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own place and context ; but he would have done more wisely to have left them to find their own apology than to have given reasons which seemed paradoxes. In the hot controversy which followed, both disputants made false moves : the Edinburgh reviewers were false in their thrusts, Wordsworth was false in his parry. He was right in protesting against the doctrine that a thing is not poetical because it is not expressed in a certain conventional mintage : he was wrong in denying that there is a mintage of words fit for poetry and unsuitable for ordinary prose. They were utterly wrong in thinking that he was not a most careful and fastidious artist in language ; but they had some reason for their objections, and some excuse for their ridicule, when it was laid down without distinguishing or qualifying that there was no difference between the language of prose and poetry, and that the language of poetry was false and bad unless it was what might be spoken in the intercourse of common life. Wordsworth, confident of his side of truth, and stung by the flippancy and ignorant narrowness of his censors, was not the person to clear up the dispute. Coleridge, understanding and sympathising with what he really meant, never undertook a worthier task than when he brought his singular powers of criticism to bear on it, and helped men to take a more serious and just measure of his friend's greatness. He pointed out firmly and clearly what was untenable in Wordsworth's positions, his ambiguities, his overstatements. He put into more reasonable and comprehensive terms what he knew to be Wordsworth's meaning. He did not shrink from admitting defects, ‘characteristic defects,’ in his poetry ;-inequality of style, over-care for minute painting of details; disproportion and incongruity between language and feeling, between matter and decoration ; 'thoughts and images too great for the subject.' But then he showed at what a height, in spite of all, he really stood :-his austere purity and perfection of language, the wideness of his range, the freshness of his thought, the unfailing certainty of his eye ; his unswerving truth, and, above all, his magnificent gift of imagination, 'nearest of all modern writers to Shakespeare and Milton, yet in a kind perfectly unborrowed and his own.' No more discriminating and no more elevated judgment of Wordsworth's genius is to be found than that which Coleridge inserted in the volume which he called his Biographia Literaria.

R. W. CHURCH.

THE REVERIE OF POOR SUSAN.

At the corner of Wood Street, when daylight appears,
Hangs a Thrush that sings loud, it has sung for three years
Poor Susan has passed by the spot, and has heard
In the silence of morning the song of the Bird.
'Tis a note of enchantment; what ails her? She sees
A mountain ascending, a vision of trees;
Bright volumes of vapour through Lothbury glide,
And a river flows on through the vale of Cheapside.
Green pastures she views in the midst of the dale,
Down which she so often has tripped with her pail ;
And a single small cottage, a nest like a dove's,
The one only dwelling on earth that she loves.
She looks, and her heart is in heaven : but they fade,
The mist and the river, the hill and the shade :
The stream will not flow, and the hill will not rise,
And the colours have all passed away from her eyes.

(1797 ?)

EXPOSTULATION AND REPLY.

Why, William, on that old grey stone,
Thus for the length of half a day,
Why, William, sit you thus alone,
And dream your time away?
Where are your books ?—that light bequeathed
To Beings else forlorn and blind !
Up! up! and drink the spirit breathed
From dead men to their kind.

You look round on your Mother Earth,
As if she for no purpose bore you ;
As if you were her first-born birth,
And none had lived before you !'

One inorning thus, by Esthwaite lake,
When life was sweet, I knew not why,
To me my good friend Matthew spake,
And thus I made reply,
'The eye-it cannot choose but see:
We cannot bid the ear be still ;
Our bodies feel, where'er they be,
Against or with our will.
Nor less I deem that there are Powers
Which of themselves our minds impress;
That we can feed this mind of ours
In a wise passiveness.
Think you, 'mid all this mighty sum
Of things for ever speaking,
That nothing of itself will come,
But we must still be seeking !
-Then ask not wherefore, here, alone,
Conversing as I may,
I sit upon this old grey stone,
And dream my time away.'

(1798.)

THE TABLES TURNED.

(An Evening Scene on the same Subject.)
Up! up! my Friend, and quit your books ;
Or surely you'll grow double :
Up! up! my Friend, and clear your looks ;
Why all this toil and trouble ?
The sun, above the mountain's head,
A freshening lustre mellow
Through all the long green fields has spread,
His first sweet evening yellow.
Books ! 'tis a dull and endless strife :
Come, hear the woodland linnet,
How sweet his music ! on my life,
There's more of wisdom in it.

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VOL. IV.

And hark! how blithe the throstle sings !
He, too, is no mean preacher :
Come forth into the light of things,
Let Nature be your teacher.
She has a world of ready wealth,
Our minds and hearts to bless-
Spontaneous wisdom breathed by health,
Truth breathed by cheerfulness.
One impulse from a vernal wood
May teach you more of man,
Of moral evil and of good,
Than all the sages can.
Sweet is the lore which Nature brings ;
Our meddling intellect
Mis-shapes the beauteous forms of things :--
We murder to dissect.
Enough of Science and of Art;
Close up those barren leaves ;
Come forth, and bring with you a heart
That watches and receives.

(1798.)

LINES, COMPOSED A FEW MILES ABOVE TINTERN ABBEY, ON

REVISITING THE BANKS OF THE WYE DURING A TOUR.
JULY 13, 1798.

Five years have past; five summers, with the length
Of five long winters ! and again I hear
These waters, rolling from their mountain-springs
With a soft inland murmur.—Once again
Do I behold these steep and lofty cliffs,
That on a wild secluded scene impress
Thoughts of more deep seclusion; and connect
The landscape with the quiet of the sky.
The day is come when I again repose
Here, under this dark sycamore, and view
These plots of cottage-ground, these orchard-tufts,

minute dit gei

Which at this season, with their unripe fruits,
Are clad in one green hue, and lose themselves
'Mid groves and copses. Once again I see
These hedge-rows, hardly hedge-rows, little lines
Of sportive wood run wild : these pastoral farms,
Green to the very door; and wreaths of smoke
Sent up, in silence, from among the trees !
With some uncertain notice, as might seem
Of vagrant dwellers in the houseless woods,
Or of some Hermit's cave, where by his fire
The Hermit sits alone.

These beauteous forms,
Through a long absence, have not been to me
As is a landscape to a blind man's eye:
But oft, in lonely rooms, and ’mid the din
Of towns and cities, I have owed to them,
In hours of weariness, sensations sweet,
Felt in the blood, and felt along the heart ;
And passing even into my purer mind,
With tranquil restoration :--feelings too
Of unremembered pleasure : such, perhaps,
As have no slight or trivial influence
On that best portion of a good man's life,
His little, nameless, unremembered, acts
Of kindness and of love. Nor less, I trust,
To them I may have owed another gift,
Of aspect more sublime ; that blessed mood,
In which the burthen of the mystery,
In which the heavy and the weary weight
Of all this unintelligible world,
Is lightened :—that serene and blessed mood,
In which the affections gently lead us on, -
Until, the breath of this corporeal frame
And even the motion of our human blood
Almost suspended, we are laid asleep
In body, and become a living soul :
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
We see into the life of things.

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