"Can we possibly imagine that the genius, power, and excellence of a real poet consist in aught else than the just imitation of life in formed discourse and numbers? But how should he be that just imitator of life, whilst he himself knows not its measures, nor how to guide himself by judgment and understanding? For we have not surely the same notion of the poet's excellence as of the ordinary craftsman's, the subject of whose art is senseless stone or timber, without life, dignity, or beauty; whilst the poet's art turning principally on men and manners, he has his virtues and excellence as poet naturally annexed to human excellence, and to the worth and dignity of man, insomuch that it is impossible he should be a great and worthy poet who is not first a worthy and good man."[97] Another writer of the sixteenth century, Bernardo Tasso, tells us that in his poem of the _Amadigi_ he has aimed at delight rather than profitable instruction.[98] "I have spent most of my efforts," he says, "in attempting to please, as it seems to me that this is more necessary, and also more difficult to attain; for we find by experience that many poets may instruct and benefit us very much, but certainly give us very little delight." This agrees with what one of the sanest of English critics, John Dryden (1668), has said of verse, "I am satisfied if it caused delight, for delight is the chief if not the only end of poesie; instruction can be admitted but in the second place, for poesie only instructs as it delights."[99]