each diverges from the common starting point into a path peculiar to himself. The brotherhood of villains in _Kenilworth_, of knights in _Ivanhoe_, 5 and of enthusiasts in _Old Mortality_ are instances of this. This bearing of character and plot on each other is not often found in Byron's poems. The Corsair is intended for a remarkable personage. We pass by the inconsistencies of his 10 character, considered by itself. The grand fault is, that whether it be natural or not, we are obliged to accept the author's word for the fidelity of his portrait. We are told, not shown, what the hero was. There is nothing in the plot which results 15 from his peculiar formation of mind. An everyday bravo might equally well have satisfied the requirements of the action. Childe Harold, again, if he is anything, is a being professedly isolated from the world, and uninfluenced by it. One 20 might as well draw Tityrus's stags grazing in the air, as a character of this kind; which yet, with more or less alteration, passes through successive editions in his other poems. Byron had very little versatility or elasticity of genius; he did not 25 know how to make poetry out of existing materials. He declaims in his own way, and has the upper-hand as long as he is allowed to go on; but, if interrogated on principles of nature and good sense, he is at once put out and brought to a 30 stand. Yet his conception of Sardanapalus and Myrrha is fine and ideal, and in the style of excellence which we have just been admiring in Shakspeare and Scott. These illustrations of Aristotle's doctrine may 5 suffice. Now let us proceed to a fresh position; which, as before, shall first be broadly stated, then modified and explained. How does originality differ from the poetical talent? Without 10 affecting the accuracy of a definition, we may call the latter the originality of right moral feeling.