’’Tisthegoodman’sofficeToserveandreverencewoman，asitisThefire’stoburn；forasoursoulsconsistOfsenseandreason，sodoyours，morenoble，Ofsenseandlove，whichdothaseasilycalmAllyourdesires，asreasonquietsours……
　　Love，then，dothworkinyou，whatReasondothInus；hereonlyliesthedifference，-
　　OurswaitthelingeringstepsofAgeandTime；
　　Butthewoman’ssoulisripewhenitisyoung；
　　Sothatinuswhatwecalllearning，isDivinityinyou，whoseoperations，Impatientofdelay，dooutstriptime。’
　　Forthesakeofsuchwords，inthemidstofanevilandadulterousgeneration，wewillloveyoungCartwright，inspiteofthesuspicionthat，addressedastheplayistoCharles，andprobablyactedbeforehisqueen，theyoungroguehadbeenplayingthecourtiersomewhat，andrackinghisbrainsforprettysayingswhichwouldexhibitasavirtuethatveryuxoriousnessofthepoorkingwhichatlastcosthimhishead。The’RoyalSlave，’too，isagallantplay，right-heartedandloftyfrombeginningtoend，thoughenactedinanimpossiblecourt-cloud-world，akintothatinwhichtheclassicheroesandheroinesofCorneilleandRacinecalleachotherMonsieurandMadame。
　　Asforhishumour；he，alas！canbedirtyliketherest，whennecessary：buthumourhehasofthehighestquality。’TheOrdinary’
　　isfullofit；andMoth，theAntiquary，thoughtoomuchofalayfigure，anddependingforhisamusingnessonhisquaintantiquatedlanguage，issuchasketchasMr。Dickensneednothavebeenashamedtodraw。
　　The’RoyalSlave’seemstohavebeenconsidered，bothbytheCourtandbyhiscontemporaries，hismasterpiece。Andjustlyso；yetourpleasureatCharles’shavingshown，foronce，goodtaste，issomewhatmarredbyLangbaine’sstory，thatthegoodactingoftheOxfordscholars，’statelyscenes，andrichnessofthePersianhabits，’hadasmuchtodowiththesuccessoftheplayasits’statelystyle，’
　　and’theexcellencyofthesongs，whichweresetbythatadmirablecomposer，Mr。HenryJames。’Trueitis，thatthesongsareexcellent，asareallCartwright’s；forgrace，simplicity，andsweetness，equaltoany（saveShakspeare’s）whichtheseventeenthcenturyproduced：butcuriouslyenough，hislyricfacultyseemstohaveexhausteditselfinthesehalf-dozensongs。Hisminorpoemsareutterlyworthless，outCowleyingCowleyinfrigidandfantasticconceits；andhisvariedaddressestothekingandqueenareasbombasticandstupidandartificialasanythingwhichbedizenedthereignsofCharlesII。orhisbrother。
　　ArewetogatherfromthisfactthatCartwrightwasnotreallyanoriginalgenius，butonlyamagnificentimitator；thathecouldwriteplayswell，becauseothershadwrittenthemwellalready，butonlyforthatreason；andthatforthesamereason，whenheattempteddetachedlyricsandaddresses，hecouldonlyfollowtheabominablemodelswhichhesawaroundhim？Weknownot；forsurelyinJonsonandShakspeare’sminorpoemshemighthavefoundsimplerandsweetertypes；andeveninthoseofFletcher，whoappears，fromhisownaccount，tohavebeenhisespecialpattern。Shakspearehowever，aswehaveseen，helookeddownon；asdidtherestofhisgeneration。
　　Cartwright，asanOxfordscholar，isofcourseaworshipperofCharles，andahaterofPuritans。Wedonotwishtoraiseaprejudiceagainstsoyoungamanbyquotinganyoftheridiculous，andoftensomewhatabject，rantwithwhichheaddressestheirmajestiesontheirreturnfromScotland，onthequeen’sdelivery，onthebirthoftheDukeofYork，andsoforth；forinthathedidbutcopythetoneofgravedivinesandpiousprelates；buthe，unfortunatelyforhisfame，isgiven（asyounggeniusesaresometimes）toprophecy；andtwoofhisprophecies，atleast，havehardlybeenfulfilled。Hewassomewhatmistakenwhen，onthebirthoftheDukeofYork，heinformedtheworldthat’Thestateisnowpastfear；andallthatweNeedwishbesidesisperpetuity’；
