By Chelsey Wilson Student, University of Wisconsin- Rock County
Born in Cockermouth, England on April 7, 1770, William Wordsworth is generally considered to be, along with Samuel Taylor Coleridge, one of the leading figures of the Romantic movement in poetry. Like subsequent Romantic authors, Wordsworth used his reactions to current political upheaval as well as past experience to convey his ideas about the aesthetic. His ideas about the French Revolution, aesthetic experience and nature, and memory serving as a coping mechanism would be very influential to future generations of poets.
It can be said that Wordsworth had a difficult and somewhat traumatic childhood. After the death of his mother when he was 8, his father John sent him to Hawkshead Grammar School in Lancashire. There he stayed with Hugh and Ann Tyson while learning poetry and prose along with other boys his age. The liberal nature of the school and it’s emphasis on Enlightenment ideas would be very influential to Wordsworth’s writing later in his life.
After his father passed away in 1783 and just before he was to finish school at St. John’s College in Cambridge, Wordsworth embarked on a walking tour of Europe, eager to broaden his view of the world and escape his pre-ordained path to join the Church of England. In his travels, he visited post-war France, and there he encountered the aftermath and turmoil caused by the French Revolution. This experience particularly affected Wordsworth, and caused him to become somewhat of a political activist advocating for the rights of the “common man” and strongly supporting the events of the Revolution. Wordsworth began to reject the traditional classical views about society found in his home country of England and formed a strong reaction against the plight of the working class. Wordsworth’s trip to Europe would not only prove a monumental influence in his later works, but would also cause a distinct change in his relationship with nature. A common theme found in Wordsworth’s writing is the idea of nature emitting an air of mystery and beauty. He was considered to be a man of nature himself, and often sought the feelings of serenity he experienced through nature as an escape from the urban and highly industrialized environment he lived in. The concept of nature’s presence being a spiritual experience for Wordsworth is highly evident in later works, such as Lines Composed a few Miles above Tintern Abbey (1798) and I Wandered Lonely as a Cloud (1807).
Another subject that is revisited throughout the course of Wordsworth’s work is the idea of memory and reliving specific moments in time. As Maas describes in his article, “Exploring Time-Binding Formulations with William Wordsworth”, Wordsworth has a tendency to focus on the past and the theory of being able to experience it more than once. Maas calls this occurrence “time-binding”. Wordsworth’s ideas about time-binding can be found in various works of his, especially in The Prelude (1850) and Lines Composed a few Miles above Tintern Abbey.
One writing technique familiar to Wordsworth’s poetry was the use of iambic pentameter. Wordsworth often used this style, originating with Shakespeare, to give his poems an almost song-like feel. He frequently wrote his poetry in the ballad form as well, especially later in life, focusing on a more formal and strict writing style than in his earlier works. His Tintern Abbey poem is also a prime example of this method.
Monographs Williams, John. William Wordsworth. New York: Palgrave, 2002. Print.
In Wordsworth’s earlier works, he comes across as a man who cares about and is involved in modern society, but later depicts himself as a recluse, prone to get lost in the beauty of nature. This image of a solitary man, satisfied with a quiet and lonely lifestyle, is continually portrayed in his work over the years. The author goes on to describe Wordsworth’s writing style and technique in various works, emphasizing his tendency to focus on images of nature and solitude. He also describes the connections between Wordsworth and his works, as well as Wordsworth and the Romantic era as a whole. He believes including examples of Wordsworth’s “oddness” is essential to modern criticisms of his life and work. Some of the poet’s early works, such as The Prelude, were inaccessible and difficult to understand for most. Much of his writing wasn’t published until late into the twentieth century. When reading his poems, the reader is easily conscious of the fact that Wordsworth was incorporating autobiographical references into his work. His fascination with nature is apparent, and so is evidence of a deeply creative mind. The author then goes into detail about the contents of the book, briefly describing some events in Wordsworth’s life. He concludes that, in order to critique him fairly, one must incorporate both the private and public aspects of Wordsworth’s psyche, for they were both major parts of his writing.
