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 Hebrew than the Greek. In his love of light and freedom, reason and justice, he is not of Jerusalem, but of Athens; but in the bent of his imagination, in the form and colour of his dreams, in the scope and sweep of his wide-winged spiritual flight, he is nearer akin to the great insurgent prophets of deliverance and restoration than to any poet of Athens except only their kinsman Æschylus. It is almost wholly of the Persian war, the pass of Thermopylae, the strait of Euripus, that he sings when he sings of Hellas. All his might of hand, all his cunning of colour, all his measureless resources of sound and form and symbol, are put forth in the catalogue of nations and warriors subject to Xerxes. There is nothing in poetry so vast and tremendous of its kind as this pageant of immense and monstrous invasion. But indeed the choice of gigantic themes, the predominance of colossal effects, the prevalence of superhuman visions over the types and figures of human history or legend, may be regarded as a distinctive point of difference between the second and the first series. A typical example of the second is the poem which has added an eighth wonder built by music to the seven wonders of the world, which it celebrates in verse more surely wrought for immortality than they. Another is the song of the worm which takes up in answer to their chant of life and light and pride of place, and prolongs through measure after measure of rolling and reverberating verse, the note of a funereal and universal triumph, the protest and the proclamation of death. Another, attuned to that mighty music of meditation which rings through so many of the poems written in exile and loneliness, is the stately prophetic hymn which bears the superscription of All the Past and all the Future. This might seem to belong