of composition,
and are produced by a different faculty.

It is some consolation to reflect that this critical school of poetry
improves as the science of criticism improves; and that the science
of criticism, like every other science, is constantly tending towards
perfection. As experiments are multiplied, principles are better
understood.

In some countries, in our own for example, there has been an interval
between the downfall of the creative school and the rise of the
critical, a period during which imagination has been in its decrepitude,
and taste in its infancy. Such a revolutionary interregnum as this will
be deformed by every species of extravagance.

The first victory of good taste is over the bombast and conceits which
deform such times as these. But criticism is still in a very imperfect
state. What is accidental is for a long time confounded with what is
essential. General theories are drawn from detached facts. How many
hours the action of a play may be allowed to occupy,--how many similes
an Epic Poet may introduce into his first book,--whether a piece, which
is acknowledged to have a beginning and an end, may not be without a
middle, and other questions as puerile as these, formerly occupied the
attention of men of letters in France, and even in this country.
Poets, in such circumstances as these, exhibit all the narrowness and
feebleness of the criticism by which their manner has been fashioned.
From outrageous absurdity they are preserved indeed by their timidity.
But they perpetually sacrifice nature and reason to arbitrary canons of
taste. In their eagerness to avoid the mala prohibita of a foolish
code, they are perpetually rushing on the mala in se. Their great
predecessors, it is true, were as bad critics as themselves, or perhaps
worse, but those predecessors, as we have attempted to show, were
inspired by a faculty independent of criticism, and, therefore, wrote
well while they judged ill.

In time men begin to take more rational and comprehensive views of
literature. The analysis of poetry, which, as we have remarked, must at
best be imperfect, approaches nearer and nearer to exactness. The merits
of the wonderful models of former times are justly appreciated. The
frigid productions of a later age are rated at no more than their proper
value. Pleasing and ingenious imitations of the manner of the great
masters appear. Poetry has a partial revival, a Saint Martin's Summer,
which, after a p