Williams obviously cares greatly about the topic, and therefore goes into great detail about it. He doesn’t offer up his opinion, but rather discusses Wordsworth’s life and works from a rational and logical point of view. He gives legitimate examples and offers evidence to back up what he is saying. His book is clearly scholarly rather than popular, and readers would gain useful knowledge about Wordsworth from reading Williams’ book. It would be an ideal source for anyone doing in-depth research on Wordsworth’s life or his writings.
Bloom, Harold, and Janyce Marson. William Wordsworth. New York: Infobase Publishing, 2009. Print.
The author, (Bloom), begins the introduction by stating that without the poetry of William Wordsworth, poets would continue to center their works around subjects outside themselves, rather than create them as a manifestation of their own mind. Wordsworth’s poetry was the start of a clean slate after a period of classical traditions, beginning a democratic phase that lasted all the way up until Eliot, whose style was a combination of various Romantic poets, and the twentieth century. Wordsworth used the term “poet of nature” to describe himself, though it is generally understood that by “nature” he in fact meant “man” instead. The transcendental naturalism found in Wordsworth’s poems, though difficult for the modern generation to fully understand, can be explained by referring to it as a “childlike condition of having no consciousness of death.” (Bloom, xi). Since then, American poets have not been able to avoid incorporating Wordsworth’s them of “inwardness” into their works.
Like Williams, Bloom is obviously very knowledgeable about the subject, that being Wordsworth. He offers a detailed and scholarly criticism of the Romantic poet without inserting any biased opinions. Judging by the content of the introduction, the book is as in-depth and thorough when it comes to the details of Wordsworth’s life and poetry. Any researcher could use this biography to gain an accurate and scholarly understanding of William Wordsworth and his writings.
Peer-Reviewed Articles Galperin, William. "Wordsworth’s Double Take." Wordsworth Circle Vol. 41 Issue 3 (2010): 123-127. Academic Search Premier. EBSCOhost. UW Rock County. 10 May 2011. http://web.ebscohost.com Galperin begins his article by alluding to Wordsworth’s constant use of the word ordinary as a mnemonic device. Wordsworth tends to draw attention to the utter ordinariness of certain scenes in order to make them stand out in the reader’s mind. Galperin then goes on to describe Wordsworth’s desire to provide very detailed and in-depth accounts of his visual and mental experiences, but emphasizes the fact that Wordsworth is not, in fact, a painter. Wordsworth writes out a description of his experience rather than painting it, giving the reader a sense of what he was actually feeling at the time rather than just a visual representation. Galperin writes that the only way to do justice to the ordinary is to write about it rather than depict it with paint. This technique is highly characteristic of not only Wordsworth’s writing, but most Romantic poetry in general. To do what these writers did, to incorporate imagination and aesthetic experience into their writing, is sometimes necessary to give a truly accurate account of history. This article is obviously scholarly due to the fact that it contains intellectual reasoning, detailed examples, and legitimate references. Galperin focuses on fact rather than opinion, and has excessive evidence to back up his claims. He analyzes Wordsworth’s techniques in a scholarly and logical way, and gives thorough descriptions of his work. Liu, Yu. “Crisis and Recovery: The Wordsworthian Poetics and Politics.” Papers on Language and Literature Vol. 36 Issue 1 (2000): 19-41. HW Wilson Web. UW Rock County. 15 May 2011. http://vnweb.hwwilsonweb.com The traumatic and difficult times that Wordsworth had to experience during the late eighteenth century were monumental in shaping his writing style. After the occurrence of several unfortunate circumstances, it became apparent that there was a growing connection between Wordsworth’s poetry and his politics. He wasn’t a political activist, but he was known to stand up for what he believed in, and he was a strong supporter of the French Revolution. Liu goes on to describe different events in Wordsworth’s life that influenced his writing. Though he was experiencing many personal issues, he continued to write. His main goal in writing poetry was to create joy in the ordinary through a spiritual experience for his readers. He wanted to direct attention to the cognitive capabilities of his readers as well as himself. Liu’s article would be a good source to use if writing a biography of Wordsworth. While she does detail some of Wordsworth’s literary techniques, she focuses on how certain occurrences in his life influenced his writing style. She uses a scholarly approach, rather than opinionated, and also offers comprehensive details about Wordsworth’s life. Her article seems legitimate and well thought out: a good example of academic writing. Maas, David F. “Exploring Time-Binding Formulations With William Wordsworth.” Etc. Vol. 61 Issue 1 (2004): 151-158. HW Wilson Web. UW Rock County. 