Of Keats, in his marvellous development, Mr. Lowell beautifully says: ‘He knew that what he had to do had to be done quickly.’ So, in a contrasted fashion, with Hurrell Froude, intent not upon his own artistic perfection, but upon the leavening of the national mind. Graces were just what he could best afford to neglect in that too hurried working-hour. He had begun to die at eight-and-twenty, and he was to die unconsummated; therefore speech compacted and anticipative became his sole concern. He is not light reading. His typical sentences, apart from his many paradoxes, move like the Latin axioms which break the heads of unwilling schoolboys in walnut-time. A skeleton style, it must be confessed, has its disqualifications as a miscellaneous entertainer. Anything more unlike the golden, glowing, misleading glide of the language of another Froude with whom this generation is more familiar, can hardly be imagined. Yet it was Hurrell who was the poet. It was Hurrell who, according to all evidence, communicated in even higher degree the extraordinary fascinations of that fascinating family. It is not the least lovely of his attributes that he sacrificed the literary possibilities of a born historian, as he sacrificed everything else, to his holy master-passion, and carried his genius for reigning into a hidden door-keeping of the House of God. The novelty and unexpectedness inseparable from his original mind appear in print only as by innuendo, and in the conduct of some coherent train of thought. Slyly quiet can be the manner in which he understates, and negatively proceeds through harmless analogies, until, of a sudden, readers find with surprise, and cannot shake off, that ‘sting in their bosoms’ which is referred to in a piercingly apposite phrase, itself of classic origin, of the second Preface (1839) of the _Remains_. All his papers, at least, of whatever nature, display his faculty, which was like a scout’s or frontiersman’s, of discovering, breaking, and defending border ground. They are remarkable chiefly for their practical far-seeing sagacity. Written over seventy years ago by a mere unconscious young prophet with no conceit of himself, they have an amazing modernity. The keen prescience of the few random secular essays is, however, intensified in the other essays on religious subjects. They ‘look before and after.’ They have not begun to seem out-of-date, nor to label their author as fit only for the never-dusted top shelf. In a day when views of Inspiration and Revelation are no longer Butler’s or Paley’s; when new keys are tried, and new tools taken up, and in the ancient workshops men live and die to a different and far more perplexing spheric music, such staying power, independent of any encouragement of it, is sufficiently remarkable. It gives Hurrell Froude an illustrative importance. His very catchwords have a diverting contemporaneousness; witness his uses of ‘Protestant’ as applied by him to the unloved majority in his Church.