In the case of commonplace screws, if they do their work well, it is for the most part in spite of their being screws. It is because they are sound in the main, in those portions of their mental constitution which their daily work calls into play; and because they are seldom required to do those things which their unsoundness makes them unfit to do. You know, if a horse never fell lame except when smartly trotted down a hill four miles long, you might say that for practical purposes that horse was never lame at all. For the single contingency to which its powers are unequal would hardly ever occur. In like manner, if the mind of a tradesman is quite equal to the management of his business and the respectable training of his family, you may say that the tradesman's mind is for practical purposes a sound and good one; although if called to consider some important political question, such as that of the connexion of Church and State, his judgment might be purely idiotical. You see, he is hardly ever required to put his mind (so to speak) at a hill at which it would break down. I have walked a mile along the road with a respectable Scotch farmer, talking of country matters; and I have concluded that I had hardly ever conversed with a shrewder and more sensible man. But having accidentally chanced to speak of a certain complicated political question, I found that quoad hoc my friend's intellect was that of a baby. I had just come upon the four-mile descent which would knock up the horse which for ordinary work was sound. Yes, reader, in the case of commonplace screws, if hey do their work well, it is in spite of their being screws. But in the case of great geniuses who are screws, it is often because of their unsoundness that they do the fine things they do. It is the hectic beauty which his morbid mind cast upon his page, that made Byron the attractive and fascinating poet that he is to young and inexperienced minds. Had his views been sounder and his feeling healthier, he might have been but a commonplace writer after all. In poetry, and in all imaginative writing, we look for beauty, not for sense; and we all know that what is properly disease and unsoundness sometimes adds to beauty. You know the delicate flush, the bright eyes, the long eyelashes, which we often see in a young girl on whom consumption is doing its work. You know the peachy complexion which often goes with undeveloped scrofula. And had Charles Lamb not been trembling on the verge of insanity, the Essays of Elia would have wanted great part of their strange, undefinable charm. Had Ford and Massinger led more regular lives and written more reasonable sentiments, what a caput mortuum their tragedies would be! Had Coleridge been a man of homely common-sense, he would never have written Christabel. I remember in my boyhood reading The Ancient Mariner to a hard-headed lawyer of no literary taste. He listened to the poem, and merely remarked that its author was a horrible fool.