Now I will attempt to show how this process of improvement is effected, and what is its limit. I conceive then that these gifted writers act upon the spoken and written language by means of the particular schools which form about them respectively. Their style, using the word in a large sense, forcibly arrests the reader, and draws him on to imitate it, by virtue of what is excellent in it, in spite of such defects as, in common with all human works, it may contain. I suppose all of us will recognize this fascination. For myself when I was fourteen or fifteen, I imitated Addison; when I was seventeen, I wrote in the style of Johnson; about the same time I fell in with the twelfth volume of Gibbon, and my ears rang with the cadence of his sentences, and I dreamed of it for a night or two. Then I began to make an analysis of Thucydides in Gibbon’s style. In like manner, most Oxford undergraduates, forty years ago, when they would write poetry, adopted the versification of Pope Darwin, and the Pleasures of Hope, which had been made popular by Heber and Milman. The literary schools, indeed, which I am speaking of, as resulting from the attractions of some original, or at least novel artist, consist for the most part of mannerists, none of whom rise much above mediocrity; but they are not the less serviceable as channels, by means of which the achievements of genius may be incorporated into the language itself, or become the common property of the nation. Henceforth, the most ordinary composer, the very student in the lecture-room, is able to write with a precision, a grace, or a copiousness, as the case may be unknown before the date of the authors whom he imitates, and he wonders at, if he does not rather pride himself on, his novas frondes, et non sua poma. If there is any one who illustrates this remark, it is Gibbon; I seem to trace his vigorous condensation and peculiar rhythm at every turn in the literature of the present day. Pope, again, is said to have tuned our versification. Since his time, any one, who has an ear and turn for poetry, can with little pains throw off a copy of verses equal or superior to the poet’s own, and with far less of study and patient correction than would have been demanded of the poet himself for their production. Compare the choruses of the Samson Agonistes with any stanza taken at random in Thalaba: how much had the language gained in the interval between them! Without denying the high merits of Southey’s beautiful romance, we surely shall not be wrong in saying, that in its unembarrassed eloquent flow, it is the language of the nineteenth century that speaks, as much as the author himself. I will give an instance of what I mean: let us take the beginning of the first chorus in the Samson:—