same position with regard to Greek dramatic literature as do the delicate
little figurines of Tanagra to the Phidian marbles, and to be quite as
necessary for the complete understanding of the Greek spirit.

I am also amazed to find that Edgar Allan Poe has been passed over.
Surely this marvellous lord of rhythmic expression deserves a place? If,
in order to make room for him, it be necessary to elbow out some one
else, I should elbow out Southey, and I think that Baudelaire might be
most advantageously substituted for Keble.

No doubt, both in the Curse of Kehama and in the Christian Year there are
poetic qualities of a certain kind, but absolute catholicity of taste is
not without its dangers. It is only an auctioneer who should admire all
schools of art.




TWELFTH NIGHT AT OXFORD


(Dramatic Review, February 20, 1886.)

On Saturday last the new theatre at Oxford was opened by the University
Dramatic Society. The play selected was Shakespeare's delightful comedy
of Twelfth Night, a play eminently suitable for performance by a club, as
it contains so many good acting parts. Shakespeare's tragedies may be
made for a single star, but his comedies are made for a galaxy of
constellations. In the first he deals with the pathos of the individual,
in the second he gives us a picture of life. The Oxford undergraduates,