of the autobiography who 'sighed as a lover and obeyed as a son.' I may study Darwin's Origin of Species to clear my views upon natural selection; but as a book it interests me even through the defects of style by the occult personal charm of the candid, sagacious, patient seeker for truth. In pure literature the case is, of course, plainer, and I will not count up instances because, in truth, I can hardly think of a clear exception. Whenever we know a man adequately we perceive that, though different aspects of his character may be made prominent in his life and his works, the same qualities are revealed in both, and we cannot describe the literary without indicating the personal charm.
Is Shakespeare the sole exception? There are obvious difficulties in the way of a satisfactory answer. Shakespearean criticism means too often reckless competition in hyperboles. So long as critics think it necessary to show their appreciative power by falling into hysterics, all distinctive characteristics are obliterated. When the poet is lost in such a blaze of light, we can make no inference to the man. Sometimes out of reverence for his genius he is treated like a prophet whose inspiration is proved by his commonplace
