DEFINITIONS.

THOUGH I have too much respect for my readers to think any definitions of common expressions necessary, yet I have been induced to premise some, to obviate, as far as possible, the cavils and quibbles that would confound words when they cannot answer arguments.

“What is sublime and beautiful in nature."

Those objects in the visible world, which we immediately refer to the ALMIGHTY Maker, and which give an idea of his power; as the sea, &c.

Objects in themselves magnificent or beautiful, as the sun,--the lights of evening or morning,--the rainbow,—&c. &c.

66

Images.” The representation of these objects in the colours of poetry. These, indeed, may be represented by a wretched artist; but if I speak of a picturesque

spot, I do not think of a picture or representation of it by a dauber, but consider it as it would appear from the pencil of a GAINSBOROUGH.

“Poetical."

sop hot

That which has the same reference to poetry, as that which is called picturesque has to painting.

That which is adapted to the higher kinds of poetry, as human passions, emotions, sympathies; all that elevates and ennobles the sentiments; all that affects the heart, or enchants the fancy; as Othello, Macbeth, King Lear, Tempest, Mid. summer Night's Dream.

The subjects of the different kinds of poetry, as of epic, dramatic,—of the ode, the elegy, or of descriptive,--didactic, or satirical poems. That subject the highest, as Milton's Paradise Lost, which unfolds the greatest and most awful events ; sets before us the most powerful agents ; which is most stupendous in the conception, and arduous in management, as a poem.

یہ کیسا

“ Execution."

The successful management through all its parts, to the utmost finish, of that, whatsoever it be, which is the subject of poetry, whether the subject relate to imagination, passions of nature, or manners of life.

“ Works of Art.” Those visible objects, which we do not refer immediately to the Great Maker of all things, but which are secondary, as invented or fashioned by man, from the lowest mechanical arts to the highest imitation of the great prototypes from the hand of the ALMIGHTY, in painting, statuary, &c. For though it may be true, strictly speaking, that every thing may be called nature, as even a house for instance, because the lime, the stones, and the hands that put them together, are from nature ; yet, in common parlance, the difference is sufficiently obvious,

By manners, I mean those modes of life which are more adapted to satire, wit, and comedy ; which leave the more impassioned province of the Muse, to

circolare

“ Shoot folly as it flies,
“ And catch the Cynthia of the minute."

Poetry.”
Not merely metre or measure,

I need not adduce the disjecti membra poetæ of HORACE; but I certainly do not mean any where by poetry, PROSE, such as certain criticisms and metaphysical quibbles, which these definitions alone will go a great way to nullify.

Prefatory Address to the Reuder.

In this third edition of the Letters to Lord Byron I have thought it right to include the original Letter to Mr. CampbELL, to which so many allusions have been made in the course of this discussion, and also the answer to the Quarterly Review, that the reader may see, placed together, and in one view, the whole of what has been advanced on this subject of poetical criticism, and be better enabled to judge of the whole question ; which, rejecting extraneous and some personal matter, I have confined, as far as possible, to fair argumentation.

I need not, perhaps, say, that the question arose respecting the highest rank to be assigned to POPE among the greatest poets.

If my positions were true, that images drawn from the sublime and beautiful in nature were more poetical, that is, (to avoid cavil,) more-adapted to