It is the trade of criticism to expose blemishes; it is genius in criticism to appreciate the subject. The journeyman critic of the last two centuries has been so busy making authors miserable without felicitating mankind that when we read through an essay like Lowell’s on Dante, on Wordsworth, or on Spenser, we cheerfully recognize a man where experience has taught us to look only for an ingenious carper or spiteful ferret. However, critics are no worse than they used to be. Swift, who had excellent opportunity of forming an opinion, both in his own practice and in the observation of that of others, has left this dramatic picture, the truthfulness of which there is no reason yet to question: “The malignant deity Criticism dwelt on the top of a snowy mountain in Nova Zembla; Momus found her extended in her den upon the spoils of numberless volumes half devoured. At her right hand sat Ignorance, her father and husband, blind with age; at her left, Pride, her mother, dressing her up in the scraps of paper herself had torn. There was Opinion, her sister, light of foot, hoodwinked, and headstrong, yet giddy and perpetually turning. About her played her children, Noise and Impudence, Dulness and Vanity, Positiveness, Pedantry, and Ill-Manners.” Such is reckless and conscienceless criticism even to this day; and we turn from it, in grateful delight, to the reverential commentary which Lowell has produced upon one of the saddest of all human creatures—the great Catholic poet of the middle ages. Dante, little understood by those who have the largest title to his legacies, is, after all, the universal poet—the poet of the soul. Homer chants the blood-red glories of war, and is the poet of a period; Virgil charms by the grace of his lines, and is the poet of an episode; Milton awes with the mighty sweeps of his rhetoric, and is the poet of the grandiose; Shakspeare astounds with his knowledge of human nature and enchains with his wit, and is the poet of the passions; Dante, when read aright, is found to be the poet of the Soul. The line that divides him from Shakspeare lies between the subjective and the objective—Shakspeare’s themes are men and women; Dante’s sole subject is Man—man within himself, as he is related to God, to religion, to eternity. As Lowell felicitously writes it, “_Arma virumque cano_; that is the motto of classic song. Dante says, _Subjectum est homo_, not _vir_—my theme is man, not a man.”