characters of Shakspere.

The manner in which types are arrived at and made recognizable in other
arts opens the subject more fully and throws light upon their nature.
The sculptor observes in a group of athletes that certain physical
habits result in certain moulds of the body; and taking such
characteristics as are common to all of one class, and neglecting such
as are peculiar to individuals, he carves a statue. So permanent are the
physical facts he relies upon that, centuries after, when the statue is
dug up, men say without hesitation--here is the Greek runner, there the
wrestler. The habit of each in life produces a bodily form which if it
exists implies that habit; the reality here results from the operation
of physical laws and can be physically rendered; the type is
constituted of permanent physical fact. There are habits of the soul
which similarly impress an outward stamp upon the face and form so
certainly that expression, attitude, and shape authentically declare the
presence of the soul that so reveals itself. In the Phidian Zeus was all
awe; in the Praxitelean Hermes all grace, sweetness, tenderness; in the
Pallas Athene of her people who carved or minted her image in statue,
bas-relief, or coin, was all serene and grave wisdom; or, in the glowing
and chastened colours of the later artistic time, the Virgin mother
shines out, in Fra Angelico all adoration, in Bellini all beatitude, in
Raphael all motherhood. The sculptor and the painter are restricted to
the bodily signs of the soul's presence; but the poet passes into
another and wider range of interpretation. He finds the soul stamped in
its characteristic moods, words, actions. He then creates for the mind's
eye Achilles, Aeneas, Arthur; and in his verse are beheld their spirits
rather than their bodies.

These several sorts of types make an ascending series from the