And popular phraseology justifies our insistence upon this subjective side of genius. Thus it is common to say that "Hartley Coleridge" (for example) "was a genius, although he never produced anything worth speaking of." Men recognise, that is to say, from descriptions of Hartley Coleridge, and from the fragments which he has left, that ideas came to him with what I have termed a sense of subliminal uprush,--with an authentic, although not to us an instructive, inspiration. As psychologists, I maintain, we are bound to base our definition of genius upon some criterion of this strictly psychological kind, rather than on the external tests which as artists or men of letters we should employ;--and which consider mainly the degree of delight which any given achievement can bestow upon other men. The artist will speak of the pictorial genius of Raphael, but not of Haydon; of the dramatic genius of Corneille, but not of Voltaire. Yet Haydon's Autobiography--a record of tragic intensity, and closing in suicide--shows that the tame yet contorted figures of his "Raising of Lazarus" flashed upon him with an overmastering sense of direct inspiration. Voltaire, again, writes to the president Hénault of his unreadable tragedy _Catilina_: "Five acts in a week! I know that this sounds ridiculous; but if men could guess what enthusiasm can do,--how a poet in spite of himself, idolising his subject, devoured by his genius, can accomplish in a few days a task for which without that genius a year would not suffice;--in a word, _si scirent donum Dei_,--_if they knew the gift of God_,--their astonishment might be less than it must be now." I do not shrink from these extreme instances. It would be absurd, of course, to place Haydon's "Raising of Lazarus" in the same _artistic_ class as Raphael's "Madonna di San Sisto." But in the same _psychological_ class I maintain that both works must be placed. For each painter, after his several kind, there was the same inward process,--the same sense of subliminal uprush;--that extension, in other words, of mental concentration which draws into immediate cognisance some workings or elements of the hidden self.