Arthur Hugh Clough is in so many respects associated with Arnold that they are best taken together. But just because of the similarities there is the less need to dwell upon the inferior poet. Clough, who spent his early boyhood in America, was educated under Dr. Arnold at Rugby and at Balliol College, Oxford. At Oxford he was for a time carried away by the Tractarian movement, in his own words, 'like a straw drawn up the chimney by a draught.' In this he was influenced doubtless by his friendship for W. G. Ward. But Clough was not born for unquestioning belief, and the reaction shook his whole faith. The story of his separation from Ward is told in the beautiful allegorical poem, _Qua Cursum Ventus_; and in another of his finest poems, _Easter Day, Naples_, 1849, we see the position to which Clough ultimately came. To use Arnold's distinction, it is a faith which gives up the fact, but clings to the idea. Had Clough written much in the strain of these pieces he might have had some title to the name of a great poet. But he is seldom wholly satisfactory. He was prone to choose themes beyond his strength. Thus _Dipsychus_ is a colourless and weak reproduction of _Faust_. The author has not sufficient force to deal with the battlings of a spirit with faith and doubt, pleasure and virtue, good and evil, and all the most complex problems of life. Defects fundamentally the same take a different shape in _Amours de Voyage_. Clough's presentation, in Claude, of the doubts, distrust and dilettantism of the century fails to give the sense of power. The poet is happier in his 'long vacation pastoral,' the _Bothie of Tober-na-Vuolich_ (1848), with its glimpses of nature, its easy light touch, and its underlying seriousness. But the verse is unfortunate. The hexameter in English is an exotic, and has never yet been used in any long poem with complete success. The reader tires at last of what might otherwise have been a most successful story in verse.