Academic literature on the topic 'William Wordsworth (1770-1850)'
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Journal articles on the topic "William Wordsworth (1770-1850)"
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Fatah, Shokhan Mohammed. "Industrialization in William Wordsworth's Selected Poems." Journal of University of Human Development 5, no. 3 (July 24, 2019): 116. http://dx.doi.org/10.21928/juhd.v5n3y2019.pp116-119.
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William Wordsworth (1770-1850) is undeniably one of the most significant Romantic poets. He is famous for his love for nature. He finds tranquility and solitude in the company of nature. For him, nature is everything, including faith and God. Wordsworth believes that God has mirrored himself through nature. The industrial revolution made life more complicated, yet productive. The industrial revolution solved some problems while it caused some others, violation of nature is among the most distressing one. As a worshiper of nature, Wordsworth has noticed this impairment and portrayed the two lives, one closer to nature and the other industrialized. This paper aims at presenting William Wordsworth's love for nature through standing against industrialization. His poetry preserves the persistence of nature without any destructive mechanization. From this perspective, three poems of Wordsworth are explained to elucidate the different ways of his approach to new technological innovations and urbanization. The poems include; "The World is Too Much with Us", "Steamboats, Viaducts, and Railways" and "On the Projected Kendal and Windermere Railway". Prior to describing industrialization in the poems, the industrial revolution and its outcomes are generally introduced. Besides, a brief account is given to the British Romanticism due to the fact that Wordsworth is one of the key poets of the movement.
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Gaffney, Eoin F. "'Like—but oh, how different!': (William Wordsworth: 1770–1850)." American Journal of Surgical Pathology 24, no. 2 (February 2000): 322. http://dx.doi.org/10.1097/00000478-200002000-00040.
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Bridge, Julia A., Mary E. Fidler, Thomas A. Seemayer, Mei Wang, Joanne Degenhardt, Craig Walker, and Howard D. Dorfman. "'Like—but oh, how different!': (William Wordsworth: 1770–1850)." American Journal of Surgical Pathology 24, no. 2 (February 2000): 322. http://dx.doi.org/10.1097/00000478-200002000-00041.
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Jalalpourroodsari, Mahshad. "Conceptual Dissonance between Thoreau's and Wordsworth's View on Nature and Imagination." Khazar Journal of Humanities and Social Sciences 16, no. 3 (October 2013): 5–11. http://dx.doi.org/10.5782/2223-2621.2013.16.3.5.
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Henry David Thoreau (1817-1862) and William Wordsworth (1770-1850) belong to two different sects. The former is a Transcendentalist or a member of American Romanticism with its unifying account of self and nature, and the latter is an English Romantic poet belonging to a group of poets called the "lake School [or] the lakers" (Ruston 90-91) who were involved in the appreciation of and dissolution in their natural surroundings. Despite the fact that these two figures have much in common, there are points and junctures where they diverge in their perspectives towards the essential grounds of their parallel philosophies. Through having a look at Thoreau's Walden and Wordsworth's Tintern Abbey, this paper would attempt to present a broad account of the major aspects in which their literary ideas and points of views approach or diverge in regards to nature and imagination.
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Aburqayeq, Ghassan. "Nature as a Motif in Arabic Andalusian Poetry and English Romanticism." Journal of Critical Studies in Language and Literature 1, no. 2 (July 1, 2020): 52–61. http://dx.doi.org/10.46809/jcsll.v1i2.12.
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This paper examines some tenets in the Andalusian and Romantic poetry and shows how poets such as Ibrahim Ibn Khafāja (1058-1138) and William Wordsworth (1770 –1850) used nature as a motif in their poetry. Relying on a historical approach, this paper links smaller features such as themes and literary devices in the Andalusian and Romantic poetry with larger features, including genre, traditions, and cultural system. I argue that the emphasis on both the larger and smaller features of poetry creates what Franco Moretti calls “distant reading.” Comparing and contrasting Ibn Khafāja’s “the Mountain” and Wordsworth’s “the Daffodils,” for instance, introduces nature as a recurrent theme in both Andalusian and Romantic literary traditions, reinforcing Johann Wolfgang Goethe’s description of poetry as a common possession of humanity” (Goethe 229). In addition to that, comparing the images and themes in both the Andalusian and Romantic poetry not only shows internally linked meanings, but it creates what Cesar Domínguez, et al, call “a space for polyglottism, multidisciplinarity, scholarly collaboration” (75). Reading these works and movements closely and distantly serves as a cross-cultural dialogue between the Arabic and English poetic conventions. While Ibn Khafāja and Wordsworth lived in different places and times, wrote in different languages, and did not have the same socio-political circumstances, their poems show the richness and multiplicity of the historical experience of world literature.
