emanly modernism
ever devised."--Ruskin. "Modern Painters," vol. iii., p. 271.

[15] See vol. i., p. 200.

[16] The _Abbey_ of Tintern was irrelevant to Wordsworth.--Herford. "The
Age of Wordsworth," Int., p. xx.

[17] "Dear Sir Walter Scott and myself were exact, but harmonious,
opposites in this:--that every old ruin, hill, river or tree called up in
his mind a host of historical or biographical associations; . . .
whereas, for myself . . . I believe I should walk over the plain of
Marathon without taking more interest in it than in any other plain of
similar features."--Coleridge, "Table Talk," August 4, 1833.

[18] See the delightful anecdote preserved by Carlyle about the little
Blenheim cocker who hated the "genus acrid-quack" and formed an immediate
attachment to Sir Walter. Wordsworth was far from being an acrid quack,
or even a solemn prig--another genus hated of dogs--but there was
something a little unsympathetic in his personality. The dalesmen liked
poor Hartley Coleridge better.

[19] Scott could scarcely have forborne to introduce the figure of the
Queen of Scots, to insure whose marriage with Norfolk was one of the
objects of the rising.

[20] For a full review of "The White Doe" the reader should consult
Principal Shairp's "Aspects of Poetry," 1881.

[21] Scott averred that Wordsworth offended public taste on system.

[22] This is incomparable, not only as a masterpiece of romantic
narrative, but for the spirited and natural device by which the hero is
conducted to his adventure. R. L. Stevenson and other critics have been
rather hard upon Scott's defects as an artist. He was indeed no stylist:
least of all a _precieux_. There are no close-set mosaics in his
somewhat slip-shod prose, and he did not seek for the right word "with
moroseness," like Landor. But, in his large fashion, he was skilful in
inventing impressive effects. Another instance is the solitary trumpet
that breathed its "note of defiance" in the lists of Ashby-de-la-Zouch,
which has the genuine melodramatic thrill--like the horn of Hernani or
the bell that tolls in "Venice Preserved."

[23] See the "Hunting Song" in his continuation of "Queenhoo Hall"--

"Waken, lords and ladies gay,
On the mountain dawns the day."

[24] See vol. i., pp. 277 and 390.

[25] The Glen of the Green Women.

[26] "And still I thought that shattered tower
The mightiest work of human power;
And marvelled as the aged hin