until the successors of Scott and Byron allied a new and refined tenderness to beauty. Recognition of this force in art.The first rush had been that of splendid barbarians. It is so true that strong natures recognize the force of passion, that even Wordsworth, conscious of great moods, was led to confess that "poetry is the spontaneous outflow of powerful feelings," and saved himself by adding that it takes "its origin from emotion recollected in tranquillity." Poets do retain the impressions of rare moments, and express them at their own time. But "the passion of Wordsworth," under which title Wordsworth's emotional limits.I have read an ingenious plea for it by Dr. Coan, was at its best very serene, and not of a kind to hasten dangerously his heart-beats. Like Goethe, he regarded human nature from without; furthermore, he studied by choice a single class of people, whose sensibilities were not so acute, say what you will, as those of persons wonted to varied and dramatic experiences. The highest passion of his song was inspired by inanimate nature; it was a tide of exaltation and worship, the yearning of a strong spirit to be at one with the elements. Add to this his occasional notes of feeling: the pathos of love in his thought of Lucy:—
"But she is in her grave, and, oh,
The difference to me!"
the pathos of broken comradeship in the quatrain:—
"Like clouds that rake the mountain-summits,
