Again, how perfect is the image, how effective the development of the third line; how the melody of the last blends with its selected epithets to place the object entire and whole before the mind; how free is the quatrain from any self-intrusion of the poet! But here, too, the method of appeal is very different from Shakespeare's, as in the lines on Yorick's skull: "Here hung those lips that I have kissed I know not how oft." The difference in mood between these two only emphasizes the difference in method. Enough has been said, however, in description and exemplification of the two kinds of art. Either is sufficient for its ends, nor would any one desire to dispense with that which has resulted in work so admirable as has been quoted from Landor. The distinctively romantic poets do not consign the classical style to disuse. In the presentation of images, Keats has frequent recourse to it, as in his picture of Autumn lying
"on a half-reaped furrow sound asleep,
Drowsed with the fume of poppies, while thy hook
Spares the next swath and all its twinèd flowers."
So Wordsworth, in expressing ideas, is sometimes more bald than the least imaginative of the classics. But such poets do not
