Rationalism produced several very important results in literature and literary criticism during the sixteenth century. In the first place, it tended to give the reason a higher place in literature than imagination or sensibility. Poetry, it will be remembered, was often classified by Renaissance critics as one of the logical sciences; and nothing could be in greater accord with the neo-classical ideal than the assertion of Varchi and others that the better logician the poet is, the better he will be as a poet. Sainte-Beuve gives Scaliger the credit of having first formulated this theory of literature which subordinates the creative imagination and poetic sensibility to the reason;[294] but the credit or discredit of originating it does not belong exclusively to Scaliger. This tendency toward the apotheosis of the reason was diffused throughout the sixteenth century, and does not characterize any individual author. The Italian critics of this period were the first to formulate the classical ideal that the standard of perfection may be conceived of by the reason, and that perfection is to be attained only by the realization of this standard. The rationalistic spirit also tended to set the seal of disapprobation on extravagances of any sort. Subjectivity and individualism came to be regarded more and more, at least in theory, as out of keeping with classical perfection. Clearness, reasonableness, sociableness, were the highest requirements of art; and any excessive expression of the poet's individuality was entirely disapproved of. Man, not only as a reasonable being, but also as a social being, was regarded as the basis of literature. Boileau's lines:-- "Que les vers ne soient pas votre eternel emploi; Cultivez vos amis, soyez homme de foi; C'est peu d'etre agreable et charmant dans un livre, Il faut savoir encore et converser et vivre,"[295]