　　andafterindulginginvariousexplanationsofthereasonwhy’Nature’showednoprodigiesatthebirthofthefuturepatronofJudgeJeffreys，which，ifhedidnotbelievethem，arelies，andifhedid，areverylikeblasphemies，declaresthattheinfantis’AsonofMirth，OfPeaceandFriendship；’tisaquietbirth。’
　　Nor，again，ifspiritsintheotherworldhaveknowledgeofhumanaffairs，canMr。Cartwrightbenowaltogethersatisfiedwithhisrogue’sauguryastothecapacitiesoftheNewEnglandPuritans，whenheintendstopickpocketsintheNewWorld，havingmadetheOldtoohottoholdhim-
　　’Theyaregoodsillypeople；soulsthatwillBecheatedwithouttrouble：oneeyeisPutoutwithzeal，th’otherwithignorance，Andyettheythinkthey’reeagles。’
　　WhatsoeverwerethefaultsofthePilgrimFathers（andtheyweremany），sillinesswascertainlynotamongthem。Butsuchwasthecourtfashion。Anyinsult，howevershallow，ribald，anddoggrel（andallthesetermsarejustofthemock-PuritanballadwhichSirChristophersingsin’TheOrdinary，’justafteranepithalamiumsogracefulandmelodious，thoughalittlewarmintone，astobereallyoutofplaceinsuchafellow’smouth），passescurrentagainstmenwhowereabroadthefoundersoftheUnitedStates，andtheforefathersoftheacutestandmostenterprisingnationonearth；andwhoathomeprovedthemselves，byterriblefact，notonlythephysicallystrongerparty，butthemorecunning。Butsoitwasfatedtobe。Adeepmistofconceit，fedbytheshallowbreathofparasites，players，andpedants，wraptthatunhappycourtinblindsecurity，till’thebreakingwasastheswellingoutofahighwall，whichcomethsuddenlyinaninstant。’
　　’But，afterall，whatPoetryandArttherewasinthatday，goodorbad，allbelongedtotheRoyalists。
　　All？Therearethosewhothinkthat，ifmereconcettismbeapartofpoetry，QuarlesisasgreatapoetasCowleyorGeorgeHerbert，VaughanorWithers。Onthisquestion，andontherealworthoftheseventeenthcenturylyrists，agreatdealhastobesaidhereafter。
　　Meanwhile，therearethose，too，whobelieveJohnBunyan，consideredsimplyasanartist，tobethegreatestdramaticauthorwhomEnglandhasseensinceShakspeare；andtherelinger，too，inthelibrariesandtheearsofmen，wordsofoneJohnMilton。Hewasnorigidhaterofthebeautiful，merelybecauseitwasheathenandPopish；nomore，indeed，weremanyhighly-educatedandhighly-borngentlemenoftheLongParliament：nomorewasCromwellhimself，whosedelightwas（ifwemaytrustthatdoublerenegadeWaller）totalkoverwithhimtheworthiesofRomeandGreece，andwhoissaidtohavepreservedforthenationRaphael’scartoonsandAndreaMantegna’striumphwhenCharles’spicturesweresold。ButMiltonhadsteepedhiswholesoulinromance。HehadfeltthebeautyandgloryofthechivalrousMiddleAgeasdeeplyasShakspearehimself：hehadasmuchclassicalloreasanyOxfordpedant。Hefelttohisheart’score（forhesangofit，andhadhenotfeltithewouldonlyhavewrittenofit）themagnificenceandworthofreallyhighart，ofthedramawhenitwasworthyofmanandofitself。
　　’Ofgorgeoustragedy，PresentingThebes’orPelops’line，OrtheTaleofTroydivine，Orwhat，thoughrare，oflaterage，Ennobledhaththebuskin’dstage。’
　　Nopoet，perhaps，showswiderandtruersympathywitheveryformofthereallybeautifulinart，nature，andhistory：andyethewasaPuritan。
