ss of
heaven, his imagination almost rivals that of Dante in intensity of
realization. But it was at first puzzling to comprehend why Webster
should be depressed as a reasoner in order to be exalted as a poet. The
images and metaphors scattered over his speeches are so evidently
brought in to illustrate and enforce his statements and arguments, that,
grand as they often are, the imagination displayed in them is still a
faculty strictly subsidiary to the reasoning power. It was only after
reflecting patiently for some time on the seeming paradox that I caught
a glimpse of my friend's meaning; and it led me at once to consider an
entirely novel question, not heretofore mooted by any of Webster's
critics, whether friendly or unfriendly, in their endeavors to explain
the reason of his influence over the best minds of the generation to
which he belonged. In declaring that, as a poet, he far exceeded any
capacity he evinced as a reasoner, my paradoxical friend must have meant
that Webster had the poet's power of so _organizing_ a speech, that it
stood out to the eye of the mind as a palpable intellectual product and
fact, possessing, not merely that vague reality which comes from
erecting a plausible mental structure of deductive argumentation, based
on strictly limited premises, but a positive reality, akin to the
products of Nature herself, when she tries her hand in constructing a
ledge of rocks or rearing a chain of hills.

In illustration, it may be well to cite the example of poets with whom
Webster, of course, cannot be compared. Among the great mental facts,
palpable to the eyes of all men interested in literature, are such
creations as the Iliad, the Divine Comedy, the great Shakspearian
dramas, the Paradise Lost, and Faust. The commentaries and criticisms on
these are numerous enough to occupy the shelves of a large library; some
of them attempt to show that Homer, Dante, Shakspeare, Milton, and
Goethe were all wrong in their methods of creation; but they still
cannot obscure, to ordinary vision, the lustre of these luminaries as
they placidly shine in the intellectual firmament, which is literally
_over_ our heads. They are as palpable, to the eye of the mind, as
Sirius, Arcturus, the Southern Cross, and the planets Venus, Mars,
Jupiter, and Saturn, are to the bodily sense. M. Taine has recently
assailed the Paradise Lost with the happiest of French epigrams; he
tries to prove that, in construction, it is the most