to be tolerated
as poet or historian, Dr. Johnson had said everything he could say
against an author when he declared that he was a vile Whig. Macaulay, a
Whig, always consulted his prejudices for his judgment, equally when he
was reviewing Croker's Boswell or the impeachment of Warren Hastings. He
hated Croker,--a hateful man, to be sure,--and when the latter published
his edition of Boswell, Macaulay saw his opportunity, and exclaimed
before he had looked at the book, as you will remember, "Now I will dust
his jacket." The standard of criticism does not lie with the individual
in literature any more than it does in different periods as to fashions
and manners. The world is pretty well agreed, and always has been, as to
the qualities that make a gentleman. And yet there was a time when the
vilest and perhaps the most contemptible man who ever occupied the
English throne,--and that is saying a great deal,--George IV, was
universally called the "First Gentleman of Europe." The reproach might be
somewhat lightened by the fact that George was a foreigner, but for the
wider fact that no person of English stock has been on the throne since
Saxon Harold, the chosen and imposed rulers of England having been
French, Welsh, Scotch, and Dutch, many of them being guiltless of the
English language, and many of them also of the English middle-class
morality. The impartial old Wraxall, the memorialist of the times of
George III, having described a noble as a gambler, a drunkard, a
smuggler, an appropriator of public money, who always cheated his
tradesmen, who was one and sometimes all of them together, and a
profligate generally, commonly adds, "But he was a perfect gentleman."
And yet there has always been a standard that excludes George IV from the
rank of gentleman, as it excludes Tupper from the rank of poet.

The standard of literary judgment, then, is not in the individual,--that
is, in the taste and prejudice of the individual,--any more than it is in
the immediate contemporary opinion, which is always in flux and reflux
from one extreme to another; but it is in certain immutable principles
and qualities which have been slowly evolved during the long historic
periods of literary criticism. But how shall we ascertain what these
principles are, so as to apply them to new circumstances and new
creations, holding on to the essentials and disregarding contemporary
tastes; prejudices, and appearances? We all admit that certain piece