his inferior. But let us select them from the pages of the same writer, one who was ambidexter; let us take, for instance, Rumour's Prologue to the Second Part of Henry IV., a fine flourish of eloquence in Shakespeare's second manner, and set it side by side with Falstaff's praise of sherris, act iv. scene i.; or let us compare the beautiful prose spoken throughout by Rosalind and Orlando; compare, for example, the first speech of all, Orlando's speech to Adam, with what passage it shall please you to select—the Seven Ages from the same play, or even such a stave of nobility as Othello's farewell to war; and still you will be able to perceive, if you have an ear for that class of music, a certain superior degree of organisation in the prose; a compacter fitting of the parts; a balance in the swing and the return as of a throbbing pendulum. We must not, in things temporal, take from those who have little, the little that they have; the merits
