本文旨在探討威廉．渥滋華斯詩中的「步行」及「旅人」兩主題，並以《序曲》和《郊遊》這兩首詩為討論重點。本人認為渥氏透過這兩個主題表達了群我關係以及其心目中的理想詩人形象。在《序曲》這首詩裡，我們可以發現兩種不同的「漫步」。其中一種營造了「個人空間」，在此空間裡詩人達到精神上的超越意境，於心靈有所提昇。另一種則帶領渥氏進入「公有領域」，這種空間一方面代表了他對自身自我主義傾向的反省，另一方面則代表了他對所謂「無言的詩人」的崇高敬意和認同，以及詩人對社會國家的責任。透過這兩種空間的研究，我們發現在《序曲》和《郊遊》這兩首詩裡渥滋華斯由「個人空間」漸次過渡到「公有領域」，而此一過程呼應了詩人身份角色之建立和認同的發展過程。《序曲》的一大主題即是將渥氏塑造成天降大任的詩才，斷而肯定自己已具有寫《隱士》的能力，而此種形象塑造亟需「個人空間」的配合。到《郊遊》這首詩，個人身份的問題已獲解答，代之而起的是另一種詩人形象的塑造，即更高一等的詩人，所謂「無言的詩人」，其典型乃「流浪客」。「流浪客」代表的是渥氏心目中的理想，其步行鄉間販賣雜貨並接近大自然的生活方式，其仁愛的德行，及其對社會和教育的理念，均反映了渥滋華斯在寫作生涯的中期，由個人轉向群體的生活哲學。

　　　　　This paper is a reading of the representations of 'walking' and the 'traveller' in William Wordsworth's poetry, mainly The Prelude and The Excursion. I argue that 'walking' and the 'traveller on foot' are uniquely Wordsworthian motifs with which the poet explores the relationship between self, the imagination and the sense of community. In The Prelude, I find that there are essentially two kinds of 'excursive walking'; one is related to the private space the poet needs in achieving transcendental moments in nature, and the other is related to Wordsworth's effort in dealing with his egotistical penchant by means of representing the public space and the 'higher' kind of poet-the 'silent poet', which also reveals his ideas concerning a poet's social responsibility. My study of these two kinds of walking shows that from The Prelude to The Excursion, there is a gradual movement from private space to public space, which corresponds to Wordsworth's development from the search for, and confirmation of, his poetic identity in the autobiographical poem, to his creation, in The Excursion, of the Wanderer who, binding together man, nature and society, represents the ideal Wordsworthian figure.