of strange and enormous harmony by intermixture of assonance and rhyme with irregular blank verse, as in that last Titanic chorus of Samson which utters over the fallen Philistines the trumpet-blast and thunder of its triumph. But Milton, it may be said, even if he knew them, did not obey the laws of the choral scheme, and so forfeited the legitimate condition of its music. Who then has observed those laws and obtained that success which he did not? I scarcely think that Mr. Arnold has; and if ever man was qualified for the work it is he only. I have never seen other attempts at rhymeless choral metre which were not mere amorphous abortions of misshapen prose, halting on helpless broken limbs and feet. A poet of Mr. Arnold's high station cannot of course but write in verse, and in good verse as far as the kind will allow; but that is not far enough to attain the ultimate goal, to fill up the final measure of delight. We lose something of the glory and the joy of poetry, of which he has no reason and no right to defraud us, It is in no wise a question of scholarship, or in the presence of a scholar I should be silent; as it is, I must say how inexplicable it seems to me that Mr. Arnold, of all men, should be a patron of English hexameters. His own I have tried in vain to reduce by scansion into any metrical feet at all; they look like nothing on earth, and sound like anapæsts broken up and driven wrong; neither by ear nor by finger can I bring them to any reckoning. I am sure of one thing, that some of them begin with a pure and absolute anapæst; and how a hexameter can do this it passes my power to conceive. And at best what ugly bastards of verse are these self-styled hexameters! how human tongues or