The same remark will apply equally to the fine arts. The laws on which depend the progress and decline of poetry, painting, and sculpture, operate with little less certainty than those which regulate the periodical returns of heat and cold, of fertility and barrenness. Those who seem to lead the public taste are, in general, merely outrunning it in the direction which it is spontaneously pursuing. Without a just apprehension of the laws to which we have alluded the merits and defects of Dryden can be but imperfectly understood. We will, therefore, state what we conceive them to be. The ages in which the master-pieces of imagination have been produced have by no means been those in which taste has been most correct. It seems that the creative faculty, and the critical faculty, cannot exist together in their highest perfection. The causes of this phenomenon it is not difficult to assign. It is true that the man who is best able to take a machine to pieces, and who most clearly comprehends the manner in which all its wheels and springs conduce to its general effect, will be the man most competent to form another machine of similar power. In all the branches of physical and moral science which admit of perfect analysis, he who can resolve will be able to combine. But the analysis which criticism can effect of poetry is necessarily imperfect. One element must for ever elude its researches; and that is the very element by which poetry is poetry. In the description of nature, for example, a judicious reader will easily detect an incongruous image. But he will find it impossible to explain in what consists the art of a writer who, in a few words, brings some spot before him so vividly that he shall know it as if he had lived there from childhood; while another, employing the same materials, the same verdure, the same water, and the same flowers, committing no inaccuracy, introducing nothing which can be positively pronounced superfluous, omitting nothing which can be positively pronounced necessary, shall produce no more effect than an advertisement of a capital residence and a desirable pleasure-ground. To take another example: the great features of the character of Hotspur are obvious to the most superficial reader. We at once perceive that his courage is splendid, his thirst of glory intense, his animal spirits high, his temper careless, arbitrary, and petulant; that he indulges his own humour without caring whose feelings he may wound, or whose enmity he may provoke, by his levity. Thus far criticism will go. But something is still wanting. A man might have all those qualities, and every other quality which the most minute examiner can introduce into his catalogue of the virtues and faults of Hotspur, and yet he would not be Hotspur. Almost everything that we have said of him applies equally to Falconbridge. Yet in the mouth of Falconbridge most of his speeches would seem out of place. In real life this perpetually occurs. We are