The poetic raptures, the flights of fancy, that ravish and transport the author out of himself, why should we not attribute them to his good fortune, since he himself confesses that they exceed his sufficiency and force, and acknowledges them to proceed from something else than himself, and that he has them no more in his power than the orators say they have those extraordinary motions and agitations that sometimes push them beyond their design. It is the same in painting, where touches shall sometimes slip from the hand of the painter, so surpassing both his conception and his art, as to beget his own admiration and astonishment. But Fortune does yet more evidently manifest the share she has in all things of this kind, by the graces and elegances we find in them, not only beyond the intention, but even without the knowledge of the workman: a competent reader often discovers in other men’s writings other perfections than the author himself either intended or perceived, a richer sense and more quaint expression.