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to another, and filial sentiment or noble indignation is played off against speculative philosophy, or the woman is shown in sunshine or in storm, or the irresolute man capable of guilt is contrasted with the criminal seared by the enjoyment of power. But the single mood of thought, expressed even in its most various inflections, does not admit of very wide treatment. Browning is not easily surpassed for analysis of motive in thoughtful men; but Browning wrote more at length when he developed a character in dramatic form—in A Blot in the 'Scutcheon or A Soul's Tragedy—than when he made his subject soliloquise, as in Andrea del Sarto and Cleon and Bishop Blougram's Apology, and it is noticeable that even in these he conceives an imaginary opponent, in order to bring out his thought with greater amplitude. If we turn to Heine, who was more supremely artistic than Browning, we find that he can commonly put the suggestion of sentiment or the touch of observation he desires to express into a dozen or twenty lines. Perhaps it may be added that concision in thought—the power to give the greatest effect with the fewest strokes—is the surest passport to immortality. At any rate, when we consider that the drinking-song and the Cotyttian lyric are now becoming obsolete, that there is presumably less strong passion in the world, and that what there is, is more reticent, that the greatest problems of thought have been hackneyed and made commonplace by discussion, and that a certain trick of workmanlike style is much more generally diffused than it was, it seems difficult to predict that the future of the modern lyric will be as bright as its past. It appears possible to imagine a not very distant time when the student will recoil from every new variation in worse verse of the old