of poetry; it is easier to write it than to understand it. There is,
indeed, a certain low and moderate sort of poetry, that a man may well
enough judge by certain rules of art; but the true, supreme, and divine
poesy is above all rules and reason. And whoever discerns the beauty of
it with the most assured and most steady sight, sees no more than the
quick reflection of a flash of lightning: it does not exercise, but
ravishes and overwhelms our judgment. The fury that possesses him who is
able to penetrate into it wounds yet a third man by hearing him repeat
it; like a loadstone that not only attracts the needle, but also infuses
into it the virtue to attract others. And it is more evidently manifest
in our theatres, that the sacred inspiration of the Muses, having first
stirred up the poet to anger, sorrow, hatred, and out of himself, to
whatever they will, does moreover by the poet possess the actor, and by
the actor consecutively all the spectators. So much do our passions hang
and depend upon one another.

Poetry has ever had that power over me from a child to transpierce and
transport me; but this vivid sentiment that is natural to me has been
variously handled by variety of forms, not so much higher or lower (for
they were ever the highest of every kind), as differing in colour.
First, a gay and sprightly fluency; afterwards, a lofty and penetrating
subtlety; and lastly, a mature and constant vigour. Their names will
better express them: Ovid, Lucan, Virgil.

But our poets are beginning their career:

"Sit Cato, dum vivit, sane vel Caesare major,"

["Let Cato, whilst he live, be greater than Caesar."
--Martial, vi. 32]