Froude touches upon this point in his reference to the art of the writer. He said he would turn to Shakespeare for the best history of England because of his (Shakespeare’s) absolute truth to character and event. “We wonder,” Froude wrote, “at the grandeur, the moral majesty, of some of Shakespeare’s characters, so far beyond what the noblest among ourselves can imitate, and at first thought we attribute it to the genius of the poet, who has outstripped Nature in his creations. But we are misunderstanding the power and the meaning of poetry in attributing creativeness to it in any such sense. Shakespeare created, but only as the spirit of Nature created around him, working in him as it worked abroad in those among whom he lived. The men whom he draws were such men as he saw and knew; the words they utter were such as he heard in the ordinary conversations in which he joined. At the Mermaid with Raleigh and with Sidney, and at a thousand unnamed English firesides, he found the living originals for his Prince Hals, his Orlandos, his Antonios, his Portias, his Isabellas. The closer personal acquaintance which we can form with the English of the age of Elizabeth, the more we are satisfied that Shakespeare’s great poetry is no more than the rhythmic echo of the life which it depicts.” [SN: _Baumgarten_] Baumgarten concluded, from Leibnitz’ theory of a pre-established harmony and its consequence, that the world is the best possible, that nature is the highest embodiment of beauty, and that art must seek as its highest function the strictest possible imitation of nature. [SN: _Leibnitz_] Bosanquet says: “The greatest degree of perfection was to be found, according to Leibnitz, in the existing universe, every other possible system being as a whole less perfect.” [SN: _Kant_] Kant deals with a phase of this subject which is of great interest. In many strong works of art there remain incomplete and often unsatisfactory details. These are permitted to remain because the artist knows that to remove them would weaken or affect the strength of the whole. These, Kant says, are “only of necessity suffered to remain, because they could hardly be removed without loss of force to the idea. This courage has merit only in the case of a genius. A certain boldness of expression, and, in general, many a deviation from the common rule becomes him well; but in no sense is it a thing worthy of imitation. On the contrary it remains all through intrinsically a blemish which one is bound to try to remove, but for which the genius is, as it were, allowed to plead a privilege, on the ground that a scrupulous carefulness would spoil what is inimitable in the impetuous ardor of his soul.”