is to recognise in the later work of a great artist some partial reappearance of his early tone or manner, some passing return to his early lines of work and to habits of style since modified or abandoned. Such work, in part at least, may properly be said to belong rather to the earlier stage whose manner it resumes than to the later stage at which it was actually produced, and in which it stands out as a marked exception among the works of the same period. A famous and a most singularly beautiful example of this reflorescence as in a Saint Martin's summer of undecaying genius is the exquisite and crowning love-scene in the opera or "ballet-tragedy" of _Psyche_, written in his sixty-fifth year by the august Roman hand of Pierre Corneille; a lyric symphony of spirit and of song fulfilled with all the colour and all the music that autumn could steal from spring if October had leave to go a Maying in some Olympian masquerade of melody and sunlight. And it is not easier, easy as it is, to discern and to define the three main stages of Shakespeare's work and progress, than to classify under their several heads the representative plays belonging to each period by the law of their nature, if not by the accident of their date. There are certain dominant qualities which do on the whole distinguish not only the later from the earlier plays, but the second period from the first, the third period from the second; and it is with these qualities alone that the higher criticism, be it aesthetic or scientific, has properly anything to do.