able by men who object to too strong a savour of those too truly "Eternal Cesspools" over which the first of living humourists holds as it were for ever an everlasting nose—or rather, in one sense, does not hold but expand it for the fuller inhalation of their too congenial fumes with an apparent relish which will always seem the most deplorable to those who the most gratefully and reasonably admire that high heroic genius, for love of which the wiser sort of men must finally forgive all the noisy aberrations of his misanthropy and philobulgary, anti-Gallican and Russolatrous insanities of perverse and morbid eloquence.
The three detached or misclassified plays of Shakespeare in which alone a reverent and reasonable critic might perhaps find something rationally and really exceptionable have also this far other quality in common, that in them as in his topmost tragedies of the same period either the exaltation of his eloquence touches the very highest point of expressible poetry, or his power of speculation alternately sounds the gulfs and scales the summits of all imaginable thought. In all three of them the power of passionate and imaginative eloquence is not only equal in spirit or essence but identical in figure or in form: in those two of them
