We must touch for a moment upon what has already been mentioned as a separate subject of interest in the "Princess." We venture to describe it as in substance a drama, with a plot imperfectly worked and with characters insufficiently chiselled and relieved. Its author began by presenting, and for many years continued to present, personal as well as natural pictures of individual attitude or movement; and, as in "Oenone" and "Godiva," he carried them to a very high pitch of perfection. But he scarcely attempted, unless in his more homely narrations, anything like grouping or combination. It now appears that for the higher effort he has been gradually accumulating and preparing his resources. In the sections of the prolonged soliloquy of "Maud" we see a crude attempt at representing combined interests and characters with heroic elevation, under the special difficulty of appearing, like Mathews, in one person only; in the "Princess" we had a happier effort, though one that still left more to be desired. Each, however, in its own stage was a preparation for an enterprise at once bolder and more mature. We now come to the recent work of the poet--the "Idylls of the King." The field, which Mr. Tennyson has chosen for this his recent and far greatest exploit, is one of so deep and wide-reaching an interest as to demand some previous notice of a special kind. Lofty example in comprehensive forms is, without doubt, one of the great standing needs of our race. To this want it has been from the first one main purpose of the highest poetry to answer. The quest of Beauty leads all those who engage in it to the ideal or normal man as the summit of attainable excellence. By no arbitrary choice, but in obedience to unchanging laws, the painter and the sculptor must found their art upon the study of the human form, and must reckon its successful reproduction as their noblest and most consummate exploit. The concern of Poetry with corporal beauty is, though important, yet secondary: this art uses form as an auxiliary, as a subordinate though proper part in the delineation of mind and character, of which it is appointed to be a visible organ. But with mind and character themselves lies the highest occupation of the Muse. Homer, the patriarch of poets, has founded his two immortal works upon two of these ideal developments in Achilles and Ulysses; and has adorned them with others, such as Penelope and Helen, Hector and Diomed, every one an immortal product, though as compared with the others either less consummate or less conspicuous. Though deformed by the mire of after-tradition, all the great characters of Homer have become models and standards, each in its own kind, for what was, or was supposed to be, its distinguishing gift.