Now and then, but not with any questionable frequency, we find a sentence which recalls Carlyle. "The national temper, in the civil history, is not flashy or whiffling. The slow, deep English mass smoulders with fire, which at last sets all its borders in flame. The wrath of London is not French wrath, but has a long memory, and in hottest heat a register and rule." Compare this passage from "English Traits" with the following one from Carlyle's "French Revolution":-- "So long this Gallic fire, through its successive changes of color and character, will blaze over the face of Europe, and afflict and scorch all men:--till it provoke all men, till it kindle another kind of fire, the Teutonic kind, namely; and be swallowed up, so to speak, in a day! For there is a fire comparable to the burning of dry jungle and grass; most sudden, high-blazing: and another fire which we liken to the burning of coal, or even of anthracite coal, but which no known thing will put out." "O what are heroes, prophets, men But pipes through which the breath of man doth blow A momentary music." The reader will find a similar image in one of Burns's letters, again in one of Coleridge's poetical fragments, and long before any of them, in a letter of Leibnitz. "He builded better than he knew" is the most frequently quoted line of Emerson. The thought is constantly recurring in our literature. It helps out the minister's sermon; and a Fourth of July Oration which does not borrow it is like the "Address without a Phoenix" among the Drury Lane mock poems. Can we find any trace of this idea elsewhere? In a little poem of Coleridge's, "William Tell," are these two lines: "On wind and wave the boy would toss Was great, nor knew how great he was." The thought is fully worked out in the celebrated Essay of Carlyle called "Characteristics." It reappears in Emerson's poem "Fate." "Unknown to Cromwell as to me Was Cromwell's measure and degree; Unknown to him as to his horse, If he than his groom is better or worse." It is unnecessary to illustrate this point any further in this connection. In dealing with his poetry other resemblances will suggest themselves. All the best poetry the world has known is full of such resemblances. If we find Emerson's wonderful picture, "Initial Love" prefigured in the "Symposium" of Plato, we have only to look in the "Phaedrus" and we we shall find an earlier sketch of Shakespeare's famous group,-- "The lunatic, the lover, and the poet."