It is time, however, to conclude with a word or two as to Crabbe's peculiar place in the history of English literature. I said that, unlike his contemporaries, Cowper and Burns, he adhered rigidly to the form of the earlier eighteenth-century school, and partly for this reason excited the wayward admiration of Byron, who always chose to abuse the bridge which carried him to fame. But Crabbe's clumsiness of expression makes him a very inadequate successor of Pope or of Goldsmith, and his claims are really founded on the qualities which led Byron to call him 'nature's sternest painter, yet her best.' On this side he is connected with some tendencies of the school which supplanted his early models. So far as Wordsworth and his followers represented the reaction from the artificial to a love of unsophisticated nature, Crabbe is entirely at one with them. He did not share that unlucky taste for the namby-pamby by which Wordsworth annoyed his contemporaries, and spoilt some of his earlier poems. Its place was filled in Crabbe's mind by an even more unfortunate disposition for the simply humdrum and commonplace, which, it must be confessed, makes it almost as hard to read a good many of his verses as to consume large quantities of suet pudding, and has probably destroyed his popularity with the present generation. Still, Crabbe's influence was powerful as against the old conventionality. He did not, like his predecessors, write upon the topics which interested 'persons of quality,' and never gives us the impression of having composed his rhymes in a full-bottomed wig or even in a Grub Street garret. He has gone out into country fields and village lanes, and paints directly from man and nature, with almost a cynical disregard of the accepted code of propriety. But the points on which he parts company with his more distinguished contemporaries is equally obvious. Mr. Stopford Brooke has lately been telling us with great eloquence what is the theology which underlies the poetical tendencies of the last generation of poets. Of that creed, a sufficiently vague one, it must be admitted, Crabbe was by no means an apostle. Rather one would say he was as indifferent as a good old-fashioned clergyman could very well be to the existence of any new order of ideas in the world. The infidels, whom he sometimes attacks, read Bolingbroke, and Chubb, and Mandeville, and have only heard by report even of the existence of Voltaire. The Dissenters, whom he so heartily detests, have listened to Whitefield and Wesley, or perhaps to Huntington, S.S.--that is, as it may now be necessary to explain, Sinner Saved. Every newer development of thought was still far away from the quiet pews of Aldborough, and the only form of Church restoration of which he has heard is the objectionable practice of painting a new wall to represent a growth of lichens. Crabbe appreciates the charm of the picturesque, but has never yet heard of our elaborate methods of creating modern antiques.