repeat it, any more than a sculptor need essay another Apollo Belvedere, or a painter a new Transfiguration. On many of the poems descriptive of Nature that followed his recovery from despondency,—that is, those composed between the years 1796 and 1808,—there rests an ethereal gleam, something of “The light that never was on sea or land,” which gives to these a peculiar charm, but which is less present in his later productions. This idealizing light was drawn either from remembrances of that dream-like vividness and splendor above noticed, which in childhood he saw resting on all things, or from occasional returns of the same vivid emotion and quick flashings from within, which his restored happiness in Nature for a time brought back. This peculiar light culminates in the “Ode on Immortality,” though there it is rather a remembrance of something gone than a present possession. Perhaps the last powerful recurrence of this visionary gleam which he felt is that recorded in the lines composed upon “An Evening of Extraordinary Beauty and Splendor,” seen from the little mount in front of his Rydal home in the year 1818.[17] But these high instincts, and all the impulses akin to them, what are they, what is their worth and meaning, what are we to think about them? Are they merely erratic flashes, garnishing for a moment our sky in early years, soon to be lost forever in the gray light of common day? This is the way in which most poets have regarded them, and so they have sung many a sad depressing strain over the vanished illusions of youth. But this was not the way with Wordsworth. Mr. Leslie Stephens, in a recent essay of great value, has admirably pointed out how his whole philosophy is based on “the identity between the instincts of our childhood and our enlightened reason,” and is busied with expounding the process by which “our early intuitions may be transformed into settled principles of feeling and action.” Those vague instincts, Wordsworth believed, come to man from a divine source, and are given to him not merely for pleasure’s sake, but that he may condense them into permanent principles by thought, by the faithful exercise of the affections, by contemplation of Nature, and by high resolve. The outer world was best and most truly seen when viewed, not as a solitary existence apart from man, but as the background of human life, and looked at through the human emotions of awe, reverence, and love. Thus, though those early ideal lights might disappear, something else, as precious and more permanent, would be wrought into character as the vague emotions became transmuted into what he calls “intellectual love,” “feeling intellect,” “hopeful reason,” all of which are but different names for that state of consciousness which he held to be the organ or eye that sees all highest truth.