Which I had lost, I hasted to my bed: But when I thought to sleep out all these faults, (I sigh to speak) I found that some had stuff’d the bed with thoughts, I would say thorns. Dear, could my heart not break, When with my pleasures ev’n my rest was gone? Full well I understood who had been there: For I had given the key to none but one: It must be he. “Your heart was dull, I fear.” Indeed a slack and sleepy state of mind Did oft possess me; so that when I pray’d, Though my lips went, my heart did stay behind. But all my scores were by another paid, Who took my guilt upon him. “Truly, Friend, “For aught I hear, your Master shews to you “More favour than you wot of. Mark the end. “The font did only what was old renew “The caldron suppled what was grown too hard: “The thorns did quicken what was grown too dull: “All did but strive to mend what you had marr’d. “Wherefore be cheer’d, and praise him to the full “Each day, each hour, each moment of the week “Who fain would have you be new, tender quick.” CHAPTER XX The former subject continued--The neutral style, or that common to Prose and Poetry, exemplified by specimens from Chaucer, Herbert, and others. I have no fear in declaring my conviction, that the excellence defined and exemplified in the preceding chapter is not the characteristic excellence of Mr. Wordsworth’s style; because I can add with equal sincerity, that it is precluded by higher powers. The praise of uniform adherence to genuine, logical English is undoubtedly his; nay, laying the main emphasis on the word uniform, I will dare add that, of all contemporary poets, it is his alone. For, in a less absolute sense of the word, I should certainly include Mr. Bowies, Lord Byron, and, as to all his later writings, Mr. Southey, the exceptions in their works being so few and unimportant. But of the specific excellence described in the quotation from Garve, I appear to find more, and more undoubted specimens in the works of others; for instance, among the minor poems of Mr. Thomas Moore, and of our illustrious Laureate. To me it will always remain a singular and noticeable fact; that a theory, which would establish this lingua communis, not only as the best, but as the only commendable style, should have proceeded from a poet, whose diction, next to that of Shakespeare and Milton, appears to me of all others the most individualized and characteristic. And let it be remembered too, that I am now interpreting the controverted passages of Mr. Wordsworth’s critical preface by the purpose and object, which he may be supposed to have intended, rather than by the sense which the words themselves must convey, if they are taken without this allowance.