Lapped in such ignorance, and with a mind little given to speculation, it is only in character that Crabbe should be totally insensible to the various moods of thought represented by Wordsworth's pantheistic conceptions of nature, or by Shelley's dreamy idealism, or Byron's fierce revolutionary impulses. Still less, if possible, could he sympathise with that love of beauty, pure and simple, of which Keats was the first prophet. He might, indeed, be briefly described by saying that he is at the very opposite pole from Keats. The more bigoted admirers of Keats--for there are bigots in matters of taste or poetry as well as in science or theology or politics--would refuse the title of poet to Crabbe altogether on the strength of the absence of this element from his verses. Like his most obvious parallels in painting, he is too fond of boors and pothouses to be allowed the quality of artistic perception. I will not argue the point, which is, perhaps, rather a question of classification than of intrinsic merit; but I will venture to suggest a test which will, I think, give Crabbe a very firm, though, it may be, not a very lofty place. Though I should be unwilling to be reckoned as one of Macaulay's 'rough and cynical readers,' I admit that I can read the story of the convicted felon, or of Peter Grimes, without indulging in downright blubbering. Most readers, I fear, can in these days get through pathetic poems and novels without absolutely using their pocket-handkerchiefs. But though Crabbe may not prompt such outward and visible signs of emotion, I think that he produces a more distinct tendency to tears than almost any poet of his time. True, he does not appeal to emotions, accessible only through the finer intellectual perceptions, or to the thoughts which 'lie too deep for tears.' That prerogative belongs to men of more intense character, greater philosophical power, and more delicate instincts. But the power of touching readers by downright pictures of homespun griefs and sufferings is one which, to my mind, implies some poetical capacity, and which clearly belongs to Crabbe. FOOTNOTES: [2] It seems, one is sorry to add, that Murray made a very bad bargain in this case. _WILLIAM HAZLITT_