ate the thing. Spenser needs no such extenuations. No man can read the "Faery Queen" and be anything but the better for it. Through that rude age, when Maids of Honor drank beer for breakfast and Hamlet could say a gross thing to Ophelia, he passes serenely abstracted and high, the Don Quixote of poets. Whoever can endure unmixed delight, whoever can tolerate music and painting and poetry all in one, whoever wishes to be rid of thought and to let the busy anvils of the brain be silent for a time, let him read in the "Faery Queen." There is the land of pure heart's ease, where no ache or sorrow of spirit can enter.

WORDSWORTH.

A GENERATION has now passed away since Wordsworth was laid with the family in the churchyard at Grasmere.* Perhaps it is hardly yet time to take a perfectly impartial measure of his value as a poet. To do this is especially hard for those who are old enough to remember the last shot which the foe was sullenly firing in that long war of critics which began when he published his manifesto as Pretender, and which came to a pause rather than end when they flung up their caps with the rest at his final coronation. Something of the intensity of the odium theologicum (if indeed the aestheticum be not in these days the more bitter of the two) entered into the conflict. The Wordsworthians were a sect, who, if they had the enthusiasm, had also not a little of the exclusiveness and partiality to which sects are liable. The verses of the master had for them the virtue of religious canticles stimulant of zeal and not amenable to the ordinary tests of cold-blooded criticism. Like the hymns of the Huguenots and Covenanters, they were songs of battle no less than of worship, and

"I pay many little visits to the family in the churchyard at Grasmere," writes James Dixon (an old servant of Wordsworth) to Crabb Robinson, with a simple, one might almost say canine pathos, thirteen years after his master's death. Wordsworth was always considerate and kind with his servants, Robinson tells us.

the combined ardors of conviction and conflict lent them a fire that was not naturally their own. As we read them now, that virtue of the moment is gone out of them, and whatever of Dr. Wattsiness there is gives us a slight shock of disenchantment. It is something like the difference between the Marseillaise sung by armed propagandists on the edge of battle, or by Brissotins in the tumbrel, and the words of it read coolly in the closet, or recited with the factitious frenzy of Thérèse. It was natural in the early days of Wordsworth's career to dwell most fondly on those profounder qualities to appreciate which settled in some sort the measure of a man's right to judge of poetry at all. But now we must admit the shortcomings, the failures, the defects, as no less essential elements in forming a sound judgment as to whether the seer and artist were so united in him as to justify the claim first put in by himself and afterwards maintained by his sect to a place beside the few great poets who exalt men's minds, and give a right direction and safe outlet to their passions through the imagination, while insensibly helping them toward balance of character and serenity of judgment by stimulating their sense of proportion, form, and the nice adjustment of means to ends. In none of our poets has the constant propulsion of an unbending will, and the concentration of exclusive, if I must not say somewhat narrow, sympathies done so much to make the original endowment of nature effective, and in none accordingly does the biography throw so much light on the works, nor enter so largely into their composition as an element whether of power or of weakness. Wordsworth never saw, and I think never wished to see, beyond the limits of his own consciousness and experience. He early conceived himself to be, and through life was confirmed by circumstances in the faith that he was, a "dedicated

spirit,' a state of mind likely to further an intense but at the same time one-sided development of the intellectual powers. The solitude in which the greater part of his mature life was passed, while it doubtless ministered to the passionate intensity of his musings upon man and nature, was, it may be suspected, harmful to him as an artist, by depriving him of any standard of proportion outside himself by which to test the comparative value of his thoughts, and by rendering him more and more incapable of that urbanity of mind which could be gained only by commerce with men more nearly on his own level, and which gives tone without lessening individuality. Wordsworth never quite saw the distinction between the eccentric and the original. For what we call originality seems not so much anything peculiar, much less anything odd, but that quality in a man which touches human nature at most points of its circumference, which reinvigorates the consciousness of our own powers by recalling and confirming our own unvalued sensations and perceptions, gives classic shape to our own amorphous imaginings, and adequate utterance to our own stammering conceptions or emotions. The poet's office is to be a Voice, not of one crying in the wilderness to a knot of already magnetized acolytes, but singing amid the throng of men and lifting their common aspirations and sympathies (so first clearly revealed to themselves) on the wings of his song to a purer ether and a wider reach of view. We cannot, if we would, read the poetry of Wordsworth as mere poetry; at every

In the Prelude he attributes this consecration to a sunrise seen (during a college vacation) as he walked homeward from some village festival where he had danced all night:

"My heart was full; I made no vows, but vows
Were then made for me; bond unknown to me
Was given that I should be, else sinning greatly,
A dedicated Spirit.”— B. IV.

other page we find ourselves entangled in a problem of aesthetics. The world-old question of matter and form, of whether nectar is of precisely the same flavor when served to us from a Grecian chalice or from any jug of ruder pottery, comes up for decision anew. The Teutonic nature has always shown a sturdy preference of the solid bone with a marrow of nutritious moral to any shadow of the same on the flowing mirror of sense. Wordsworth never lets us long forget the deeply rooted stock from which he sprang, vien ben dà lui.

WILLIAM WORDSWORTH was born at Cockermouth in Cumberland on the 7th of April, 1770, the second of five children. His father was John Wordsworth, an attorney-at-law, and agent of Sir James Lowther, afterwards first Earl of Lonsdale. His mother was Anne Cookson, the daughter of a mercer in Penrith. His paternal ancestors had been settled immemorially at Penistone in Yorkshire, whence his grandfather had emigrated to Westmoreland. His mother, a woman of piety and wisdom, died in March, 1778, being then in her thirty-second year. His father, who never entirely cast off the depression occasioned by her death, survived her but five years, dying in December, 1783, when William was not quite fourteen years old.

The poet's early childhood was passed partly at Cockermouth, and partly with his maternal grandfather at Penrith. His first teacher appears to have been Mrs. Anne Birkett, a kind of Shenstone's Schoolmistress, who practised the memory of her pupils, teaching them chiefly by rote, and not endeavoring to cultivate their reasoning faculties, a process by which children are apt to be converted from natural logicians into impertinent sophists. Among his schoolmates here was Mary Hutchinson, who afterwards became his wife.