who can compete with him in the power of saying beautifully the thing he has to say." O degli altri poeti onore e lume, Vagliami 'l lungo studio e 'l grande amore Che m' han fatto cercar lo tuo volume. [Footnote 44] [Footnote 44: _L Inferno_, i. 82.] During a long period, the originality of Tennyson's verse was an obstacle to its fame, and indeed continues to be so in the minds of some readers. His use of obsolete words appears to many persons affected, while others applaud him for his vigorous Saxon, believing, with Dean Swift, that the Saxon element in our compound tongue should be religiously preserved, and that the writers and speakers who please us most are those whose style is most Saxon in its character. If Tennyson has modelled his verse after any author, it is undoubtedly Shakespeare, and the traces of this study may perhaps be found in his vocabulary. Yet no man is less of a plagiarist; not only his forms of thought but of language also are original, and though he owes much to the early dramatists, to Wordsworth and to Shelley, he fuses all metals in the alembic of his own mind, and turns them to gold. His love of nature is intense, and his observation of her works is microscopic. Yet he is never so occupied with details as to lose sight of broad outlines. In 1845, Wordsworth spoke of him as "decidedly the first of our living poets;" but since that time his fame has been steadily on the increase. Many of his lines have passed into proverbs, and a crowd of feebly fluttering imitators have vainly striven to rival him on the wing. What the people once called a weed has grown into a tall flower, wearing a crown of light, and flourishing far and wide. (_The Flower. Enoch Arden_, etc., p. 152.) A concordance to _In Memoriam_ has been published, and the several editions of the Laureate's volumes have been collated as carefully as if they were works of antiquity. Every ardent lover of English poetry is familiar with Mariana, "in the lonely moated grange;" the good Haroun Alraschid among his obelisks and cedars; Oriana wailing amid the Norland whirlwinds; the Lady Shalott in her "four gray walls and four gray towers;" the proud Lady Clara Vere de Vere; the drowsy Lotos-Eaters; the chaste and benevolent Godiva; Maud in her garden of "woodbine spices;" the true love of the Lord of Burleigh, and the reward of honest Lady Clare. The highest praise of these ballads is that they have sunk into the nation's heart. They combine the chief excellences of other bards, and remind us of some delicious fruit which unites in itself a variety of the most exquisite flavors. This richness and sweetness may be ascribed in part to that remarkable condensation of thought which enriches one page of Tennyson with as many ideas and images as would, in most other poets, be found scattered over two or three pages. "We must not expect," wrote Shenstone in one of his essays, "to trace the flow of Waller, the landskip of Thomson,