_The Excursion_, 1814, and _The Prelude_--which was printed after his death in 1850, though finished as early as 1806--the poetry wears very thin and its place is taken by prosaic, tedious didacticism. These two poems were designed as portions of a still more extended work, _The Recluse_, which was never completed. _The Excursion_ consists mainly of philosophical discussions on nature and human life between a school-master, a solitary, and an itinerant peddler. _The Prelude_ describes the development of Wordsworth's own genius. In parts of _The Excursion_ the diction is fairly Shaksperian: The good die first, And they whose hearts are dry as summer dust Burn to the socket; a passage not only beautiful in itself but dramatically true, in the mouth of the bereaved mother who utters it, to that human instinct which generalizes a private sorrow into a universal law. Much of _The Prelude_ can hardly be called poetry at all, yet some of Wordsworth's loftiest poetry is buried among its dreary wastes, and now and then, in the midst of commonplaces, comes a flash of Miltonic splendor--like Golden cities ten months' journey deep Among Tartarian wilds. Wordsworth is, above all things, the poet of nature. In this province he was not without forerunners. To say nothing of Burns and Cowper, there was George Crabbe, who had published his _Village_ in 1783--fifteen years before the _Lyrical Ballads_--and whose last poem, _Tales of the Hall_, came out in 1819, five years after _The Excursion_. Byron called Crabbe "Nature's sternest painter, and her best." He was a minutely accurate delineator of the harsher aspects of rural life. He photographs a Gypsy camp; a common, with its geese and donkey; a salt marsh, a shabby village street, or tumble-down manse. But neither Crabbe nor Cowper has the imaginative lift of Wordsworth, The light that never was, on sea or land, The consecration, and the poet's dream. In a note on a couplet in one of his earliest poems, descriptive of an oak-tree standing dark against the sunset, Wordsworth says: "I recollect distinctly the very spot where this struck me. The moment was important in my poetical history, for I date from it my consciousness of the infinite variety of natural appearances which had been unnoticed by the poets of any age or country, and I made a resolution to supply, in some degree, the deficiency." In later life he is said to have been impatient of any thing spoken or written by another about mountains, conceiving himself to have a monopoly of "the power of hills." But Wordsworth did not stop with natural description. Matthew Arnold has said that the office of modern poetry is the "moral interpretation of Nature." Such, at any rate, was Wordsworth's office. To him Nature was alive and divine. He felt, under the veil of phenomena, A presence that disturbs me with the joy Of elevated thought: a sense sublime Of something far more deeply interfused.