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378 things, to study and theorize upon poetry and the arts generally. He could hardly have failed to know the most recent efflorescence of English poetry, living as he did in circles where the varied merits of the new poets were largely and keenly discussed. He had lived also for some time in France, and was widely read in French poetry. He had never passed through the ordinary course of Greek and Latin at school and college, but he had been taught by his father to read these languages, and had been accustomed from the first to regard their literature as literature, and to read their poetry as poetry. These were probably the main elements of his knowledge of poetry. But it was not his way to dream or otherwise luxuriate over his favorite poets for pure enjoyment. Mr. Mill was not a cultivator of art for art's sake. His was too fervid and militant a soul to lose itself in serene love and culture of the calmly beautiful. He read poetry for the most part with earnest, critical eye, striving to account for it, to connect it with the tendencies of the age; or he read to find sympathy with his own aspirations after heroic energy. He read De Vigny and other French poets of his generation with an eye to their relations to the convulsed and struggling state of France, and because they were compelled by their surroundings to take life au sérieux, and to pursue with all the resources of their art something different from beauty in the abstract. Luxurious passive enjoyment or torpid half-enjoyment must have been a comparatively rare condition of his finely-strung, excitable, and fervid system. I believe that his moral earnestness was too imperious to permit much of this. He was capable, indeed, of the most passionate admiration of beauty, but even that feeling seems to have been interpenetrated by a certain militant apostolic fervor; his love was as the love of a religious soldier for a patron saint, who extends her aid and countenance to him in his wars. I do not mean to say that his mind was in a perpetual glow; I mean only that this surrender to his impassioned transports was more characteristic of the man than serene openness to influx of enjoyment. His "Thoughts on Poetry and its Varieties," while clear and strenuous as most of his thoughts were, are neither scientifically precise, nor do they contain any notable new idea not previously expressed by Coleridge—except, perhaps, the idea that emotions are the main links of association in the poetic mind; still, his working out of the definition of poetry, his distinction between novels and poems, and between poetry and eloquence, is interesting as throwing light upon his own poetic susceptibilities. He holds that poetry is the "delineation of the deeper and more secret workings of human emotion." It is curious to find one, who is sometimes assailed as the advocate of a grovellinggroveling [sic] philosophy, complaining that the chivalrous spirit has almost disappeared from books of education, that the youth of both sexes of the educated classes are growing up unromantic. "Catechisms," he says, "will be found a poor substitute for the old romances, whether of chivalry or faëry, which, if they did not give a