15 May 2011. http://vnweb.hwwilsonweb.com Maas begins by describing an experience where, with particular sensory stimuli, he is brought back to a specific instance in his life triggered by such conditions. He refers to this occurrence as time-binding, and then goes on to describe Wordsworth’s recollections of similar events. Through this, Wordsworth becomes aware of his desire to experience not only the present, but also far off memories that he can enjoy in the distant future. Maas goes on to say that although Wordsworth may use the same descriptive words, the meaning may be completely different, depending on his actual experience. Later in his life, Wordsworth focuses on a sense of abstraction and sublimity. Both of these ideas become recurring themes throughout his work. He also discusses the idea of time-binding as a coping mechanism, as a way to revisit the pleasurable times in one’s life when all else seems dark and miserable. Maas concludes by saying that even though it is impossible to actually relive moments in time, it is possible to experience them again and again through Wordsworth’s concept of time-binding. Though Maas does offer some examples of personal experience in his article, each one is relevant to the point he’s trying to make. He uses academic language and thorough examples to exemplify Wordsworth’s ideas about time-binding and the sublime. He seems very interested in the subject and is easily able to convey his point. This article would also be a good source for someone researching Wordsworth’s writing style and techniques.
· 1793- Descriptive Sketches · 1793- An Evening Walk · 1795- Borders · 1798- Lines Written a few Miles Above Tintern Abbey · 1798- Lyrical Ballads (with Samuel Taylor Coleridge) · 1800- Lyrical Ballads: New Edition (with Coleridge) · 1801- Upon Westminster Bridge · 1802- Lyrical Ballads: Third Edition (with Coleridge) · 1806- Intimations of Immortality · 1807- Poems I & II · 1807- Miscellaneous Sonnets · 1807- Ode to Duty · 1809- Concerning the Relations of Great Britain, Spain and Portugal as affected by the Convention of Cintra · 1810- Essay upon Epitaphs · 1814- The Excursion · 1815- The White Doe of Rylstone · 1816- A Letter to a Friend of Burns · 1819- Peter Bell · 1819- The Waggoner · 1820- The River Duddon · 1820- Vaudracour and Julia · 1822- Ecclesiastical Sketches · 1822- Memorials of a Tour of the Continent · 1835- Yarrow Revisited · 1838- Sonnets · 1843- Poems Chiefly of Early and Late Years · 1843- The Borderers · 1850- The Prelude or Growth of a Poet’s Mind
· 1851- Memoirs dictated by himself · 1888- The Recluse · 1896- Prose Works · 1949- The Poetical Works · 1959- Selected Poems · 1966- Literary Criticism · 1967- Letters of Dorothy and William Wordsworth · 1969- Letters of the Wordsworth Family · 1971- Complete Poetical Works · 1974- Prose Works · 1977- Poems · 1981- The Love Letters of William and Mary Wordsworth
Family and Friends John Wordsworth- father, dies in 1783 Ann (Cookson) Wordsworth- mother, dies in 1778 Dorothy Wordsworth- sister and close friend Annete Vallon- lover and mother of his daughter, Caroline Samuel Taylor Coleridge- friend, fellow Romantic poet, and co-writer of Lyrical Ballads Mary Hutchinson- wife and childhood friend, mother of their five children
Homes, Education and Travel Cockermouth, Cumbria, England- 1770
Hawkshead Grammar School in Hawkshead, Cumbria- 1778
St John’s College in Cambridge- 1787
Tour of Europe- 1790
Alfoxden, Somerset- 1797
Grasmere, Cumbria, England- 1802
Chronology
1770- born in Cockermouth, England
1771- birth of his sister, Dorothy
1778- death of his mother, sent to Hawkshead Grammar School
1783- death of his father
1787- first poem published in “The European Magazine”
1790- goes on a walking tour of Europe and encounters post-revolutionary France
1791- meets Annette Vallon and conceives daughter, Caroline
1795- meets Samuel Taylor Coleridge
1798- publishes Lyrical Ballads with Coleridge
1802- marries Mary Hutchinson
1803- birth of son John
1805- completes The Prelude
1810- birth of son William
1811- deaths of children Catherine and Thomas
1834- death of friend Coleridge
1843- receives Honorary Doctorates from Oxford and Durham Universities
1849- death of daughter Dora
1850- dies at Rydal Mount, Mary publishes The Prelude after Wordsworth’s death
Study Questions Lines Composed a few Miles above Tintern Abbey
What literary technique is Wordsworth using when he writes, “…again I hear These waters, rolling from their mountain-springs With a soft inland murmur.”?
