[3] THE making of an anthology of English prose is what must have occurred to many of its students, by way of pleasure to themselves, or of profit to other persons. Such an anthology, the compass and variety of our prose literature being considered, might well follow exclusively some special line of interest in it; exhibiting, for instance, what is so obviously striking, its imaginative power, or its (legitimately) poetic beauty, or again, its philosophical capacity. Mr. Saintsbury's well-considered Specimens of English Prose Style, from Malory to Macaulay (Kegan Paul), a volume, as we think, which bears fresh witness to the truth of the old remark that it takes a scholar indeed to make a [4] good literary selection, has its motive sufficiently indicated in the very original "introductory essay," which might well stand, along with the best of these extracts from a hundred or more deceased masters of English, as itself a document or standard, in the matter of prose style. The essential difference between poetry and prose--"that other beauty of prose"--in the words of the motto he has chosen from Dryden, the first master of the sort of prose he prefers:--that is Mr. Saintsbury's burden. It is a consideration, undoubtedly, of great importance both for the writer and the critic; in England especially, where, although (as Mr. Saintsbury rightly points out, in correction of an imperfectly informed French critic of our literature) the radical distinction between poetry and prose has ever been recognized by its students, yet the imaginative impulse, which is perhaps the richest of our purely intellectual gifts, has been apt to invade the province of that tact and good judgment, alike as to matter and manner, in which we are not richer than other people. Great poetry and great prose, it might be found, have most of their qualities in common. But [5] their indispensable qualities are different, or even opposed; and it is just the indispensable qualities of prose and poetry respectively, which it is so necessary for those who have to do with either to bear ever in mind. Order, precision, directness, are the radical merits of prose thought; and it is more than merely legitimate that they should form the criterion of prose style, because within the scope of those qualities, according to Mr. Saintsbury, there is more than just the quiet, unpretending usefulness of the bare sermo pedestris. Acting on language, those qualities generate a specific and unique beauty--"that other beauty of prose"--fitly illustrated by these specimens, which the reader needs hardly be told, after what has been now said, are far from being a collection of "purple patches."