138:. The forced exchange between the father and the son may be read as moralistic, especially considering the subtitle and the epigraph of the poem. They outline the author's critique of parental oppression and pedagogical approach to upbringing. The poem "question the deep-rooted contemporary assumption that the correct adult stance toward the child should be one of guidance and 'instruction'". It also demonstrates two types of paternal abuse—verbal and physical—that this kind of coercive approach may involve. The last stanza, in which the father states that he is able to learn from his son more than he could ever teach him, may suggest that the situation described in the poem makes him realize his mistake and draw a lesson from it. Thus, the subtitle and the epigraph express that moral understood by the father in the course of the poem. However, the concluding stanza of "Anecdote for Fathers" has also been read as incompatible with such a message of the whole poem. The sudden shift of the father's attitude and his enlightenment has been seen as unconvincing and potentially superficial. Following this line of interpretation, the father may be read as not learning a lesson from his inefficient small talk; instead, he decides to stay comfortably in his predetermined set of reasonable truths and principles. In fact, him regarding Edward's answer as a lie—just as the readers are prompted to do by the subtitle and the epigraph—might be improper, as it is not a lie for the child itself; it is simply the effect of his parents' urgency in the quest for logic.
182:. They both introduce child figures who are believed to have been inspired by the children Wordsworth met in his life—Basil Montagu and a girl from the Goodrich Castle. The main similarity between the poems is their structure built upon various polar oppositions, with the nature-culture one in the centre. Both texts express this opposition through the conflicted figures of an adult and a child, whose miscommunication and "alienation" are triggered by the adult speaker's seemingly simple question. In each case, the readers feel more empathetic towards the children. The speakers are presented as the ones being oppressive and nagging, whereas the children attempt to defend themselves through acts most natural to them. The initial dialogue, then, transforms into an interrogative monologue. The narration of the poems uncovers the speakers' lack of comprehension of their own emotions and experiences, as well as their need for validation from children. The little boy and girl represent Wordsworth's vision of idealized childhood defined by "eternal innocence". Ultimately, the two questions posed to them by the speakers hold much more depth that it seems. The speakers—and thus the readers—are challenged to uncover a significant but universal gap between the adult's and the child's attitude and their modes of perception of the world. Although the title of "Anecdote for Fathers" may suggest otherwise, both poems are not typical
120:
questions and the meaninglessness of the child's answers, which in turn renders their dialogue pointless and the communication between the two impossible. Another way in which the problematic nature of the father and the son's communication is conveyed in the poem is through the use of a multitude of polar oppositions which are the foundation for the structure of the poem, such as adult and child, nature and culture, presence and absence, intuition and reason. Some critics believe that "Anecdote for
Fathers", although formally a dialogue, is in fact monologic in character, which makes the interaction between the father and his son resemble an "interrogation" or "coercion". The narration is predominantly generated by the questions uttered and repeated by the father. However, despite the circumstances, little Edward is able to shield himself from the oppression by using "agential language", which is "the art of lying", as implied by the title of the poem.
164:
The only actual sensation that can be ascribed to him is that of nostalgia, and this is what somehow connects him with his son. Contrary to the man's intellectual capacity, the son relies on intuitive thinking to answer his father's persistent questions. He is not concerned with the prosaic, material objects and able to exceed his parents' analytical thinking. Although the parent forces Edward to apply logic and justification to his words, they are based on his inner feeling and characterized by spontaneity and lack of constraints. The father is also criticized for being detached from his childhood memories and instincts, which also prevents him from getting along with his son.
155:, Edward is not so distanced from those memories and is still able to unconsciously appreciate "Kilve's delightful shore". The father, on the other hand, is closer to the cultural extreme. This results from his age and experience of loss, demonstrated in the poem through his recollection of "former pleasures". The symbolism of the "weather-cock" is said to further support the above opposition. Bernstein calls the object on the roof a "totem" as it mediates between the artificial and the natural, being a product of civilisation that, nonetheless, imitates an animal and is moved by the wind.
