This vaguely defines the change which comes over the spirit of criticism about the beginning of the seventeenth century, and which is exemplified in the writings of Ben Jonson. His definition of poetry does not differ substantially from that of Sidney, but seems more directly Aristotelian:-- "A poet, _poeta_, is ... a maker, or feigner; his art, an art of imitation or feigning; expressing the life of men in fit measure, numbers, and harmony; according to Aristotle from the word [Greek: poiein], which signifies to make or feign. Hence he is called a poet, not he which writeth in measure only, but that feigneth and formeth a fable, and writes things like the truth; for the fable and fiction is, as it were, the form and soul of any poetical work or poem."[487] Poetry and painting agree in that both are arts of imitation, both accommodate all they invent to the use and service of nature, and both have as their common object profit and pleasure; but poetry is a higher form of art than painting, since it appeals to the understanding, while painting appeals primarily to the senses.[488] Jonson's conception of his art is thus essentially noble; of all arts it ranks highest in dignity and ethical importance. It contains all that is best in philosophy, divinity, and the science of politics, and leads and persuades men to virtue with a ravishing delight, while the others but threaten and compel.[489] It therefore offers to mankind a certain rule and pattern of living well and happily in human society. This conception of poetry Jonson finds in Aristotle;[490] but it is to the Italians of the Renaissance, and not to the Stagyrite, that these doctrines really belong. Jonson ascribes to the poet himself a dignity no less than that of his craft. Mere excellence in style or versification does not make a poet, but rather the exact knowledge of vices and virtues, with ability to make the latter loved and the former hated;[491] and this is so far true, that to be a good poet it is necessary, first of all, to be a really good man.[492] A similar doctrine has already been found in many critical writers of the sixteenth century; but perhaps the noblest expression of this conception of the poet's consecrated character and office occurs in the original quarto edition of Jonson's _Every Man in his Humour_, in which the "reverend name" of poet is thus exalted:--