But to leave this technical, though not wholly unreal, disputation. There is this merit in Mr. Balfour's essay: that it states in its most extreme form a view for which there is something to be said and which has been gaining in favour in modern times. It is a reaction against the view which became established in the course of the last century. It was the habit of the eighteenth century to judge poetry by its form alone; the nineteenth judged it by the spirit which inspired it, by that which, as De Quincey puts it, was "incarnated" in a work of art. William Blake literally believed that there was a real world of the imagination which was opened up to the artist in his visions, and that was why he said: "Learn to see _through_, not _with_, the eye." Coleridge, too, asserted the primacy of Reason and imagination; and for Wordsworth poetry was "Reason in her most exalted form," just as for Keats "Beauty is truth, truth Beauty." Even so logical and prosaic a thinker as John Stuart Mill recognised that supremacy of the artist to which he himself could not attain; the artist, as he said in a letter to Carlyle, perceives truth immediately, by intuition, and it was his own humble function to translate the truths discerned by the artist into logic. "Is not the distinction between mysticism, the mysticism which is of truth, and mere dreamery, or the institution of imaginations for realities, exactly this, that mysticism may be translated into logic?" Logic, for Mill, was only the hand-servant of that art which is concerned, not with "imaginations" only, but with realities. And it was in the same spirit that Matthew Arnold laid down his decisive verdict that literature is a criticism of life, that it may be subjected to a "universal" estimate, and that the standard is "the best that has been said and thought in the world."