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 neither suppressed nor extenuated. Yet a sense of what he called "reverent shame" deterred him from enlarging on men's frailties beyond the needs of his art. He was a just biographer who was not distracted from his proper aim by ethical fervour or by partisanship. Nor were the purposes of history or science within his scope.

None of Plutarch's biographic principles can be ignored with impunity. Very efficiently does his example warn the biographer against two faults to which biography of more modem date has shown itself peculiarly prone—the fault of misty sentimentality or vague rhapsodizing and the fault of tediousness. The value of rhapsodical or sentimental biography is commonly overestimated when it is credited with any method at all. In a few instances an eloquent piece of literature is the outcome. But it is literature which belongs to another category than that of biography. Boccaccio's rhapsodical account of Dante is a favourable specimen of its class. We learn there much of the effect