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Soltan Beyad, Maryam, and Mahsa Vafa. "Traces of Mysticism in Wordsworth’s Aesthetics of Nature: A Study on William Wordsworth’s Nature Philosophy in the Light of Ibn Al-‘Arabi’s Ontology." Advances in Language and Literary Studies 12, no. 3 (June 30, 2021): 109. http://dx.doi.org/10.7575/aiac.alls.v.12n.3.p.109.
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William Wordsworth (1770-1850) is generally known as a nature poet or a “worshipper of nature”. Yet, his nature poems are not merely confined to the portrayal of the physical elements of nature but are marked by his enlightened spiritual vision. The belief in one life flowing through all, which is a prominent feature of Wordsworth’s nature poetry is a prevalent theme also in the treatment of man and the universe in Ibn al-‘Arabi’s philosophy_ a Sufi mystic whose philosophy is most famously associated with the doctrine of wahdat al-wujud or “the oneness of being”. This paper is an attempt to critically analyze the traces of pantheistic and mystical elements underlying Wordsworth’s poetry, and more importantly compare this with Ibn al-‘Arabi’s stand on the matter. Through analysis of Ibn al-‘Arabi’s ontology, particularly his concept of unity of being and his emphasis on the importance of the faculty of imagination, this study first meets the controversy surrounding the pantheistic elements in Wordsworth’s nature philosophy and then attempts to demonstrate that the mystical doctrine of unity in all beings and the reliance on intuition and imagination as a means of perception of divine immanence is evident in both Ibn al-‘Arabi’s ontology and Wordsworth’s nature poetry. This study also reveals that Wordsworth’s attempt to get to coalescence of subject and object via imagination and its sublime product, poetic language, resembles the mystic’s yearning for transcendental states of consciousness and unification with the divine.
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Najim Abid Al-Khafaji, Saad. "Motherhood in Wordsworth: A Psychoanalytic Study of his Poetics." Al-Adab Journal 1, no. 127 (December 5, 2018): 30–39. http://dx.doi.org/10.31973/aj.v1i127.198.
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By definition, the Romantic ego is a male; the creator of language which helps him to establish “rites of passage toward poetic creativity and toward masculine empowerment.”1 The outlet for a male quest of self – possession in Romantic poetry is women. For the Romantic poets , the “true woman was emotional, dependent and gentle –a born flower”2 and “the Ideal mother was expected to be strong , self- reliant , protective and efficient caretaker in relation to children and home.”4 With emphasis on the individual in Romantic literature and ideology, mothers are depicted as good when they are natural or unnaturally bad. In the Romantic period then, women’s maternal function equals the “foundation of her social identity and of her sexual desire.”5 Consequently, “convinced that within the individual and autonomous and forceful agent makes creation possible”, the Romantic poets “struggle to control that agent and manipulate its energy.”6
In a number of William Wordsworth’s (1770-1850) poems, this creative agent who possesses the powers of creation and imagination becomes a female character who is also often a mother. Nonetheless, when critics examine mothers in Wordsworth’s poetry, they also explore the child/poet’s relationship. Events in Wordsworth’s life surely influenced his attention to mothers. From a psycho-analytic perspective this interest might be an unconscious desire to resurrect the spirit of his dead mother Ann Wordsworth who died when the poet was almost eight. Thus in his poetry, the mother is the counterpart of the genuine faculty of the imagination of the poet and has a strong and felt presence within the poet’s poetic system.
In The Prelude, Wordsworth acknowledges his mother’s deep influence on him. He associates her death with the break within his own poetic development; a sign that the poet relies upon in his creative power .It is through her that the young poet came first in contact with the genial current of the natural world. Nevertheless, without his mother, the male child’s connection to nature not only stands, it grows stronger:
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Soltan Beyad, Maryam, and Mahsa Vafa. "Transcending Self-Consciousness: Imagination, Unity and Self-Dissolution in the English Romantic and Sufis Epistemology." International Journal of Linguistics, Literature and Translation 3, no. 8 (August 30, 2021): 08–18. http://dx.doi.org/10.32996/ijllt.2021.4.8.2.
