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 force and audacity of Ford's realism, which indeed he seems to rate higher than the depth and pathos, the sweet and subtle imagination, of other poets, if not than the more tender and gracious passages of Ford himself. He has dwelt, it appears to me, with especial care and favour upon three men of high genius, in all of whom this quality or this defect is conspicuous, of hardness too often deepening into brutality. A better and keener estimate of Ford, of Dryden, and of Swift can hardly be found than M. Taine's. Their vigorous and positive genius has an evident attraction for his critical spirit, which enjoys and understands the tangible and definable forces of mind, handles the hard outline, relishes the rough savour of the actual side of things with which strength of intellect rather than strength of imagination has to deal. As with Swift and Dryden among their fellows, so with Ford among his, the first great quality that strikes a student is the force of grasp, the precision of design, the positive and resolute touch with which all things are set down. A dramatic poet of Ford's high quality cannot of course be wanting in beauty and tenderness, in delicacy and elevation, unknown to men whose mightiest gift was that of noble satire, though the genius so applied were as deep and wide and keen, the spirit so put to service as swift and strong and splendid, as that of the two great men just mentioned. Not only the lovely lines above cited, but the very names of Calantha and Penthea, bear witness at once in our memory to the grace and charm of their poet's work at its best. The excess of tragic effect in his scenes, his delight in "fierce extremes" and volcanic eruptions of