as those of the interchanging adversaries (now serpent, now man), or even of the huge, half-blockish enormity of Nimrod,-in Scripture, the "mighty hunter" and builder of the tower of Babel,-in Dante, a tower of a man in his own person, standing with some of his brother giants up to the middle in a pit in hell, blowing a horn to which a thunderclap is a whisper, and hallooing after Dante and his guide in the jargon of a lost tongue! The transformations are too odious to quote: but of the towering giant we cannot refuse ourselves the "fearful joy" of a specimen. It was twilight, Dante tells us, and he and his guide Virgil were silently pacing through one of the dreariest regions of hell, when the sound of a tremendous horn made him turn all his attention to the spot from which it came. He there discovered through the dusk, what seemed to be the towers of a city. Those are no towers, said his guide; they are giants, standing up to the middle in one of these circular pits.

Come quando la nibbia si dissipa,

Lo sguardo a poco a poco raffigura
Ciò che cela 'l vapor che l' aere stipa;
Così forando l'aer grossa e scura

Più e più appressando in ver la sponda,
Fuggémi errore, e giugnémi paura :
Perocchè come in su la cerchia tonda
Montereggion di torri si corona,
Così la proda che 'l pozzo circonda

Torreggiavan di mezza la persona

Gli orribili giganti, cui minaccia

Giove del cielo ancora, quando tuona :
Ed io scorgeva già' d'alcun la faccia,

Le spalle e 'l petto, e del ventre gran parte,
E per le coste giù ambo le braccia.

Cominciò a gridar la fiera bocca,
Cui non si convenien più dolci salmi.
E 'l duca mio ver lui: anima sciocca,
Tienti col corno, e con quel ti disfoga,
Quand' ira o altra passion ti tocca.
Cercati al collo, e troverai la soga

Che 'l tien legato, o anima confusa,
E vedi lui che 'l gran petto ti doga.
Poi disse a me: egli stesso s' accusa :

Questi è Nembrotto, per lo cui mal coto
Pure un linguaggio nel mondo non s' usa.
Lasciamlo stare, e non parliamo a voto :
Che così è a lui ciascun linguaggio,
Come 'l suo ad altrui ch' a nullo è noto.
Inferno, Canto xxxi. ver. 34.

I look'd again; and as the eye makes out,
By little and little, what the mist conceal'd
In which, till clearing up, the sky was steep'd;
So, looming through the gross and darksome air,
As we drew nigh, those mighty bulks grew plain,
And error quitted me, and terror join'd:
For in like manner as all round its height
Montereggione crowns itself with towers,
So tower'd above the circuit of that pit,

Though but half out of it, and half within,
The horrible giants that fought Jove, and still
Are threaten'd when he thunders. As we near'd
The foremost, I discern'd his mighty face,

His shoulders, breast, and more than half his trunk,
With both the arms down hanging by the sides.
His face appear'd to me, in length and breadth,
Huge as St. Peter's pinnacle at Rome,
And of a like proportion all his bones.

He open'd, as we went, his dreadful mouth,

Fit for no sweeter psalmody; and shouted

After us, in the words of some strange tongue,
Rafel ma-èe amech zabèe almee!-

"Dull wretch !" my leader cried, "keep to thine horn,
And so vent better whatsoever rage

Or other passion stuff thee. Feel thy throat
And find the chain upon thee, thou confusion!
Lo! what a hoop is clench'd about thy gorge."
Then turning to myself, he said, "His howl
Is its own mockery. This is Nimrod, he
Through whose ill thought it was that humankind
Were tongue-confounded. Pass him, and say nought:
For as he speaketh language known of none,

So none can speak save jargon to himself."

Assuredly it could not have been easy to find a fiction so uncouthly terrible as this in the hypochondria of Hamlet. Even his father had evidently seen no such ghost in the other world. All his phantoms were in the world he had left. Timon, Lear, Richard, Brutus, Prospero, Macbeth himself, none of Shakspeare's men had, in fact, any thought but of the earth they lived on, whatever supernatural fancy crossed them. The thing fancied was

still a thing of this world, "in its habit as it lived,” or no remoter acquaintance than a witch or a fairy. Its lowest depths (unless Dante suggested them) were the cellars under the stage. Caliban himself is a cross-breed between a witch and a clown. No offence to Shakspeare; who was not bound to be the greatest of healthy poets, and to have every morbid inspiration besides. What he might have done, had he set his wits to compete with Dante, I know not all I know is, that in the infernal line he did nothing like him; and it is not to be wished he had. It is far better that, as a higher, more universal, and more beneficent variety of the genus Poet, he should have been the happier man he was, and left us the plump cheeks on his monument, instead of the carking visage of the great, but over-serious, and comparatively one-sided Florentine. Even the imagination of Spenser, whom we take to have been a nervous gentleman" compared with Shakspeare, was visited with no such dreams as Dante. Or, if it was, he did not choose to make himself thinner (as Dante says he did) with dwelling upon them. He had twenty visions of nymphs and bowers, to one of the mud of Tartarus. Chaucer, for all he was

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a man of this world" as well as the poets' world, and as great, perhaps a greater enemy of oppression than Dante, besides being one of the profoundest masters of pathos that ever lived, had not the heart to conclude the story of the famished father and his

children, as finished by the inexorable anti-Pisan. But enough of Dante in this place. Hobbes, in order to daunt the reader from objecting to his friend Davenant's want of invention, says of these fabulous creations in general, in his letter prefixed to the poem of Gondibert, that "impenetrable armours, enchanted castles, invulnerable bodies, iron men, flying horses, and a thousand other such things, are easily feigned by them that dare." These are girds at Spenser and Ariosto. But, with leave of Hobbes (who translated Homer as if on purpose to show what execrable verses could be written by a philosopher), enchanted castles and flying horses are not easily feigned, as Ariosto and Spenser feigned them; and that just makes all the difference. For proof, see the accounts of Spenser's enchanted castle in Book the Third, Canto Twelfth, of the Fairy Queen; and let the reader of Italian open the Orlando Furioso at its first introduction of the Hippogriff (Canto iii. st. 4), where Bradamante, coming to an inn, hears a great noise, and sees all the people looking up at something in the air; upon which, looking up herself, she sees a knight in shining armour riding towards the sunset upon a creature with variegated wings, and then dipping and disappearing among the hills. Chaucer's steed of brass, that was

So horsly and so quick of eye,

is copied from the life. You might pat him and