To understand literally these metaphors or ideas expressed in poetical language, seems to be equally absurd as to conclude that because painters sometimes represent poets writing from the dictates of a little winged boy or genius, that this same genius did really inform him in a whisper what he was to write, and that he is himself but a mere machine, unconscious of the operations of his own mind.

Opinions generally received and floating in the world, whether true or false, we naturally adopt and make our own; they may be considered as a kind of inheritance to which we succeed and are tenants for life, and which we leave to our posterity very near in the condition in which we received it; not much being in any one man’s power either to impair or improve it.

The greatest part of these opinions, like current coin in its circulation, we are obliged to take without weighing or examining; but by this inevitable inattention, many adulterated pieces are received, which, when we seriously estimate our wealth, we must throw away.  So the collector of popular opinions, when he embodies his knowledge, and forms a system, must separate those which are true from those which are only plausible.  But it becomes more peculiarly a duty to the professors of art not to let any opinions relating to that art pass unexamined.  The caution and circumspection required in such examination we shall presently have an opportunity of explaining.

Genius and taste, in their common acceptation, appear to be very nearly related; the difference lies only in this, that genius has superadded to it a habit or power of execution.  Or we may say, that taste, when this power is added, changes its name, and is called genius.  They both, in the popular opinion, pretend to an entire exemption from the restraint of rules.  It is supposed that their powers are intuitive; that under the name of genius great works are produced, and under the name of taste an exact judgment is given, without our knowing why, and without being under the least obligation to reason, precept, or experience.

One can scarce state these opinions without exposing their absurdity, yet they are constantly in the mouths of men, and particularly of artists.  They who have thought seriously on this subject, do not carry the point so far; yet I am persuaded, that even among those few who may be called thinkers, the prevalent opinion gives less than it ought to the powers of reason; and considers the principles of taste, which give all their authority to the rules of art, as more fluctuating, and as having less solid foundations than we shall find, upon examination, they really have.

The common saying, that tastes are not to be disputed, owes its influence, and its general reception, to the same error which leads us to imagine it of too high original to submit to the authority of an earthly tribunal.  It will likewise correspond with the notions of those who consider it as a mere phantom of the imagination, so devoid of substance as to elude all criticism.