Yet against this chorus, which was not, as has sometimes happened, the mere utterance of a loud-voiced few, but was echoed by a great multitude who eagerly bought and read Crabbe, must be set the almost total forgetfulness of his work which has followed. It is true that of living or lately living persons in the first rank of literature some great names can be cited on his side; and what is more, that these great names show the same curious diversity in agreement which has been already noticed as one of Crabbe's triumphs. The translator of Omar Khayyám, his friend the present Laureate, and the author of "The Dream of Gerontius," are men whose literary ideals are known to be different enough; yet they add a third trinity as remarkable as those others of Gifford, Jeffrey, and Wilson, of Wordsworth, Byron, and Scott. Much more recently Mr. Courthope has used Crabbe as a weapon in that battle of his with literary Liberalism which he has waged not always quite to the comprehension of his fellow-critics; Mr. Leslie Stephen has discussed him as one who knows and loves his eighteenth century. But who reads him? Who quotes him? Who likes him? I think I can venture to say, with all proper humility, that I know Crabbe pretty well; I think I may say with neither humility nor pride, but simply as a person whose business it has been for some years to read books, and articles, and debates, that I know what has been written and said in England lately. You will find hardly a note of Crabbe in these writings and sayings. He does not even survive, as "Matthew Green, who wrote 'The Spleen,'" and others survive, by quotations which formerly made their mark, and are retained without a knowledge of their original. If anything is known about Crabbe to the general reader, it is the parody in "Rejected Addresses," an extraordinarily happy parody no doubt, in fact rather better Crabbe in Crabbe's weakest moments than Crabbe himself. But naturally there is nothing of his best there; and it is by his best things, let it be repeated over and over in face of all opposition, that a poet must be judged.