　　Yes，MiltonwasaPuritan；onewho，insteadoftrustinghimselfandhishopesoftheuniversetosecond-handhearsays，systems，andtraditions，hadlookedGod’sWordandhisownsoulintheface，anddeterminedtoactonthatwhichhehadfound。Andthereforeitisthattoopenhisworksatanystraypage，aftertheseeffeminateCarolists，islikefallingasleepinastiflingcitydrawing-room，amidRococoFrenchfurniture，notwithoutuntidytracesoflastnight’sball，andawakinginanAlpinevalley，amidthescentofsweetcyclamensandpineboughs，tothemusicoftricklingrivuletsandshoutinghunters，beneaththedarkcathedralaislesofmightytrees，andhereandthere，abovethemandbeyond，thespotlesspeaksofeverlastingsnow；whilefarbeneathyourfeet-
　　’Thehemisphereofearth，inclearestken，Stretchedtotheamplestreachofprospect，lies。’
　　Takeany——themosthackneyedpassageof’Comus，’the’Allegro，’the’Penseroso，’the’ParadiseLost，’andseethefreshness，thesweetness，thesimplicitywhichisstrangelycombinedwiththepomp，theself-restraint，theearnestnessofeveryword；takehimeven，asanexperimentumcrucis，whenhetrenchesupongroundheathenandquestionable，andtriesthecourtpoetsattheirownweapons-
　　’Orwhether（assomesagersing），Thefrolicwindthatbreathesthespring，Zephyr，withAuroraplaying，Ashemetheroncea-Maying，Thereonbedsofvioletsblue，Andfresh-blownroseswashedindew——’
　　butwhyquotewhatalltheworldknows？——whereshallwefindsuchrealmirth，ease，sweetness，danceandsongofwordsinanythingwrittenforfiveandtwentyyearsbeforehim？True，hewasnogreatdramatist。Henevertriedtobeone；buttherewasnooneinhisgenerationwhocouldhavewritteneither’Comus’or’SamsonAgonistes。’Andif，asiscommonlybelieved，andashiscountenanceseemstoindicate，hewasdeficientinhumour，sowerehiscontemporaries，withthesoleexceptionofCartwright。Wittyhecouldbe，andbitter；buthedidnotliveinareallyhumorousage：
　　andifhehasnoneoftherollickingfunofthefoxhoundpuppy，atleasthehasnoneoftheobscenegibberoftheape。
　　Afterall，thegreatfactstands，thattheonlylastingpoetofthatgenerationwasaPuritan；onewho，ifhedidnotwritedramasinsport，atleastacteddramasinearnest。Fordramameans，etymologically，actionanddoing：andofthedramathereare，andalwayswillbe，twokinds：onetherepresentative，theothertheactual；andforaworldwhereinthereisnosuperabundanceofgooddeeds，thelatterwillbealwaysthebetterkind。Itisgoodtorepresentheroicalactioninverse，andonthestage：itisgoodto’purify，’asoldAristotlehasit，’theaffectionsbypityandterror。’Thereisanidealtragedy，andanidealcomedyalso，whichonecanimagineasanintegralpartofthehighestChristiancivilisation。Butwhen’Christian’tragedysinksbelowthestandardofheathenGreektragedy；when，insteadofsettingforthheroicaldeeds，itteachestheaudiencenewpossibilitiesofcrime，andnewexcusesforthosecrimes；when，insteadofpurifyingtheaffectionsbypityandterror，itconfoundsthemoralsensebyexcitingpityandterrormerelyforthesakeofexcitement，carelesswhethertheybewellorilldirected：thenitisofthedevil，andthesooneritreturnstoitsfatherthebetterformankind。When，again，comedy，insteadofstirringadivinescornofbaseness，orevenakindlyandindulgentsmileattheweaknessesandodditiesofhumanity，learnstomakeamockofsin，——tofindexcusesforthepopularfrailtieswhichitpretendstoexpose，——thenitalsoisofthedevil，andtothedevilletitgo；whilehonestandearnestmen，whohavenosuchexceedingloveof’Art’thattheymustneedshavebadartratherthannoneatall，dothedutywhichliesnearestthemamidcleanwhitewashandhonestprose。