"Wilt thou upon the high and giddy mast Seal up the ship-boy's eyes, and rock his brains In cradle of the rude imperious surge ..."[82] and take, as well, Hamlet's dying request to Horatio-- "If thou didst ever hold me in thy heart, Absent thee from felicity awhile, And in this harsh world draw thy breath in pain To tell my story ..."[83] Take of Milton that Miltonic passage-- "Darken'd so, yet shone Above them all the archangel; but his face Deep scars of thunder had intrench'd, and care Sat on his faded cheek ..."[84] add two such lines as-- "And courage never to submit or yield And what is else not to be overcome ..."[85] and finish with the exquisite close to the loss of Proserpine, the loss " ... which cost Ceres all that pain To seek her through the world."[86] These few lines, if we have tact and can use them, are enough even of themselves to keep clear and sound our judgments about poetry, to save us from fallacious estimates of it, to conduct us to a real estimate. The specimens I have quoted differ widely from one another, but they have in common this: the possession of the very highest poetical quality. If we are thoroughly penetrated by their power, we shall find that we have acquired a sense enabling us, whatever poetry may be laid before us, to feel the degree in which a high poetical quality is present or wanting there. Critics give themselves great labor to draw out what in the abstract constitutes the characters of a high quality of poetry. It is much better simply to have recourse to concrete examples; --to take specimens of poetry of the high, the very highest quality, and to say: The characters of a high quality of poetry are what is expressed _there_. They are far better recognized by being felt in the verse of the master, than by being perused in the prose of the critic. Nevertheless if we are urgently pressed to give some critical account of them, we may safely, perhaps, venture on laying down, not indeed how and why the characters arise, but where and in what they arise. They are in the matter and substance of the poetry, and they are in its manner and style. Both of these, the substance and matter on the one hand, the style and manner on the other, have a mark, an accent, of high beauty, worth, and power. But if we are asked to define this mark and accent in the abstract, our answer must be: No, for we should thereby be darkening the question, not clearing it. The mark and accent are as given by the substance and matter of that poetry, by the style and manner of that poetry, and of all other poetry which is akin to it in quality.