It is, however, in the principal personages of the drama that we most miss the Promethean fire, and pre-eminently in the hero, if Cranmer is intended for such a dignity, and the heroine. Amongst these, the most lifelike are Courtenay and Sir Thomas Wyatt; because, in their creation, the peculiar vein of quaint irony and exceedingly refined humor, which is Mr. Tennyson’s most eminent distinction, comes to his aid. For the rest, up to the heroine herself and the canting and recanting Cranmer, they are colorless and bloodless. We scarcely know one from the other. And we do not care to. Noailles and Renard are but poor specimens of diplomatists. Their sovereigns, were the time the present, might pick up a dozen such any day in Wall Street. If the poet could embody no greater conception of two such men as Bonner and Gardiner than a couple of vulgar, self-seeking, blood-thirsty knaves, he should have dispensed altogether with their presence. He should have given to them some elevation, whatever history may say about it. A drama is a poem, not a history; and the poet may take the names of historic personages and, within certain limits, fit to them creations of his own. In Cardinal Pole he had an opportunity for a noble ideal. But all we have is an amiable dummy, an old gentleman, as ordinary and ineffective as the rest. Facts have been so distorted by the influence which for so long had sole possession of literature, that there is plenty of room for taking great liberties with history. Mr. Tennyson has slightly availed himself of this, but in the wrong direction. Shakspere himself could not have made a saint of Cranmer. For poetry, there was nothing for it but to make him a more splendid sinner. To retain all his littlenesses and to array them in seductive virtues, is to present us with some such figure as the dusky chieftains decked in gaudy tinsel that solicit our admiration in front of the tobacconists’ shops. To attempt to give heroic proportions to a man whose profession of faith followed subserviently his self-interest until no hope remained, and then place in the hands of the burning criminal the palm of martyrdom, is to invite the love within us of the beautiful and the true to echo to a psychical impossibility, and that without an element of greatness.