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 of superstition or the world draw in the brains of men: "no trivial fond records:" it levels all distinctions of art and nature: it has no pride, pomp, or circumstance, belonging to it; it converts the whole principle of admiration in the poet (which is the essence of poetry) into admiration of himself. The spirit of Jacobin poetry is rank egotism. We know an instance. It is of a person who founded a school of poetry on sheer humanity, on ideal boys and mad mothers, and on Simon Lee, the old huntsman. The secret of the Jacobin poetry and the anti-jacobin politics of this writer is the same. His lyrical poetry was a cant of humanity about the commonest people to level the great with the small; and his political poetry is a cant of loyalty to level Bonaparte with kings and hereditary imbecility. As he would put up the commonest of men against kings and nobles, to satisfy his levelling notions, so for the same reason, he would set up the meanest of kings against the greatest of men, reposing once more on the mediocrity of royalty. This person admires nothing that is admirable, feels no interest in any thing interesting, no grandeur in any thing grand, no beauty in any thing beautiful. He tolerates nothing but what he himself creates; he sympathizes only with what can enter into no competition with him, with "the bare earth and mountains bare, and grass in the green field." He sees nothing but himself and the universe. He hates all greatness, and all pretensions to it but his own. His egotism is in this respect a madness; for he scorns even the admiration of himself, thinking it a presumption in any one to suppose that he has taste or sense enough to understand him. He hates all science and all art; he hates chemistry, he hates conchology; he hates Sir Isaac Newton; he hates logic, he hates metaphysics, which he says are unintelligible, and yet he would be thought to understand them; he hates prose, he hates all poetry but his own; he hates Shakespeare, or what he calls "those interlocutions between Lucius and Caius," because he would have all the talk to himself, and considers the movements of passion in Lear, Othello, or Macbeth, as impertinent, compared with the Moods of his own