To Spenser, therefore, upon the whole, the English reader must revert, as being, pre-eminently, the sacred poet of his country: as most likely, in every way, to answer the purposes of his art; especially in an age of excitation and refinement, in which the gentler and more homely beauties, both of character and of scenery, are too apt to be despised: with passion and interest enough to attract the most ardent, and grace enough to win the most polished; yet by a silent preference everywhere inculcating the love of better and more enduring things; and so most exactly fulfilling what he has himself declared to be ‘the general end of all his book’--‘to fashion a gentleman, or noble person, in virtuous and gentle discipline’: and going the straight way to the accomplishment of his own high-minded prayer: That with the glory of so goodly sight, The hearts of men, which fondly here admire Fair-seeming shows, and feed on vain delight, Transported with celestial desire Of those fair forms, may lift themselves up higher, And learn to love, with zealous humble duty, Th’ eternal fountain of that heavenly beauty. JOHN HENRY NEWMAN 1801-1890 POETRY WITH REFERENCE TO ARISTOTLE’S POETICS (1829). _The Theatre of the Greeks; or the History, Literature, and Criticism of the Grecian Drama. With an original Treatise on the Principal Tragic and Comic Metres._ Second Edition. Cambridge. 1827. This work is well adapted for the purpose it has in view--the illustration of the Greek drama. It has been usual for the young student to engage in a perusal of this difficult branch of classical literature, with none of that previous preparation or collateral assistance which it pre-eminently requires. Not to mention his ordinary want of information as regards the history of the drama, which, though necessary to the full understanding the nature of that kind of poetry, may still seem too remotely connected with the existing Greek plays to be an actual deficiency; nor, again, his ignorance of the dramatic dialect and metres, which, without external helps, may possibly be overcome by minds of superior talent while engaged upon them; at least without some clear ideas of the usages of the ancient stage, the Greek dramas are but partially intelligible. The circumstances under which the representation was conducted, the form and general arrangements of the theatre, the respective offices and disposition of the actors, the nature and duties of the chorus, the proprieties of the scene itself, are essential subjects of information, yet they are generally neglected. The publication before us is a compilation of the most useful works or parts of works on the criticism, history, and antiquities of the drama; among which will be found extracts from Bentley’s _Dissertation on the Epistles of Phalaris_ and from Schlegel’s work on Dramatic Literature; the more important parts of Twining’s Translation of Aristotle’s _Poetics_, and