The romantic is already fallen into its own abysm. It is hard to imagine anything more degraded than the worst of the new productions. 465 Bodies which rot while they are still alive, and are edified by the detailed contemplation of their own decay; dead men who remain in the world for the ruin of others, and feed their death on the living,--to this have come our makers of literature. When the same thing happened in antiquity, it was only as a strange token of some rare disease; but with the moderns the disease has become endemic and epidemic. 466 Literature decays only as men become more and more corrupt. 467 What a day it is when we must envy the men in their graves! 468 The things that are true, good, excellent, are simple and always alike, whatever their appearance may be. But the error that we blame is extremely manifold and varying; it is in conflict not only with the good and the true, but also with itself; it is self-contradictory. Thus it is that the words of blame in our literature must necessarily outnumber the words of praise. 469 The Greeks, whose poetry and rhetoric was of a simple and positive character, express approval more often than disapproval. With the Latin writers it is the contrary; and the more poetry and the arts of speech decay, the more will blame swell and praise shrink. 470 'What are tragedies but the versified passions of people who make Heaven knows what out of the external world?' 471 There are certain empirical enthusiasts who are quite right in showing their enthusiasm over new productions that are good; but they are as ecstatic as if there were no other good work in the world at all. 472 In _Sakontala_ the poet appears in his highest function. As the representative of the most natural condition of things, the finest mode of life, the purest moral endeavour, the worthiest majesty, and the most solemn worship, he ventures on common and ridiculous contrasts. 473 Shakespeare's _Henry IV_. If everything were lost that has ever been preserved to us of this kind of writing, the arts of poetry and rhetoric could be completely restored out of this one play. 474 Shakespeare's finest dramas are wanting here and there in facility: they are something more than they should be, and for that very reason indicate the great poet. 475 Shakespeare is dangerous reading for budding talents: he compels them to reproduce him, and they fancy they are producing themselves. 476 Yorick Sterne was the finest spirit that ever worked. To read him is to attain a fine feeling of freedom; his humour is inimitable, and it is not every kind of humour that frees the soul. 477 The peculiar value of so-called popular ballads is that their motives are drawn direct from nature. This, however, is an advantage of which the poet of culture could also avail himself, if he knew how to do it. 478