that as with Phidias, so with Shakespeare: Hamlet is at once the type and the man. The poet born cannot turn aside, on this hand, into science, as the realists do; nor on that hand, into philosophy, as the allegorists do. To him that ideal art alone is possible in which the two are united in the expression of permanent and universal truth through selected facts.
Nevertheless, it may be urged, the Greeks passed rapidly from the idealistic to the realistic stage. And in connection with this one observes the happiness with which Dr. Waldstein identifies the elements of likeness between the Greeks and the moderns, just as he opposes their differences to each other. The most admirable example is an inquiry into the æsthetical qualities of the Hermes of Praxiteles, and in the course of it he delineates the characteristics of the age of Praxiteles, and parallels them with the traits of the time just subsequent to the French Revolution. In doing this he incidentally describes the common spirit in Shelley, Musset, and other representatives of an art, not of the noblest, but not of the worst either, of the interval after the great age, yet before the marked decadence. It may
