with the rough forester who tells the story, much is quite incompatible with him.
In many of these cases it may be fairly contended on behalf of the poet, that he but asserts and vindicates his own artistic sovereignty over the subject by holding it aloof and beneath him, by now and then good-naturedly laughing at it, as Richter, I think, says one must be able to laugh at or sport with one's faith in order to really possess it.
But whatever may be the ultimate judgment on this matter, it may be fearlessly affirmed that whenever the subject is so great and solemn as to possess the poet, instead of him possessing it, be its supremacy of terror or pathos, beauty or awe, he ever rises in expression as in conception with his theme; and he has a most noble natural affinity with noble themes. Then not the mere talents or the piercing perceptions are in the ascendant, but the Divine genius holds imperial sway; then pure imagination, or imaginative reason, or imaginative passion, incarnates itself in its own proper language of majestic rhythm, tenderest melody, orchestral harmony—orchestral because comprehensive and manifold with the complex simplicity and integrity of a high organism. For the rest, we do not in the grandeur of fortress or cathedral look for the minute finish and polish of carvings in gems or ivory.
Affectation means Naturalness.—Lastly, as to the affectation, I have come to learn that it usually means, when objected, even by persons of superior intelligence, against any great artist of whatever kind, the direct contrary of what it is commonly supposed to mean. It means that he is supremely and exquisitely unaffected, being scrupulously true to his own individu-
