by some slight appendage of ornament or explanation. In the later and loftier poem there is no difference perceptible, except in strength and knowledge, between Lucifer and Cain. Thus incompetent to handle the mysteries and varieties of character, Byron turns always with a fresh delight and a fresh confidence thither where he feels himself safe and strong. No part of his nature was more profound and sincere than the vigorous love of such inanimate things as were in tune with his own spirit and senses. His professions of contempt were too loud to express it; scorn is brief or silent; anger alone finds vent in violent iteration and clamorous appeal. He had too much of fury and not enough of contempt; he foams at things and creatures not worth a glance or a blow. But when once clear of men and confronted with elements, he casts the shell of pretence and drops the veil of habit; then, as in the last and highest passage of a poem which has suffered more from praise than any other from dispraise, his scorn of men caught in the nets of nature and necessity has no alloy of untruth; his spirit is mingled with the sea's, and overlooks with a superb delight the ruins and the prayers of men.

This loftiest passage in "Childe Harold" has been so often mouthed and mauled by vulgar admiration that it now can scarcely be relished. Like a royal robe worn out, or a royal wine grown sour, it seems the worse for having been so good. But in fact, allowing for one or two slips and blots, we must after all replace it among the choice and high possessions of poetry. After the first there is hardly a weak line; many have a wonderful vigour and melody; and the deep and glad disdain of