of the German empire and army which gave his enemies their strength, the intellectual and historical aspect of the poem would be complete and unassailable. From all other points of view it stands out in perfect unity of relief, as an absolute type of what poetry can do with a tragic or epic subject of the poet's own time. For a continuous epic or tragedy he gives us in appearance a series of lyric episodes which once completed and harmonized are seen to fulfil the conditions and compose the structure of a great and single work of art. Thus only can such a work be done in simple and sensible accordance with that unwritten law of right which is to the artist as a natural and physical instinct.

We accept then without reserve this great gift, for which the student can pay but thanks to the master whose payment from the world is the hatred of base men and the love of noble. In the mighty roll of his works we recognise at once that it must hold a high place for ever. That intense moral passion which may elsewhere have overflowed the bounds and "o'er-informed the tenement" of drama or romance has here a full vent in its proper sphere. This sovereign quality of the prophet is a glorious and dangerous quality for a poet. The burning impulse and masterful attraction of the soul towards ideas of justice and mercy, which make a man dedicate his genius to the immediate office of consolation and the immediate service of right, must be liable at times to divert the course of his work and impair the process of his art. To those who accused him of not imitating in his plays the method of that supreme dramatist in whom he professed his faith, Victor Hugo