perceptible in this translation, which is by no means a literal one; and in which the phraseology of Sophocles is not ill substituted, in some passages, for that of Dante. The Latin poetry of an Etonian is generally reckoned at that School the chief test of his literary talent. That of Arthur was good without being excellent; he never wanted depth of thought, or truth of feeling; but it is only in a few rare instances, if altogether in any, that an original mind has been known to utter itself freely and vigorously, without sacrifice of purity, in a language the capacities of which are so imperfectly understood; and in his productions there was not the thorough conformity to an ancient model which is required for perfect elegance in Latin verse. He took no great pleasure in this sort of composition; and perhaps never returned to it of his own accord. In the latter part of his residence at Eton, he was led away more and more by the predominant bias of his mind, from the exclusive study of ancient literature. The poets of England, especially the older dramatists, came with greater attraction over his spirit. He loved Fletcher, and some of Fletcher's contemporaries, for their energy of language and intenseness of feeling; but it was in Shakespeare alone that he found the fulness of soul which seemed to slake the thirst of his own rapidly expanding genius for an inexhaustible fountain of thought and emotion. He knew Shakespeare thoroughly; and indeed his acquaintance with the earlier poetry of this country was very extensive. Among the modern poets, Byron was at this time, far above the rest, and almost exclusively, his favourite; a preference which, in later years, he transferred altogether to Wordsworth and Shelley.