author, and the business of exhibiting him, disposes us to affirm and
amplify his importance. In the present work, therefore, we are sure of
frequent temptation to adopt the historic estimate, or the personal
estimate, and to forget the real estimate; which latter, nevertheless,
we must employ if we are to make poetry yield us its full benefit. So
high is that benefit, the benefit of clearly feeling and of deeply
enjoying the really excellent, the truly classic in poetry, that we do
well, I say, to set it fixedly before our minds as our object in
studying poets and poetry, and to make the desire of attaining it the
one principle to which, as the _Imitation_ says, whatever we may read or
come to know, we always return. _Cum multa legeris et cognoveris, ad
unum semper oportet redire principium._[71]

The historic estimate is likely in especial to affect our judgment and
our language when we are dealing with ancient poets; the personal
estimate when we are dealing with poets our contemporaries, or at any
rate modern. The exaggerations due to the historic estimate are not in
themselves, perhaps, of very much gravity. Their report hardly enters
the general ear; probably they do not always impose even on the literary
men who adopt them. But they lead to a dangerous abuse of language. So
we hear Cædmon,[72] amongst, our own poets, compared to Milton. I have
already noticed the enthusiasm of one accomplished French critic for
"historic origins." Another eminent French critic, M. Vitet,[73]
comments upon that famous document of the early poetry of his nation,
the _Chanson de Roland._[74] It is indeed a most interesting document.
The _joculator_ or _jongleur_ Taillefer, who was with William the
Conqueror's army at Hastings, marched before the Norman troops, so said
the tradition, singing "of Charlemagne and of Roland and of Oliver, and
of the vassals who died at Roncevaux"; and it is suggested that in the
_Chanson de Roland_ by one Turoldus or Theroulde, a poem preserved in a