And Wordsworth came to know that the light he had imagined to be bestowed, was a light reflected from his own mind. It is easy to pass from criticism to metaphysics where Coleridge leads, and wise not to follow. If Wordsworth represents that side of the Romantic Revival which is best described as the return to Nature, Coleridge has justification for the phrase "Renascence of Wonder." He revived the supernatural as a literary force, emancipated it from the crude mechanism which had been applied to it by dilettantes like Horace Walpole and Mrs. Radcliffe, and invested it instead with that air of suggestion and indefiniteness which gives the highest potency to it in its effect on the imagination. But Coleridge is more noteworthy for what he suggested to others than for what he did in himself. His poetry is, even more than Wordsworth's, unequal; he is capable of large tracts of dreariness and flatness; he seldom finished what he began. The _Ancient Mariner_, indeed, which was the fruit of his close companionship with Wordsworth, is the only completed thing of the highest quality in the whole of his work. _Christabel_ is a splendid fragment; for years the first part lay uncompleted and when the odd accident of an evening's intoxication led him to commence the second, the inspiration had fled. For the second part, by giving to the fairy atmosphere of the first a local habitation and a name, robbed it of its most precious quality; what it gave in exchange was something the public could get better from Scott. _Kubla Khan_ went unfinished because the call of a friend broke the thread of the reverie in which it was composed. In the end came opium and oceans of talk at Highgate and fouled the springs of poetry. Coleridge never fulfilled the promise of his early days with Wordsworth. "He never spoke out." But it is on the lines laid down by his share in the pioneer work rather than on the lines of Wordsworth's that the second generation of Romantic poets--that of Shelley and Keats--developed.