efficient, and to explain the causes which determine success in exact
proportion to the native power on the one hand, and to the state of
public opinion on the other.

The laws of Literature may be grouped under three heads. Perhaps we
might say they are three forms of one principle. They are founded on
our threefold nature--intellectual, moral, and aesthetic.

The intellectual form is the PRINCIPLE OF VISION.

The moral form is the PRINCIPLE OF SINCERITY.

The aesthetic form is the PRINCIPLE OF BEAUTY.

It will be my endeavour to give definite significance, in succeeding
chapters, to these expressions, which, standing unexplained and
unillustrated, probably convey very little meaning. We shall then see
that every work, no matter what its subject-matter, necessarily
involves these three principles in varying degrees; and that its
success is always strictly in accordance with its conformity to the
guidance of these principles.

Unless a writer has what, for the sake of brevity, I have called
Vision, enabling him to see clearly the facts or ideas, the objects or
relations, which he places before us for our own instruction, his work
must obviously be defective. He must see clearly if we are to see
clearly. Unless a writer has Sincerity, urging him to place before us
what he sees and believes as he sees and believes it, the defective
earnestness of his presentation will cause an imperfect sympathy in us.
He must believe what he says, or we shall not believe it. Insincerity