government under which such things are possible and even natural? The moral problem is more prominent in the curious tragedy, The Borderers. That tragedy, received with rapture by his new friend, Coleridge, was written, he says, to be read, not to be acted; and, like most tragedies so written, has almost failed to find readers, as it quite failed to find actors. Had he written it later, he says, he should have introduced a more complex plot and a greater variety of characters. He might have tried; but nobody could have a less dramatic genius than Wordsworth, who could never describe any character except his own. The Borderers, however, is noticeable here only as an illustration of his state of mind. It was meant to embody a theory, upon which at the time he wrote a prose essay, namely, how we are to explain the 'apparently motiveless actions of bad men.' His villain is a man who erroneously supposed that he was joining in an act of justice when he was really becoming accomplice in an atrocious crime. Having found out his mistake, he resolves, not to repent, but in future to commit any number of crimes on his own account. Conscience is a nuisance and remorse a mistake. The villain not only acts upon his principles, but
