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typical qualities. In the first book, for instance, of the first series, the divine poem on Ruth and Boaz may properly be taken as representative of that almost indefinable quality which hitherto has seemed more especially the gift of Dante: a fusion, so to speak, of sublimity with sweetness, the exaltation of loveliness into splendour and simplicity into mystery, such as glorifies the close of his Purgatory and the opening of his Paradise. Again, the majestic verses which bring Mahomet before us at his end strike a deeper impression into the memory than is left by the previous poem on the raising of Lazarus; and when we pass into the cycle of heroic or chivalrous legend we find those poems the loftiest and the loveliest which have in them most of that prophetic and passionate morality which makes the greatest poet, in this as in some other ages, as much a seer as a singer, an evangelist no less than an artist. Hugo, for all his dramatic and narrative mastery of effect, will always probably remind men rather of such poets as Dante or Isaiah than of such poets as Sophocles or Shakespeare. We cannot of course imagine the Florentine or the Hebrew endowed with his infinite variety of sympathies, of interests, and of powers; but as little can we imagine in the Athenian such height and depth of passion, in the Englishman such unquenchable and sleepless fire of moral and prophetic faith. And hardly in any one of these, though Shakespeare may perhaps be excepted, can we recognize the same buoyant and childlike exultation in such things as are the delight of a high-hearted child—in free glory of adventure and ideal daring, in the triumph and rapture of reinless imagination, which gives now and then some excess of godlike empire and superhuman kingship to their hands whom his hands have