“Composed from Westminster Bridge” evokes a strong feeling of nature in the reader. It is from here that we can see the beauty of Wordsworth's London. It can be argued that the purpose of this sonnet is to highlight the power of nature and how civilization fits around it. This is seen primarily in the linguistic choices of the Sonnet, particularly the role of personification, the function of phonological features such as rhyme and rhythm, and the position of secondary sources. Using this methodology we should be able to explore the respect inspired by nature and how the city of London integrates with nature. Wordsworth makes extensive use of personification in the Sonnet. These personifications animate the city beyond the literal description we encounter in a more natural affair. “This city now wears like a garment/The beauty of the morning; silent, naked. Suggesting that the city wear an item of clothing implied that it would be covered up or censored. We might take this as a sign that nature hides the sins of civilization in the morning, when people are still asleep. Furthermore, as nature is worn down by civilization, we could infer that Wordsworth only assumes this appreciation of the city because of the effects of nature. To prove this, we can look at Wordsworth's description of London in relation to its surroundings. The description of London's "ships, towers, domes, theaters and temples" in the syndetic list is almost paralleled in the last line of "In its first valley, rock or hill"; This is the view of Suckersmith who states that "the listed details of the city skyline, 'the ships, the towers, the domes, the theaters and the temples,' find a careful parallel in the features of the landscape natural, “the valley, the rock…”. .. middle of paper......alden:Blackwell Publishing 2006) p.534-535 All subsequent references are to this editionHarvey Peter Sucksmith, 'Ultimate Affirmation: A Critical Analysis of Wordsworth's Sonnet, 'Composed upon Westminster Bridge' , and the image of the city in “The Prelude”, The Year Book of English Studies 6 (1976) p. 115Charles V. Hartung, “Wordsworth on Westminster Bridge: Paradox or Harmony? », College English 4 (1952) p.202 Harvey Peter Sucksmith, “Ultimate Affirmation: A Critical Analysis of Wordsworth's Sonnet, 'Composed upon Westminster Bridge' and the image of the city in 'The Prelude', The Yearbook of English Studies 6 (1976) p. 115C. V. Wicker, “On Wordsworth's Westminster Bridge Sonnet,” The News Bulletin of the Rocky Mountain Modern Language Association 9 (1955), p. 4Carl Woodring, “Nature and art in the nineteenth century”, PMLA 92 (1977), p.. 193