narrowly limited to the influence of nature in forming the soul. Both looked to the same end, spiritual life; but Wordsworth had a different starting-point. His mind was more individual, and he assumed that his own history was typical; he was less rich in the stores of antiquity, and he had less sensibility to beauty in its ideal forms; but he knew the place that nature held in his own development, and he became specifically the poet of nature, not only as beauty visible to the eye, but also, and mainly, as an invisible influence in the lives of men. Much of his verse was a pastoral form of philosophy; meditation counted for more than beauty in it; but the scene was the English country, and the characters were rustics. There was, too, something of imaginative untruth in it, no doubt, similar to that inherent in all pastoral poetry. These common men, however, were not individuals, but stood for man, and Wordsworth, in delineating their histories, was writing a parable as well as a story. In other portions of his verse he used a more abstract method. As a moralist he was much given to maxims; and in all that concerns the social and political life of man, as well as his personal relations to
