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a man might attribute the name of a poem to the well-known enumeration of the days in the several months;

Thirty days hath September,
April, June, and November," &c.

and others of the same class and purpose. And as a particular pleasure is found in anticipating the recurrence of sounds and quantities, all compositions that have this charm super-added, whatever be their contents, may be entitled poems.)

So much for the superficial form. A difference of object and contents supplies an additional ground of distinction. The immediate purpose may be the communication of truths; either of truth absolute and demonstrable, as in works of science; or of facts experienced and recorded, as 15 in history. Pleasure, and that of the highest and most permanent kind, may result from the attainment of the end; but it is not itself the immediate end. In other works the communication of pleasure may be the immediate purpose; and though truth, either moral or intellectual, ought to be 20 the ultimate end, yet this will distinguish the character of the author, not the class to which the work belongs. Blest indeed is that state of society, in which the immediate purpose would be baffled by the perversion of the proper ultimate end; in which no charm of diction or imagery could exempt the Bathyllus even of an Anacreon, or the Alexis of Virgil, from disgust and aversion!

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But the communication of pleasure may be the immediate object of a work not metrically composed; and that object may have been in a high degree attained, as in novels and 30 romances. Would then the mere superaddition of metre, with or without rhyme, entitle these to the name of poems ? The answer is, that nothing can permanently please, which does not contain in itself the reason why it is so, and not otherwise. If metre be superadded, all other parts must

be made consonant with it. They must be such, as to justify the perpetual and distinct attention to each part, which an exact correspondent recurrence of accent and sound are calculated to excite. The final definition then, so deduced, may be thus worded. A poem is that species 5 fof composition, which is opposed to works of science, by proposing for its immediate object pleasure, not truth; and from all other species (having this object in common with it) it is discriminated by proposing to itself such delight from the whole, as is compatible with a distinct gratification 10 from each component part.

Controversy is not seldom excited in consequence of the disputants attaching each a different meaning to the same word; and in few instances has this been more striking, than in disputes concerning the present subject. If a man 15 chooses to call every composition a poem, which is rhyme, or measure, or both, I must leave his opinion uncontroverted. The distinction is at least competent to characterize the writer's intention. If it were subjoined, that the whole is likewise entertaining or affecting, as a tale, or as a series 20 of interesting reflections, I of course admit this as another fit ingredient of a poem, and an additional merit. But if the definition sought for be that of a legitimate poem, I answer, it must be one, the parts of which mutually support and explain each other; all in their proportion harmonizing 25 with, and supporting the purpose and known influences of metrical arrangement. The philosophic critics of all ages coincide with the ultimate judgement of all countries, in equally denying the praises of a just poem, on the one hand, to a series of striking lines or distiches, each of which, 30 absorbing the whole attention of the reader to itself, disjoins it from its context, and makes it a separate whole, instead of an harmonizing part; and on the other hand, to an unsustained composition, from which the reader collects rapidly the general result, unattracted by the component 35

parts. The reader should be carried forward, not merely or chiefly by the mechanical impulse of curiosity, or by a restless desire to arrive at the final solution; but by the pleasureable activity of mind excited by the attractions of the 5 journey itself. Like the motion of a serpent, which the Egyptians made the emblem of intellectual power; or like the path of sound through the air; at every step he pauses and half recedes, and from the retrogressive movement/ collects the force which again carries him onward. "Præcipi10 tandus est liber spiritus," says Petronius Arbiter most happily.

The epithet, liber, here balances the preceding verb; and it is not easy to conceive more meaning condensed in fewer words.

