of them not
merely confides in your regarding himself as an exception, but overlooks
the almost certain fact that you are wondering whether he inwardly
excepts _you_. Now, conscious of entertaining some common opinions which
seemed to fall under the mildly intimated but sweeping ban of Lentulus,
my self-complacency was a little concerned.

Hence I deliberately attempted to draw out Lentulus in private dialogue,
for it is the reverse of injury to a man to offer him that hearing which
he seems to have found nowhere else. And for whatever purposes silence
may be equal to gold, it cannot be safely taken as an indication of
specific ideas. I sought to know why Lentulus was more than indifferent
to the poets, and what was that new poetry which he had either written
or, as to its principles, distinctly conceived. But I presently found
that he knew very little of any particular poet, and had a general
notion of poetry as the use of artificial language to express unreal
sentiments: he instanced "The Giaour," "Lalla Rookh," "The Pleasures of
Hope," and "Ruin seize thee, ruthless King;" adding, "and plenty more."
On my observing that he probably preferred a larger, simpler style, he
emphatically assented. "Have you not," said I, "written something of
that order?" "No; but I often compose as I go along. I see how things
might be written as fine as Ossian, only with true ideas. The world has
no notion what poetry will be."

It was impossible to disprove this, and I am always glad to believe that
the poverty of our imagination is no measure of the world's resources.
Our posterity will no doubt get fuel in ways that we are unable to
devise for them. But what this conversation persuaded me of was, that
the birth with which the mind of Lentulus was pregnant could not be
poetry, though I did not question that he composed as he went along, and
that the exercise was accompanied with a great sense of power. This is a
frequent experience in dreams, and much of our waking experience is but
a dream in the daylight. Nay, for what I saw, the compositions might be
fairly classed as Ossianic. But I was satisfied that Lentulus could not
disturb my grateful admiration for the poets of all ages by eclipsing
them, or by putting them under a new electric light of criticism.

Still, he had himself thrown the chief emphasis of his protest and his
consciousness of corrective illumination on the philosophic thinking of
our race; and his tone in assuring