Thewholetheoryof’Art，itsdignityandvocation，’seemstousattimesquestionable，ifcoarsefactsaretobeallowedtoweigh（aswesupposetheyare）againstdelicatetheories。IfwearetojudgebytheexampleofItaly，thecountrywhichhasbeenmostofalldevotedtothepracticeof’Art，’thenanationisnotnecessarilyfree，strong，moral，orhappybecauseitcan’represent’facts，orcanunderstandhowotherpeoplehaverepresentedthem。Wedonothesitatetogofarther，andtosaythatthenowpastweaknessofGermanywastobetracedinagreatdegreetothatpernicioushabitofmindwhichmadehereducatedmenfancyitenoughtorepresentnoblethoughtsandfeelings，ortoanalysetherepresentationsofthem：whiletheydidnotbestirthemselves，ordreamthattherewasamoralneedforbestirringthemselves，towardputtingthesethoughtsandfeelingsintopractice。GoethehereinwasindeedthetypeofaverylargeclassofGermans：GodgrantthatnogenerationmayeverseesuchatypecommoninEngland；andthatourrace，rememberingeverthatthegoldenageoftheEnglishdramawasoneofprivateimmorality，publichypocrisy，ecclesiasticalpedantry，andregaltyranny，andendedinthetemporarydownfallofChurchandCrown，maybemorereadytodofinethingsthantowritefinebooks；
　　andactintheirlives，asthoseoldPuritansdid，adramawhichtheirdescendantsmaybegladtoputonpaperforthemlongaftertheyaredead。
　　ForsurelythesePuritansweredramaticenough，poeticenough，picturesqueenough。WedonotspeakofsuchfanaticsasBalfourofBurley，oranyotherextravagantpersonwhomitmayhavesuitedWalterScotttotakeasatypicalpersonage。WespeakoftheaveragePuritannobleman，gentleman，merchant，orfarmer；andholdhimtohavebeenapicturesqueandpoeticalman，——amanofhigherimaginationanddeeperfeelingthantheaverageofcourtpoets；andamanofsoundtastealso。Whatistobesaidforhisopinionsaboutthestagehasbeenseenalready：butitseemstohaveescapedmostpersons’notice，thateitherallEnglandisgrownveryfoolish，orthePuritanopinionsonseveralmattershavebeenjustifiedbytime。
　　Onthematterofthestage，theworldhascertainlycomeovertotheirwayofthinking。Fewhighlyeducatedmennowthinkitworthwhiletogotoseeanyplay，andthatexactlyforthesamereasonsasthePuritansputforward；andstillfewerhighlyeducatedmenthinkitworthwhiletowriteplays：findingthatsincethegrosserexcitementsoftheimaginationhavebecomeforbiddenthemes，thereisreallyverylittletowriteabout。
　　Butinthematterofdressandofmanners，thePuritantriumphhasbeencomplete。Eventheirworstenemieshavecomeovertotheirside，andthe’whirligigoftimehasbroughtaboutitsrevenge。’
　　MostoftheircanonsoftastehavebecomethoseofallEngland。HighChurchmen，whostillcallthemRoundheadsandCropped-ears，goaboutrounder-headedandclosercroptthantheyeverwent。Theyhelditmorerationaltocutthehairtoacomfortablelengththantoweareffeminatecurlsdowntheback。Wecutoursmuchshorterthantheyeverdid。Theyheld（withtheSpaniards，thenthefinestgentlemenintheworld）thatsad，i。e。darkcolours，aboveallblack，werethefittestforallstatelyandearnestgentlemen。Weall，fromtheTractariantotheAnythingarian，areexactlyofthesameopinion。
