causeless—in fact, would issue in a sheer denial of human knowledge, limited or unlimited. On the other hand, the theory that imagination works out of space and time (Coleridge, for example, telling us that "Shakspere is as much out of time as Spenser out of space") must not be repelled by any equally dogmatic assertion that it is limited by human experience, but is only to be refuted or established by such comparative studies as those on which we are about to enter.
The central point of these studies is the relation of the individual to the group. In the orderly changes through which this relation has passed, as revealed by the comparison of literatures belonging to different social states, we find our main reasons for treating literature as capable of scientific explanation. There are, indeed, other standpoints, profoundly interesting, from which the art and criticism of literature may also be explained—that of physical nature, that of animal life. But from these alone we shall not see far into the secrets of literary workmanship. We therefore adopt, with a modification hereafter to be noticed, the gradual expansion of social life, from clan to city, from city to nation, from both of these to cosmopolitan humanity, as the proper order of our studies in comparative literature.