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English Romantic literature of the late eighteenth and early nineteenth centuries often recounts an individual life journey which depicts physical and spiritual pilgrimage and traverses both the inner and outer world to liberate the self and reach a revelatory moment of unification where the division between human mind and the external world is reconciled. For the Romantic poets this reconciliatory state cannot be achieved through rational investigation but via the power of imagination. In this regard, there is striking resemblance between the mystical and philosophical thought of Sufism and the idealistic thought of the English Romantic poets as they both strive for a sense of unification with the Divine or the Ultimate reality, and they both rely on imagination and intuitive perception to apprehend reality. Applying an analytical-comparative approach with specific reference to Northrop Frye’s anagogic theory (1957) which emphasizes literary commonalities regardless of direct influence or cultural or theological distinctions, this study endeavors to depict that certain Romantic poets’ longing for the reconciliation of subject and object dualism via imagination and its sublime product, poetic language, echoes the mystic’s pursuit of transcendental states of consciousness and unification with the divinely infinite. Through analysis of the concept of self-dissolution (fana) in Islamic mysticism and Sufi literature, particularly the poems of Jalal ad-Din Mohammad Balkhi (1207-1273) known in the West as Rumi, the outcome of this study reveals that the Romantics’ yearning for a state of reconciliation, which is prevalent in the major works of the Romantic poets such as William Blake (1757-1827), William Wordsworth (1770-1850), Samuel Taylor Coleridge (1772-1834), Percy Bysshe Shelley (1792-1822), and John Keats (1795-1821), corresponds to the mystic’s pursuit of unity or the Sufi’s concept of self-annihilation or fana.
Dissertations / Theses on the topic "William Wordsworth (1770-1850)"
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Ray, Mrinalkanti. "Wordsworth and the French Enlightenment." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29025/29025.pdf.
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Gaillet, de Chezelles Florence. "Wordsworth ou la déambulation : marche et démarche poétique." Grenoble 3, 2003. http://www.theses.fr/2003GRE39030.
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La marche est un point nodal où s'entrecroisent les thèmes favoris et les problèmes fondamentaux du poète romantique William Wordsworth (1770-1850) : elle permet une approche transversale de sa vie et de son oeuvre, car elle ouvre un champ d'étude situé à la croisée de la littérature, de la philosophie et de l'histoire des formes et des idées. Période de grandes mutations socio-culturelles, le tournant du dix-neuvième siècle marque l'émergence de la marche comme loisir. Grand marcheur lui-même,Wordsworth offre dans son oeuvre poétique, un tableau complet des marcheurs de l'époque. Les vers où il évoque ses déambulations londoniennes présentent en outre une perception nouvelle de la ville via la marche. A l'image de l'écriture, la marche était pour lui un puissant instrument d'ancrage et de découverte. Véritable hygiène de vie, elle l'aidait à définir son être et à assurer sa stabilité psychologique car elle lui permettait, comme la composition poétique, de lutter contre ses tendances mélancoliques. En décuplant ses sensations, elle évitait que sa perception ne soit émoussée par le quotidien, favorisant ainsi une ouverture émerveillée au monde dans laquelle il puisait son inspiration poétique. Ses promenades dans la nature étaient par ailleurs souvent des chemins intérieurs parce qu'elles permettaient la découverte de paysages sur lesquels il pouvait se projeter, tout en facilitant la méditation ou les rencontres inopinées. La marche jouait enfin un rôle essentiel dans sa création car il composait généralement ses poèmes en marchant. L'écriture s'apparentait même chez lui à une marche intériorisée, comme le suggère le rythme ambulatoire de ses vers. Prenant le relais de ses promenades dans la nature, ses déambulations poétiques participaient de la même quête fondamentale - celle de la continuité - puisqu'elles étaient guidées par sa volonté de retrouver son être passé pour l'enchâsser dans l'écrin de ses vers.
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Tweedie, Gordon. "Wordsworth and later eighteenth-century concepts of the reading experience." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=70242.