1777:
70:. Wordsworth and his sister, Dorothy, looked after little Basil, who at the time of writing “Anecdote for Fathers” “had now been with the Wordsworths for three years”. Despite Wordsworth's explicit identification of the boy as Basil Montagu's son, and many critics promoting that reading, Simpson suggests that the inspiration for the figure of Edward may have come from Caroline, the poet's daughter with a French woman named Annette Vallon. Thompson makes use of Simpson's analogy concerning the children's age and puts forward a theory that Edward was modelled on Maria, the child of
74:—another one of Wordsworth's friends. Wordsworth possibly learned about Maria from Thelwall's poems and letters and got inspired by her connection with the rural region as described by Thelwall in his writings. Thelwall's relationship with Wordsworth is also thought to be the inspiration behind the nature of the conversation in the poem. Due to his radical views, John Thelwall was sentenced for treason and later acquitted. Wordsworth mentions Thelwall's trial in his commentary on the setting of the poem given to
147:"fair and fresh" face, or "rustic dress". Him choosing Kilve is another manifestation of his connection to nature, since the place is situated on the coast and, unlike the "well-husbanded setting of Liswyn Farm" is characterized by "natural wildness and lack of civilisation". It is also associated by the father with previous positive experiences. Even though for him they belong to the past and he prefers to be focused on
78:. The interrogations that occurred right after it may be reflected in the poem, as it introduces the atmosphere of control and repression. Little Edward becomes there "a defendant being grilled by an aggressive prosecutor". The locations mentioned in "Anecdote for Fathers" cause disagreement among the scholars. Although many claim "that 'Kilve' (…) refers to Racedown and 'Liswyn farm' to Alfoxden" (both Racedown and
1697:
57:
The poem assumes the point of view of a father who recalls taking a walk with his five-year-old son, Edward, at Lyswin farm. During the walk the man contemplates his two favourite locations—the Liswyn farm and Kilve's shore—and his current emotions. Later, the narrator asks Edward whether he prefers
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The primary opposition presented in the poem is one between an adult (parent) and a child, with the former being nervous and obstinate and the latter—calmer and more withdrawn. The father seems to be central to his narration, focusing mainly on his own emotions and experiences, as well as asserting
119:
The language in "Anecdote for
Fathers" is not very figurative, although some simple metaphors appear ("then did the boy his tongue unlock", "his limbs were cast in beauty's mould"). The style of the poem has been characterized as repetitive, and as such conveying the ineffectiveness of the father's
163:
The opposition between thought and feeling is combined with another one—past (absence) versus present (presence). This is manifested through the figure of the father who creates a "familiar schemata (…), comparing everything either explicitly or implicitly to other experiences, past or potential".
146:
Another polar opposition in the poem is that of nature and culture. This is a very common trait in
Wordsworth's poetry. Nature is assigned to Edward, who is a "noble savage" with a "mentalit rooted in a transcendentalized nature". He is often described in words evoking natural imagery, such as a
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whose aim is to teach a simple edifying lesson. Instead, by juxtaposing "the rationalizing adult" and the "child's intransigent refusal to accept his categories", Wordsworth reveals his unwillingness to moralize.
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Liswyn or Kilve. Having received “Kilve” as an answer with no further explanation, he continuously presses the child for more details. The boy justifies his preference by the absence of a weathervane in Kilve.
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103:. The rhyme scheme is regular throughout the whole text (ABAB) and accompanied by "a ballad meter of three tetrameters and a trimeter", which varies a bit from the typical
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176:" is one of Wordsworth's poems repeatedly mentioned alongside "Anecdote for Fathers". The two poems are placed one after the other in all editions of
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his dominance and authority over Edward. The juxtaposition of the two characters depicts the gap between adults and children as conceptualized in the
66:
Five-year-old Edward from “Anecdote for
Fathers”, as stated by Wordsworth himself, was based on a boy named Basil—the son of Wordsworth's friend,
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being residences of the
Worthsworths, which they occupied with little Basil Montagu), there is evidence for the name 'Lyswin farm' emerging from
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49:: "Retine vim istam, falsa enim dicam, si coges," which translates as "Restrain that force, for I will tell lies if you compel me."
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Bialostosky, Don H. (1982). "Narrative Irony and the
Pleasure Principle in 'Anecdote for Fathers' and 'We Are Seven'".
1981:
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O'Donnell, Brennan (1989). "Numerous Verse: A Guide to the
Stanzas and Metrical Structures of Wordsworth's Poetry".
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Mellown, Muriel J. (1973). "Changing
Patterns of Communication in Wordsworth's 'Lyrical Ballads' and 1807 'Poems'".
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Bernstein, Gene M. (1979). "A Structuralist
Reading of 'Anecdote for Fathers' and 'We Are Seven'".
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Politics of Childhood: Wordsworth, Blake, and Catechistic Method".
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Peterfreund, Stuart (1978). "Structural Anthropology and the Teaching of Wordsworth".
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Hiers, John T. (1969). "Wordsworth's Vision of Childhood: A Call for Reexamination".
