In our own day Dr. George Macdonald has spoken more wisely if still somewhat superficially of "_Nosce Teipsum_" in his charming "England's Antiphon." Having explained that by "Immortality of the Soul" is intended "the spiritual nature of the soul, resulting in continuity of existence," he proceeds:--"It [_Nosce Teipsum_] is a wonderful instance of what can be done for metaphysics in verse, and by means of imaginative or poetic embodiment generally. Argumentation cannot of course naturally belong to the region of poetry, however well it may comport itself when there naturalized; and consequently, although there are most poetic no less than profound passages in the treatise, a light scruple arises whether its constituent matter can properly be called poetry. At all events, however, certain of the more prosaic measures and stanzas lend themselves readily, and with much favour, to some of the more complex of logical necessities. And it must be remembered that in human speech, as in the human mind, there are no absolute divisions: power shades off into feeling; and the driest logic may find the heroic couplet render it good service." (pp. 105-6). The 'scruple' must be 'light' indeed that has to decide whether the 'reasoning' of "Nosce Teipsum" be or be not 'poetry.' It is astounding that at this time o' day any should attempt to exclude the highest region of the intellect and its noblest occupation from poetry. Poetry I must hold absolutely is poetry, whatever be its matter and form if the thinking be glorified by imagination or tremulous with emotion. It is sheer folly to refuse to the Poet any material within the compass of the universe. Especially deplorable is it to have to argue for possibilities of poetry in the greatest of all thinking, viz., metaphysics, in the face of such actualities of achievement as in Davies and Lord Brooke and Donne. A second characteristic of "Nosce Teipsum" that calls for notice is its _perfection of workmanship_ shown in the _mastery of an extremely difficult stanza_, as well as its solidity of material. Here unquestionably Sir John Davies far excels Lord Brooke and Donne, and later, Sir William Davenant in "Gondibert." The two former are occasionally (it must be granted) semi-inarticulate, and the last is very often monotonous and trying. "Nosce Teipsum" is throughout articulate and unmistakeable, and never flags. You have a fear o' times that a metaphor will prove grotesque or mean: or a vein of thought pinch and go out from ore to bare limestone. But invariably an imaginative touch, or a colour-like epithet, or a thrill of emotion, lifts up the mean into a transfiguring atmosphere as of sun-set purples and crysolites, and gives to grotesquest gargoyles (as of cathedrals) a strange fitness. Then when a thought or illustration seems about to end, debasedly, another forward-carrying and ennobling, swiftly succeeds.