steadily as the dramatic school declined from the promise of its dawn. Born with Marlowe, it rose at once with Shakespeare to heights inaccessible before and since and for ever, to sink through bright gradations of glorious decline to its final and beautiful sunset in Shirley: but the lyrical record that begins with the author of "Euphues" and "Endymion" grows fuller if not brighter through a whole chain of constellations till it culminates in the crowning star of Herrick. Shakespeare's last song, the exquisite and magnificent overture to "The Two Noble Kinsmen," is hardly so limpid in its flow, so liquid in its melody, as the two great songs in "Valentinian": but Herrick, our last poet of that incomparable age or generation, has matched them again and again. As a creative and inventive singer, he surpasses all his rivals in quantity of good work; in quality of spontaneous instinct and melodious inspiration he reminds us, by frequent and flawless evidence, who above all others must beyond all doubt have been his first master and his first model in lyric poetry--the author of "The Passionate Shepherd to his Love". The last of his line, he is and will probably be always the first in rank and station of English song-writers. We have only to remember how rare it is to find a perfect song, good to read and good to sing, combining the merits of Coleridge and Shelley with the capabilities of Tommy Moore and Haynes Bayly, to appreciate the unique and unapproachable excellence of Herrick. The lyrist who wished to be a butterfly, the lyrist who fled or flew to a lone vale at the hour (whatever hour it may be) "when stars are weeping," have left behind them such stuff as may be sung, but certainly cannot be read and endured by any one with an ear for verse. The author of the Ode on France and the author of the Ode to the West Wind have left us hardly more than a song a-piece which has been found fit for setting to music: and, lovely as they are, the fame of their authors does not mainly depend on the song of Glycine or the song of which Leigh Hunt so justly and so critically said that Beaumont and Fletcher never wrote anything of the kind more lovely. Herrick, of course, lives simply by virtue of his songs; his more ambitious or pretentious lyrics are merely magnified and prolonged and elaborated songs. Elegy or litany, epicede or epithalamium, his work is always a song-writer's; nothing more, but nothing less, than the work of the greatest song-writer--as surely as Shakespeare is the greatest dramatist--ever born of English race. The apparent or external variety of his versification is, I should suppose, incomparable; but by some happy tact or instinct he was too naturally unambitious to attempt, like Jonson, a flight in the wake of Pindar. He knew what he could not do: a rare and invaluable gift. Born a blackbird or a thrush, he did not take himself (or try) to be a nightingale. It has often been objected that he did mistake himself for a sacred poet: and it cannot be denied that his sacred verse at its worst is as offensive as his secular verse at its worst; nor can it be denied that no severer sentence of condemnation can be passed upon any poet's work. But neither Herbert nor Crashaw could have bettered such a divinely beautiful triplet as this:-- "We see Him come, and know Him ours, Who with His sunshine and His showers Turns all the...