influences of form and colour, to apply the terms and subtleties of metaphysical definition to the physical anatomy of beauty; indeed, one at least of his poems may be described as a study in philosophic vivisection applied by a lover to his mistress, in which analysis and synthesis of material and spiritual qualities in action and reaction of cause and effect meet and confound each other—to say nothing of the reader. But of pure passion and instinctive simplicity of desire or delight there is little more trace than of higher emotion or deeper knowledge of such things as belong alike to mind and body, and hold equally of the spirit and the flesh.
Here again we find that Jonson and Chapman stand far apart from their fellow men of genius. The most ambitious and the most laborious poets of their day, conscious of high aims and large capacities, they would be content with no crown that might be shared by others; they had each his own severe and haughty scheme of study and invention, and sought for no excellence which lay beyond or outside it; that any could lie above, past the reach of their
