'They flash upon the inward eye Which is the bliss of solitude! And then my heart with pleasure fills And dances with the daffodils.' Coleridge found an almost burlesque bathos in the second couplet after the first. It would be difficult for a modern critic to accept that verdict altogether; nevertheless his objection to the first couplet as a description of physical vision is surely sound. And it is interesting to note that the objection has been evaded by posterity in a manner which confirms Coleridge's criticism. The 'inward eye' is almost universally remembered apart from its context, and interpreted as a description of the purely spiritual process to which alone, in Coleridge's opinion, it was truly apt. The enumeration of Wordsworth's excellences which follows is masterly; and the exhilaration with which one rises through the crescendo to the famous: 'Last and pre-eminently, I challenge for this poet the gift of _Imagination_ in the highest and strictest sense of the word ...' is itself a pleasure to be derived only from the gift of criticism of the highest and strictest kind. The object of this examination has been to show, not that the _Biographia Literaria_ is undeserving of the high praise which has been bestowed upon it, but that the praise has been to some extent undiscriminating. It has now become almost a tradition to hold up to our admiration Coleridge's chapter on poetic diction, and Sir Arthur Quiller-Couch, in a preface that is as unconventional in manner as it is stimulating in most of its substance, maintains the tradition. As a matter of fact, what Coleridge has to say on poetic diction is prolix and perilously near commonplace. Instead of making to Wordsworth the wholly sufficient answer that much poetry of the highest kind employs a language that by no perversion can be called essentially the same as the language of prose, he allows himself to be led by his German metaphysic into considering poetry as a _Ding an sich_ and deducing therefrom the proposition that poetry _must_ employ a language different from that of prose. That proposition is false, as Coleridge himself quite adequately shows from his remarks upon what he called the 'neutral' language of Chaucer and Herbert. But instead of following up the clue and beginning to inquire whether or not narrative poetry by nature demands a language approximating to that of prose, and whether Wordsworth, in so far as he aimed at being a narrative poet, was not working on a correct but exaggerated principle, he leaves the bald contradiction and swerves off to the analysis of the defects and excellences of Wordsworth's actual achievement. Precisely because we consider it of the greatest importance that the best of Coleridge's criticism should be studied and studied again, we think it unfortunate that Sir Arthur Quiller-Couch should recommend the apprentice to get the chapters on poetic diction by heart.