发表了《抒情歌谣集》，1800年这部诗集再版时华兹华斯写了序言。
　　《抒情歌谣集》出版时，华兹华斯并未受到重视，《序言》出版后，更遭到批评家的反对。1807年他的两卷集出版时仍受到批评界的攻击。但从19世纪初叶起，他在诗歌上的成就逐渐得到承认，激进派诗人如利·亨特也称他为颂扬大自然的新型诗歌的开创者和领袖，说他的诗取代了18世纪矫揉造作的诗风。人们认为《抒情歌谣集》宣告了浪漫主义新诗的诞生。在艺术上华兹华斯对雪莱、拜伦和济慈都有影响。
　　1843年被封为英国“桂冠诗人”，为宫廷写了不少应景诗，艺术成就大不如前。
　　1850 年4月23日去世。
　　增加部分：
　　The poet Robert Southey as well as Coleridge lived nearby, and the three maen became known as“Lake Poets”.骚塞，柯勒律治也居住在同一地城，三人并称为“湖畔诗人”

William Wordsworth (1770-1850)

British poet, who spent his life in the Lake District of Northern England. William Wordsworth started with Samuel Taylor Coleridge the English Romantic movement with their collection LYRICAL BALLADS in 1798. When many poets still wrote about ancient heroes in grandiloquent style, Wordsworth focused on the nature, children, the poor, common people, and used ordinary words to express his personal feelings. His definition of poetry as "the spontaneous overflow of powerful feelings arising from "emotion recollected in tranquillity" was shared by a number of his followers.

"Poetry is the breath and finer spirit of all knowledge; it is the impassioned expression which is in the countenance of all Science." (from Lyrical Ballads, 2nd ed., 1800)
William Wordsworth was born in Cockermouth, Cumberland, in the Lake District. His father was John Wordsworth, Sir James Lowther's attorney - the fifth Baronet Lowther was the most feared and hated aristocrat in all of Cumberland and Westmoreland, "an Intolerable Tyrant over his Tenants and Dependents". However, the magnificent landscape deeply affected Wordsworth's imagination and gave him a love of nature. He lost his mother when he was eight and five years later his father. The domestic problems separated Wordsworth from his beloved and neurotic sister Dorothy, who was a very important person in his life. Dorothy had especially fresh contact to nature from a very early age. Her thoughts and impression were a valuable source of inspiration for her brother, who also introduced himself as Nature's child. The first time she saw the sea, she burst into tears, "indicating the sensibility for which she was so remarkable," Wordsworth remembered.

With the help of his two uncles, Wordsworth entered a local school and continued his studies at Cambridge University. As a writer Wordsworth made his debut in 1787, when he published a sonnet in The European Magazine. In that same year he entered St. John's College, Cambridge, from where he took his B.A. in 1791. During a summer vacation in 1790, Wordsworth went on a walking tour through revolutionary France. He also traveled in Switzerland.

On his second journey in France, Wordsworth had an affair with a French girl, Annette Vallon, a daughter of a barber-surgeon, by whom he had a illegitimate daughter Anne Caroline. The affair was basis of the poem 'Vaudracour and Julia', but otherwise Wordsworth did his best to hide the affair from posterity. After his journeys, Wordsworth spent several aimless and unhappy years. In 1795 he met Coleridge. Wordsworth's financial situation became better in 1795 when he received a legacy and was able to settle at Racedown, Dorset, with his sister Dorothy.

Encouraged by Coleridge and stimulated by the close contact with nature, Wordsworth composed his first masterwork, Lyrical Ballads, which opened with Coleridge's 'Ancient Mariner.' About 1798 he started to write a large and philosophical autobiographical poem, completed in 1805, and published posthumously in 1850 under the title THE PRELUDE. The long work described the poet's love of nature and his own place in the world order.

"Dust as we are, the immortal spirit grows
Like harmony in music; there is a dark
Inscrutable workmanship that reconciles
Discordant elements, makes them cling together
In one society."
The winter 1798-99 Wordsworth spent with his sister and Coleridge in Germany. There he wrote several works, including the enigmatic 'Lucy' poems. After return he moved Dove Cottage, Grasmere. In 1802 married Mary Hutchinson. They cared for Wordsworth's sister Dorothy for the last 20 years of life - she had lost her mind as a result of physical ailments. Almost all Dorothy's memory was destroyed, she sat by the fire, and occasionally recited her brother's verses.

