er studiorum_. Any book that is at all important
ought to be at once read through twice; partly because, on a second
reading, the connection of the different portions of the book will be
better understood, and the beginning comprehended only when the end
is known; and partly because we are not in the same temper and
disposition on both readings. On the second perusal we get a new view
of every passage and a different impression of the whole book, which
then appears in another light.

A man's works are the quintessence of his mind, and even though he may
possess very great capacity, they will always be incomparably more
valuable than his conversation. Nay, in all essential matters his
works will not only make up for the lack of personal intercourse with
him, but they will far surpass it in solid advantages. The writings
even of a man of moderate genius may be edifying, worth reading and
instructive, because they are his quintessence--the result and fruit
of all his thought and study; whilst conversation with him may be
unsatisfactory.

So it is that we can read books by men in whose company we find
nothing to please, and that a high degree of culture leads us to seek
entertainment almost wholly from books and not from men.

ON CRITICISM.

The following brief remarks on the critical faculty are chiefly
intended to show that, for the most part, there is no such thing.
It is a _rara avis_; almost as rare, indeed, as the phoenix, which
appears only once in five hundred years.

When we speak of _taste_--an expression not chosen with any regard for
it--we mean the discovery, or, it may be only the recognition, of what
is _right aesthetically_, apart from the guidance of any rule; and
this, either because no rule has as yet been extended to the matter in
question, or else because, if existing, it is unknown to the artist,
or the critic, as the case may be. Instead of _taste_, we might use
the expression _aesthetic sense_, if this were not tautological.

The perceptive critical taste is, so to speak, the female analogue
to the male quality of productive talent or genius. Not capable
of _begetting_ great work itself, it consists in a capacity of
_reception_, that is to say, of recognizing as such what is right,
fit, beautiful, or the reverse; in other words, of discriminating
the good from the bad, of discovering and appreciating the one and
condemning the other.

In appreciating a genius, criticism should not de