the man, with his character as distinguished from his talent, and therefore with how much he will influence men as well as delight them.
We may reckon up pretty exactly a man's advantages and defects as an artist; these he has in common with others, and they are to be measured by a recognized standard; but there is something in his genius that is incalculable.
It would be hard to define the causes of the difference of impression made upon us respectively by two such men as Aeschylus and Euripides, but we feel profoundly that the latter, though in some respects a better dramatist, was an infinitely lighter weight.
Aeschylus stirs something in us far deeper than the sources of mere pleasurable excitement.
The man behind the verse is far greater than the verse itself, and the impulse he gives to what is deepest and most sacred in us, though we cannot always explain it, is none the less real and lasting.
Some men always seem to remain outside their work; others make their individual
reader to judge by an example or two.
In the manuscript copy of Milton's sonnet in which he claims for his own house the immunity which the memory of Pindar and Euripides secured for other walls, the title had originally been, On his Door when the City expected an Assault.
Milton has drawn a line through this and substituted Whenstudy and finding some of his Anti-Episcopal pamphlets that had been left lying about inadvertently.
the Cavalier Captain might then have said, Pindar and Euripides are all very well, by G—! I've been at college myself; and when I meet a gentleman and scholar, I hope I know how to treat him; but neither Pindar nor EuripidesEuripides ever wrote pamphlets against the Church of England, by G—! It won't do, Mr. Milton!
This, it may be supposed, is Mr. Masson's way of being funny and dramatic at the same time.
Good taste is shocked with this barbarous dissonance.
Could not the Muse defend her son?
Again, when Charles I., at Edinburgh, in the autumn and winter