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[139] himself on the first load of furniture when we undertake our flitting, if the magician be not there to exorcise him. No man can jump off his own shadow, nor, for that matter, off his own age, and it is very likely that Daniel had only the thinking and languaging parts of a poet's outfit, without the higher creative gift which alone can endow his conceptions with enduring life and with an interest which transcends the parish limits of his generation. In the prologue to his ‘Masque at Court’ he has unconsciously defined his own poetry:—

Wherein no wild, no rude, no antic sport,
But tender passions, motions soft and grave,
The still spectator must expect to have.

And indeed his verse does not snatch you away from ordinary associations and hurry you along with it as is the wont of the higher kinds of poetry, but leaves you, as it were, upon the bank watching the peaceful current and lulled by its somewhat monotonous murmur. His best-known poem, blunderingly misprinted in all the collections, is that addressed to the Countess of Cumberland. It is an amplification of Horace's Integer Vitoe, and when we compare it with the original we miss the point, the compactness, and above all the urbane tone of the original. It is very fine English, but it is the English of diplomacy somehow, and is never downright this or that, but always has the honor to be so or so. with sentiments of the highest consideration. Yet the praise of well-languaged, since it implies that good writing then as now demanded choice and forethought, is not without interest for those who would classify the elements of a style that will wear and hold its colors well. His diction, if wanting in the more hardy evidences of muscle, has a suppleness and spring that give proof of training and endurance. His ‘Defence of Rhyme,’ written in prose (a more difficult test than

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