There has been a great deal of deliberate and systematic imitation of Macaulay's style, often by clever men who might well have trusted to their own resources. Its most conspicuous vices are very easy to imitate, but it is impossible for any one who is less familiar with literature than Macaulay was, to reproduce his style effectively, for the reason that it is before all else the style of great literary knowledge. Nor is that all. Macaulay's knowledge was not only very wide; it was both thoroughly accurate and instantly ready. For this stream of apt illustrations he was indebted to his extraordinary memory, and his rapid eye for contrasts and analogies. They come to the end of his pen as he writes; they are not laboriously hunted out in indexes, and then added by way of afterthought and extraneous interpolation. Hence quotations and references that in a writer even of equal knowledge, but with his wits less promptly about him, would seem mechanical and awkward, find their place in a page of Macaulay as if by a delightful process of complete assimilation and spontaneous fusion. * * * * * We may be sure that no author could have achieved Macaulay's boundless popularity among his contemporaries, unless his work had abounded in what is substantially Commonplace. Addison puts fine writing in sentiments that are natural without being obvious, and this is a true account of the 'law' of the exquisite literature of the Queen Anne men. We may perhaps add to Addison's definition, that the great secret of the best kind of popularity is always the noble or imaginative handling of Commonplace. Shakespeare may at first seem an example to the contrary; and indeed is it not a standing marvel that the greatest writer of a nation that is distinguished among all nations for the pharisaism, puritanism, and unimaginative narrowness of its judgments on conduct and type of character, should be paramount over all writers for the breadth, maturity, fulness, subtlety, and infinite variousness of his conception of human life and nature? One possible answer to the perplexity is that the puritanism does not go below the surface in us, and that Englishmen are not really limited in their view by the too strait formulas that are supposed to contain their explanations of the moral universe. On this theory the popular appreciation of Shakespeare is the irrepressible response of the hearty inner man to a voice, in which he recognises the full note of human nature, and those wonders of the world which are not dreamt of in his professed philosophy. A more obvious answer than this is that Shakespeare's popularity with the many is not due to those finer glimpses that are the very essence of all poetic delight to the few, but to his thousand other magnificent attractions, and above all, after his skill as a pure dramatist and master of scenic interest and situation, to the lofty or pathetic setting with which he vivifies, not the