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 inspiration. Coleridge, philosopher and dreamer, never a man of action, saw in Shakspere a Prospero, a magician, controlling the ends of life by study and forethought. Arnold, the self-reliant, somewhat estranged servant of culture, expecting or desiring from men neither comprehension nor contact, imaged the poet in the unattainable, unguessed-at height. And if with another attitude we perceive in the mind of Shakspere only the most fortunate occurrence of qualities common to all men—only the eye to see, the heart to feel, the tongue to speak, and the absence of that overcaution which ceases to live when it stops to think—may it not be that our age, with all its sophistication, consciously aspires to the immediateness and the simplicity of life, and to that poetry which is not the accomplishment but the essence of life?