Carlyle early learned the German language, as Coleridge did, and drank deep from the fountains of its best literature. To him it opened a new world of thought, which the ordinary Englishman had no conception of. Coleridge found himself at home there by virtue of his natural genius, and also by the introduction given him by Wm. Law, John Pordage, Richard Saumarez, and Jacob Behmen, so that the suddenly discovered continent broke on him with less surprise; but Carlyle was as one taken wholly unawares, fascinated, charmed, intoxicated with the sights and sounds about him. Being unprepared by previous reflection and overpowered by the gorgeousness of color, the wealth was too much for him; it palled at last on his appetite, and he experienced a reaction similar to that of the sensualist whose delirium first persuades him that he has found his soul, and then makes him fear that he has lost it. With the reactionary stage of Carlyle's career when, as a frank critic observes, "he flung away with a shriek the problems his youth entertained, as the fruit by which paradise was lost; repented of all knowledge of good and evil; clapped a bandage round the open eyes of morals, religion, art, and saw no salvation but in spiritual suicide by plunging into the currents of instinctive nature that sweep us we know not whither"--we are not concerned. His interest for us ceases with his moral enthusiasm. A more serene and beneficent influence proceeded from the poet Wordsworth, whose fame rose along with that of Coleridge, struggled against the same opposition, and obtained even a steadier lustre. There was a kindred between them which Wordsworth did not acknowledge, but which Coleridge more than suspected and tried to divulge. One chapter in the first volume of the "Biographia Literaria" and four chapters in the second volume are devoted to the consideration of Wordsworth's poetry, and effort is made, not quite successfully, to bring Wordsworth's psychological faith into sympathy with his own. Wordsworth's genius has furnished critics with materials for speculation that must be sought in their proper places. We have no fresh analysis to offer. That the secret of his power over the ingenuous and believing minds of his age is to be found in the sentiment with which he invested homely scenes and characters is a superficial conjecture. What led him to invest homely scenes and characters with sentiment, and what made this circumstance interesting to precisely that class of minds? What, but the same latent idealism that came to deliberate and formal expression in Coleridge, and suggested in the one what was proclaimed by the other? For Wordsworth was a metaphysician, though he did not clearly suspect it; at least, if he did, he was careful not to betray himself by the usual signs. The philosophers recognized him and paid to him their acknowledgments.