thought, an admirable ardour of ambitious devotion to the service of poetry, a deep and burning sense at once of the duty implied and of the dignity inherent in his office; a vigour, opulence, and loftiness of phrase, remarkable even in that age of spiritual strength, wealth, and exaltation of thought and style; a robust eloquence, touched not unfrequently with flashes of fancy, and kindled at times into heat of imagination. The main fault of his style is one more commonly found in the prose than in the verse of his time—a quaint and florid obscurity, rigid with elaborate rhetoric and tortuous with labyrinthine illustration; not dark only to the rapid reader through closeness and subtlety of thought, like Donne, whose miscalled obscurity is so often 'all glorious within,' but thick and slab as a witch's gruel with forced and barbarous eccentricities of articulation. As his language in the higher forms of comedy is always pure and clear, and sometimes exquisite in the simplicity of its sincere and natural grace, the stiffness and density of his more ambitious style may perhaps be attributed to some pernicious theory or conceit of the dignity proper to a moral and philosophic poet. Nevertheless, many of the gnomic passages in his tragedies and allegoric poems are of singular weight and beauty; the best of these, indeed, would not discredit the fame
