or Fielding, or Dickens, is not a bad test of the possession of the critical gift. "A man," says George Eliot, "who dares to say that he finds an eminent classic feeble here, extravagant there, and in general overrated, may chance to give an opinion which has some genuine discrimination in it concerning a new worker or a living thinker."
As a basis, then, for forming a sound critical estimate of books, one needs: first, a broad acquaintance with the best authors, the wider and more catholic the better; secondly, an open and independent mind. If, beyond this, your taste happens to run to a serious study of criticism, its history, its methods, its controversies, all this will tend to strengthen your self-confidence and sureness of touch. Yet, for the purpose of craftsmanship, the principles on which to judge a book are few and simple. You are not required to dogmatise about the ul-
