Tennyson has, it is true, written some altogether exquisite verse, upon classical themes, and in every case the poems are not descriptive nor dramatic, but are dramatic soliloquies, thus approaching in form Browning's dramatic idyls. One of the most beautiful of these is "Oenone." There we have a mere tradition enlarged upon and the feelings of Oenone upon the desertion of Paris expressed with a richness of emotional fervor in a setting of appropriate nature imagery which carries us back to the idyls of Theocritus. "Ulysses," again gives the psychology of a wanderer who has become so habituated to adventures that he is quite incapable of settling down with Penelope for the remainder of his life. One cannot quite forgive the poet for calling the ever youthful and beautiful Penelope, whose hand was sought by so many suitors, and who, although twenty years had passed, might still be quite young, an "aged wife." It has always seemed to the writer like a wholly unnecessary stab at a very beautiful story, and the poem would have been just as effective if Ulysses' hunger for lands beyond the sun had not been coupled with any scorn of Penelope, but with a feeling of pain that again Fate must take him away from her. Aside from this note of bad taste--bad, because it shadows a picture of faithfulness, cherished as an almost universal possession of humanity--the poem is fine. There is also, though not Greek, the remarkable study of Lucretius going mad from the effects of his wife's love philter, in which the most fascinating glimpses of his philosophy of atoms are caught amid his maniacal wanderings, and, last, the very beautiful Demeter and Persephone. These are as unique in their way as Browning's Greek poems are in theirs, standing quite apart from such work as Morris', or Swinburne's, not only because of their haunting music, which even Swinburne cannot equal, but because of a deeper vein of thought running through them. As far as thought is concerned, however, all pale in significance the moment they are placed in juxtaposition with any of Browning's classical productions. Not the least interesting of Browning's classical poems is "Ixion." In his treatment of the myth of Ixion he proves himself a true child of the Greeks, not that he makes any slavish attempt to reproduce a Greek atmosphere as it existed in the lifetime of Greek poetry, but he exercises that prerogative which the Greek poets always claimed, of interpreting a myth to suit their own ends.