shall be judged to have fallen a victim to my own distinction, drawn at the beginning of this paper, and shown myself an unreasonable lover of this astonishing poet. Yet I think I could make good my appeal in any competent critical court. For in Donne’s case the yea-nay fashion of censorship which is necessary and desirable in the case of others is quite superfluous. His faults are so gross, so open, so palpable, that they hardly require the usual amount of critical comment and condemnation. But this very peculiarity of theirs constantly obscures his beauties even to not unfit readers. They open him; they are shocked, or bored, or irritated, or puzzled by his occasional nastiness (for he is now and then simply and inexcusably nasty), his frequent involution and eccentricity, his not quite rare indulgence in extravagances which go near to silliness; and so they lose the extraordinary beauties which lie beyond or among these faults. It is true that, as was said above, there are those, and many of them, who can never and will never like Donne. No one who thinks Don Quixote a merely funny book, no one who sees in Aristophanes a dirty-minded fellow with a knack of Greek versification, no one who thinks it impossible not to wish that Shakespeare had not written the Sonnets, no one who wonders what on earth Giordano Bruno
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INTRODUCTION.
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