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re fancies of the hour--these and the touch of archaism, and the spinster-like and artificial precision, which seem to be points in some styles of the moment. Such reflections as our author bids us make, with a little self-respect added, may render our work less popular and effective, and certainly are not likely to carry it down to remote posterity. But all such reflections, and action in accordance with what they teach, are elements of literary self-respect. It is hard to be conscientious, especially hard for him who writes much, and of necessity, and for bread. But conscience is never to be obeyed with ease, though the ease grows with the obedience. The book attributed to Longinus will not have missed its mark if it reminds us that, in literature at least, for conscience there is yet a place, possibly even a reward, though that is unessential. By virtue of reasonings like these, and by insisting that nobility of style is, as it were, the bloom on nobility of soul, the Treatise on the Sublime becomes a tonic work, wholesome to be read by young authors and old. "It is natural in us to feel our souls lifted up by the true Sublime, and, conceiving a sort of generous exultation, to be filled with joy and pride, as though we had ourselves originated the ideas which we read." Here speaks his natural disinterested greatness the author himself is here sublime, and teaches by example as well as precept, for few things are purer than a pure and ardent admiration. The critic is even confident enough to expect to find his own nobility in others, believing that what is truly Sublime "will always please, and please all readers." And in this universal acceptance by the populace and the literate, by critics and creators, by young and old, he finds the true external canon of sublimity. The verdict lies not with contemporaries, but with the large public, not with the little set of dilettanti, but must be spoken by all. Such verdicts assign the crown to Shakespeare and Moliere, to Homer and Cervantes; we should not clamorously anticipate this favourable judgment for Bryant or Emerson, nor for the greatest of our own contemporaries. Boileau so much misconceived these lofty ideas that he regarded "Longinus's" judgment as solely that "of good sense," and held that, in his time, "nothing was good or bad till he had spoken." But there is far more than good sense, there is high poetic imagination and moral greatness, in the criticism of our aut
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