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Influential later eighteenth-century critics and philosophers (Stewart, Knight, Alison, Jeffrey, Godwin) argued that poetry's moral and practical benefits derive from "analytical" modes of reading rather than from the poet's instructive intentions. Frequently exploiting the philosophical "language of necessity," Wordsworth's essays and prefaces (1798-1815) protested that poetry directly improves the reader's moral code and ethical conduct. This dissertation discusses Wordsworth's criticism in the context of analytical principles of interpretation current in the 1790s, providing terms for exploring the theme of reading in early mss. of Peter Bell and The Ruined Cottage (1798-1799), the 1798 Lyrical Ballads, and later poems such as "A narrow girdle of rough stones and crags," "Resolution and Independence," "Elegiac Stanzas," and The Prelude (Book V).These poems anticipate Wordsworth's presentation of reading as the "art of admiration" in the "Essay, Supplementary" to the 1815 Poems, and indicate a sustained search for alternatives and correctives to detached investigative approaches to the aesthetic experience. Attempting to reconcile the extremes of the credulous or fanciful response, reflecting a childlike desire to be free from all constraints, and the analytical response, fuelled by perceptions of contrast between poetic illusion and reality, Wordsworth's criticism and poetry depict the reader as the"auxiliar" of poetic genius. The purpose, traditionally undermined by critics as peremptory and egotistical, was to challenge readers to examine their basic motives in seeking poetic pleasure.
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Kelley, Robert Paul. "The literary sources of William Wordsworth's works, 10 July 1793 to 10 June 1797." Thesis, University of Hull, 1987. http://hydra.hull.ac.uk/resources/hull:5863.
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Wordsworth's works between his departure from London on 10 July 1793 and the visit by Coleridge on 10 June 1797 are key documents in any discussion of the development of his poetry as they span the transition from Descriptive Sketches to Lyrical Ballads. Despite the key critical question of the originality of Lyrical Ballads, no exhaustive examination of Wordsworth's use of literary sources during this period has yet been undertaken. In this thesis a pattern of sources for each poem written during the period 1793-1797 is established, especially Wordsworth's developing use of his own verse as a source. There are many literary sources that had not previously been discovered, and this necessitated a reassessment of the role of sources in Wordsworth's poetry generally. In particular, the importance of certain eighteenth-century authors and ideologies had been underrated as influences on Wordsworth's poetry. An overview of Wordsworth's use of his sources shows significant changes during the period. In earlier poems they were incorporated into his poetry with little modification, but in later poems they were often radically transformed and complexly assimilated. Literary sources played a key role in the development of Wordsworth's works, critical theories, and world view. Finally, a brief examination of passages from The Prelude confirms the view that the importance of literary sources in Wordsworth's changing poetry and the workings of his poetic imagination was not confined to the period 1793-7.
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Sullivan, David Bradley. "Composing experience, experiencing composition : placing Wordsworth's poetic experiments within the context of rhetorical epistemology." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063197.
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This text recontextualizes Wordsworth's writings by showing the ways in which they question the assumptions about "philosophy" and "poetry" that have been constructed within the field of Cartesian dualisms. It employs the ideas of classical rhetoricians, particularly Isocrates and Quintilian, contemporary rhetorical thinkers such as Kenneth Burke, and twentieth-century scientists, particularly Gregory Bateson, David Bohm, and Antonio Damasio, to show that Wordsworth's efforts to establish connections between mind and body, mind and world, and feeling and thinking were coherent and highly relevant rather than simply paradoxical. And it argues that Wordsworth's writings embody his effort to develop a "rhetorical epistemology" or an "epistemic rhetoric" that could counterbalance the dangers of the reductive scientific epistemology of his time.Employing his knowledge of classical rhetoric, particularly Quintilian, and his own sense of the complexities of perception and representation, Wordsworth developed a model of knowing founded on personal experience, representation, relationship, and revision rather than on the establishment of "demonstrable" or "objective" knowledge. His model, like Gregory Bateson's "ecology of mind," was built on an integrated view of mind and world. He believed that perception, feeling, thinking and acting were related in a continuum of mental process (rather than being separate categories), and that individual minds had a mutually-shaping, integrative relationship with what he saw as larger mindlike processes (particularly "Nature").Within this ecology of mind, Wordsworth positioned poetry as a mental process which completed science by providing the means for joining fact and value, "objective knowledge" and personal meaning, reflection and participation. In his construction, poetry was to be an accessible, experience-based discourse of learning and knowing. He aimed to return poetry to its origins, not in "primitive utterance of feelings" but in "poesis" or meaning-making.By countering the assumptions of scientific epistemology, and offering a vital alternative, he sought to reshape and revalue poetry, to broaden his society's narrowing view of knowledge, and to reconstitute moral vision and belief in a society on its way to terminal doubt. His model of knowing is worth considering as we reshape our own views of knowing in the late twentieth century.Department of English
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Gislason, Neil B. "Wordsworth's reflective vision : time, imagination and community in "The prelude"." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21212.