Wordsworth's second collection, POEMS, IN TWO VOLUMES, appeared in 1807. In the same year Thomas de Quincey met first time Wordsworth and wrote about him and other Lake Poets in several essays. He described revealingly Wordsworth's mean appearance and Dorothy's lack of sex appeal. The frankness of his text, although published in the 1830s and 1840s, was considered indiscreet by later Victorian critics. "... Wordsworth was of a good height (five feet ten), and not a slender man; on the contrary, by the side of Southey, his limbs looked thick, almost in a disproportionate degree. But the total effect of Wordsworth's person was always worst in a state of motion. Meantime, his face - that was one which would have made amends for greater defects of figure." (from Reminiscenes of the English Lake Poets by Thomas de Quincey, 1907)

Wordsworth's path-breaking works were produced between 1797 and 1808. In a letter to Lady Beaumont he said: "Every great and original writer, in proportion as he is great and original, must himself create the taste by which he is to be relished." His poems written during middle and late years have not gained similar critical approval. Wordsworth's Grasmere period ended in 1813 when he moved to Rydal Mount, Ambleside, where he spent the rest of his life. His daughter Catherine and beloved son Thomas had died and his friendship with Coleridge, suffering from addiction, was breaking apart. Coleridge did not visit Grasmere, although he had made a trip to the Lake District.

Wordsworth was appointed official distributor of stamps for Westmoreland. From the age of 50 his creative began to decline, but tree female assistants took care of him, and filled his life with admiration. Wordsworth abandoned his radical faith and became a patriotic, conservative public man. In 1843 he succeeded Robert Southgey (1774-1843) as England's poet laureate. Wordsworth died on April 23, 1850. The second generation of Romantics, Byron and Shelley, considered him 'dull.' Later the philosopher Bertrand Russell summed up the poet's career: "In his youth Wordsworth sympathized with the French Revolution, went to France, wrote good poetry, and had a natural daughter. At this period he was called a 'bad' man. Then he became 'good,' abandoned his daughter, adopted correct principles, and wrote bad poetry."

Dorothy Wordsworth (1771-1855) published travel books and journals, such as GRASMERE JOURNALS 1800-03 and THE ALFOXDEN JOURNAL 1798, in which she described the friendship of Wordsworth and Coleridge. After a serious illness in 1829, she was obliged to lead the life of an invalid, which deeply affected her imaginative and mental powers.

For further reading: The Hidden Wordsworth by Kenneth R. Johnston (2001); 1798: The Year of the Lyrical Ballads, ed. by Richard Cronin (1998); The Revolutionary 'I' by Ashton Nichols (1998); Disowned by Memory by David Bromwich (1998); The Hidden Wordsworth by Kenneth R. Johnston (1998); William Wordsworth: A Biography by Hunter Davies (paperback in 1997); William Wordsworth by John Williams (1996); Becoming Wordsworthian by Elisabeth A. Fray (1995); A Literary Guide to the Lake District by G. Lindop (1993); Wordsworth and the Beginnings of Modern Poetry by R.M. Rehder (1981); Wordsworth's Second Nature by J.K. Chandler (1984); A Wordsworth Companion by F.B. Pinion (1984); Life by M. Moorman (1957/1965); Wordsworth and the Human Heart by J. Beer (1978); Reminiscences of the English Lake Poets by Thomas de Quincey (1907) - See also: WALTER DE LA MARE - Museums: Dove Cottage, Town End, Grasmere - former home of William and Mary Wordsworth, closed mid-January to mid-February; Rydal Mount, Ambleside - Wordsworth lived there from 1813 to 1850. Still a family house of his descendants. Closed Tuesdays 1 November to 28 February, and in January; Wordsworth House, open April to October - Suom. Wordsworth: Runoja, 1949 - suom. Aale Tynni, Yrjö Jylhä, Lauri Viljanen
Selected works:

AN EVENING WALK, 1793
DESCRIPTIVE SKETCHES, 1793
THE BORDERS, 1795-96
LYRICAL BALLADS, 1798 (with Coleridge)
LINES WRITTEN ABOVE TINTERN ABBEY, 1798
UPON WESTMINSTER BRIDGE, 1801
ON POETIC DICTION, 1802
INTIMATIONS OF IMMORTALITY, 1803-06
POEMS I-II, 1807
MISCELLANEOUS SONNETS, 1807
TRACT ON THE CONVENTION OF CINTRA, 1809
ESSAY UPON EPITAPHS, 1810
THE EXCURSION, 1814
THE WHITE DOE OF RYLSTONE, 1815
PETER BELL, 1819
THE WAGGONER, 1819
THE RIVER DUDDON, 1820
MEMORIALS OF A TOUR ON THE CONTINENT, 1822
ECCLESIASTICAL SKETCHES, 1822
YARROW REVISITED, 1835
THE PRELUDE, OR GROWTH OF A POET'S MIND, 1850
THE RECLUSE, 1888
PROSE WORKS, 1896
THE POETICAL WORKS, 1940-49
SELECTED POEMS, 1959
LITERARY CRITICISM, 1966
LETTERS OF DOROTHY AND WILLIAM WORDSWORTH, 1967
LETTERS OF THE WORDSWORTH FAMILY, 1969
COMPLETE POETICAL WORKS, 1971
PROSE WORKS, 1974
POEMS, 1977
THE LOVE LETTERS OF WILLIAM AND MARY WORDSWORTH, 1981
THE FIVE-BOOK PRELUDE, 1997 (ed. by Duncan Wu)
SELECTED CRITICAL ESSAYS, 1999 (ed. by G.W. Meyer)

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