ened by "felicities" of thought and expression. The poet-critic accordingly proffered his two heroic episodes, "Balder Dead" and "Sohrab and Rustum,"—both His objective studies."Homeric echoes," though in their slow iambic majesty violating his own canon that the epic movement should be swift. These are indeed the tours de force of intellect and constructive taste. There are fine things in both, but the finest passages are reflective, Arnoldian, or, like the sonorous impersonation of the river Oxus, and the picture of Balder's funeral pyre, elaborately descriptive, and unrelated to the action of the poems. Now, these blank-verse structures are not quite spontaneous; they do not possess what Arnold himself calls the "note of the inevitable." The ancients, doing by instinct what he bade us imitate, had no cause to lay down such a maxim as his,—that the poet "is most fortunate when he most entirely succeeds in effacing himself." They worked in the manner of their time. Schlegel points out that when even the Greeks imitated Greeks their triumph ended. A modern, who does this upon principle, virtually fails to profit by their example. In the end he has to yield. Arnold was beloved by His more spontaneous expression.his pupils—by those whom he stimulated as Emerson stimulated American idealists—for the poetry wherein he was in truth most fortunate, that is, in which he most entirely and unreservedly expressed himself; in verse, for the tender, personal, subtly reflective lyrics that seem like
