that of commercial enterprise; secondly, on that of political improvement. At this moment there are two forces acting upon Christendom which constitute the principles of movement all over Europe: these are, the questions incident to representative government, and the mighty interests combined by commercial enterprise. Both have radiated from England as their centre. There only did the early models of either activity prosper. Through North America, as the daughter of England, these two forces have transplanted themselves to every principal region (except one) of the vast Southern American continent. Thus, to push our view no further, we behold one-half of the habitable globe henceforth yoked to the two sole forces of _permanent_ movement for nations, since war and religious contests are but intermitting forces; and these two principles, we repeat, have grown to what we now behold chiefly through the protection of this one great maxim which throws the hopes of the world, not upon what the scheming understanding can suggest, but upon what the most faithful experiment can prove. _X. POPE AND DIDACTIC POETRY._ The 'Essay on Criticism' illustrates the same profound misconception of the principle working at the root of Didactic Poetry as operated originally to disturb the conduct of the 'Essay on Man' by its author, and to disturb the judgments upon it by its critics. This 'Essay on Criticism' no more aims at unfolding the grounds and theory of critical rules applied to poetic composition, than does the _Epistola ad Pisones_ of Horace. But what if Horace and Pope both believed themselves the professional expounders _ex cathedra_ of these very grounds and this very theory? No matter if they did. Nobody was less likely to understand their own purposes than themselves. Their real purposes were _immanent_, hidden in their poems; and from the poems they must be sought, not from the poets; who, generally, in proportion as the problem is one of analysis and evolution, for which, simply as the authors of the work, Horace and Pope were no better qualified than other people, and, as authors having that particular constitution of intellect which notoriously they had, were much worse qualified than other people. We cannot possibly allow a man to argue upon the meaning or tendency of his own book, as against the evidence of the book itself. The book is unexceptionable authority: and, as against _that_, the author has no _locus standi_. Both Horace and Pope, however little they might be aware of it, were secretly governed by the same moving principle--viz., not to teach (which was impossible for two reasons)--but to use this very impossibility, this very want of flexibility in the subject to the ostensible purpose of the writers, as the resistance of the atmosphere from which they would derive the motion of their wings. That it was impossible in a poem seriously to teach the principles of criticism, we