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Buchen, Irving H. (1970). "The Poet as Poetry: An Aesthetic Reading of The Prelude".
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Language, Custom and Nation in the 1790s: Locke, Tooke, Wordsworth, Edgeworth
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Wolfson, Susan J. (1978). "The Speaker as Questioner in 'Lyrical Ballads'".
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Berman, Ruth (1982). "White Knight and Leech Gatherer: the Poet as Boor".
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Vision and Disenchantment: Blake's Songs and Wordsworth's Lyrical Ballads
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Larkin, P. (1989). "Lyrical Ballads: Wordsworth's Book of Questions".
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Anecdote for Fathers, Shewing how the practice of Lying may be taught
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Literature, Education, and Romanticism: Reading as Social Practice
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Ramsey, J. (1976). "Wordsworth and the Childhood of Language".
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Little, Geoffrey (1977). "'Tintern Abbey' and Llyswen Farm".
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John Thelwall in the Wordsworth Circle: The Silenced Partner
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Olivier, T. (1974). "The Lyrical Ballads and The Preface".
41:. A later version of the poem from 1845 contains a Latin
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Wordsworth, William; Coleridge, Samuel Taylor (1798).
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Five Long Winters: The Trials of British Romanticism
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Wordsworth and Feeling. The Poetry of an Adult Child
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1680:Wordsworth, William (2007). Curtis, Jared (ed.).
1498:Theoria: A Journal of Social and Political Theory
31:first published in his 1798 collection titled
1873:Lines Written a Few Miles above Tintern Abbey
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1640:The Journal of English and Germanic Philology
1192:The Journal of English and Germanic Philology
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1271:. California: Stanford University Presses.
99:"Anecdote for Fathers" consists of fifteen
1989:On the Extinction of the Venetian Republic
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1623:. the United States: Palgrave Macmillan.
1575:. Cambridge: Cambridge University Press.
1290:. Cambridge: Cambridge University Press.
1215:. London: Associated University Presses.
107:by incorporating some of the elements of
1113:The Language of Wordsworth and Coleridge
337:, July 2000. Retrieved 16 December 2020.
1662:Lyrical Ballads: With a Few Other Poems
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1852:Three years she grew in sun and shower
1684:. Humanities-Ebooks.co.uk: Routledge.
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1845:Strange fits of passion have I known
1682:Fenwick Notes of William Wordsworth
1831:She dwelt among the untrodden ways
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2094:Christopher Wordsworth (brother)
1926:Composed upon Westminster Bridge
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2122:(birthplace and childhood home)
1975:Ode: Intimations of Immortality
1429:The Yearbook of English Studies
331:"William Wordsworth: Biography"
86:, where John Thelwall retired.
16:1798 poem by William Wordsworth
2017:Character of the Happy Warrior
168:Connection with "We Are Seven"
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2003:The World Is Too Much with Us
1952:I travelled among unknown men
384:. Retrieved 16 December 2020.
2182:Poetry by William Wordsworth
1940:I Wandered Lonely as a Cloud
1838:A slumber did my spirit seal
2089:Dorothy Wordsworth (sister)
1982:Resolution and Independence
37:, which was co-authored by
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1919:The White Doe of Rylstone
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1571:Richardson, Alan (2004).
382:Online Library of Liberty
1458:The Poetics of Childhood
1111:Austin, Frances (1989).
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1460:. London: Routledge.
1373:The Wordsworth Circle
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1211:Blank, G. K. (1995).
1155:The Wordsworth Circle
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1702:Anecdote for Fathers
1477:Studies in Philology
1456:Natov, Roni (2006).
21:Anecdote for Fathers
1996:The Solitary Reaper
1866:Michael, a Pastoral
1527:10.1086/TWC24041201
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1267:Bugg, John (2014).
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2067:Guide to the Lakes
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1408:Manly, S. (2007).
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953:, pp. 339-343.
951:Bernstein 1979
943:
931:
919:
907:
895:
883:
879:Bernstein 1979
871:
859:
847:
843:Bernstein 1979
835:
831:Bernstein 1979
823:
811:
807:Bernstein 1979
799:
787:
783:Bernstein 1979
775:
773:, pp. 550-552.
763:
761:, pp. 229-234.
751:
739:
737:, pp. 229-230.
727:
715:
703:
691:
679:
677:, pp. 858-859.
667:
655:
653:, pp. 229-232.
643:
631:
619:
607:
595:
583:
571:
559:
547:
535:
533:, pp. 339-341.
