Vague the Elizabethan critics undeniably are; they tend to lose themselves either in far-fetched analogies or in generalities that have but a slight bearing upon the distinctive problems of literary appreciation. When not vague, they are apt to fritter their strength on technical details which, important to them, have long lost their significance for the student of literature. But both technicalities and vagueness may be largely traced to the uncertain practice of the poets upon whom, in the first instance, their criticism was based. The work of Surrey and of Sackville was tentative; that of Webbe and Puttenham was necessarily the same. It is the more honour to Sidney that, shackled as he was by conditions from which no man could escape altogether, he should have struck a note at once so deep and so strong as is sounded in the _Apologie_. II. In turning from Sidney to Dryden we pass into a different world. The philosophy, the moral fervour, the prophetic strain of the Elizabethan critic have vanished. Their place is taken by qualities less stirring in themselves, but more akin to those that modern times have been apt to associate with criticism. In fact, whatever qualities we now demand from a critic may be found at least foreshadowed, and commonly much more than foreshadowed, in Dryden. Dryden is master of comparative criticism: he has something of the historical method; he is unrivalled in the art of seizing the distinctive qualities of his author and of setting them before us with the lightest touch. His very style, so pointed yet so easy, is enough in itself to mark the gulf that lies between the age of Elizabeth and the age of the Restoration. All the Elizabethan critics, Sidney himself hardly excepted, bore some trace of the schoolmaster. Dryden was the first to meet his readers entirely as an equal, and talk to them as a friend with friends. It is Dryden, and not Sainte-Beuve, who is the true father of the literary _causerie_; and he still remains its unequalled master. There may be other methods of striking the right note in literary criticism. Lamb showed that there may be; so did Mr. Pater. But few indeed are the critics who have known how to attune the mind of the reader to a subject, which beyond all others cries out for harmonious treatment, so skilfully as Dryden.