[16] When George Eliot read Carlyle's eulogy on Emerson in introducing his essays to the British public, she wrote:--"I have shed many tears over it: this is a world worth abiding in while one man can thus venerate and love another."--Cross's "Life of George Eliot." [17] Green's "Short History of the English People." CHAPTER IV The Critics The plan of describing all the writers of a period who are not poets, novelists and historians as critics is open to many objections, although I intend to adopt it. If Matthew Arnold's plea for poetry as a criticism of life holds good, it is precisely the poets, novelists and historians who are the true critics. An alternative plan would have been to give a chapter to prose writers and another to the poets; and still another arrangement would have been to divide the subject, as De Quincey suggested, into the literature of power and the literature of imagination, the former including the philosophers and historians, the latter the poets, the novelists, and the more picturesque of the prose writers--Carlyle and Ruskin, for example. One unhesitatingly assigns to Mr Ruskin the distinction of the critic whose work is most eloquent and impressive. =John Ruskin (1819- )= was born in Hunter Street, Brunswick Square, London. He has told us in his autobiography, "Præterita," of his early life under a tender mother's care, of his boyish affection for Byron and Scott, and of the youthful impulse to art study excited by the present of Rogers's "Italy," with Turner's illustrations. In 1837 he was entered as a gentleman commoner at Christ Church, Oxford, gaining, two years later, the Newdigate prize for English poetry, his subject being "Salsette and Elephanta." In 1843 he produced the first volume of "Modern Painters: their Superiority in the Art of Landscape Painting to all the Ancient Masters. By a Graduate of Oxford." The work originated, he says, "in indignation at the shallow and false criticism of the periodicals of the day on the work of the great living artist to whom it principally refers." The artist in question was Joseph Mallord William Turner, upon whom Ruskin has pronounced somewhat contradictory judgments at different periods in his career. "Modern Painters" soon extended beyond the mere essay at first intended, and in its final form of five handsome volumes, it was not only a philosophical treatise on landscape painting, but an exhaustive dissertation on many phases of life from one whom Mazzini declared to possess "the most analytic brain in Europe."