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This thesis examines the role of imagination in "The Prelude," within the context of recent criticism. In accordance with the impact of new historicism on contemporary Wordsworth studies, considerable attention is given to new historicist readings. It is argued that new history's methodological approach generally undervalues the complex texture of subjectivity in "The Prelude." New historical critiques tend to interpret the Wordsworthian imagination merely as a narrative strategy that enables the poet to displace or elide socio-historical realities. However, "The Prelude" does not entirely support such a reading. On the basis of Wordsworth's autobiography and related prose works, it is asserted that the poet's consciousness of creative decline and mortality potently informs his sense of imagination, and eventuates in a mode of self-perception that precludes subjective autonomy and socio-historical displacement.
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Macdonald, Shawn E. (Shawn Earl). "Wordsworth's spots of time : a psychoanalytic study of revision." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60663.
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In the introductory definition of spots of time, Wordsworth claims that these important childhood episodes are virtuous and worthy of celebration. This definition is incongruous with the episodes considered independently, because they reveal themselves as essentially disturbing memories. As he revised the spots of time, Wordsworth attempted to mitigate the disturbing nature of the episodes, betraying his need to repress certain undesireable aspects of the early texts.The following study is a Freudian reading of Wordsworth's spots of time in their various stages of revision. The Introduction to this study addresses some of the problems of interpretation. Chapter One places a Freudian reading of Wordsworth within the context of previous scholarship. Chapter Two is a close reading of the earliest spots of time as informed by Oedipal memories. Chapter Three examines Wordsworth's attempt, through revision, to repress these Oedipal memories.
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Touil, Abdelkader. "La conscience cosmique dans l'œuvre poétique de William Wordsworth." Paris 4, 1995. http://www.theses.fr/1994PA040258.
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Wordsworth est l'un des grands poètes romantiques anglais. Au début, il s'enthousiasme pour la Révolution française, mais devant ses excès, il devient pessimiste. Grace à son amitié avec Coleridge, Wordsworth retrouve un nouvel équilibre, après une adolescence difficile. Ses poèmes deviennent simples. Il y introduit le langage quotidien, la nature et l'imagination. Les ballades lyriques dont le thème principal est la misère des opprimés révèlent leurs affinités littéraires. Wordsworth découvre par la suite que le but du poète est la joie de vivre, et son propos le bonheur humain. A la philosophie hautaine qui s'exprimait à l'époque, il voulait substituer sa vision humaniste et, par conséquent, révolutionnaire. C'est donc un art de vivre que Wordsworth veut transmettre : la joie est la raison d'être de l'homme, car tout homme rêve d'être heureuxWordsworth is one of the great English romantic poets. At first, he was an ardent supporter of the French revolution, but as a result of its excesses, he became a pessimist. Thanks to his friendship with Coleridge, Wordsworth regained his equilibrium, following a difficult and turbulent youth. His poems subsequently became simpler as he infused them with everyday language, nature and imagination. The lyrical ballads, inspired mainly by the sufferings of the oppressed, reveal the literary affinity between the two poets. Wordsworth finally discovered that the poet's quest is "joie de vivre" and his aim human happiness. In place of the lofty philosophy that prevailed at the time, he sought to substitute his humanistic and consequently revolutionary vision. It is therefore an art of living that Wordsworth strives to convey: the "raison d'être" of mankind is joy, for happiness is the dream of every human being
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Titus, Craig. "Toward a Wordsworthian Sublime: Symbols of Eternity in Wordsworth's Poetic Vision." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/TitusC2008.pdf.
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Bois, Catherine. "Wordsworth et Constable : la représentation du paysage." Paris 3, 1989. http://www.theses.fr/1989PA030115.
