versing an analytical process so defective, as it would
be for an anatomist to form a living man out of the fragments of his
dissecting-room. In both cases the vital principle eludes the finest
instruments, and vanishes in the very instant in which its seat is
touched. Hence those who, trusting to their critical skill, attempt to
write poems give us, not images of things, but catalogues of qualities.
Their characters are allegories--not good men and bad men, but cardinal
virtues and deadly sins. We seem to have fallen among the acquaintances
of our old friend Christian: sometimes we meet Mistrust and Timorous;
sometimes Mr Hate-good and Mr Love-lust; and then again Prudence, Piety
and Charity.

That critical discernment is not sufficient to make men poets, is
generally allowed. Why it should keep them from becoming poets, is not
perhaps equally evident; but the fact is, that poetry requires not an
examining but a believing frame of mind. Those feel it most, and write
it best, who forget that it is a work of art; to whom its imitations,
like the realities from which they are taken, are subjects, not for
connoisseurship, but for tears and laughter, resentment and affection;
who are too much under the influence of the illusion to admire the
genius which has produced it; who are too much frightened for Ulysses
in the cave of Polyphemus to care whether the pun about Outis be good
or bad; who forget that such a person as Shakspeare ever existed, while
they weep and curse with Lear. It is by giving faith to the creations
of the imagination that a man becomes a poet. It is by treating those
creations as deceptions, and by resolving them, as nearly as possible,
into their elements, that he becomes a critic. In the moment in which
the skill of the artist is perceived, the spell of the art is broken.

These considerations account for the absurdities into which the greatest
writers have fallen, when they have attempted to give general rules for
composition, or to pronounce judgment on the works of others. They are
unaccustomed to analyse what they feel; they, therefore, perpetually
refer their emotions to causes which have not in the slightest degree
tended to produce them. They feel pleasure in reading a book. They
never consider that this pleasure may be the effect of ideas which
some unmeaning expression, striking on the first link of a chain of
associations, may have called up in their own minds--that they have
themselves furn