Such was not Porson. He was an exception that confirmed the general rule,—a man that, by uniting talents and knowledge with learning, made the distinction between them more striking and palpable. A mere scholar, who knows nothing but books, must be ignorant even of them. ‘Books do not teach the use of books.’ How should he know any thing of a work, who knows nothing of the subject of it? The learned pedant is conversant with books only as they are made of other books, and those again of others, without end. He parrots those who have parroted others. He can translate the same word into ten different languages, but he knows nothing of the _thing_ which it means in any one of them. He stuffs his head with authorities built on authorities, with quotations quoted from quotations, while he locks up his senses, his understanding, and his heart. He is unacquainted with the maxims and manners of the world; he is to seek in the characters of individuals. He sees no beauty in the face of nature or of art. To him ‘the mighty world of eye and ear’ is hid; and ‘knowledge,’ except at one entrance, ‘quite shut out.’ His pride takes part with his ignorance; and his self-importance rises with the number of things of which he does not know the value, and which he therefore despises as unworthy of his notice. He knows nothing of pictures;—‘of the colouring of Titian, the grace of Raphael, the purity of Domenichino, the _corregiescity_ of Corregio, the learning of Poussin, the airs of Guido, the taste of the Caracci, or the grand contour of Michael Angelo,’—of all those glories of the Italian and miracles of the Flemish school, which have filled the eyes of mankind with delight, and to the study and imitation of which thousands have in vain devoted their lives. These are to him as if they had never been, a mere dead letter, a bye-word; and no wonder: for he neither sees nor understands their prototypes in nature. A print of Rubens’s Watering-place, or Claude’s Enchanted Castle, may be hanging on the walls of his room for months without his once perceiving them; and if you point them out to him, he will turn away from them. The language of nature, or of art (which is another nature), is one that he does not understand. He repeats indeed the names of Apelles and Phidias, because they are to be found in classic authors, and boasts of their works as prodigies, because they no longer exist; or, when he sees the finest remains of Grecian art actually before him in the Elgin marbles, takes no other interest in them than as they lead to a learned dispute, and (which is the same thing) a quarrel about the meaning of a Greek particle. He is equally ignorant of music; he ‘knows no touch of it,’ from the strains of the all-accomplished Mozart to the shepherd’s pipe upon the mountain. His ears are nailed to his books; and deadened with the sound of the Greek and Latin tongues, and the din and smithery of school-learning. Does he know any thing more of poetry? He knows the