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 the two worlds of mystery and broad daylight comes out in his literary tastes. His reading was wide but desultory. He was entirely free from the superstition which besets the ordinary scholar, and makes him unhappy till he has read a book through and got it up as a student gets up a book for an examination. Emerson looks for inspiration, not for information. He puts a book down as soon as it bores him, and does not care a straw for its authenticity or for the place assigned to it in the orthodox literary tribunals. He is content if it 'makes his top spin'—as he says—if, that is, it stimulates thought or fires the imagination. 'What is best in literature,' he says, 'is the affirming, prophesying, spermatic words of men-making poets.' Shakespeare is to be valued not because he is so much greater than yourself, but because, by your receptivity of him, you become aware of the power of your own soul. To Emerson the value of a book is measured by its dynamic effect upon himself. For some great names he cared little. The list of uninteresting writers included Shelley, Aristophanes, Cervantes, Miss Austen, and Dickens. He thought Dante a prodigy, but fitter for a museum than for a welcome to your own study. In compensation he is