Let us, for a moment, consider the nature of this thing called criticism, which exerts such a sway over the literary world. The pronoun we, used by critics, has a most imposing and delusive sound. The reader pictures to himself a conclave of learned men, deliberating gravely and scrupulously on the merits of the book in question; examining it page by page, comparing and balancing their opinions, and when they have united in a conscientious verdict, publishing it for the benefit of the world: whereas the criticism is generally the crude and hasty production of an individual, scribbling to while away an idle hour, to oblige a book-seller, or to defray current expenses. How often is it the passing notion of the hour, affected by accidental circumstances; by indisposition, by peevishness, by vapors or indigestion; by personal prejudice, or party feeling. Sometimes a work is sacrificed, because the reviewer wishes a satirical article; sometimes because he wants a humorous one; and sometimes because the author reviewed has become offensively celebrated, and offers high game to the literary marksman. How often would the critic himself, if a conscientious man, reverse his opinion, had he time to revise it in a more sunny moment; but the press is waiting, the printer's devil is at his elbow; the article is wanted to make the requisite variety for the number of the review, or the author has pressing occasion for the sum he is to receive for the article, so it is sent off, all blotted and blurred; with a shrug of the shoulders, and the consolatory ejaculation: "Pshaw! curse it! it's nothing but a review!" The critic, too, who dictates thus oracularly to the world, is perhaps some dingy, ill-favored, ill-mannered varlet, who, were he to speak by word of mouth, would be disregarded, if not scoffed at; but such is the magic of types; such the mystic operation of anonymous writing; such the potential effect of the pronoun we, that his crude decisions, fulminated through the press, become circulated far and wide, control the opinions of the world, and give or destroy reputation. Many readers have grown timorous in their judgments since the all-pervading currency of criticism. They fear to express a revised, frank opinion about any new work, and to relish it honestly and heartily, lest it should be condemned in the next review, and they stand convicted of bad taste. Hence they hedge their opinions, like a gambler his bets, and leave an opening to retract, and retreat, and qualify, and neutralise every unguarded expression of delight, until their very praise declines into a faintness that is damning.