raising some question. No doubt, this was in general the practice of the ancients. The Athenians were primarily intellectual, the Romans unimaginative. But by the operation of various causes—the chief of which are the importance bestowed on the individual and the impulse given to emotion by the Christian religion—mankind has changed somewhat; and therefore the methods of appeal to men, the ways of touching their hearts and enlightening their minds, have been modified. In literature this change is expressed by saying that the romantic manner has, in general, superseded the classical. The romantic manner aims at truth no less than the classical; it sets forth things as they are no less completely and clearly. The difference is rather one of methods than of aims. The classical poet usually perceives the object by his intellect, and makes his appeal to the mind; the romantic poet seizes on the object with his imagination, and makes his appeal to the heart. Not that classical work is without imagination, or romantic work devoid of intellectuality; but that in one the intellect counts for more, in the other imagination. The classical poet, having once presented ideas and objects,
