employ this style alone; they are characterized by the modern manner; they give us those "sweet views" which in the ancient mode "can never well be seen." Landor droops below his great contemporaries, not by merely adopting the classical method, but by adopting it exclusively. Whether this choice was entirely free, or partly determined by natural incapacity, is doubtful. Violent and tempestuous as his nature was, with all his boyish intensity of indignation, his boyish delicacy of tenderness, he seems to possess temper rather than true passion. In the verses to his poetic love, Ianthe, there are many fine sentiments, graceful turns; there is courtliness of behavior; but the note of passion is not struck. Ianthe is only another poetic mistress of the cavalier school, and in the memory her name is less, both for dignity and pathos, than Rose Aylmer's. Without passion, of course, a poet is condemned to the classical style. Passion is the element in which the romantic writer fuses beauty and wisdom; it is the means by which personality pervades literary work with most ease, directness, and glow. In the great modern poets it is the substance of their genius. But just as neither by a phi-
