ps of his presaging consciousness that
the great, if they mean to fulfil the measure of their greatness, should
always be fastidious against themselves.

It would be superfluous to enter upon any general criticism of this
collection, which was examined when still recent in this Review, and a
large portion of which is established in the familiar recollection and
favour of the public. We may, however, say that what may be termed at
large the classical idea (though it is not that of Troas nor of the
Homeric period) has, perhaps, never been grasped with greater force and
justice than in "Oenone," nor exhibited in a form of more consummate
polish. "Ulysses" is likewise a highly finished poem; but it is open to
the remark that it exhibits (so to speak) a corner-view of a character
which was in itself a _cosmos_. Never has political philosophy been
wedded to the poetic form more happily than in the three short pieces on
England and her institutions, unhappily without title, and only to be
cited, like writs of law and papal bulls, by their first words. Even
among the rejected pieces there are specimens of a deep metaphysical
insight; and this power reappears with an increasing growth of ethical
and social wisdom in "Locksley Hall" and elsewhere. The Wordsworthian
poem of "Dora" is admirable in its kind. From the firmness of its
drawing, and the depth and singular purity of its colour, "Godiva"
stood, if we judge aright, as at once a great performance and a great
pledge. But, above all, the fragmentary piece on the Death of Arthur was
a fit prelude to that lordly music which is now sounding in our ears. If
we pass onward from these volumes, it is only because space forbids a
further enumeration.

The "Princess" was published in 1847. The author has termed it "a
medley": why, we know not. It approaches more nearly to the character of
a regular drama, with the stage directions written into verse, than any
other of his works, and it is composed consecutively throughout on the
basis of one idea. It exhibits an effort to amalgamate the place and
function of woman with that of man, and the failure of that effort,
which duly winds up with the surrender and marriage of the fairest and
chief enthusiast. It may be doubted whether the idea is one well suited
to exhibition in a quasi-dramatic form. Certainly the mode of embodying
it, so far as it is dramatic, is not successful; for here again the
persons are little better than mere _person