times themselves attempted to copy the very style which they were superseding. Wordsworth, too, began with a tendency to imitate Pope, but only in the school exercises which he wrote as a boy. Poetry soon became to him the expression of his own deep and simple feelings; and then he rebelled against rhetoric and unreality and found for himself a director and truer voice, "I have proposed to myself to imitate and, as far as is possible, to adopt the very language of men.... I have taken as much pains to avoid what is usually called poetic diction as others ordinarily take to produce it." And he erected this practice into a general principle in the following passage:-- "I do not doubt that it may be safely affirmed that there neither is, nor can be, any essential difference between the language of prose and metrical composition. We are fond of tracing the resemblance between poetry and painting, and, accordingly, we call them sisters; but where shall we find bonds of connexion sufficiently strict to typify the affinity between metrical and prose composition? If it be affirmed that rhyme and metrical arrangement of themselves constitute a distinction which overturns what I have been saying on the strict affinity of metrical language with that of prose, and paves the way for other artificial distinctions which the mind voluntarily admits, I answer that the language of such poetry as I am recommending is, as far as is possible, a selection of the language really spoken by men; that this selection, wherever it is made with true taste and feeling, will of itself form a distinction far greater than would at first be imagined, and will entirely separate the composition from the vulgarity and meanness of ordinary life; and if metre be superadded thereto, I believe that a dissimilitude will be produced altogether sufficient for the gratification of a rational mind. What other distinction would we hare? Whence is it to come? And where is it to exist?" There is a definiteness and simplicity about this description of poetry which may well make us wonder why this precious thing (producible, apparently, as easily as Pope's imitators supposed, although by means different from theirs) is not offered to us by more persons, and of better quality. And it will not be hard to show that a good poetical style must possess certain characteristics, which, although something like them must exist in a good prose style, are carried in poetry to a pitch so much higher as virtually to need a specific faculty for their successful production. To illustrate the inadequacy of Wordsworth's theory to explain the merits of his own poetry, I select a stanza from one of his simplest and most characteristic poems--_The Affliction of Margaret_:-- Perhaps some dungeon hears thee groan, Maimed, mangled by inhuman men, Or thou upon a Desert thrown Inheritest the lion's Den; Or hast been summoned to the Deep, Thou, thou and all thy mates, to keep An incommunicable sleep.