eature with concrete relations and a full objective life. In Shakespeare the dramatic form helps partly to make this more prominent, though the poet's spirit shines forth thus, independently of the mould which it imposes on itself. Of Milton we may say, too, that, in spite of the supernatural machinery of his greatest poem, it bears strongly impressed on it the political mark, and that in those minor pieces, where he is avowedly in the political sphere, he still rises to the full height of his majestic harmony and noblest dignity.
Byron was touched by the same fire. The contemporary and friend of the most truly spiritual of all English poets, Shelley, he was himself among the most essentially political. Or perhaps one will be better understood, describing his quality as a quality of poetical worldliness, in its enlarged and generous sense of energetic interest in real transactions, and a capacity of being moved and raised by them into those lofty moods of emotion which in more spiritual nature
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