right. We have soon, however, ceased to think of that;
the peculiarity which we have mentioned is confined to
the beginning, and the success of the treatment is best
proved by our forgetfulness, as we read on, of art and
artist language and manner, in the overpowering interest
of the story as it is drawn out before us. Extracts will
convey a poor idea of a poem in which the parts are so
wholly subordinate to the effect of the whole, and yet,
in spite of this disadvantage, we can justify at least
partially to our readers the opinions which we have
generally expressed.

We will take the scene of the recognition, when
Sohrab, lying wounded, and as yet ignorant of the name
of his adversary, has declared himself Rustum's son.
The father, at first incredulous and scornful, is led step
by step, through the mention of old names and times,
towards the anaguorisis, and after the most delicately
traced alternations of feeling, all doubt is ended by the
mark of the seal on Sohrab's arm which Rustum had
given to his mother.

"How say'st thou? [Sohrab says.] Is that sign the proper
sign
Of Rustum's son, or of some other man's?
He spoke: but Rustum gazed, and gazed, and stood
Speechless; and then he uttered one sharp cry,
Oh, boy, thy father!"

This is the first hint to Sohrab who has been his foe.