Page:George Chapman, a critical essay (IA georgechapmancri00swin).pdf/96

teristics of French genius. But in the broad full outline of this figure, and in the robust handling of the tragic action which serves for environment or for background to its haughty and dilated proportions, there is more proof of greatness than Chapman had yet given. His comic or gnomic poetry may be better or at least less faulty in its kind, but in that kind there is less room for the growth and display of those greater qualities which not unfrequently struggle through the hot and turbid atmosphere of his tragic writing, and show by a stormy and cloudy illumination the higher reaches of his real genius. Nor is there in these rugged outlying highlands of tragedy, and in the somewhat thick and troubled air of the brooding skies above them, no beauty perceptible but the beauty of cloud and flame, of flood and fell: they have intervals of pure sunshine and soft greensward, interludes of grave and tender harmony, aspects of deep and serene attraction. There is a noticeable abruptness and want of ease in the disposal of the incidents, as though the workman were not yet well broken in to his business; and in effect Chapman never did learn to run