What he said, they were prepared to hear and to confirm. The influence was in the air, and was wafted up and down into lone and populous places, resisting the popular taste, modifying opinions which it did not change, and soon came to be felt in poetry, in criticism, in plans of life, and at last in legislation. In this country it very early found a stronghold, and its effect may be traced on all the poetry both of England and America." This is truly and well said, though quite inadequate. The slighting allusion to Platonism might have been omitted, for possibly Wordsworth had caught something of the philosophy that was in the air. Mr. Emerson, in "Thoughts on Modern Literature," in the second number of the "Dial," Oct. 1840, touched a deeper chord. "The fame of Wordsworth" he says, "is a leading fact in modern literature, when it is considered how hostile his genius at first seemed to the reigning taste, and with what feeble poetic talents his great and steadily growing dominion has been established. More than any poet his success has been not his own, but that of the idea which he shared with his coevals, and which he has rarely succeeded in adequately expressing. The Excursion awakened in every lover of nature the right feeling. We saw the stars shine, we felt the awe of mountains, we heard the rustle of the wind in the grass, and knew again the ineffable secret of solitude. It was a great joy. It was nearer to nature than any thing we had before. But the interest of the poem ended almost with the narrative of the influences of nature on the mind of the Boy, in the first book. Obviously for that passage the poem was written, and with the exception of this and a few strains of like character in the sequel, the whole poem was dull. Here was no poem, but here was poetry, and a sure index where the subtle muse was about to pitch her tent and find the argument of her song. It was the human soul in these last ages striving for a just publication of itself. Add to this, however, the great praise of Wordsworth, that more than any other contemporary bard he is pervaded with a reverence of somewhat higher than (conscious) thought. There is in him that property common to all great poets--a wisdom of humanity, which is superior to any talents which they exert. It is the wisest part of Shakespeare and Milton, for they are poets by the free course which they allow to the informing soul, which through their eyes beholdeth again and blesseth the things which it hath made. The soul is superior to its knowledge, wiser than any of its works."