　　Theyheldthatlace，perfumes，andjewelleryonamanweremarksofunmanlyfoppishnessandvanity。SoholdthefinestgentlemeninEnglandnow。Theythoughtitequallyabsurdandsinfulforamantocarryhisincomeonhisback，andbedizenhimselfoutinreds，blues，andgreens，ribbons，knots，slashes，andtreblequadrupledaedalianruffs，builtuponironandtimber，whichhavemorearchesinthemforpridethanLondonBridgeforuse。We，ifwemetsucharuffedandruffledworthyasusedtoswaggerbydozensupanddownPaul’sWalk，notknowinghowtogetadinner，muchlesstopayhistailor，shouldlookonhimasfirstlyafool，andsecondlyaswindler：whileifwemetanoldPuritan，weshouldconsiderhimamangracefullyandpicturesquelydrest，butwithalinthemostperfectsobrietyofgoodtaste；andwhenwediscovered（asweprobablyshould），overandabove，thattheharlequincavalierhadaboxofsalveandapairofdiceinonepocket，apackofcardsandafewpawnbroker’sduplicatesintheother；thathisthoughtswerealtogetherofcitizens’wivesandtheirtooeasyvirtue；andthathecouldnotopenhismouthwithoutadozenoaths：thenweshouldconsiderthePuritan（eventhoughhedidquoteScripturesomewhatthroughhisnose）asthegentleman；andthecourtierasamostoffensivespecimenofthe’snobtriumphant，’gloryinginhisshame。Thepictureisnotours，noreventhePuritan’s。ItisBishopHall’s，BishopEarle’s，itisBeaumont’s，Fletcher’s，Jonson’s，Shakspeare’s，——thepicturewhicheverydramatist，aswellassatirist，hasdrawnofthe’gallant’oftheseventeenthcentury。NoonecanreadthosewritershonestlywithoutseeingthatthePuritan，andnottheCavalierconceptionofwhataBritishgentlemanshouldbe，istheoneacceptedbythewholenationatthisday。
　　Inapplyingthesamecanontothedressofwomentheywerewrong。Asinothermatters，theyhadholdofonepoleofadoubletruth，anderredinapplyingitexclusivelytoallcases。Buttherearetwothingstobesaidforthem；first，thatthedressofthatdaywaspalpablyanincentivetotheprofligacyofthatday，andthereforehadtobeprotestedagainst；whileinthesemoremoraltimesornamentsandfashionsmaybeharmlesslyusedwhichthencouldnotbeusedwithoutharm。Next，itisundeniablethatsoberdressingismoreandmorebecomingthefashionamongwell-bredwomen；andthatamongthem，too，thePuritancanonsaregainingground。
　　WehavejustsaidthatthePuritansheldtooexclusivelytoonepoleofadoubletruth。Theydidso，nodoubt，intheirhatredofthedrama。Theirbeliefthathumanrelationswere，ifnotexactlysinful，atleastaltogethercarnalandunspiritual，preventedtheirconceivingthepossibilityofanytrulyChristiandrama；andledthemattimesintostrangeandsaderrors，likethatNewEnglandukaseofCottonMather’s，whoissaidtohavepunishedthewomanwhoshouldkissherinfantontheSabbathday。Yettheirextravagancesonthispointwerebutthehonestrevulsionfromotherextravagancesontheoppositeside。IftheundistinguishingandimmoralAutotheismoftheplaywrights，andtheluxuryandheathendomofthehigherclasses，firstinItalyandtheninEngland，werethenaturalrevoltofthehumanmindagainsttheManichaeismofmonkery：thentheseverityandexclusivenessofPuritanismwasanaturalandnecessaryrevoltagainstthatluxuryandimmorality；aprotestforman’sGod-givensuperiorityovernature，againstthatNaturalismwhichthreatenedtoendinsheeranimalism。WhileItalianprelateshavefoundanapologistinMr。Roscoe，andEnglishplaywrightsinMr。Gifford，theoldPuritans，whofeltandasserted，howeverextravagantly，thattherewasaneternallawwhichwasaboveallBorgiasandMachiavels，StuartsandFletchers，havesurelyarighttoafairtrial。Iftheywenttoofarintheircontemptforhumanity，certainlynooneinterferedtosetthemright。