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The materials of all imitation being thus laid open, nothing now remained but to illustrate some particular pleasures, which arise either from the relations of different objects one to another, or from the nature of imitation itself. Of the first kind is that various and complicated resemblance existing between several parts of the material and immaterial worlds, which is the foundation of metaphor and wit. As it seems in a great measure to depend on the early association of our ideas, and as this habit of affociating is the source of many pleasures and pains in life, and on that account bears a great share in the influence of poetry and the other arts, it is therefore mentioned here and its effects described. Then follows a general account of the production of these elegant arts, and of the fecondary pleasure, as it is called, arising from the resemblance of their imitations to the original appearances of nature. After which, the work concludes with fome reflections on the general conduct of the powers of imagination, and on their natural and moral ufefulness in life.

Concerning the manner or turn of composition which prevails in this piece, little can be said with propriety by the author. He had two models; that ancient and simple one of the first Grecian poets, as it is refined by Virgil in the Georgics, and the familiar epistolary way of Horace. This latter has several advantages. It admits of a greater variety of stile ; it more readily engages the generality of readers, as partaking more of the air of conversation ; and, especially with the

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assistance of rhyme, leads to a closer and more concise expression. Add to this the example of the most perfect of modern poets, who has so happily applied this manner to the noblest parts of philosophy, that the public taste is in a great measure formed to it alone. Yet, after all, the subject before us, tending almost constantly to admiration and enthusiasın, seemed rather to demand a more open, pathetic, and figured itile. This too appeared more natural, as the author's aim was not so much to give formal precepts, or enter into the way of direct argumentation, as, by exhia biting the most engaging prospects of nature, to enlarge and harmonize the imagination, and by that means insensibly difpofe the minds of men to a similar taste and habit of thinking in religion, morals, and civil life. It is on this account that he is so careful to point out the benevolent intention of the Author of nature in every principle of the human constitution here insisted on; and also to unite the moral excellencies of life in the same point of view with the meer external objects. of good taste; thus recommending them in common to our natural propensity for admiring what is beautiful and lovely. The same views have also led him to introduce some sentiments which may perhaps be looked upon as not quite direct to the subject; but, fince they bear an obvious relation to it, the authority of Virgil, the faultless model of didactic poetry, will best support him in this particular. For the sentiments themselves, he makes no apology.

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THE subject proposed. Difficulty of treating it poeti

cally. The ideas of the divine mind, the origin of every quality pleasing to the imagination. The natural variety of conftitution in the minds of men ; with its final cause. The idea of a fine imagination, and the state of the mind in the enjoyment of those pleasures which it affords. All the primary pleasures of the imagination result from he perception of greatness, or wonderfulness, or beauty in objects. The pleasure from greatness, with its final.cause. Pleasure from novelty or wonderfulness, with its final cause. Pleasure from beauty, with its final cause. The connexion of beauty with truth and good, applied to the conduct of life. Invitation to the study of moral philosophy. The differenť degrees of beauty in different species of objects : colour; shape; natural concretes ; vegetables; animals; the mind. The sublime, the fair, the won -derful of the mind. The connection of the imagination and the moral faculty. Conclufion.

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ITH what attractive charms this goodly frame

Of nature touches the consenting hearts
of mortal men ; and what the pleasing stores
Which beauteous imitation thence derives
To deck the poet's, or the painter's toil;

5
My verse unfolds. Attend, ye gentle powers
Of musical delight! and while I sing
Your gifts, your honours, dance around

my

strain. Thou, smiling queen

of
every

tuneful breast,
Indulgent Fancy! from the fruitful banks
Of Avon, whence thy rosy fingers cull
Fresh flowers and dews to sprinkle on the turf
Where Shakespeare lies, be present: and with thee
Let Fiction come, upon her vagrant wings
Wafting ten thousand colours through the air, 15
Which, by the glances of her magic eye,
She blends and shifts at will, through countless forms,
Her wild creation. Goddess of the lyre,
Which rules the accents of the moving sphere,
Wilt thou, eternal Harmony! descend
And join this festive train ? for with thee comes
The guide, the guardian of their lovely sports,
Majestic Truth; and where Truth deigns to come,
Her sister Liberty will not be far.
Be present all ye Genii, who conduct

25
The wandering footfteps of the youthful bard,
New to your springs and shades : who touch his car
With finer sounds : who heighten to his eye

The

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20

40

The bloom of nature, and before him turn
The gayeft, happiest attitude of things.

30
Oft have the laws of each poetic strain
The critic-verfe employ'd; yet ftill unsung
Lay this prime subject, though importing most
A Poet's name: for fruitless is the attempt,
By dull obedience and by creeping toil

35 Obscure to conquer

the severe afcent
Of high Parnassus. Nature's kindling breath
Must fire the chosen genius; nature's hand
Muit string his nerves, and imp his eagle-wings
Impatient of the painful steep, to foar
High as the summit; there to breathe at large
Ætherial air ; with bards and fages old,
Immortal fons of praise. These flattering scenes,
To this neglected labour court my fong;
Yet not unconícious what a doubtful talk

45
To paint the finest features of the mind,
And to most subtle and mysterious things
Give colour, itrength, and motion. But the love
Of Nature and the Muses bids explore,
Through secret paths erewhile untrod by man, 50
The fair poetic region, to detect
Untafted springs, to drink inspiring draughts,
And shade my temples with unfading flowers
Cullid from the laureate vale's profound recess,
Where never poet gain'd a wreath before,

55
From heaven iny strains begin; from heaven descends
The flame of genius to the human breast,
And love and beauty, and poetic joy

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