There is a most formidable and estimable _insane_ taste. The will has great though indirect power over the taste, just as it has over the belief. There are some horrid beliefs from which human nature revolts, from which at first it shrinks, to which at first no effort can force it. But if we fix the mind upon them, they have a power over us, just because of their natural offensiveness. They are like the sight of human blood. Experienced soldiers tell us that at first, men are sickened by the smell and newness of blood, almost to death and fainting; but that as soon as they harden their hearts and stiffen their minds, as soon as they _will_ bear it, then comes an appetite for slaughter, a tendency to gloat on carnage, to love blood (at least for the moment) with a deep, eager love. It is a principle that if we put down a healthy instinctive aversion, nature avenges herself by creating an unhealthy insane attraction. For this reason, the most earnest truth-seeking men fall into the worst delusions. They will not let their mind alone; they force it toward some ugly thing, which a crotchet of argument, a conceit of intellect recommends: and nature punishes their disregard of her warning by subjection to the ugly one, by belief in it. Just so, the most industrious critics get the most admiration. They think it unjust to rest in their instinctive natural horror; they overcome it, and angry nature gives them over to ugly poems and marries them to detestable stanzas. CAUSES OF THE STERILITY OF LITERATURE From 'Shakespeare, the Man,' etc. The reason why so few good books are written is, that so few people that can write know anything. In general, an author has always lived in a room, has read books, has cultivated science, is acquainted with the style and sentiments of the best authors, but he is out of the way of employing his own eyes and ears. He has nothing to hear and nothing to see. His life is a vacuum. The mental habits of Robert Southey, which about a year ago were so extensively praised in the public journals, are the type of literary existence, just as the praise bestowed on them shows the admiration excited by them among literary people. He wrote poetry (as if anybody could) before breakfast; he read during breakfast. He wrote history until dinner; he corrected proof-sheets between dinner and tea; he wrote an essay for the Quarterly afterwards; and after supper, by way of relaxation, composed 'The Doctor'--a lengthy and elaborate jest. Now, what can any one think of such a life?--except how clearly it shows that the habits best fitted for communicating information, formed with the best care, and daily regulated by the best motives, are exactly the habits which are likely to afford a man the least information to communicate. Southey had no events, no experiences. His wife kept house and allowed him pocket-money, just as if he had been a German professor devoted to accents, tobacco, and the dates of Horace's amours....