The greatest literature of all ages has a tendency to become poetry, as you will see if you consider the Hebrew Psalms, Homer, Æschylus, Sophocles, Virgil “lo buon maestro,” and Dante his pupil, Shakespeare, Goethe. Poetry is the language in which highest aspirations, loftiest truths, naturally clothe themselves. Coleridge’s definition in _Table Talk_ is worth remembering. “I wish,” he says, “our clever young poets would remember my homely definitions of prose and poetry: that is, prose—words in their best order; poetry—the best words in their best order.” We must not, however, be led away into a disquisition on the extremely difficult question of the true nature and scope of poetry, but must give a few hints to the reader. Here much depends, and must always depend, on individual taste and habit of mind. Dante, the great poet of the Middle Ages, should be read and studied by all who have the necessary time and capacity, but unfortunately no translation can render the poetry of the original. It is worth while to learn Italian in order to read the “Divine Comedy,” but if that is impossible, it is also worth while to read it in Dean Plumptre’s, Cary’s, or Longfellow’s translation. Longfellow’s is absolutely literal, but truth compels us to state it is often very unmusical. For “self-culture” the intelligent study of this great poet is a mighty instrument. To enter into Dante’s thought is to enter into the view of human life and human civilisation as it appeared to the greatest man of the time, and anyone who can understand the historical allusions of the “Divine Comedy” need not blush for her knowledge of history. Do not take Shakespeare “as read.” That is even worse than concerning yourself principally with the notes on his plays! There are small editions of separate plays, such as Cassell’s sixpenny edition, too numerous to mention, which are small enough to slip into the pocket, and may form a companion on a wearisome journey. _The Merchant of Venice_, _As You Like It_, _The Tempest_, _Richard II._, may be quoted as good plays to begin with if your knowledge of the poet of poets is scanty. But you may study Shakespeare all your life without exhausting the wealth contained in his pages. Every succeeding generation sees more and more meaning in what he says, because he is true to the inner life of the human heart. The life is there. The lessons that can be drawn from the life are practically endless. The constant issue of fresh cheap editions of the plays is a good sign. Perhaps Milton is not so much read nowadays; and yet you cannot afford to neglect him. If you are alarmed at the length of “Paradise Lost,” begin with some of his shorter poems and sonnets; and if you do not read right through Spenser’s “Faerie Queen,” you will find many beautiful scenes and thoughts here and there.