一般認為在華滋華斯詩作生涯中的「抒情民謠」時期洋溢著 一種或可稱做「睿智的無為」的質素。 在此等無為之下，主體、 自然和想像便不由自主地連成一體。然而，在同一時期的1805 年 十三卷式「序曲」中，一個擺脫不掉的他者、一個也許可以名為 「侵入的動力」卻如影隨形地伴著華滋華斯所聲稱的和諧主體。 在一種不安全感和被禁鋼感的催逼下，以侵入動力為武器，華滋 華斯竭盡心力地將其主體延伸至原該屬於想像和自然的領地。因 此，隨順此浪漫主義者的自我需求遂成了「序曲」中想像力和錦 繡山川的共同命運。為強化其主體性，華士並沒有始終如一地營 造一種想像與自然的和諧。相反的，他會在某些時候挑起兩者間 的對立。1805 「序曲」中主體、自然和想像間和諧的不可得便是 本論文所將探討的主題。本論文的理論基礎包括德希達、哈特曼、 布魯姆等人的解構策略和保羅﹒德曼在閱讀方面的創見。

It is commonly believed that a quality of the so-called "wise passiveness" is dominant in Wordsworth's poetry written in the Lyrical Ballads period. By means of this passiveness an intuitive unity of self, imagination and nature is achieved. Yet, in the thirteen-book 1805 Prelude of the period, alongside the power of harmony there lies within Wordsworth's subject an inescapable other, a quality of what we may call the intrusive activeness. Driven by a sense of confinement and insecurity and armed with this activeness, Wordsworth painstakingly extends the territory of his subjectivity to that of imagination and nature. A shared destiny between the imaginative power and the natural beauty therefore is that they have to minister to the needs of the egotistical Romantic. To reinforce his identity, the poet, rather than establishing the supposed harmony between nature and imagination in all cases, may sometimes, if not always, drive them to stand in sharp opposition to each other. The impossible harmony of self, nature, and imagination in the 1805 Prelude is the issue this essay seeks to address. Theories on which our argument is based are the deconstructionist strategies proposed chiefly by Jacques Derrida, Geoffrey Hartman, Harold Bloom, and Paul de Man.