One can imagine that it was the great Earl or Sir Philip Sidney that gave his imagination its moral and practical turn [Edmund Spencer’s now], and one imagines him seeking from philosophical men, who distrust instinct because it disturbs contemplation, and from practical men who distrust everything they cannot use in the routine of immediate events, that impulse and method of creation that can only be learned with surety from the technical criticism of poets, and from the excitement of some movement in the artistic life.

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