But if this should be admitted as a satisfactory character 15 of a poem, we have still to seek for a definition of poetry. The writings of PLATO, and Bishop TAYLOR, and the "Theoria Sacra" of BURNET, furnish undeniable proofs that poetry of the highest kind may exist without metre, and even without the contra-distinguishing objects of a poem. 20 The first chapter of Isaiah (indeed a very large portion of the whole book) is poetry in the most emphatic sense; yet it would be not less irrational than strange to assert, that pleasure, and not truth, was the immediate object of the prophet. In short, whatever specific import we attach to the 25 word, poetry, there will be found involved in it, as a necessary consequence, that a poem of any length neither can be, or ought to be, all poetry. Yet if an harmonious whole is to be produced, the remaining parts must be preserved in keeping with the poetry; and this can be no otherwise 3o effected than by such a studied selection and artificial arrangement, as will partake of one, though not a peculiar property of poetry. And this again can be no other than the property of exciting a more continuous and equal attention than the language of prose aims at, whether colloquial 35 or written.

My own conclusions on the nature of poetry, in the strictest use of the word, have been in part anticipated in the preceding disquisition on the fancy and imagination. What is poetry? is so nearly the same question with, what is a poet? that the answer to the one is involved in the solu- 5 tion of the other. For it is a distinction resulting from the poetic genius itself, which sustains and modifies the images, thoughts, and emotions of the poet's own mind.

The poet, described in ideal perfection, brings the whole soul of man into activity, with the subordination of its 10 faculties to each other, according to their relative worth and dignity. He diffuses a tone and spirit of unity, that blends, and (as it were) fuses, each into each, by that synthetic and magical power, to which we have exclusively appropriated. the name of imagination. This power, first put in action by 15 the will and understanding, and retained under their irremissive, though gentle and unnoticed, controul (laxis effertur habenis) reveals itself in the balance or reconciliation of opposite or discordant qualities of sameness, with difference; of the general, with the concrete; the idea, with the 20 image; the individual, with the representative; the sense of novelty and freshness, with old and familiar objects; a more than usual state of emotion, with more than usual order; judgement ever awake and steady self-possession, with enthusiasm and feeling profound or vehement; and 25 while it blends and harmonizes the natural and the artificial, still subordinates art to nature; the manner to the matter; and our admiration of the poet to our sympathy with the poetry. "Doubtless," as Sir John Davies observes of the soul (and his words may with slight alteration be applied, 30 and even more appropriately, to the poetic IMAGINATION)

"Doubtless this could not be, but that she turns
Bodies to spirit by sublimation strange,

As fire converts to fire the things it burns,
As we our food into our nature change.

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From their gross matter she abstracts their forms,
And draws a kind of quintessence from things;
Which to her proper nature she transforms,
To bear them light on her celestial wings.

Thus does she, when from individual states
She doth abstract the universal kinds;
Which then re-clothed in divers names and fates
Steal access through our senses to our minds."

Finally, GOOD SENSE is the BODY of poetic genius, FANCY 10 its DRAPERY, MOTION its LIFE, and IMAGINATION the SOUL that is everywhere, and in each; and forms all into one graceful and intelligent whole.

CHAPTER XV

The specific symptoms of poetic power elucidated in a critical analysis of Shakespeare's Venus and Adonis, and Lucrece, IN the application of these principles to purposes of practical criticism as employed in the appraisal of works more 15 or less imperfect, I have endeavoured to discover what the qualities in a poem are, which may be deemed promises and specific symptoms of poetic power, as distinguished from general talent determined to poetic composition by accidental motives, by an act of the will, rather than by the 20 inspiration of a genial and productive nature. In this investigation, I could not, I thought, do better, than keep before me the earliest work of the greatest genius, that perhaps human nature has yet produced, our myriad-minded * Shakespeare. I mean the "Venus and Adonis," and the 25 "Lucrece "; works which give at once strong promises of the strength, and yet obvious proofs of the immaturity, of

* Avǹp μupióvous, a phrase which I have borrowed from a Greek monk, who applies it to a Patriarch of Constantinople. I might have said, that I have reclaimed, rather than borrowed it for it seems to belong to Shakespeare," de jure singulari, et ex privilegio naturæ."