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Even Shelley, the most successful of poet-critics, gives us a more vivid comprehension of the poetical balance of sense and spirit through his poet-heroes than through The Defense of Poetry, for he is almost exclusively concerned, in that essay, with the spiritual aspect of poetry. He expresses, in fact, the converse of Dryden's view in that he regards the sensuous as negation or dross merely.
The third, because of its subject and by its purpose of synthetic reconciliation between fields heretofore sharply separated, gained the sympathy of our poet-heroes Schiller and Goethe, and awakened in a young, speculative spirit Ideas for a Philosophy of Nature.
Possibly we may concede that his fusion with all nature renders the poet's personality so diaphanous that his presence is unobtrusive in poetry of ideas, but we may still object to his thrusting himself into realistic poetry. Shelley's poet-heroes we will tolerate, as translucent mediums of his thought, but we are not inclined to accept Byron's, when we seek a panoramic view of this world.
The favorite poet-heroes, Aeschylus, Michael Angelo, Tasso, Dante, Marlowe, Shakespeare, Milton, Chatterton, Keats, Byron, are all characterized as proud. The last-named has been especially kept in the foreground by following verse-writers, as a precedent for their arrogance. Shelley's characterization of Byron in Julian and Maddalo,