What is Wordsworth’s reaction to the “beauteous forms” of nature?
What recurring theme, described above, is clearly present in Wordsworth’s depiction of Tintern Abbey?
What is Wordsworth trying to get away from by revisiting nature?
What form does Wordsworth write this poem in?
References
Bloom, Harold, and Janyce Marson. William Wordsworth. New York: Infobase Publishing, 2009. Print.
Galperin, William. "Wordsworth’s Double Take." Wordsworth Circle Vol. 41 Issue 3 (2010): 123-127. Academic Search Premier. EBSCOhost. UW Rock County. 10 May 2011. http://web.ebscohost.com
Liu, Yu. “Crisis and Recovery: The Wordsworthian Poetics and Politics.” Papers on Language and Literature Vol. 36 Issue 1 (2000): 19-41. HW Wilson Web. UW Rock County. 15 May 2011. http://vnweb.hwwilsonweb.com
Maas, David F. “Exploring Time-Binding Formulations With William Wordsworth.” Etc. Vol. 61 Issue 1 (2004): 151-158. HW Wilson Web. UW Rock County. 15 May 2011. http://vnweb.hwwilsonweb.com
Williams, John. William Wordsworth. New York: Palgrave, 2002. Print.
By Chelsey Wilson Student, University of Wisconsin- Rock County
Born in Cockermouth, England on April 7, 1770, William Wordsworth is generally considered to be, along with Samuel Taylor Coleridge, one of the leading figures of the Romantic movement in poetry. Like subsequent Romantic authors, Wordsworth used his reactions to current political upheaval as well as past experience to convey his ideas about the aesthetic. His ideas about the French Revolution, aesthetic experience and nature, and memory serving as a coping mechanism would be very influential to future generations of poets.
It can be said that Wordsworth had a difficult and somewhat traumatic childhood. After the death of his mother when he was 8, his father John sent him to Hawkshead Grammar School in Lancashire. There he stayed with Hugh and Ann Tyson while learning poetry and prose along with other boys his age. The liberal nature of the school and it’s emphasis on Enlightenment ideas would be very influential to Wordsworth’s writing later in his life.
After his father passed away in 1783 and just before he was to finish school at St. John’s College in Cambridge, Wordsworth embarked on a walking tour of Europe, eager to broaden his view of the world and escape his pre-ordained path to join the Church of England. In his travels, he visited post-war France, and there he encountered the aftermath and turmoil caused by the French Revolution. This experience particularly affected Wordsworth, and caused him to become somewhat of a political activist advocating for the rights of the “common man” and strongly supporting the events of the Revolution. Wordsworth began to reject the traditional classical views about society found in his home country of England and formed a strong reaction against the plight of the working class. Wordsworth’s trip to Europe would not only prove a monumental influence in his later works, but would also cause a distinct change in his relationship with nature.
