I would begin this answer with my own observation that Wordsworth, of the Romantic poets as a whole, is perhaps the least melancholy, in that there is nearly always a striving within his work to recognize something positive in life, despite the pain and trauma he acknowledges. "Resolution and Independence" illustrates this movement from darkness to light. The speaker begins with his reflections not only on his own dark mood but on the mentality of poets, of that peculiar sensitivity of the artist that is abnormal in some sense, with respect to people in general:
We poets in our youth begin in gladness,
But thereof in the end come despondency and madness.
The speaker has been communing with nature and telling himself that
My old remembrances went from me wholly,
And all the ways of men, so vain and melancholy.
But what is clear is that those remembrances have not...
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really been dispelled. The poet cannot escape the sad thoughts to which he's prone:
. . . fears and fancies thick upon me came,
Dim sadness—and blind thoughts, I knew not, nor could name.
Wordsworth shows himself in conflict with these darker feelings, but then he is finally triumphant over them. The plight of the leech gatherer convinces the speaker of essentially the triviality of his own melancholy. That feeling is with Wordsworth at most times, but there is nearly always a counteracting thought that defeats it, usually rooted in nature and a remembrance of things past. In the "Intimations of Immortality" Ode, the speaker concedes that we cannot recover
. . . the hour
Of splendour in the grass, of glory in the flower,
but that somehow we will find strength in what remains of this largely vanished feeling. Memory, the retention of the essence of the past, is the poet's salvation.
Wordsworth's melancholy seems largely a regret over his lost youth. He is a poet constantly looking backward, trying to retrieve meaning in the past, and struggling against the odds to recreate positive values rather than accepting the poet's fate as one of unhappiness or the "madness" to which he refers as something all too real. He recalls the fate of those poets who died young—Chatterton and Burns—as inspirations but as examples of artists who burned themselves out. It is interesting to note that Wordsworth lived into old age, unlike not only Burns and Chatterton but the poets of the next generation, Byron, Shelley, and Keats. Yet like them, he seems to have struggled with depression, as did his friend Coleridge, who was addicted to opium most of his adult life. Each of Wordsworth's poems is tinged with darkness, in spite of his attempt to create a dominant mood in which that darkness is dispelled. Even in a straightforward lyric such as "The Solitary Reaper," the depiction of a farm girl's singing is far from carefree:
Perhaps the plaintive numbers flow
For old, unhappy, far-off things,
And battles long ago . . .
Some natural sorrow, loss or pain
That has been, and may be again.
Yet the overall impression that lingers is somehow a hopeful or even cheerful one. When recalling this poem, I tend scarcely to remember the darker thoughts expressed. So it is with most of Wordsworth's verse, in which there is a struggle, usually a successful one, to show humanity triumphing over sadness and adversity.
I would say that the presence of melancholy in Wordsworth poems is a part of the overall condition of Romanticism that overrides all. The Wordsworthian poem is one where an individual subjectivity is explored in all of its forms. Melancholy is a part of this. For example, we see melancholy in works like "Tintern Abbey," where Wordsworth is exploring his own sense of identity and how change has happened over time. Melancholy is also present in "The Solitary Reaper," when there is a noticeable barrier between the speaker, presumably Wordsworth, and the woman in the field singing her song. When Wordsworth sees a field of daffodils singing and moving to the natural cadence of the universe, such perfection creates a sense of longing within him. In each of these examples, melancholy is a part of the subjective experience, but it is also fit into the configuration of the emotional range featured in the poems.