But this we may say, we know nothing of in all literature to compare with the volume from which these lines are taken, since David lamented with this lamentation: "The beauty of Israel is slain. Ye mountains of Gilboa, let there be no dew, neither rain upon you. I am distressed for thee, my brother Jonathan: very pleasant hast thou been unto me, thy love for me was wonderful." We cannot, as some have done, compare it with Shakespeare's sonnets, or with "Lycidas." In spite of the amazing genius and tenderness, the never-wearying, all-involving reiteration of passionate attachment, the idolatry of admiring love, the rapturous devotedness, displayed in these sonnets, we cannot but agree with Mr. Hallam in thinking "that there is a tendency now, especially among young men of poetical tempers, to exaggerate the beauties of these remarkable productions"; and though we would hardly say with him, "that it is impossible not to wish that Shakespeare had never written them," giving us, as they do, and as perhaps nothing else could do, such proof of a power of loving, of an amount of _attendrissement_, which is not less wonderful than the bodying forth of that myriad-mind which gave us Hamlet, and Lear, Cordelia, and Puck, and all the rest, and indeed explaining to us how he could give us all these;--while we hardly go so far, we agree with his other wise words:--"There is a weakness and folly in all misplaced and excessive affection"; which in Shakespeare's case is the more distressing, when we consider that "Mr. W. H., the only begetter of these ensuing sonnets," was, in all likelihood, William Herbert, Earl of Pembroke, a man of noble and gallant character, but always of licentious life. As for "Lycidas," we must confess that the poetry--and we all know how consummate it is--and not the affection, seems uppermost in Milton's mind, as it is in ours. The other element, though quick and true, has no glory through reason of the excellency of that which invests it. But there is no such drawback in "In Memoriam." The purity, the temperate but fervent goodness, the firmness and depth of nature, the impassioned logic, the large, sensitive, and liberal heart, the reverence and godly fear, of That friend of mine who lives in God, which from these Remains we know to have dwelt in that young soul, give to "In Memoriam" the character of exactest portraiture. There is no excessive or misplaced affection here; it is all founded in fact: while everywhere and throughout it all, affection--a love that is wonderful--meets us first and leaves us last, giving form and substance and grace, and the breath of life and love, to everything that the poet's thick-coming fancies so exquisitely frame. We can recall few poems approaching to it in this quality of sustained affection. The only English poems we can think of as of the same order, are Cowper's lines on seeing his mother's portrait: O that these lips had language!