A common theme found in Wordsworth’s writing is the idea of nature emitting an air of mystery and beauty. He was considered to be a man of nature himself, and often sought the feelings of serenity he experienced through nature as an escape from the urban and highly industrialized environment he lived in. The concept of nature’s presence being a spiritual experience for Wordsworth is highly evident in later works, such as Lines Composed a few Miles above Tintern Abbey (1798) and I Wandered Lonely as a Cloud (1807).
Another subject that is revisited throughout the course of Wordsworth’s work is the idea of memory and reliving specific moments in time. As Maas describes in his article, “Exploring Time-Binding Formulations with William Wordsworth”, Wordsworth has a tendency to focus on the past and the theory of being able to experience it more than once. Maas calls this occurrence “time-binding”. Wordsworth’s ideas about time-binding can be found in various works of his, especially in The Prelude (1850) and Lines Composed a few Miles above Tintern Abbey.
One writing technique familiar to Wordsworth’s poetry was the use of iambic pentameter. Wordsworth often used this style, originating with Shakespeare, to give his poems an almost song-like feel. He frequently wrote his poetry in the ballad form as well, especially later in life, focusing on a more formal and strict writing style than in his earlier works. His Tintern Abbey poem is also a prime example of this method.
Monographs
Williams, John. William Wordsworth. New York: Palgrave, 2002. Print.
In Wordsworth’s earlier works, he comes across as a man who cares about and is involved in modern society, but later depicts himself as a recluse, prone to get lost in the beauty of nature. This image of a solitary man, satisfied with a quiet and lonely lifestyle, is continually portrayed in his work over the years. The author goes on to describe Wordsworth’s writing style and technique in various works, emphasizing his tendency to focus on images of nature and solitude. He also describes the connections between Wordsworth and his works, as well as Wordsworth and the Romantic era as a whole. He believes including examples of Wordsworth’s “oddness” is essential to modern criticisms of his life and work. Some of the poet’s early works, such as The Prelude, were inaccessible and difficult to understand for most. Much of his writing wasn’t published until late into the twentieth century. When reading his poems, the reader is easily conscious of the fact that Wordsworth was incorporating autobiographical references into his work. His fascination with nature is apparent, and so is evidence of a deeply creative mind. The author then goes into detail about the contents of the book, briefly describing some events in Wordsworth’s life. He concludes that, in order to critique him fairly, one must incorporate both the private and public aspects of Wordsworth’s psyche, for they were both major parts of his writing.
Williams obviously cares greatly about the topic, and therefore goes into great detail about it. He doesn’t offer up his opinion, but rather discusses Wordsworth’s life and works from a rational and logical point of view. He gives legitimate examples and offers evidence to back up what he is saying. His book is clearly scholarly rather than popular, and readers would gain useful knowledge about Wordsworth from reading Williams’ book. It would be an ideal source for anyone doing in-depth research on Wordsworth’s life or his writings.
Bloom, Harold, and Janyce Marson. William Wordsworth. New York: Infobase Publishing, 2009. Print.
The author, (Bloom), begins the introduction by stating that without the poetry of William Wordsworth, poets would continue to center their works around subjects outside themselves, rather than create them as a manifestation of their own mind. Wordsworth’s poetry was the start of a clean slate after a period of classical traditions, beginning a democratic phase that lasted all the way up until Eliot, whose style was a combination of various Romantic poets, and the twentieth century. Wordsworth used the term “poet of nature” to describe himself, though it is generally understood that by “nature” he in fact meant “man” instead. The transcendental naturalism found in Wordsworth’s poems, though difficult for the modern generation to fully understand, can be explained by referring to it as a “childlike condition of having no consciousness of death.” (Bloom, xi). Since then, American poets have not been able to avoid incorporating Wordsworth’s them of “inwardness” into their works.
Like Williams, Bloom is obviously very knowledgeable about the subject, that being Wordsworth. He offers a detailed and scholarly criticism of the Romantic poet without inserting any biased opinions. Judging by the content of the introduction, the book is as in-depth and thorough when it comes to the details of Wordsworth’s life and poetry. Any researcher could use this biography to gain an accurate and scholarly understanding of William Wordsworth and his writings.
