28. +In the original, the quoted material is not indented but instead appears in a smaller typeface; I have chosen to indent the material half an inch to make it easier to read. WORDSWORTH [39] SOME English critics at the beginning of the present century had a great deal to say concerning a distinction, of much importance, as they thought, in the true estimate of poetry, between the Fancy, and another more powerful faculty--the Imagination. This metaphysical distinction, borrowed originally from the writings of German philosophers, and perhaps not always clearly apprehended by those who talked of it, involved a far deeper and more vital distinction, with which indeed all true criticism more or less directly has to do, the distinction, namely, between higher and lower degrees of intensity in the poet's perception of his subject, and in his concentration of himself upon his work. Of those who dwelt upon the metaphysical distinction between the Fancy and the Imagination, it was Wordsworth who made the most of it, assuming it as the basis for the final classification of his poetical writings; and it is in these writings that the deeper and more vital distinction, which, as I have said, underlies the metaphysical [40] distinction, is most needed, and may best be illustrated. For nowhere is there so perplexed a mixture as in Wordsworth's own poetry, of work touched with intense and individual power, with work of almost no character at all. He has much conventional sentiment, and some of that insincere poetic diction, against which his most serious critical efforts were directed: the reaction in his political ideas, consequent on the excesses of 1795, makes him, at times, a mere declaimer on moral and social topics; and he seems, sometimes, to force an unwilling pen, and write by rule. By making the most of these blemishes it is possible to obscure the true aesthetic value of his work, just as his life also, a life of much quiet delicacy and independence, might easily be placed in a false focus, and made to appear a somewhat tame theme in illustration of the more obvious parochial virtues. And those who wish to understand his influence, and experience his peculiar savour, must bear with patience the presence of an alien element in Wordsworth's work, which never coalesced with what is really delightful in it, nor underwent his special power. Who that values his writings most has not felt the intrusion there, from time to time, of something tedious and prosaic? Of all poets equally great, he would gain most by a skilfully made anthology. Such a selection would show, in truth, not so much what he was, or to himself or others [41] seemed to be, as what, by the more energetic and fertile quality in his writings, he was ever tending to become. And the mixture in his work, as it actually stands, is so perplexed, that one fears to miss the least promising composition even, lest some precious morsel should be