Hunters have a saying that a deer is safe from the man that never misses. Likewise it may be said that the faultless poet gets no readers; for, as the hunter can never miss only by never firing, so the poet can avoid faults only by not writing. There is no such thing in art or letters as attainable perfection; the utmost that any man can hope to do is to make the sum and importance of his excellences so exceed the sum and importance of his faults that the general impression shall seem faultless—that the good shall divert attention from the bad in the contemplation and efface it in the recollection. In considering the character of a particular work and assigning it to its true place amongst works of similar scope and design, we must, indeed, balance merits against demerits, endeavoring in such a general way as the nature of the problem permits, to say which preponderate, and to what extent, making allowance in censure and modification in praise. But the author of the work is to be rightly judged by a different method, and he who has done great work is great, despite the number and magnitude of his failures and imperfections. These may serve to point a moral or illustrate a principle by its violation, but they do not and can not dim the glory of the better performance. Is he not a strong man who can lift a thousand pounds, notwithstanding that in acquiring the ability he failed a hundred times to lift the half of it? Who was the strongest man in the world—he who once lifted the greatest weight, or he who twice lifted the second greatest? The author of “Paradise Lost” wrote afterward “Paradise Regained.” He who wrote a poem called “In Memoriam” wrote a thing called “The Northern Farmer.” Of what significance is that? Shall we count also a man’s washing-list against him? Suppose that Byron had not written the “Hours of Idleness”—would that have enhanced the value of “Childe Harold”? Is our hoard of Shakspearean pure gold the smaller because from the mine whence it came came also some of the base metal of “Titus Andronicus”? Surely it does not matter whether the hand that at one time wrote the lines “To Helen” was at another time writing “The Bells” or whittling a pine shingle. Literature is not like a game of billiards, in which the player is rated according to his average. In estimating the relative altitudes of mountain peaks we look no lower than their summits.