feel deeply and permanently what Greek plainness of thought and Greek simplicity of expression really are: they admit the importance of these qualities in a general way, but they have no ever-present sense of them; and they easily attribute them to any poetry which has other excellent qualities, and which they very much admire. No doubt there are plainer things in Mr Tennyson's poetry than the three lines I quoted; in choosing them, as in choosing a specimen of ballad-poetry, I wished to bring out clearly, by a strong instance, the qualities of thought and style to which I was calling attention; but when Mr Spedding talks of a plainness of thought like Homer's, of a plainness of speech like Homer's, and says that he finds these constantly in Mr Tennyson's poetry, I answer that these I do not find there at all. Mr Tennyson is a most distinguished and charming poet; but the very essential characteristic of his poetry is, it seems to me, an extreme subtlety and curious elaborateness of thought, an extreme subtlety and curious elaborateness of expression. In the best and most characteristic productions of his genius, these characteristics are most prominent. They are marked characteristics, as we have seen, of the Elizabethan poets; they are marked, though not the essential, characteristics of Shakspeare himself. Under the influences of the nineteenth
