Lastly, never be content without at least endeavouring to connect cause and effect in some way, without giving something like a reason for the faith that is in you. No doubt the critic will often be tempted, will sometimes be actually forced to say, "'J'aime mieux Alfred de Musset,' and there's an end of it." All the imperfect kinds, as they seem to me, of criticism are recommended by the fact that they are, unlike some other literary matter, not only easier writing but also easier reading. The agreeable exercises of style where adjectives meet substantives to whom they never thought they could possibly be introduced (as a certain naughty wit has it), the pleasant chatter about personal reminiscences, the flowers of rhetoric, the fruits of wit, may not be easy, but they are at any rate easier than fashioning some intelligent and intelligible response to the perpetual "Why?" the _quare stans_ of criticism. In the following pages, I shall no doubt be found, like other people, to have come very far short of my own ideal, and my own precepts. I may even say that I have knowingly and intentionally come short of them to some extent. Biographical and anecdotic detail has, I believe, much less to do with the real appreciation of the literary value of an author than is generally thought. In rare instances, it throws a light, but the examples in which we know practically nothing at all, as in that of Shakespeare, or only a few leading facts as in that of Dante, are not those in which criticism is least useful or least satisfactory. At the same time biographical and anecdotic details please most people, and if they are not allowed to shoulder out criticism altogether, there can be no harm in them. For myself, I should like to have the whole works of every author of merit, and I should care little to know anything whatever about his life; but that is a mere private opinion and possibly a private crotchet. Accordingly some space has been given in most of these Essays to a sketch of the life of the subject. Nor has it seemed advisable (except as a matter of necessary, but very occasional, digression) to argue at length upon abstract and general questions such as the definition of poetry, or the kinds and limits of the novel. Large as is the body of criticism so-called which the last hundred years have seen, it may be doubted whether there is even yet accumulated a sufficient _corpus_ of really critical discussion of individuals. If I have in these Essays contributed even a very little to such an accumulation, I shall have done that which I purposed. FOOTNOTES: