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garded, like Flaubert some generations later, as a veritable martyr to style. He brought forth his lyrical children, complained Sir John Suckling, with trouble and pain, instead of with that light-hearted spontaneity which distinguished his contemporaries, and which made their poetry so deliciously easy to write, and so generally unprofitable to read. Suckling himself, and Lovelace, and the host of courtly writers who toyed so gracefully and so joyously with their art, ignored for the most part all severity of workmanship, and made it their especial pride to compose with gentlemanly ease. The result may be seen in a mass of half-forgotten rubbish, and in a few incomparable songs, which are as fresh and lovely to-day as when they first rang the praises of Lucasta, or the fair Althea, or Chloris, the favorite daughter of wanton Aphrodite. They are the models for all love-songs and for all time, and, in their delicate beauty, they endure like fragile pieces of porcelain, to prove how light a thing can bear the weight of immortality. We cannot surpass them, we cannot steal their vivacious grace, we cannot feel ourselves first in a field where