and yet not be in itself a plain thought. For example, in Mr Clough's poem, already mentioned, the style and diction is almost always idiomatic and plain, but the thought itself is often of a quality which is not plain; it is curious. But the grand instance of the union of idiomatic expression with curious or difficult thought is in Shakspeare's poetry. Such, indeed, is the force and power of Shakspeare's idiomatic expression, that it gives an effect of clearness and vividness even to a thought which is imperfect and incoherent; for instance, when Hamlet says,
To take arms against a sea of troubles,
the figure there is undoubtedly most faulty, it by no means runs on four legs; but the thing is said so freely and idiomatically, that it passes. This, however, is not a point to which I now want to call your attention; I want you to remark, in Shakspeare and others, only that which we may directly apply to Homer. I say, then, that in Shakspeare the thought is often, while most idiomatically uttered, nay, while good and sound in itself, yet of a quality which is curious and difficult; and that this quality of thought is something entirely un-Homeric. For example, when Lady Macbeth says:
Memory, the warder of the brain,
Shall be a fume, and the receipt of reason
A limbeck only,