Peer-Reviewed Articles
Galperin, William. "Wordsworth’s Double Take." Wordsworth Circle Vol. 41 Issue 3 (2010): 123-127. Academic Search Premier. EBSCOhost. UW Rock County. 10 May 2011. http://web.ebscohost.com
Galperin begins his article by alluding to Wordsworth’s constant use of the word ordinary as a mnemonic device. Wordsworth tends to draw attention to the utter ordinariness of certain scenes in order to make them stand out in the reader’s mind. Galperin then goes on to describe Wordsworth’s desire to provide very detailed and in-depth accounts of his visual and mental experiences, but emphasizes the fact that Wordsworth is not, in fact, a painter. Wordsworth writes out a description of his experience rather than painting it, giving the reader a sense of what he was actually feeling at the time rather than just a visual representation. Galperin writes that the only way to do justice to the ordinary is to write about it rather than depict it with paint. This technique is highly characteristic of not only Wordsworth’s writing, but most Romantic poetry in general. To do what these writers did, to incorporate imagination and aesthetic experience into their writing, is sometimes necessary to give a truly accurate account of history.
This article is obviously scholarly due to the fact that it contains intellectual reasoning, detailed examples, and legitimate references. Galperin focuses on fact rather than opinion, and has excessive evidence to back up his claims. He analyzes Wordsworth’s techniques in a scholarly and logical way, and gives thorough descriptions of his work.
Liu, Yu. “Crisis and Recovery: The Wordsworthian Poetics and Politics.” Papers on Language and Literature Vol. 36 Issue 1 (2000): 19-41. HW Wilson Web. UW Rock County. 15 May 2011. http://vnweb.hwwilsonweb.com
The traumatic and difficult times that Wordsworth had to experience during the late eighteenth century were monumental in shaping his writing style. After the occurrence of several unfortunate circumstances, it became apparent that there was a growing connection between Wordsworth’s poetry and his politics. He wasn’t a political activist, but he was known to stand up for what he believed in, and he was a strong supporter of the French Revolution. Liu goes on to describe different events in Wordsworth’s life that influenced his writing. Though he was experiencing many personal issues, he continued to write. His main goal in writing poetry was to create joy in the ordinary through a spiritual experience for his readers. He wanted to direct attention to the cognitive capabilities of his readers as well as himself.
Liu’s article would be a good source to use if writing a biography of Wordsworth. While she does detail some of Wordsworth’s literary techniques, she focuses on how certain occurrences in his life influenced his writing style. She uses a scholarly approach, rather than opinionated, and also offers comprehensive details about Wordsworth’s life. Her article seems legitimate and well thought out: a good example of academic writing.
Maas, David F. “Exploring Time-Binding Formulations With William Wordsworth.” Etc. Vol. 61 Issue 1 (2004): 151-158. HW Wilson Web. UW Rock County. 15 May 2011. http://vnweb.hwwilsonweb.com
Maas begins by describing an experience where, with particular sensory stimuli, he is brought back to a specific instance in his life triggered by such conditions. He refers to this occurrence as time-binding, and then goes on to describe Wordsworth’s recollections of similar events. Through this, Wordsworth becomes aware of his desire to experience not only the present, but also far off memories that he can enjoy in the distant future. Maas goes on to say that although Wordsworth may use the same descriptive words, the meaning may be completely different, depending on his actual experience. Later in his life, Wordsworth focuses on a sense of abstraction and sublimity. Both of these ideas become recurring themes throughout his work. He also discusses the idea of time-binding as a coping mechanism, as a way to revisit the pleasurable times in one’s life when all else seems dark and miserable. Maas concludes by saying that even though it is impossible to actually relive moments in time, it is possible to experience them again and again through Wordsworth’s concept of time-binding.
