e tribe of Euphuists; for
Shakspeare himself, the greatest poet that ever lived, falls into the
same fault whenever he means to be particularly fine. While he abandons
himself to the impulse of his imagination, his compositions are not only
the sweetest and the most sublime, but also the most faultless, that the
world has ever seen. But, as soon as his critical powers come into play,
he sinks to the level of Cowley; or rather he does ill what Cowley did
well. All that is bad in his works is bad elaborately, and of malice
aforethought. The only thing wanting to make them perfect was, that he
should never have troubled himself with thinking whether they were
good or not. Like the angels in Milton, he sinks "with compulsion and
laborious flight." His natural tendency is upwards. That he may soar, it
is only necessary that he should not struggle to fall. He resembles an
American Cacique, who, possessing in unmeasured abundance the metals
which in polished societies are esteemed the most precious, was utterly
unconscious of their value, and gave up treasures more valuable than the
imperial crowns of other countries, to secure some gaudy and far-fetched
but worthless bauble, a plated button, or a necklace of coloured glass.

We have attempted to show that, as knowledge is extended and as the
reason develops itself, the imitative arts decay. We should, therefore,
expect that the corruption of poetry would commence in the educated
classes of society. And this, in fact, is almost constantly the case.
The few great works of imagination which appear in a critical age are,
almost without exception, the works of uneducated men. Thus, at a
time when persons of quality translated French romances, and when the
universities celebrated royal deaths in verses about tritons and fauns,
a preaching tinker produced the Pilgrim's Progress. And thus a ploughman
startled a generation which had thought Hayley and Beattie great poets,
with the adventures of Tam O'Shanter. Even in the latter part of the
reign of Elizabeth the fashionable poetry had degenerated. It retained
few vestiges of the imagination of earlier times. It had not yet been
subjected to the rules of good taste. Affectation had completely tainted
madrigals and sonnets. The grotesque conceits and the tuneless numbers
of Donne were, in the time of James, the favourite models of composition
at Whitehall and at the Temple. But, though the literature of the Court
was in its decay, the li