531:Bernstein 1979
523:
511:
499:
495:O'Donnell 1989
487:
475:
463:
451:
439:
426:
414:
398:
386:
371:
355:
339:
322:
305:
293:
281:
268:
256:
244:
232:
220:
208:
195:
194:
192:
189:
169:
166:
160:
157:
143:
140:
130:
127:
125:
122:
116:
113:
96:
93:
91:
88:
63:
60:
54:
51:
15:
13:
10:
9:
6:
4:
3:
2:
2194:
2183:
2180:
2179:
2177:
2162:
2159:
2158:
2156:
2152:
2145:
2142:
2139:
2136:
2133:
2130:
2127:
2124:
2121:
2118:
2117:
2115:
2111:
2105:
2102:
2100:
2097:
2095:
2092:
2090:
2087:
2085:
2082:
2081:
2079:
2075:
2069:
2068:
2064:
2063:
2061:
2057:
2051:
2050:
2046:
2044:
2043:
2042:The Excursion
2039:
2038:
2036:
2034:
2030:
2024:
2021:
2018:
2014:
2011:
2007:
2004:
2000:
1997:
1993:
1990:
1986:
1983:
1979:
1976:
1972:
1969:
1965:
1962:
1958:
1953:
1949:
1948:
1947:
1944:
1941:
1937:
1934:
1930:
1927:
1923:
1921:
1920:
1916:
1914:
1913:
1909:
1907:
1906:
1902:
1901:
1899:
1895:
1888:
1884:
1881:
1877:
1875:
1874:
1870:
1867:
1863:
1861:
1858:
1853:
1849:
1846:
1842:
1839:
1835:
1832:
1828:
1827:
1826:
1823:
1820:
1816:
1813:
1812:The Idiot Boy
1809:
1806:
1802:
1800:
1799:
1794:
1793:
1791:
1789:
1788:
1783:
1778:
1768:
1765:
1763:
1760:
1759:
1757:
1753:
1749:
1748:List of poems
1744:
1740:
1733:
1728:
1726:
1721:
1719:
1714:
1713:
1710:
1704:at Wikisource
1703:
1698:
1694:
1693:
1689:
1683:
1678:
1674:
1672:9781421914862
1668:
1664:
1663:
1657:
1653:
1649:
1645:
1641:
1636:
1632:
1626:
1622:
1617:
1613:
1609:
1605:
1601:
1597:
1593:
1588:
1584:
1582:0-521-60709-4
1578:
1574:
1569:
1565:
1561:
1557:
1553:
1548:
1544:
1540:
1536:
1532:
1528:
1524:
1520:
1516:
1511:
1507:
1503:
1500:(43): 63–72.
1499:
1494:
1490:
1486:
1482:
1478:
1473:
1469:
1467:0-415-97967-6
1463:
1459:
1454:
1450:
1446:
1442:
1438:
1434:
1430:
1425:
1421:
1415:
1411:
1406:
1402:
1398:
1394:
1390:
1386:
1382:
1378:
1374:
1369:
1365:
1361:
1357:
1353:
1349:
1345:
1341:
1337:
1332:
1328:
1324:
1320:
1316:
1312:
1308:
1303:
1299:
1297:0-521-25084-6
1293:
1289:
1284:
1280:
1274:
1270:
1265:
1261:
1257:
1253:
1249:
1245:
1241:
1237:
1233:
1228:
1224:
1222:0-8386-3600-4
1218:
1214:
1209:
1205:
1201:
1197:
1193:
1188:
1184:
1180:
1176:
1172:
1168:
1164:
1160:
1156:
1151:
1150:
1145:
1141:
1137:
1133:
1128:
1124:
1118:
1115:. Macmillan.
