When they sacrificed to the latter, they were praised by the learned; but by yielding to the former, they became the favourites of the people. What preserves the heroic poems of a Tasso and a Camoëns to this day alive in the hearts and on the lips of their countrymen, is by no means their imperfect resemblance to Virgil, or even to Homer, but in Tasso the tender feeling of chivalrous love and honour, and in Camoëns the glowing inspiration of heroic patriotism. Those very ages, nations, and ranks, who felt least the want of a poetry of their own, were the most assiduous in their imitation of the ancients; accordingly, its results are but dull school exercises, which at best excite a frigid admiration. But in the fine arts, mere imitation is always fruitless; even what we borrow from others, to assume a true poetical shape, must, as it were, be born again within us. Of what avail is all foreign imitation? Art cannot exist without nature, and man can give nothing to his fellow-men but himself. Genuine successors and true rivals of the ancients, who, by virtue of congenial talents and cultivation have walked in their path and worked in their spirit, have ever been as rare as their mechanical spiritless copyists are common. Seduced by the form, the great body of critics have been but too indulgent to these servile imitators. These were held up as correct modern classics, while the great truly living and popular poets, whose reputation was a part of their nations' glory, and to whose sublimity it was impossible to be altogether blind, were at best but tolerated as rude and wild natural geniuses. But the unqualified separation of genius and taste on which such a judgment proceeds, is altogether untenable. Genius is the almost unconscious choice of the highest degree of excellence, and, consequently, it is taste in its highest activity.