verse, superior, I dare aver, to anything in our language which in any
way resembles it," and had declared with evident sincerity that he felt
"a little man" by Wordsworth's side.

His own impression upon his new friend was more distinctively personal
in its origin. It was by Coleridge's total individuality, by the sum of
his vast and varied intellectual powers, rather than by the specific
poetic element contained in them, that Wordsworth, like the rest of the
world indeed, was in the main attracted; but it is clear enough that
this attraction was from the first most powerful. On that point we have
not only the weighty testimony of Dorothy Wordsworth, as conveyed in
her often-quoted description [2] of her brother's new acquaintance, but
the still more conclusive evidence of her brother's own acts. He gave
the best possible proof of the fascination which had been exercised
over him by quitting Racedown with his sister for Alfoxden near Nether
Stowey within a few weeks of his first introduction to Coleridge, a
change of abode for which, as Miss Wordsworth has expressly recorded,
"our principal inducement was Coleridge's society."

By a curious coincidence the two poets were at this time simultaneously
sickening for what may perhaps be appropriately called the "poetic
measles." They were each engaged in the composition of a five-act
tragedy, and read scenes to each other, and to each other's admiration,
from their respective dramas. Neither play was fortunate in its
immediate destiny. Wordsworth's tragedy, the _Borderers_, was
greatly commended by London critics and decisively rejected by the
management of Covent Garden. As for Coleridge, the negligent Sheridan
did not even condescend to acknowledge the receipt of his manuscript;
his play was passed from hand to hand among the Drury Lane Committee;
but not till many years afterwards did _Osorio_ find its way under