TheAnglicansofthattime，whoheldintrinsicallythesameanthropologicnotions，andyetwantedthecourageandsinceritytocarrythemoutashonestly，neithercouldnorwouldthrowanylightuponthecontroversy；andtheonlyclasswhosidedwiththepoorplaywrightsinassertingthatthereweremorethingsinman，andmoreexcusesforman，thanweredreamtofinPrynne’sphilosophy，weretheJesuitCasuists，who，byafatalperverseness，usedalltheirlittleknowledgeofhumannaturetothesameundesirablepurposeastheplaywrights；namely，toprovehowitwaspossibletocommiteveryconceivablesinfulactionwithoutsinning。Nowonderthatinanageinwhichcourtiersandtheatre-
　　haunterswereturningRomanistsbythedozen，andthepriest-riddenqueenwasthechiefpatronessofthetheatre，thePuritansshouldhaveclassedplayersandJesuitsinthesamecategory，anddeducedtheparentageofbothalikefromthefatheroflies。
　　ButasforthesePuritanshavingbeenmerelythesour，narrow，inhumanpersonstheyarevulgarlysupposedtohavebeen，credatJudaeus。Thereweresourandnarrowmenamongthem；sotherewereintheoppositeparty。NoPuritancouldhavehadlesspoetryinhim，lesstaste，lessfeeling，thanLaudhimself。Butistherenopoetrysavewords？Nodramasavethatwhichispresentedonthestage？Isthisgloriousearth，andthesoulsoflivingmen，mereprose，aslongas’carentvatesacro，’whowill，forsooth，dothemthehonourtomakepoetryoutofalittleofthem（andofhowlittle！）bytranslatingthemintowords，whichhehimself，justinproportionasheisagoodpoet，willconfesstobeclumsy，tawdry，ineffectual？
　　WastherenopoetryinthesePuritansbecausetheywrotenopoetry？
　　Wedonotmeannowtheunwrittentragedyofthebattle-psalmandthecharge；butsimpleidyllicpoetryandquiethome-drama，love-poetryoftheheartandthehearth，andthebeautiesofeverydayhumanlife。
　　Takethemostcommonplaceofthem：wasZeal-for-TruthThoresby，ofThoresbyRiseinDeepingFen，becausehisfatherhadthoughtfittogivehimanuglyandsillyname，thelessofanoblelad？Didhisnamepreventhisbeingsixfeethigh？Werehisshouldersthelessbroadforit，hischeeksthelessruddyforit？Heworehisflaxenhairofthesamelengththateveryonenowwearstheirs，insteadoflettingithanghalf-waytohiswaistinessencedcurls；butwashethereforethelessofatrueViking’sson，bold-heartedashissea-
　　rovingancestorswhowontheDanelaghbyCanute’sside，andsettledthereonThoresbyRise，togrowwheatandbreedhorses，generationsucceedinggeneration，intheoldmoatedgrange？HecarriedaBibleinhisjack-boot：butdidthatpreventhim，asOliverrodepasthimwithanapprovingsmileonNasebyfield，thinkinghimselfaveryhandsomefellow，withhismoustacheandimperial，andbrightredcoat，andcuirasswellpolished，inspiteofmanyadint，ashesatehisfather’sgreatblackhorseasgracefullyandfirmlyasanylong-
　　lockedandessencedcavalierinfrontofhim？Ordiditpreventhimthinking，too，foramoment，withathroboftheheart，thatsweetCousinPatiencefarawayathome，couldshebutseehim，mighthavethesameopinionofhimashehadofhimself？Washetheworseforthethought？Hewascertainlynottheworseforcheckingitthenextinstant，withmanlyshameforlettingsuch’carnalvanities’riseinhisheartwhilehewas’doingtheLord’swork’intheteethofdeathandhell：butwastherenopoetryinhimthen？Nopoetryinhim，fiveminuteslater，asthelongrapierswungroundhishead，redderandredderateverysweep？Wearebefooledbynames。CallhimCrusaderinsteadofRoundhead，andheseemsatonce（grantinghimonlysincerity，whichhehad，andthatofarightawfulkind）ascompleteaknight-errantaseverwatchedandprayed，ereputtingonhisspurs，infantasticGothicchapel，beneath’storiedwindowsrichlydight。’Wastherenopoetryinhim，either，halfanhourafterwards，ashelaybleedingacrossthecorpseofthegallanthorse，waitingforhisturnwiththesurgeon，andfumbledfortheBibleinhisboot，andtriedtohumapsalm，andthoughtofCousinPatience，andhisfather，andhismother，andhowtheywouldhear，atleast，thathehadplayedthemaninIsraelthatday，andresisteduntoblood，strivingagainstsinandtheManofSin？