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Face au debat esthetique academique du ut pictura poesis, la representation du paysage, chez wordsworth et constable, inaugure une apprehension originale du visible, demarche scientifique doublee d'une aperception entierement subjective de la realite, visant a depasser les limites de l'objectif et du subjectif vers une totale integration, et a abolir la question de la correspondance entre les arts. Peintre et poete partagent, avec le meme mecene, une dette envers le pittoresque, qui leur ouvrit les yeux sur les objets humbles. Leur mode de perception, herite de l'empirisme anglais, oscille dialectiquement entre tyrannie de l'oeil, externe et soumission a une vision interne ; il aboutit a un dualisme qui preserve le sujet en cherchant a ressaisir le monisme de la perception immediate, dans les poemes autour de tintern abbey et les scenes de canaux, ouplasticite des elements, dynamique vibratoire de l'espace, et jeu unifiant de la lumiere, battent en breche les principes de la mimesis. L'isolement de la subjectivite definit au sein du paysage romantique des lieux d'inclusion et d'exclusion symptomatiques du bonheur et du malheur de la conscience, qui tend a se fondre dans les elements aeriens. Cette attitude adaptatrice et mystique insere au paysage un humain solitaire ou errant voue a se naturaliser, faisant coincider espace exterieur et topos de la subjectivite. La presence des schemes castrateurs et schizomorphes de l'angoisse et de la mort se resoud par la moralisation du paysage ; sa spiritualite immanente traverse les etapes de la revelation cathartique jusqu'a la hierophanie apocalyptique des oeuvres finaAs opposed to the academic debate upon ut pictura poesis, wordsworth and constable's representation of landscape initiates an original approach to visible reality. This scientific process, combined with pure subjective aperception, goes beyond the limits of objectivity and subjectivity, and invalidates the question of the correspondence between arts. Both poet and painter had the same patron and were indebted to the picturesque tradition, which taught them how to look at humble objects. Their mode of perception, influenced by english empiricism, varied from the tyranny of the external eye to the submission to inner vision, and reached a kind of dualism in which the subject is saved, and monist immediate perception tentatively recaptured : in tintern abbey and similar poems and in the canal scenes, plastic elements, dynamic treatment of space, unifying light, stand against the principles of mimesis. As the subjectivity grows more and more isolated in their romantic landscapes, places of inclusion and exclusion become significant of how happy or unhappy the ego feels : it keeps trying to identify mystically with atmospheric elements. Human figures, mostly solitaries or wanderers, also tend to adjust the topos of their subjectivities to external space by gradually turning into natural elements. The castrating, schizomorphic structures of anxiety and death that stand out in a number of scenes are neutralized when the landscape becomes moralized
Books on the topic "William Wordsworth (1770-1850)"
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Milnes, Tim. William Wordsworth: The prelude. Edited by Tredell Nicolas. Basingstoke: Palgrave Macmillan, 2009.
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William Wordsworth--the Prelude. Cambridge [England]: Cambridge University Press, 1991.
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Milnes, Tim. William Wordsworth: The prelude. Edited by Tredell Nicolas. Basingstoke: Palgrave Macmillan, 2009.
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Nicolas, Tredell, ed. William Wordsworth: The prelude. Basingstoke: Palgrave Macmillan, 2009.
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McFarland, Thomas. William Wordsworth: Intensity and achievement. Oxford: Clarendon Press, 1992.
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Davies, Hunter. William Wordsworth: A biography. Stroud, Gloucestershire: Sutton Pub., 1997.
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Wordsworth, William. Early poems and fragments, 1785-1797. Ithaca, N.Y: Cornell University Press, 1997.
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William Wordsworth and the hermeneutics of incarnation. University Park: Pennsylvania State University Press, 1993.
Find full textBook chapters on the topic "William Wordsworth (1770-1850)"
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Isnard, Marcel. "Wordsworth, William (1770–1850)." In A Handbook to English Romanticism, 290–305. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-13375-8_85.
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Isnard, Marcel. "Wordsworth, William (1770–1850)." In A Handbook to English Romanticism, 290–305. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22288-9_85.
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Jeffrey, L. R. "William Wordsworth 1770–1850." In Encyclopedia of Creativity, e104-e107. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-12-375038-9.00235-1.
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"William Wordsworth (1770–1850)." In The Longman Anthology of Gothic Verse, 165–79. Routledge, 2014. http://dx.doi.org/10.4324/9781315834023-26.
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Coletta, W. John. "William Wordsworth 1770–1850." In Key Thinkers on The Environment, 82–88. Routledge, 2017. http://dx.doi.org/10.4324/9781315543659-16.
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"William Wordsworth (1770–1850; English)." In Romanticism: 100 Poems, 31–43. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108867337.011.
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