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hoarser choir takes it up. His highest lyrical work remains unimitated, being in the main inimitable. But the trick of tone which suits an idyl is easier to assume; and the note has been struck so often that the shrillest songsters can affect to catch it up. We have idyls good and bad, ugly and pretty; idyls of the farm and the mill; idyls of the dining-room and the deanery; idyls of the gutter and the gibbet. If the Muse of the minute will not feast with "gig-men" and their wives, she must mourn with costermongers and their trulls. I fear the more ancient Muses are guests at neither house of mourning nor house of feasting.
For myself, I begrudge no man his taste or his success; I can enjoy and applaud all good work, and would always, when possible, have the workman paid in full. There is much excellent and some admirable verse among the poems of the day: to none has it given more pleasure than to me, and from none, had I been a man of letters to whom the ways were open, would it have won heartier applause. I have never been able to see what should attract men to the profession of criticism but the noble pleasure of praising. But I have no right to claim a place in the silver flock of idyllic swans. I have never worked for praise or pay, but simply by impulse, and to please myself; I must therefore, it is to be feared, remain where I am, shut out from the communion of these. At all events, I shall not be hounded into emulation of other men's work by the baying of unleashed beagles. There are those with whom I do not wish to share the praise of their praisers. I am content to abide a far different judgment:—
"I write as others wrote
On Sunium's height."
I need not be over-careful to justify my ways in other men's eyes; it is enough for me that they also work after their kind, and earn the suffrage, as they labour after the