　　Andwastherenopoetryinhim，too，ashecameweariedalongThoresbydyke，inthequietautumneve，hometothehouseofhisforefathers，andsawafarofftheknotoftallpoplarsrisingoverthebroadmistyflat，andtheonegreatabeletossingitssheetsofsilverinthedyinggusts；andknewthattheystoodbeforehisfather’sdoor？Whocantellalltheprettychild-memorieswhichflittedacrosshisbrainatthatsight，andmadehimforgetthathewasawoundedcripple？Thereisthedykewhereheandhisbrotherssnaredthegreatpikewhichstoletheducklings——howmanyyearsago？——
　　whileprettylittlePatiencestoodbytrembling，andshriekedateachsnapofthebrute’swidejaws；andthere，downthatlongdarklode，rufflingwithcrimsoninthesunsetbreeze，heandhisbrothersskatedhomeintriumphwithPatiencewhenhisuncledied。Whatadaythatwas！when，intheclearbrightwinternoon，theylaidthegateupontheice，andtiedthebeef-bonesunderthefourcorners，andpackedlittlePatienceonit。Howprettyshelooked，thoughhereyeswereredwithweeping，asshepeepedoutfromamongtheheapofblanketsandhorse——hides；andhowmerrilytheirlongfen-runnerswhistledalongtheice-lane，betweenthehighbanksofsighingreed，astheytowedhometheirnewtreasureintriumph，atapaceliketherace-horse’s，tothedearoldhomeamongthepoplar-trees。Andnowhewasgoinghometomeether，afteramightyvictory，adeliverancefromheaven，secondonlyinhiseyestothatRedSeaone。Wastherenopoetryinhisheartatthatthought？Didnottheglowingsunset，andthereed-bedswhichittransfiguredbeforehimintosheetsofgoldenflame，seemtokensthatthegloryofGodwasgoingbeforehiminhispath？Didnotthesweetclamourofthewild-fowl，gatheringforonerichpaeaneretheysankintorest，seemtohimasGod’sbellschiminghimhomeintriumph，withpeelssweeterandbolderthanthoseofLincolnorPeterboroughsteeple-house？Didnottheverylapwing，asshetumbled，softlywailing，beforehim，asshedidyearsago，seemtowelcomethewandererhomeinthenameofheaven？
　　FairPatience，too，thoughshewasaPuritan；yetdidnothercheekflush，hereyegrowdim，likeanyothergirl’s，asshesawfarofftheredcoat，likeaslidingsparkoffire，comingslowlyalongthestraitfen-bank，andfledupstairsintoherchambertopray，halfthatitmightbe，halfthatitmightnotbehe？Wastherenohappystormofhumantearsandhumanlaughterwhenheenteredthecourtyardgate？DidnottheolddoglickhisPuritanhandaslovinglyasifithadbeenaCavalier’s？Didnotladsandlassesrunoutshouting？
　　Didnottheoldyeomanfatherhughim，weepoverhim，holdhimatarm’slength，andhughimagain，asheartilyasanyotherJohnBull，eventhoughthenextmomenthecalledalltokneeldownandthankHimwhohadsenthisboyhomeagain，afterbestowingonhimthegracetobindkingsinchainsandnobleswithlinksofiron，andcontendtodeathforthefaithdeliveredtothesaints？AnddidnotZeal-for-
　　TruthlookaboutaswistfullyforPatienceasanyothermanwouldhavedone，longingtoseeher，yetnotdaringeventoaskforher？
