satisfied with negative approbation, but he who is sublime commands
positive reverence.

2
Why need I add that each one of those great writers often redeems all
his errors by one grand and masterly stroke? But the strongest point of
all is that, if you were to pick out all the blunders of Homer,
Demosthenes, Plato, and all the greatest names in literature, and add
them together, they would be found to bear a very small, or rather an
infinitesimal proportion to the passages in which these supreme masters
have attained absolute perfection. Therefore it is that all posterity,
whose judgment envy herself cannot impeach, has brought and bestowed on
them the crown of glory, has guarded their fame until this day against
all attack, and is likely to preserve it

“As long as lofty trees shall grow,
And restless waters seaward flow.”

3
It has been urged by one writer that we should not prefer the huge
disproportioned Colossus to the Doryphorus of Polycletus. But (to give
one out of many possible answers) in art we admire exactness, in the
works of nature magnificence; and it is from nature that man derives the
faculty of speech. Whereas, then, in statuary we look for close
resemblance to humanity, in literature we require something which
transcends humanity.

4
Nevertheless (to reiterate the advice which we gave at the beginning of
this essay), since that success which consists in avoidance of error is