Comment is needless on such pale, empty literality, as compared with the vitality and _élan_ of Crashaw, in all but Ford's; while even Ford's is surpassed in every way by the 'Musick's Duell.' The 'Suspicion of Herod,' by Marino (c. i.), is a grand poem in the original. Milton knew it, and was taken by it. Our Poet had glorious materials whereon to work, accordingly, when he turned Translator of this all-too-little known Singer of Italy. But Crashaw's soul was more spacious, his imagination more imperial, his vocabulary wealthier, than even Marino's. The greatness and grandeur and force of the Italian roused the Englishman to emulation. Willmott (as before) has placed the original Italian beside Crashaw's interpretation, and the advance in the Translator on his original is almost startling. We prefer adducing Crashaw, and then giving a close rendering of the original: _e.g._ 'He saw Heav'n blossome with a new-borne light, _On which, as on a glorious stranger, gaz'd The golden eyes of Night_.' (st. xvii.) literally in Marino: '_He sees also shining from heaven, With beauteous ray, the wondrous star_, Which, brilliant and beautiful, goes Pointing the way straight towards Bethlehem.' Again: 'He saw how in that blest Day-bearing Night, The Heav'n-rebukèd shades made hast away; _How bright a dawne of angels with new light Amaz'd the midnight world, and made a Day Of which the Morning knew not_.' (st. xv.) literally in Marino: 'He sees the quiet shades and the dark Horrors of the happy, holy Night Smitten and routed by heavenly voices, And vanquished by angelic splendours.' Once more: when Alecto, the most terrible of the infernal sisters, ascends to Earth at the command of Satan: 'Heav'n saw her rise, and saw Hell in the sight: The fields' faire eyes saw her, and saw no more, But shut their flowry lids for ever;' (st. xlviii.) for 'Parvero i fiori intorno e la verdura Sentir forza di peste, ira di verno;' literally: 'soon as Hell had vomited out This monster from the dark abyss, _The flowers all around and the verdure appeared To feel the strength of the plague, the fury of winter_.' This naked simplicity of wording is very fine: yet do Crashaw's adornments bring new charm to Marino. The soliloquy of Satan, though close as the skin to the body, has a ruddiness (so-to-say) from Crashaw. Nothing in Milton is grander than st. xxv. to xxx.; and in all there are touches from the cunning hand of Crashaw: _e.g._ '_And for the never-fading fields of light;_' (st. xxvii.) for Marino's 'Che più può farmi omai chi la celeste _Reggia mi tolse, e i regni i miei lucenti_?' literally: 'What more can He now do to me, Who took _From me the heavenly palace and my bright realms_?' Again: '_Bow our bright heads before a king of clay;_' (st. xxviii.) for Marino's