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 a yet ungrown hand, the tentative uncertain grasp of a stripling giant. The two utterly beautiful scenes are not of this kind; they deal with simple joy and with simple sorrow, with the gladness of meeting and the sadness of parting love; but between and behind them come scenes of more fierce emotion, full of surprise, of violence, of unrest; and with these the poet is not yet (if I dare say so) quite strong enough to deal. Apollo has not yet put on the sinews of Hercules. At a later date we may fancy or may find that when the Herculean muscle is full-grown the voice in him which was as the voice of Apollo is for a passing moment impaired. In Measure for Measure, where the adult and gigantic god has grappled with the greatest and most terrible of energies and of passions, we miss the music of a younger note that rang through Romeo and Juliet; but before the end this too revives, as pure, as sweet, as fresh, but richer now and deeper than its first clear notes of the morning, in the heavenly harmony of Cymbeline and The Tempest.

The same effusion or effervescence of words is perceptible in King Richard II. as in the greater (and the less good) part of Romeo and Juliet; and not less perceptible is the perpetual inclination of