本文嘗試從歷史及「誌異」文類的雙重觀點探討威廉渥茲渥斯1799年版《序曲》中的三個詩段。在 1799年版《序曲> 中，因爲這三個詩段在主旨上與詩中其它部分大相逕庭，造成全詩結構的不完整性。然 而，細究此三詩段所描述詩人童年對於死亡的經驗，以及詩人早期採用誌異(Gothic)文類作爲社會異議的 作品，卻可以找到共同的死亡主題，並且描繪出另一段隱藏在1799年版《序曲》背後的作者經歷。這些經 歷在1798年的《丁頓修道院> —詩中爲詩人對雄渾(the sublime)的追尋所內化，卻在1799年 版《序曲> 中透露端倪。父親、老師、罪犯的死亡編織出一段詩人在1798年不願正視的成長過程，從家道 中落到作爲一位支持法國大革命的熱血青年所面臨的可能死亡威脅。這一切，卻同時構成了「志異」書寫 的最佳素材。在1805年版《序曲》中，這些誌異的段落與記憶受到重置，內化成爲詩人想像力的創作根源。

This paper argues that three episodes in William Wordsworth's Two-Part Prelude (1799) are structurally incoherent but historically significant for Wordsworth writings in 1799. In the critical year of 1798, the milestone year when Tintern Abbey was written, Wordsworth abandoned his strong conviction in the ideas of the French Revolution and turned himself into a nature poet who interiorized politics in his poems. The Gothic motif, originally exploited to address social protest, was being transformed into the transcendental sublime of poetical imagination. The fact that the three episodes in the Two-Part Prelude (1799) are inconsistent with the rest of the poem and were relocated in the 1805 Prelude, betrays the hidden memory beneath the ctspots of time.,s These hidden memories, encounters with death from childhood to adulthood, function as a Gothic sub-text tormenting the post-Revolutionary Wordsworth. In the 1805 Prelude these questionable episodes are redistributed to different parts in order to make them structurally and thematically consistent, thereby silencing the dark side of memory of the poet.