abstractions of some single human quality, and hence easily afford illustrations. The braggart, the miser, the hypocrite, contain that one trait which is common to the class; and in their portrayal this characteristic only is shown. In proportion as the traits are many in any character, the type becomes complex. In simple types attention is directed to some one vice, passion, or virtue, capable of absorbing a human life in to itself. This is the method of Jonson, and, in tragedy, of Marlowe. As human energy displays itself more variously in a life, in complex types, the mind contemplates human nature in a more catholic way, with a less exclusive identification of character with specific trait, a more free conception of personality as only partially exhibited; thus, in becoming complex, types gather breadth and depth, and share more in the mystery of humanity as something incompletely known to us at the best. Such are the characters of Shakspere.

The manner in which types are arrived at and made recognizable in other arts opens the subject more fully and throws light upon their nature. The sculptor observes in a group of athletes that certain physical habits result in certain moulds of the body; and taking such characteristics as are common to all of one class, and neglecting such as are peculiar to individuals, he carves a statue. So permanent are the physical facts he relies upon that, centuries after, when the statue is dug up, men say without hesitation—here is the Greek runner, there the wrestler. The habit of each in life produces a bodily form which if it exists implies that habit; the reality here results from the operation of physical laws and can be physically rendered; the type is constituted of permanent physical fact. There are habits of the soul which similarly impress an outward stamp upon the face and form so certainly that expression, attitude, and shape authentically declare the presence of the soul that so reveals itself. In the Phidian Zeus was all awe; in the Praxitelean Hermes all grace, sweetness, tenderness; in the Pallas Athene of her people who carved or minted her image in statue, bas-relief, or coin, was all serene and grave wisdom; or, in the glowing and chastened colours of the later artistic time, the Virgin mother shines out, in Fra Angelico all adoration, in Bellini all beatitude, in Raphael all motherhood. The sculptor and the painter are restricted to the bodily signs of the soul's presence; but the poet passes into another and wider range of interpretation. He finds the soul stamped in its characteristic moods, words, actions. He then creates for the mind's eye Achilles, Aeneas, Arthur; and in his verse are beheld their spirits rather than their bodies.

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