Though Maas does offer some examples of personal experience in his article, each one is relevant to the point he’s trying to make. He uses academic language and thorough examples to exemplify Wordsworth’s ideas about time-binding and the sublime. He seems very interested in the subject and is easily able to convey his point. This article would also be a good source for someone researching Wordsworth’s writing style and techniques.
Websites
http://www.poets.org/poet.php/prmPID/296
http://www.britainunlimited.com/Biogs/Wordsworth.htm
Major Works
· 1793- Descriptive Sketches
· 1793- An Evening Walk
· 1795- Borders
· 1798- Lines Written a few Miles Above Tintern Abbey
· 1798- Lyrical Ballads (with Samuel Taylor Coleridge)
· 1800- Lyrical Ballads: New Edition (with Coleridge)
· 1801- Upon Westminster Bridge
· 1802- Lyrical Ballads: Third Edition (with Coleridge)
· 1806- Intimations of Immortality
· 1807- Poems I & II
· 1807- Miscellaneous Sonnets
· 1807- Ode to Duty
· 1809- Concerning the Relations of Great Britain, Spain and Portugal as affected by the Convention of Cintra
· 1810- Essay upon Epitaphs
· 1814- The Excursion
· 1815- The White Doe of Rylstone
· 1816- A Letter to a Friend of Burns
· 1819- Peter Bell
· 1819- The Waggoner
· 1820- The River Duddon
· 1820- Vaudracour and Julia
· 1822- Ecclesiastical Sketches
· 1822- Memorials of a Tour of the Continent
· 1835- Yarrow Revisited
· 1838- Sonnets
· 1843- Poems Chiefly of Early and Late Years
· 1843- The Borderers
· 1850- The Prelude or Growth of a Poet’s Mind
· 1851- Memoirs dictated by himself
· 1888- The Recluse
· 1896- Prose Works
· 1949- The Poetical Works
· 1959- Selected Poems
· 1966- Literary Criticism
· 1967- Letters of Dorothy and William Wordsworth
· 1969- Letters of the Wordsworth Family
· 1971- Complete Poetical Works
· 1974- Prose Works
· 1977- Poems
· 1981- The Love Letters of William and Mary Wordsworth
Family and Friends
John Wordsworth- father, dies in 1783
Ann (Cookson) Wordsworth- mother, dies in 1778
Dorothy Wordsworth- sister and close friend
Annete Vallon- lover and mother of his daughter, Caroline
Samuel Taylor Coleridge- friend, fellow Romantic poet, and co-writer of Lyrical Ballads
Mary Hutchinson- wife and childhood friend, mother of their five children
Homes, Education and Travel
Cockermouth, Cumbria, England- 1770
Hawkshead Grammar School in Hawkshead, Cumbria- 1778
St John’s College in Cambridge- 1787
Tour of Europe- 1790
Alfoxden, Somerset- 1797
Grasmere, Cumbria, England- 1802
Chronology
Study Questions
Lines Composed a few Miles above Tintern Abbey
References
Bloom, Harold, and Janyce Marson. William Wordsworth. New York: Infobase Publishing, 2009. Print.
Galperin, William. "Wordsworth’s Double Take." Wordsworth Circle Vol. 41 Issue 3 (2010): 123-127. Academic Search Premier. EBSCOhost. UW Rock County. 10 May 2011. http://web.ebscohost.com
Liu, Yu. “Crisis and Recovery: The Wordsworthian Poetics and Politics.” Papers on Language and Literature Vol. 36 Issue 1 (2000): 19-41. HW Wilson Web. UW Rock County. 15 May 2011. http://vnweb.hwwilsonweb.com
Maas, David F. “Exploring Time-Binding Formulations With William Wordsworth.” Etc. Vol. 61 Issue 1 (2004): 151-158. HW Wilson Web. UW Rock County. 15 May 2011. http://vnweb.hwwilsonweb.com
Williams, John. William Wordsworth. New York: Palgrave, 2002. Print.
http://www.poets.org/poet.php/prmPID/296
http://www.britainunlimited.com/Biogs/Wordsworth.htm