North.—­Hout, tout, man!  The author of the Excursion could afford to spare you a thousand finer passages, and he would seem none the poorer.  As to the imputed plagiarism, Wordsworth would no doubt have avowed it had he been conscious that it was one, and that you could attach so much importance to the honour of having reminded him of a secret in conchology, known to every old nurse in the country, as well as to every boy or girl that ever found a shell on the shore, or was tall enough to reach one off a cottage parlour mantelpiece; but which he could apply to a sublime and reverent purpose, never dreamed of by them or you.  It is in the application of the familiar image, that we recognise the master-hand of the poet.  He does not stop when he has described the toy, and the effect of air within it.  The lute in Hamlet’s hands is not more philosophically dealt with.  There is a pearl within Wordsworth’s shell, which is not to be found in your’s, Mr. Landor.  He goes on:—­

  “Even such a shell the universe itself
  Is to the ear of Faith; and there are times,
  I doubt not, when to you it cloth impart
  Authentic tidings of invisible things—­
  Of ebb and flow, and ever-during power,
  And central peace subsisting at the heart
  Of endless agitation.”

These are the lines of a poet, who not only stoops to pick up a shell now and then, as he saunters along the sea-shore, but who is accustomed to climb to the promontory above, and to look upon the ocean of things:—­

  “From those imaginative heights that yield
  Far-stretching views into eternity.”

Do not look so fierce again, Mr. Landor.  You who are so censorious of self-complacency in others, and indeed of all other people’s faults, real or imagined, should endure to have your vanity rebuked.

Landor.—­I have no vanity.  I am too proud to be vain.

North.—­Proud of what?

Landor.—­Of something beyond the comprehension of a Scotchman, Mr. North—­proud of my genius.

North.—­Are you so very great a genius, Mr. Landor?

Landor.—­I am. Almighty Homer is twice far above Troy and her towers, Olympus and Jupiter.  First, when Priam bends before Achilles, and a second time, when the shade of Agamemnon speaks among the dead.  That awful spectre, called up by genius in after-time, shook the Athenian stage.  That scene was ever before me; father and daughter were ever in my sight; I felt their looks, their words, and again I gave them form and utterance; and, with proud humility, I say it—­

     “I am tragedian in this scene alone. 
       Station the Greek and Briton side by side
       And if derision be deserved—­deride.”

Surely there can be no fairer method of overturning an offensive reputation, from which the scaffolding is not yet taken down, than by placing against it the best passages, and most nearly parallel, in the subject, from AEschylus and Sophocles.  To this labour the whole body of the Scotch critics and poets are invited, and, moreover, to add the ornaments of translation. [120]