Much has been said that is wide of the mark about Gray's religious belief. The fact was that he was a pagan of the grand type. He was not really a Christian, but he had no wish to tilt against orthodoxies and accepted dogmas. The most that can be traced in his writings is a solemn Theism. He recognised the huge inscrutable fate that lay behind the inexplicable fabric of human life and human history, but of the God with men, of the Divine hope, the consecration of life, the self-abnegation of the Christian, he had no real cognizance. This, I think, cannot be doubted. His contemptuous hatred of theology and of creeds is marked; he had no patience with them; of worship he knew nothing. It has been said that he would have found a medicine for his unhappiness in wedded love; he would have found more than a medicine in religion. The stately pathos of such a life is indisputable. The pale little poet, with greatness written so largely on all his works, with keen, deep eyes, the long aquiline nose, the heavy chin, the thin compressed lips, the halting affected gait, is a figure to be contemplated with serious and loving interest, spoiled for life, as he said, by retirement. How he panted for strength and serenity! How far he was from reaching either! Yet the bitter dignity of his thought, the diffident and fastidious will, are of a finer type than we often meet with. We cannot spare the men of action, it is true; yet the contemplative soul, with the body so pitifully unequal to sustain its agonizing struggle, is an earnest of higher things. In the valley of shadows he walked, and entered the gate without repining. All are equal there; and the memory that he left, and the characters that he graved on the rock, while they move our pity, stir our wonder too. WILLIAM BLAKE BLAKE has had many admirers; he is _a laudatis laudatus_; that he should have called forth the outspoken and elaborate admiration of Mr. Swinburne and the two Rossettis is of itself a title to consideration. He has had, and will have detractors, though they are mostly of the kind that are converted to an artist's merits when high prices are paid for his work: and that has long been the case with Blake. When some drawings of his were shown to George III., the King cried out pettishly, "Take them away, take them away"; yet we do not hold this to be a crowning proof of Blake's artistic merits, as some of his critics have done. The observation may have been purely fretful, but we believe that it arose from a deeper psychological cause than mere want of appreciation--the timid sympathy of insanity. Blake's sweeping fiery forms, his globular ebullition of light, his insight into all that coils and writhes, are the instinctive creation of a brain which, if not under the actual pressure of madness, was, as Dr. Johnson said, "at least not sober."