its mark if it reminds us that, in literature at least, for conscience there is yet a place, possibly even a reward, though that is unessential. By virtue of reasonings like these, and by insisting that nobility of style is, as it were, the bloom on nobility of soul, the Treatise on the Sublime becomes a tonic work, wholesome to be read by young authors and old. “It is natural in us to feel our souls lifted up by the true Sublime, and, conceiving a sort of generous exultation, to be filled with joy and pride, as though we had ourselves originated the ideas which we read.” Here speaks his natural disinterested greatness; the author himself is here sublime, and teaches by example as well as precept, for few things are purer than a pure and ardent admiration. The critic is even confident enough to expect to find his own nobility in others, believing that what is truly Sublime “will always please, and please all readers.” And in this universal acceptance by the populace and the literate, by critics and creators, by young and old, he finds the true external canon of sublimity. The verdict lies not with contemporaries, but with the large public, not with the little set of dilettanti, but must be spoken by all. Such verdicts assign the crown to Shakespeare and Molière, to Homer and Cervantes; we should not clamorously anticipate this favourable judgment for Bryant or Emerson, nor for the greatest of our own contem-
