spread thinly and unevenly upon the shoals and lowlands. Tennyson, though composing an extended work, seeks the utmost terseness of expression; howsoever composite his verse, it is tightly packed and cemented, and decorated to repletion with fretwork and precious stones; nothing is neglected, nothing wasted, nothing misapplied. You cannot take out a word or sentence without marring the structure, nor can you find a blemish; while much might be profitably omitted from Byron's longer poems, and their blemishes are frequent as the beauties. Prolixity, diffuseness are characteristic of Byron's time. Again, Tennyson is greater in analysis and synthesis-the two strong servitors of art. In sense of proportion Byron was all abroad. He struck bravely into a poem, and trusting to the fire of his inspiration let it write itself, neither seeing the end nor troubling his mind concerning it. Certainly this was true with regard to his greatest productions, "Childe Harold" and "Don Juan," though others, such as "Manfred," were exceptions through dramatic necessity. In Tennyson's method, as in architecture, we are sure that the whole structure is foreseen at the outset. Every block is numbered, and swings into an appointed place; often the final portions are made first, that the burden of the plan may be off the designer's mind. Leaving the matter of art, there is no less difference between the two poets as we consider their perceptive and imaginative gifts, and here the largeness of Byron's vision tells in his favor. Tennyson, sometimes grand and exalted, is equally delicate-an artist of the beautiful in a minute way. Of this Byron took little account; his soul was exalted by the broad and mighty aspects of nature; for mosaic-work he was unfitted; a mountain, the sea, a thunder-storm, a glorious woman-such imposing objects aroused his noble rage. You never could have persuaded him that the microcosm is equal to the macrocosm. Again, his subjectivity, so intense, was wholly different from Tennyson's in that he became one with Nature-a part of that which was around him. Tennyson is subjective, so far as a pervading same ness of style, a landscape seen through one shade of glass, can make him, yet few have stood more calmly aloof from Nature and viewed her more objectively. He contemplates things without identifying himself with them. In these respects Tennyson and Byron not only are antithetical, but, each above his contemporaries, reflect the antithetical qualities of their respective eras. In conclusion it should be noticed that, although each has had a host of followers, Byron affected the spirit of the people at large rather than the style of his brother poets, while Tennyson, through the force of his admirable art, has affected the poets themselves, who do not sympathize with his spirit, but show themselves awed and instructed by his mastery of technics. Byron's influence was national; that of Tennyson is professional to an unprecedented degree.-E. С. STEDMAN. BOOKS OF REFERENCE. Essays: By Peter Bayne and Edward | H. Buxton Forman's "Our Living Dowden. E. C. Stedman's "Victorian Poets." Poets." INDEX. ABBOTSFORD, ii. 278-280. Adams, John, ii. 120. Adams, John Quincy, ii. 120, 122, 123. Adolphus of Nassau, i. 14. Æschylus, i. 96; ii. 365. Alembert, Jean le Rond d', ii. 15. Alexander VI., Pope, i. 94, 97. Alfieri, Vittorio, ii. 20, 21, 118, 163, Alfonso I., II., III., and IV., of Ara- Alfonso I., II., III., IV., and V., of Castile, i. 19. Alfonso I., of Navarre, i. 19. Alfonso XII., of Spain, ii. 431. Alford, Dean, ii. 536. Alfred the Great, i. 7, 9, 10. Allston, Washington, ii. 126. Angelico, Fra, i. 95. Angelo, Michael, i. 95-97; ii. 118, Angus, Professor, ii. 335. Anne of England, i. 437. Aquinas, Thomas, i. 14, 15. Arago, ii. 426. Arce, Nuñez de, ii. 431. Aretino, Pietro, i. 96, 97. Ariosto, Ludovico, i. 13, 95, 96, 106, Auerbach, Berthold, ii. 428. Aurispa, i. 94. Alison, Sir Archibald, ii. 286, 314, 315, Augustine, St., i. 9. 325,415. Austen, Lady, ii. 138, 145, 153, 154. Author of "The Gentle Life," i. 35, BACON, ROGER, i. 12. Bacon, Sir Francis, i. 86, 114, 251, Bagehot, Walter, i. 343, 344; ii. 307, 317. Baillie, Joanna, ii. 285. Bain, Alexander, ii. 8, 96, 407. Ballantyne, James, ii. 274, 282. Boccaccio, Giovanni, i. 18, 27-29, 44, Balzac, Honoré de, i. 119, 122; ii. 427. Boerne, L., i. 218, 227, 230, 233. Bancroft, George, ii. 439. Bandello, Matteo, i. 98. Barbauld, Anna Lætitia, i. 532. Barclay, Alexander, i. 92. Bartolini, Lorenzo, ii. 331, 332. Baxter, Richard, i. 290. Bayne, Peter, ii. 447, 466-476, 481- Beauclerk, Topham, ii. 33, 37, 62, 63. Beaumont, Francis, i. 113, 119. Bismarck, Otto von, ii. 428. Black, William, ii. 70, 71, 74, 78, 79, Blair, Hugh, i. 535. Blake, William, i. 49. Blessington, Earl, and Lady, ii. 364. Blount, Edward, i. 105. Blucher, Marshal, ii. 110. 46-49, 57, 85, 94, 96. Boethius, i. 10, 47. Boiardo, Matteo Maria, i. 95, 96, 153. 377, 383, 384, 476, 503. 490, 534; ii. 3. Bonaparte, Louis Napoleon, ii. 425. Bond, William Cranch, ii. 124. Beaumont, Sir George, ii. 234, 238, Booth, Barton, i. 250, 438. 239. Beaupius, General, ii. 236. Becket, Thomas à, i. II. Bede, i. 9, 10. Beecher, Dr. Lyman, ii. 121. Benedict XIII., Pope, i. 450. Béranger, Jean Pierre de, ii. 111, 112. Berchet, Giovanni, ii. 400. Berkeley, George, i. 442. Bernard, St., i. 14. Berners, Lord, i. 86. Berni, Francesco, i. 96, 97, 153. Betterton, Mrs., i. 250. Betterton, Thomas, i. 250, 377, Biot, Jean Baptiste, ii. 426. Booth, Edwin, i. 251; ii. 438. Booth, Wilkes, ii. 435. Borgia, Lucretia, i. 97. Bossuet, Jacques Bénigne, i. 385. Boswell, James, ii. 24, 30, 35-37,39, 51, 63, 64. Boucicault, Dion, ii. 420. Boyd, Hugh Stuart, ii. 459. 1. 241. Boyle, Robert, i. 381. Brandt, Sebastian, i, 92. 522, 523, 526, 527. Brooks, Rev. Phillips, i. 320. Brown, Charles Brockden, ii. 126. i i |