One drawback to an unconditional enjoyment of Balzac is that every now and again the student of the `Comedie Humaine' resents the too obvious display of the forces that propel the effect -- a lesser phase of the weariness which ensues upon much reading of the mere "human documents" of the Goncourt school of novelists. In the same way, we too often see Browning working up the electrical qualities, so that, when the fulmination comes, we understand "just how it was produced," and, as illogically as children before a too elaborate conjurer, conclude that there is not so much in this particular poetic feat as in others which, like Herrick's maids, continually do deceive. To me this is affirmable of "Fifine at the Fair". The poet seems to know so very well what he is doing. If he did not take the reader so much into his confidence, if he would rely more upon the liberal grace of his earlier verse and less upon the trained subtlety of his athletic intellect, the charm would be the greater. The poem would have a surer duration as one of the author's greater achievements, if there were more frequent and more prolonged insistence on the note struck in the lines (Section 73) about the hill-stream, infant of mist and dew, falling over the ledge of the fissured cliff to find its fate in smoke below, as it disappears into the deep, "embittered evermore, to make the sea one drop more big thereby:" or in the cloudy splendour of the description of nightfall (Section 106): or in the windy spring freshness of "Hence, when the earth began afresh its life in May, And fruit-trees bloomed, and waves would wanton, and the bay Ruffle its wealth of weed, and stranger-birds arrive, And beasts take each a mate." . . . But its chief fault seems to me to be its lack of that transmutive glow of rhythmic emotion without which no poem can endure. This rhythmic energy is, inherently, a distinct thing from intellectual emotion. Metric music may be alien to the adequate expression of the latter, whereas rhythmic emotion can have no other appropriate issue. Of course, in a sense, all creative art is rhythmic in kind: but here I am speaking only of that creative energy which evolves the germinal idea through the medium of language. The energy of the intellect under creative stimulus may produce lordly issues in prose: but poetry of a high intellectual order can be the outcome only of an intellect fused to white heat, of intellectual emotion on fire -- as, in the fine saying of George Meredith, passion is noble strength on fire. Innumerable examples could be taken from any part of the poem, but as it would not be just to select the most obviously defective passages, here are two which are certainly fairly representative of the general level --