m him, is
his _chest_; the suspicion she has awakened, is her _ornament_;

The ornament of beauty is Suspect,
A crow which flies in heaven's sweetest air.

His passion is not the fruit of chance; it swells, as he speaks, to a
city, or a state.

No, it was builded far from accident;
It suffers not in smiling pomp, nor falls
Under the brow of thralling discontent;
It fears not policy, that heretic,
That works on leases of short numbered hours,
But all alone stands hugely politic.

In the strength of his constancy, the Pyramids seem to him recent
and transitory. The freshness of youth and love dazzles him with its
resemblance to morning.

Take those lips away
Which so sweetly were forsworn;
And those eyes,--the break of day,
Lights that do mislead the morn.

The wild beauty of this hyperbole, I may say, in passing, it would
not be easy to match in literature.

This transfiguration which all material objects undergo through the
passion of the poet,--this power which he exerts to dwarf the great,
to magnify the small,--might be illustrated by a thousand examples
from his Plays. I have before me the Tempest, and will cite only
these few lines.

ARIEL. The strong based promontory
Have I made shake, and by the spurs plucked up
The pine and cedar.

Prospero calls for music to soothe the frantic Alonzo, and his
companions;

A solemn air, and the best comforter
To an unsettled fancy, cure thy brains
Now useless, boiled within thy skull.

Again;

The charm dissolves apace,
And, as the morning steals upon the night,
Melting the darkness, so their rising senses
Begin to chase the ignorant fumes that mantle
Their clearer reason.
Their understanding
Begins to swell: and the approaching tide
Will shortly fill the reasonable shores
That now lie foul and muddy.

The perception of real affinities between events, (that is to say, of
_ideal_ affinities, for those only are real,) enables the poet thus to
make free with the most imposing forms and phenomena of the
world, and to assert the predominance of the soul.

3. Whilst thus the poet animates nature with his own thoughts, he
differs from the philosopher only herein, that the one proposes
Beauty as his main end; the other Truth. But the philosopher, not
less than the poet, postpones the apparent order and relations