1114:
1109:
1108:
1104:
1096:
1091:
1088:
1084:
1079:
1076:
1072:
1067:
1064:
1060:
1055:
1052:
1048:
1043:
1040:
1036:
1031:
1028:
1024:
1019:
1016:
1012:
1007:
1004:
1000:
995:
992:
988:
983:
980:
976:
971:
968:
964:
959:
956:
952:
947:
944:
940:
935:
932:
928:
923:
920:
916:
911:
908:
904:
899:
896:
892:
887:
884:
880:
875:
872:
868:
863:
860:
856:
851:
848:
844:
839:
836:
832:
827:
824:
820:
815:
812:
808:
803:
800:
796:
791:
788:
784:
779:
776:
772:
767:
764:
760:
755:
752:
748:
743:
740:
736:
731:
728:
724:
719:
716:
712:
707:
704:
700:
695:
692:
688:
683:
680:
676:
671:
668:
664:
659:
656:
652:
647:
644:
640:
635:
632:
628:
623:
620:
616:
611:
608:
604:
599:
596:
592:
587:
584:
580:
575:
572:
568:
563:
560:
556:
551:
548:
544:
539:
536:
532:
527:
524:
520:
515:
512:
508:
503:
500:
496:
491:
488:
484:
479:
476:
472:
467:
464:
460:
455:
452:
448:
443:
440:
436:
430:
427:
423:
418:
415:
411:
407:
406:Thompson 2012
402:
399:
395:
390:
387:
383:
380:
375:
372:
368:
364:
363:Thompson 2012
359:
356:
352:
348:
347:Thompson 2012
343:
340:
336:
332:
326:
323:
319:
315:
314:Thompson 2012
309:
306:
302:
297:
294:
290:
285:
282:
278:
272:
269:
265:
260:
257:
253:
248:
245:
241:
236:
233:
229:
224:
221:
217:
212:
209:
205:
200:
197:
190:
188:
185:
181:
180:
175:
167:
165:
158:
156:
154:
150:
141:
139:
137:
128:
123:
121:
114:
112:
110:
106:
105:ballad stanza
102:
94:
89:
87:
85:
81:
77:
73:
72:John Thelwall
69:
68:Basil Montagu
61:
59:
52:
50:
48:
44:
40:
36:
35:
30:
26:
22:
2132:Dove Cottage
2065:
2047:
2040:
2032:
1961:London, 1802
1917:
1910:
1903:
1897:Later poetry
1887:We Are Seven
1871:
1804:
1797:
1785:
1681:
1661:
1643:
1639:
1620:
1595:
1591:
1572:
1555:
1551:
1518:
1514:
1497:
1483:(4): 1–136.
1480:
1476:
1457:
1432:
1428:
1409:
1379:(1): 80–82.
1376:
1372:
1339:
1335:
1310:
1306:
1287:
1268:
1235:
1231:
1212:
1195:
1191:
1158:
1154:
1138:(3): 29–31.
1135:
1131:
1112:
1090:
1078:
1073:, pp. 69-70.
1071:Olivier 1974
1066:
1054:
1042:
1030:
1018:
1011:Mellown 1973
1006:
994:
982:
970:
958:
946:
934:
922:
910:
898:
886:
874:
862:
850:
838:
826:
814:
802:
797:, pp. 71-72.
790:
778:
771:Wolfson 1978
766:
754:
742:
730:
723:Wolfson 1978
718:
706:
694:
689:, pp. 23-24.
682:
670:
663:Wolfson 1978
658:
646:
634:
622:
615:Wolfson 1978
610:
598:
586:
574:
562:
550:
538:
526:
519:Mellown 1973
514:
509:, pp. 51-52.
502:
497:, pp. 38-39.
490:
478:
466:
454:
442:
429:
417:
401:
389:
381:
374:
358:
342:
334:
325:
308:
296:
284:
271:
266:, stanza 14.
259:
254:, stanza 12.
247:
235:
223:
216:Wolfson 1978
211:
199:
183:
177:
174:We Are Seven
171:
162:
152:
148:
145:
132:
118:
98:
65:
56:
32:
24:
20:
18:
2146:(1813-1850)
2144:Rydal Mount
2140:(1808-1811)
2134:(1799-1808)
2128:(1797-1798)
2049:The Prelude
2033:The Recluse
1435:: 161–169.
1412:. Ashgate.
1313:(3): 8–10.
1238:: 133–140.
1023:Berman 1982
927:Ramsey 1976
903:Ramsey 1976
627:Buchen 1970
591:Larkin 1989
567:Larkin 1989
555:Larkin 1989
507:Austin 1989
483:Berman 1982
471:Little 1977
435:Little 1977
289:Little 1977
242:, stanza 7.
204:Ramsey 1976
124:Main themes
2138:Allan Bank
1912:Peter Bell
1880:Poor Susan
1767:Lake Poets
1762:Early life
1665:. London.
1105:References
987:Natov 2006
975:Blank 1995
939:Blank 1995
915:Hiers 1969
687:Natov 2006
447:Blank 1995
433:Quoted in
312:Quoted in
301:Manly 2007
277:Blank 1995
275:Quoted in
109:Long Meter
95:Verse form
62:Background
1819:Lucy Gray
1552:Criticism
1543:165729523
1401:165837112
1364:225085820
1260:165835236
1183:165275485
1095:Glen 1983
1085:, p. 238.
