We may apply this to literature and say that Nature fills the place of good fortune, Art that of good judgment. And above all we must remember this: the very fact that in literature some effects come of natural genius alone can only be learnth from art.
There are, one may say, some five genuine sources of the sublime in literature, the common groundwork, as it were, of all five being a natural faculty of expression, without which nothing can be done. The first and most powerful is the command of full-blooded ideas r — I have defined this in my book on Xenophon and the second is the inspiration of vehement emotion. These two constituents of the sublime are for the most part congenital. But the other three come partly of art, namely the proper construction of figures — these being probably of two kinds, figures of thought and figures of speech — and, over and above these, nobility of phrase, which again may be resolved into choice of words and the use of metaphor and poetic ornament. The fifth cause of grandeur, which embraces all those already mentioned, is the general effect of dignity and elevation.
Weight, grandeur, and energy in writing are very largely produced, dear pupil, by the use of `images.' (That at least is what some people call the actual mental pictures.) For the term imagination is applied in general to an idea which enters the mind from any source and engenders speech, but the word has now come to be used of passages where, inspired by strong emotion, you seem to see what you describe and bring it vividly before the eyes of your audience. That imagination means one thing in oratory and another in poetry you will yourself detect, and also that the object of poetry is to enthral, of prose writing to present ideas clearly, though both indeed aim at this latter and at excited feeling.