leaves them to make their way; the romantic poet not only presents them, but, by awakening the feelings, predisposes the mood of the mind, makes their reception by the mind easier, wins their way for them. In classical work, consequently, success depends mainly on lucidity of understanding, clearness of vision, skill in verbal expression; in romantic work, the poet must not only possess these qualities, but must superadd, as his prime characteristic, rightness, one might better say sanity, of passion. The classical virtues are more common among authors, the romantic far more rare; and hence error in the romantic manner is more frequent, especially in dealing with ideas. But with all its liability to mistake in weak hands, romantic art, by its higher range, its fiercer intensity, especially by its greater certainty, has, in the hands of a master, a clear increase of power over classical art, and under the changed conditions of civilization its resources are not to be lightly neglected. Indeed, one who voluntarily adopts the classical manner as an exclusive mode seems to choose an instrument of less compass and melody, to prefer Greek to modern music. He sings to a secluded and narrow circle,