1061:, p. 861.
1049:, p. 241.
1013:, p. 165.
977:, p. 120.
941:, p. 121.
929:, p. 246.
905:, p. 246.
893:, p. 241.
891:Glen 1983
881:, p. 341.
869:, p. 389.
857:, p. 389.
845:, p. 341.
833:, p. 341.
821:, p. 389.
809:, p. 341.
785:, p. 339.
749:, p. 230.
725:, p. 551.
713:, p. 657.
701:, p. 244.
699:Glen 1983
665:, p. 552.
641:, p. 241.
639:Glen 1983
629:, p. 133.
617:, p. 548.
605:, p. 160.
603:Bugg 2014
593:, p. 107.
581:, p. 160.
579:Bugg 2014
569:, p. 110.
557:, p. 107.
521:, p. 165.
424:, p. 158.
422:Bugg 2014
303:, p. 148.
279:, p. 120.
218:, p. 551.
206:, p. 248.
191:Footnotes
184:anecdotes
101:quatrains
90:Structure
2176:Category
1652:27708403
1564:23099756
1535:24041201
1506:41801572
1393:24039384
1356:24042845
1252:24039620
1204:27708991
1175:24040758
1144:26810078
1132:Mythlore
1097:, p. 43.
1025:, p. 30.
989:, p. 22.
545:, p. 69.
485:, p. 30.
461:, p. 44.
449:, p. 98.
437:, p. 80.
396:, p. 44.
291:, p. 80.
80:Alfoxden
53:Synopsis
43:epigraph
2154:Related
1612:2873162
1489:4174347
1449:3506866
1327:3196709
917:, p. 9.
84:Llyswen
2077:People
1755:Topics
1669:
1650:
1627:
1610:
1579:
1562:
1541:
1533:
1504:
1487:
1464:
1447:
1416:
1399:
1391:
1362:
1354:
1325:
1294:
1275:
1258:
1250:
1219:
1202:
1181:
1173:
1142:
1119:
473:p. 80.
2113:Homes
2059:Prose
1648:JSTOR
1608:JSTOR
1560:JSTOR
1539:S2CID
1531:JSTOR
1502:JSTOR
1485:JSTOR
1445:JSTOR
1397:S2CID
1389:JSTOR
1360:S2CID
1352:JSTOR
1323:JSTOR
1256:S2CID
1248:JSTOR
1200:JSTOR
1179:S2CID
1171:JSTOR
1140:JSTOR
45:from
1667:ISBN
1625:ISBN
1577:ISBN
1462:ISBN
1414:ISBN
1292:ISBN
1273:ISBN
1217:ISBN
1117:ISBN
410:page
367:page
351:page
318:page
151:and
149:here
1600:doi
1592:ELH
1523:doi
1437:doi
1381:doi
1344:doi
1315:doi
1240:doi
1163:doi
153:now
2178::
1644:77
1642:.
1606:.
1596:56
1594:.
1556:18
1554:.
1537:.
1529:.
1517:.
1481:86
1479:.
1443:.
1431:.
1395:.
1387:.
1375:.
1358:.
1350:.
1340:20
1338:.
1321:.
1311:34
1309:.
1254:.
1246:.
1234:.
1196:81
1194:.
1177:.
1169:.
1159:10
1157:.
1134:.
408:,
365:,
349:,
333:,
316:,
111:.
2019:"
2015:"
2012:"
2008:"
2005:"
2001:"
1998:"
1994:"
1991:"
1987:"
1984:"
1980:"
1977:"
1973:"
1970:"
1966:"
1963:"
1959:"
1954:"
1950:"
1942:"
1938:"
1935:"
1931:"
1928:"
1924:"
1889:"
1885:"
1882:"
1878:"
1868:"
1864:"
1854:"
1850:"
1847:"
1843:"
1840:"
1836:"
1833:"
1829:"
1821:"
1817:"
1814:"
1810:"
1807:"
1803:"
1731:e
1724:t
1717:v
1675:.
1654:.
1633:.
1614:.
1602::
1585:.
1566:.
1545:.
1525::
1519:9
1508:.
1491:.
1470:.
1451:.
1439::
1433:3
1422:.
1403:.
1383::
1377:8
1366:.
1346::
1329:.
1317::
1300:.
1281:.
1262:.
1242::
1236:1
1225:.
1206:.
1185:.
1165::
1146:.
1136:9
1125:.
412:.
369:.
353:.
320:.
172:"
19:"
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