In the criticism of Sidney, himself a poet, one does find implied a recognition of the twofold significance of the poet's powers. He asserts his spiritual pre-eminence strongly, declaring that the poet, unlike the scientist, is not bound to the physical world.[Footnote: "He is not bound to any such subjection, as scientists, to nature." _Defense of Poetry._] On the other hand he is clearly aware of the need for a sensuous element in poetry, since by it, Sidney declares, the poet may lead men by "delight" to follow the forms of virtue. The next critic of note, Dryden, in his revulsion from the ascetic character which the puritans would develop in the poet, swung too far to the other extreme, and threw the poetic character out of balance by belittling its spiritual insight. He did justice to the physical element in poetry, defining poetic drama, the type of his immediate concern, as "a just and lively image of human nature, in its actions, passions, and traverses of fortune," [Footnote: _English Garner,_ III, 513.] but he appears to have felt the ideal aspect of the poet's nature as merely a negation of the sensual, so that he was driven to the absurdity of recommending a purely mechanical device, rhyme, as a means of elevating poetry above the sordid plane of "a bare imitation." In the eighteenth century, Edmund Burke likewise laid too much stress upon the physical aspect of the poet's nature, in accounting for the sublime in poetry as originating in the sense of pain, and the beautiful as originating in pleasure. Yet he comes closer than most critics to laying his finger onthe particular point which distinguishes poets from philosophers, namely, their dependence upon sensation.