It has been often remarked that men of brilliant fancy are never satisfied with the productions of their own minds. The images of grandeur or beauty continually present to their imaginations, it would seem, are so far superior to all efforts they can make to embody them in language, that their own works never yield them the pleasure which they give others. The following quotation is from the seventh chapter, sixth section, of Stewart's Elements of the Philosophy of the Human {299} Mind. "When the notions of enjoyment or of excellence which imagination has formed are greatly raised above the ordinary standard, they interest the passions too deeply to leave us at all times the cool exercise of reason, and produce that state of the mind which is commonly known by the name of enthusiasm; a temper which is one of the most fruitful sources of error and disappointment; but which is a source, at the same time, of heroic actions and of exalted characters. To the exaggerated conceptions of eloquence which perpetually revolved in the mind of Cicero; to that idea which haunted his thoughts of _aliquid immensum infinitumque_, we are indebted for some of the most splendid displays of human genius: and it is probable that something of the same kind has been felt by every man who has risen much above the level of humanity either in speculation or in action." To the want of this high imaginary standard of excellence, Dr. Johnson ascribes the dullness of Blackmore's poetry. "It does not appear," he says, "that he saw beyond his own performances, or had ever elevated his views to that ideal perfection which every genius born to excel is condemned always to pursue and never overtake. In the first suggestions of his imagination he acquiesced; he thought them good and did not seek for better. His works may be read a long time without the occurrence of a single line that stands prominent from the rest." Examples of such ardent aspirations after the _grande et immensum_, are frequent among our best poets. Let the following from Lord Byron suffice. In this will plainly appear that _agony_ in giving birth to the sublime conceptions of his imagination, which metaphysicians say is a sure mark of lofty genius. After describing a terrific thunderstorm in language suited to the majesty of his subject, he proceeds: "Could I embody and unbosom now That which is most within me,--could I wreak My thoughts upon expression, and thus throw Soul, heart, mind, passions, feelings, strong or weak, All that I would have sought, and all I seek, Bear, know, feel, and yet breathe--into _one_ word, And that one word were lightning, I would speak; But as it is, I live and die unheard, With a most voiceless thought, sheathing it as a sword." The same burning enthusiasm prevails throughout the odes of Collins, whose works breathe as much the soul of poetry as is shown by any bard of Greece or Rome.