principle.  It aims at effect, it exists by contrast.  It admits of no medium.  It is everything by excess.  It rises above the ordinary standard of sufferings and crimes.  It presents a dazzling appearance.  It shows its head turretted, crowned, and crested.  Its front is gilt and blood-stained.  Before it ’it carries noise, and behind it tears’.  It has its altars and its victims, sacrifices, human sacrifices.  Kings, priests, nobles, are its train-bearers, tyrants and slaves its executioners.—­’Carnage is its daughter.’  Poetry is right-royal.  It puts the individual for the species, the one above the infinite many, might before right.  A lion hunting a flock of sheep or a herd of wild asses is a more poetical object than they; and we even take part with the lordly beast, because our vanity or some other feeling makes us disposed to place ourselves in the situation of the strongest party.  So we feel some concern for the poor citizens of Rome when they meet together to compare their wants and grievances, till Coriolanus comes in and with blows and big words drives this set of ‘poor rats’, this rascal scum, to their homes and beggary before him.  There is nothing heroical in a multitude of miserable rogues not wishing to be starved, or complaining that they are like to be so:  but when a single man comes forward to brave their cries and to make them submit to the last indignities, from mere pride and self-will, our admiration of his prowess is immediately converted into contempt for their pusillanimity.  The insolence of power is stronger than the plea of necessity.  The tame submission to usurped authority or even the natural resistance to it has nothing to excite or flatter the imagination:  it is the assumption of a right to insult or oppress others that carries an imposing air of superiority with it.  We had rather be the oppressor than the oppressed.  The love of power in ourselves and the admiration of it in others are both natural to man:  the one makes him a tyrant, the other a slave.  Wrong dressed out in pride, pomp, and circumstance has more attraction than abstract right.—­Coriolanus complains of the fickleness of the people:  yet the instant he cannot gratify his pride and obstinacy at their expense, he turns his arms against his country.  If his country was not worth defending, why did he build his pride on its defence?  He is a conqueror and a hero; he conquers other countries, and makes this a plea for enslaving his own; and when he is prevented from doing so, he leagues with its enemies to destroy his country.  He rates the people ’as if he were a God to punish, and not a man of their infirmity’.  He scoffs at one of their tribunes for maintaining their rights and franchises:  ‘Mark you his absolute shall?’ not marking his own absolute will to take everything from them, his impatience of the slightest opposition to his own pretensions being in proportion to their arrogance and absurdity.  If the great and powerful had the beneficence and