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 forgive, as when, for example, it is vaunted as a superior substitute for intelligence itself."

In illustrating the vivacities of Mr. Brownell's manner, I have done what he never does: I have, as he would say, "caressed my predilections"; I have indulged myself in what he would stigmatize as "a Capuan dalliance with detail." But I return now to what I regard as the most distinguished feature of his ideal critic, namely, his method; and to the result of that method, namely, an impressive organic form in the critical essay. The method, as we have seen, begins with thinking, and the principal divisions of the work are as follows. First, the critic is to discover, by analysis or by intuition, in the subject before him, a theme. Toward this theme he is then sharply to define his own total feeling and attitude: thus this theme becomes his thesis. Next, he is to justify and correct his thesis by analysis of the constituting elements of his subject. This accomplished, he proceeds to the disposition of the various members of his discourse for the detailed examination of the "constituting elements." When the members have been rightly ordered and proportions duly kept, the essay appears to be produced from the theme as the fingers are produced from the wrist—with other implications of the image. As the successive members of the discourse are extended, like the gradually opening fingers of a hand, they first entirely disclose, and then, in a conclusive or "synthetic" grip, entirely enclose—what they hold. That which they hold, if the process has been