　　Andwhenshecamedownatlast，wasshethelesslovelyinhiseyesbecauseshecame，notflauntingwithbarebosom，intawdryfineryandpaint，butshroudedcloseincoifandpinner，hidingfromalltheworldbeautywhichwastherestill，butwasmeantforonealone，andthatonlyifGodwilled，inGod’sgoodtime？Andwastherenofalteringoftheirvoices，nolightintheireyes，notremblingpressureoftheirhands，whichsaidmore，andwasmore，ay，andmorebeautifulinthesightofHimwhomadethem，thanallHerrick’sDianemes，Waller’sSaccharissas，flames，darts，posies，love-knots，anagrams，andtherestoftheinsincerecantofthecourt？WhatifZeal-for-Truthhadneverstrungtworhymestogetherinhislife？DidnothisheartgoforinspirationtoaloftierHeliconwhenitwhisperedtoitself，’Mylove，mydove，myundefiled，isbutone，’
　　thanifhehadfilledpageswithsonnetsaboutVenusesandCupids，lovesickshepherdsandcruelnymphs？
　　Andwastherenopoetry，trueidyllicpoetry，asofLongfellow’s’Evangeline’itselfinthattriproundtheoldfarmnextmorning；
　　whenZeal-for-Truth，afterlookingovereveryheifer，andpeepingintoeverysty，wouldneedscanterdownbyhisfather’ssidetothehorse-fen，withhisarminasling；whilethepartridgeswhirredupbeforethem，andthelurchersflashedlikegraysnakesafterthehare，andthecoltscamewhinnyinground，withstaringeyesandstreamingmanes；andthetwochattedoninthesamesoberbusinesslikeEnglishtone，alternatelyof’TheLord’sgreatdealings’
　　byGeneralCromwell，theprideofallhonestfen-men，andthepriceoftroop-horsesatthenextHorncastlefair？
　　PoetryinthoseoldPuritans？Whynot？Theyweremenoflikepassionswithourselves。Theyloved，theymarried，theybroughtupchildren；theyfeared，theysinned，theysorrowed，theyfought——theyconquered。Therewaspoetryenoughinthem，besure，thoughtheyacteditlikemen，insteadofsingingitlikebirds。
　　Footnotes：
　　{1}TheNorthBritishReview，No。XLIX。——1。’WorksofBeaumontandFletcher。’London，1679。——2。’WorksofBenJonson。’London，1692——
　　3。’Massinger’sPlays。’EditedbyWilliamGifford，Esq。London，1813。——4。’WorksofJohnWebster。’Edited，etc。，byRev。AlexanderDyce。Pickering，London，1830。5。’WorksofJamesShirley。’EditedbyRev。A。Dyce。Murray，1833。——6。’WorksofT。Middleton。’EditedbytheRev。A。Dyce。Lumley，1840。——7。’Comedies，’etc。ByMr。
　　WilliamCartwright。London，1651。——8。’SpecimensofEnglishDramaticPoets。’ByCharlesLamb。LongmansandCo。，1808——9。
　　’Histriomastix。’ByW。Prynne，Utter-BarristerofLincoln’sInn。
　　London，1633。——10。’Northbrooke’sTreatiseagainstPlays，’etc。
　　（ShakspeareSoc。），1843。——11。’TheWorksofBishopHall。’Oxford，1839。——12。’Marston’sSatires。’London，1600。13。’JeremyCollier’sShortViewoftheProfaneness，etc。，oftheEnglishStage。’London，1730。——14。’Langbaine’sEnglishDramatists。’Oxford，1691。——15。
　　’CompaniontothePlayhouse。’London，1764。——16。’Riccoboni’sAccountoftheTheatresinEurope。1741。
　　{2}’TheThirdBlastofRetreatfromPlaysandTheatres。’PennedbyaPlay-poet。
　　{3}Thiswaswrittensixteenyearsago。WehavebecomesincethenmoreamenabletotheinfluencesofFrenchcivilisation。
　　{4}Whatcanonofcleanliness，nowlost，didCartwrightpossess，whichenabledhimtopronounceFletcher，orindeedhimself，purerthanShakspeare，andhistimes’nicer’thanthoseofJames？Toourgeneration，lessexperiencedinthequantitativeanalysisofmoraldirt，theywillappearallequallyfoul。
　　{5}C。Lamb，’SpecimensofEnglishDramaticPoets，’p。229。Fromwhichspecimens，beitremembered，hehashadtoexpungenotonlyallthecomicscenes，butgenerallythegreaterpartoftheplotitself，tomakethebookatalltolerable。