Another remarkable feature of the war arose out of the singularly ready and wonderfully diffused literature of the day. Like those self-registering machines that keep a strict account of their own workings, it seemed to be engaged, as it went on, in writing, stage after stage, its own history. The acting never got a single day ahead of the writing, and never a single week ahead of the publishing; and, in consequence, the whole civilised world became the interested witnesses of what was going on. The war became a great game at chess, with a critical public looking over the shoulders of the players. It was a peculiar feature, too, that the public _should_ have been so critical. As the literature of a people becomes old, it weakens in the power of originating, and strengthens in the power of criticising. Reviews and critiques become the master efforts of a learned and ingenious people, whose literature has passed its full blow; and the criticism extends always, in countries in which the press is free from the productions of men who write in their closets, to the actings of men who conduct the political business of the country, or who direct its fleets and armies. And with regard to them also it may be safely affirmed, that the critical ability overshoots and excels the originating ability. There seems to have been no remarkably good generalship manifested by Britain in the Crimea: all the leading generalship appears, on the contrary, to have been very mediocre generalship indeed. The common men and subordinate officers did their duty nobly; and there have been such splendid examples of skilful generalship in fourth and fifth-rate commands--commands such as that of Sir Colin Campbell and Sir George Brown--that it has been not unfrequently asked, whether we had in reality the 'right men in the right places,' and whether there might not, after all, have been generalship enough in the Crimea had it been but rightly arranged. But the leading generalship was certainly _not_ brilliant. The criticism upon it, on the other hand, has been singularly so. The ages of Marlborough and Wellington did not produce a tithe of the brilliant military criticism which has appeared in England in newspapers, magazines, and reviews during the last two years. And yet it is possible that, had the very cleverest of these critics been appointed to the chief command, he would have got on as ill as any of his predecessors. In truth, the power of originating and the power of criticising are essentially different powers in the worlds both of thought and of action. Talent accumulates the materials of criticism from the experience of the past; and thus, as the world gets older, the critical ability grows, and becomes at length formidably complete;--whereas the power of originating, or, what is the same thing, of acting wisely, and on the spur of the moment, in new and untried circumstances, is an incommunicable faculty, which genius, and genius only, can possess.