In England, the associationist psychology continued to hold sway, and showed, with Dugald Stewart's miserable attempt at establishing two forms of association, its incapacity to rise to the conception of the imagination. With the poet Coleridge, England also showed the influence of German thought, and Coleridge elaborated with Wordsworth a more correct conception of poetry and of its difference from science. But the most notable contribution in English at that period came from another poet, P.B. Shelley, whose _Defence of Poetry_ contains profound, though unsystematic views, as to the distinction between reason and imagination, prose and poetry, on primitive language, and on the poetic power of objectification. In Italy, Francesco de Sanctis gave magnificent expression to the independence of art. He taught literature in Naples from 1838 to 1848, in Turin and Zurich from 1850 to 1860, and after 1870 he was a professor in the University of Naples. His _Storia della letteratura italiana_ is a classic, and in it and in monographs on individual writers he exposed his doctrines. Prompted by a natural love of speculation, he began to examine the old grammarians and rhetoricians, with a view to systematize them. But very soon he proceeded to criticize and to surpass their theories. The cold rules of reason did not find favour with him, and he advised young men to go direct to the original works. The philosophy of Hegel began to penetrate Italy, and the study of Vico was again taken up. De Sanctis translated the _Logic_ of Hegel in prison, where the Bourbon Government had thrown him for his liberalism. Benard had begun his translation of the _Aesthetic_ of Hegel, and so completely in harmony was De Sanctis with the thought of this master, that he is said to have guessed from a study of the first volume what the unpublished volumes must contain, and to have lectured upon them to his pupils. Traces of mystical idealism and of Hegelianism persist even in his later works, and the distinction, which he always maintained, between imagination and fancy certainly came to him from Hegel and Schelling. He held fancy alone to be the true poetic faculty. De Sanctis absorbed all the juice of Hegel, but rejected the husks of his pedantry, of his formalism, of his apriority. Fancy for De Sanctis was not the mystical transcendental apperception of the German philosophers, but simply the faculty of poetic synthesis and creation, opposed to the imagination, which reunites details and always has something mechanical about it. Faith and poetry, he used to say, are not dead, but transformed. His criticism of Hegel amounted in many places to the correction of Hegel; and as regards Vico, he is careful to point out, that when, in dealing with the Homeric poems, Vico talks of generic types, he is no longer the critic of art, but the historian of civilization. De Sanctis saw that, _artistically_, Achilles must always be Achilles, never a force or an abstraction.