Deconstruct imagination. Hartman retorted that traditional scholars regarded Wordsworth's poem as a poem full of fantasy or illusion, which was only created by killing or raping nature. In the commentary, he said: "My view is just the opposite: because of the boredom of Milton's fantasy poems, Wordsworth foreshadows a brand-new consciousness of deep satisfaction with nature, or at least this consciousness will not infringe on nature in imagination." Hartman believes that Wordsworth is caught in the fear of illusion or fantasy when facing nature, and he tries his best to control the generation and development of consciousness before it comes to prevent it from opposing and colliding with nature. Hartman found this secret between the lines of Wordsworth's poems, such as Lonely Shearer, Michael and Lucy. He emphasized the relationship between the poet's self-awareness and imagination in aesthetic appreciation and creative activities, especially the concept of "personalized" imagination, instead of discussing the imagination category in romantic literature from the perspective of creativity and sociality, as other traditional scholars who study romantic literature do. 2. Deconstruct the religious view. Wordsworth's early poetry creation took natural pantheism as his religious belief. He believes that all the mountains, rivers and plants in nature are absolute and sacred, and he also believes that the human nature of nature, like nature, is another sacred and absolute existence. In Hartman's view, Wordsworth's religious belief is a kind of perceptual or personalized nature based on natural pantheism and painted with the pigment of harmonious blend of philosophy and art. No wonder Wordsworth calls himself a "philosophical poet". This "philosophical poet" is the unity of philosophy, art and "pure religion". The so-called "pure religion" has both "life breath" and "noble thoughts". "Its elements are infinite, and its ultimate belief is the worship of natural things. It draws boundaries for itself and at the same time reaches a settlement with the secular. " In the process of Wordsworth's artistic creation, under the guidance of imagination, intentional nature transcends the objective natural world, produces sacred and mysterious religious feelings, and sublimates to the aesthetic realm of the apocalypse, so that the poet obtains "real freedom and real free will." 3. Deconstruction of emotional view. To achieve the apocalyptic aesthetic realm, we must rely on the joint efforts of feeling, imagination and emotion, which is also the free will given to the aesthetic subject. Wordsworth expressed his view in The Immortal Revelation: "Fortunately, the soul on which we live, its kindness, its joy and its worries, for me, even the humblest flower can cause profound thinking beyond tears." Wordsworth's love for nature and people not only gives them a wonderful form-"perceptual existence", but also makes it an eternal value existence. Hartman believes: "The poet first starts from the natural landscape composed of objective elements, that is, from the objective self-feeling, and presents it with a good impression in self-consciousness.
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