tion of nature; that the lamp is for use, and the rose for ornament; that the lamp flames diffuses light and heat, and that the rose delights us by its beauty and its fragrance. The different properties of these objects, though they were first perceived by the senses of sight and smell, are comprehended by the mind. This consciousness of the presence of the lamp and the rose, given to the mind by sight and smell, is called a perception. We receive from the presence of these objects a certain feeling that they indeed exist, and are before us. This exhibition to our minds of the lamp and the rose we call a demonstration, or certainty. We understand that the lamp and the rose are not alike—we then distinguish or compare them, and comprehend the different qualities of the two things. When we reflect, as we must, upon the different properties of these objects, we exert the power of comparing things, which is judgment. But suppose we did not see either of these objects, and, should read the following passages of poetry: And, "How far the little candle throws its beams!" Shakspeare. "I will show you what is beautiful: it is a rose fully blown. See how she sits upon her mossy stem, like the queen of all the flowers. Her leaves glow like fire, and the air is filled with her sweet odour."—Barbauld. In reading the former passage, we should immediately remember, that in some dark night, while we were yet far from a house we clearly perceived the light of a candle, and we knew the light to have proceeded from that candle to our eyes. We first knew this by a perception of the light, and we comprehend that the light was a candle flame, and not another thing, by our judgment. When we read of the extended reach of the candle beams, we know that the fact mentioned is true, because it has been demonstrated to us at a former time. The present certainty of formerly acquired knowledge is the memory of that knowledge. As we know how far the little candle throws its beams, so we also know that the properties of the rose are well described. With our eyes shut, and far from the candle or the rose, we comprehend the properties of both objects—we perceive them with the "mind's eye," as Shakspeare says. This mind's eye is the imagination. Before the imagination can be employed upon absent objects, that is, before we can think about, or reflect upon absent objects, we must exert the powers of Perception, Judgment and Memory. It is, then, by an effort of memory and of imagination that we form an idea of absent objects; and by imagination we comprehend what is written in books, or represented in pictures which exhibit beautiful images. The imagination of an ignorant person is not powerful—he thinks almost always of objects before his eyes, but the imagination of a fine poet is a noble faculty. The poet, or the artist, comprehends and feels more than other men, and he makes others feel, in some measure, as he feels. The imagination of him who writes a fine poem, or a tale, produces invention, or the combination and composition of something new. The imagination of a well instructed person, who perhaps can invent nothing, produces taste. Taste is the power of taking pleasure in something beautiful and elegant that may be presented to us. The same taste, or enjoyment of the beautiful, must exist in the mind of the writer of a poem or tale, or in the mind of an artist, as in that of a person who delights in reading a poem, or beholding a good picture. The sympathy of taste makes the poet write—he expects to be admired, and the same sympathy makes other persons admire and enjoy the works of genius. All that is written in books is literature. Literature is written language it is divided into prose and poetry. Quadrupeds have four feet, is a prose sentence. "Full many a flower is born to blush unseen, is poetry. Poetry is generally written in verse. Verse is a certain measure or quantity of sound, expressed in words, at regular times, during the whole of a poem. This measure, or metre, consists of a certain number of syllables in the printed lines of a poem. "Heroic metre, which is the most usual kind, consists of lines of ten syllables. Pope's and Milton's works are chiefly written in this metre; but Pope wrote in rhyme, and Milton principally in blank verse: "Soft as the wily fox is seen to creep, Where bask on sunny banks the simple sheep."-Pope. Each of these lines consist of ten syllables; and the last words of each of them, 'creep' and' sheep,' rhyme to each other, that is, they resemble each other in sound. "Ye mists and exhalations that now rise From hill or steaming lake, dusky or gray, Till the sun paints your fleecy skirts with gold."—Milton. Each of these lines also consist of ten syllables; but though they are not in rhyme we easily distinguish them from prose. The difference consists in the choice of words, and in their arrangement, as may be perceived by reading the same words in an order different from that in which they are at present placed. All verses are not written in lines of ten syllables; some are written in eight, and some few in twelve; indeed we meet with lines in poetry of every number of syllables from three to four teen. In poetry words are not used literally, as for the most part, in prose. Snow is white, expresses what is literally true.—The words, snow is white, exactly express what we know to be true; but, the golden sun diffuses his beams over the face of nature, is an expression altogether figurative. We understand not that the sun is gold, but that his yellow lustre resembles the appearance of gold. These words only signify that the sun shines upon the surface of the earth, and the objects which are upon the earth. Truth describes something which really exists, as God made the world. Fiction describes something which might exist, or has been supposed to exist, yet is not now really in existence. One of Gay's Fables begins, "Remote from cities lived a swain," and proceeds to relate the conversation of a shepherd and a philosopher. There have been many shepherds and philosophers; but probably none in particular even met, and held the conversation which Gay describes, yet a shepherd and philosopher might talk together in that manner. Gay's Shepherd and Philosopher is a Fable or Fiction. It is proper to distinguish between fiction and a lie. A fiction is an avowed invention; a Lie is a false declaration intended to deceive. English poetry includes the inventions of English poets, and their translations from other languages; from Greek and Latin, and from the modern languages of Europe, besides a few from the oriental, or Asiatic languages. Our poetry, (for whatever is written in the English language properly belongs to the Americans who speak it,) is divided into many kinds: the Sacred, Classical, Romantic, Dramatic, &c. Sacred Poetry relates to serious subjects; to the scriptures, and to the praise of God. Milton's Paradise Lost, and Watts's Hymns, are sacred poetry, and so are many parts of the Old Testament. Classical poetry is that which has been translated from Greek and Latin. Pope's translation of Homer's Iliad, and Dryden's translation of Virgil, are classical Poetry. Romantic Poetry, or metrical romance, relates a tale in verse: as the Lady of the Lake, by Sir Walter Scott. Dramatic poetry is composed of poems in Dialogue, or discourse of persons which relates a story: Shakspeare's Lear and the tragedy of Douglas, are of this class. In order to understand the greater part of poetry it is necessary to know something of Mythology and Classical Fable. A young reader may get this information from the Classical Dictionary, a book in very common use. Poetry which relates to fictions taken from the north of Europe alludes often to Scandinavian Mythology, or to the superstitions of the more northern nations of Europe. The writers of Romantic poetry often supply notes to their works, which make their text very clear. The Epic poem relates a long history of some great event. It has what is called the beginning, middle, and end of the action. The beginning is the cause of what follows; the middle relates the progress or carrying-on of the action; the end is its catastrophe, or finishing. Homer's Iliad is an Epic poem—the story related in it is a war between the Princes of Greece and those of Troy. The cause of the war was the elopement of Helen, a Grecian princess, with a young Trojan. The war itself consisted of a series of engagements, or battles, between the Greeks and Trojans, which are described by Homer in many successive books of the Iliad; and the catastrophe, or end of the poem, is the death of Hector, the Trojan prince who alone could defend Troy. The destruction of that city by the Greeks must be supposed immediately to follow. It is a The Ode was perhaps originally designed to be sung. poem usually addressed to some real or ideal personage, or it celebrates some distinguished individual. Gray's Ode to Spring is addressed to the season of Spring, upon the supposition that she is a female, endowed with the capacity of knowing what is addressed to her, and of answering the prayer of the poet. Dryden's Alexander's Feast is an ode which celebrates the music of the ancients, but it was first written to be recited or sung on St. Cecilia's Day. The Elegy is a melancholy poem written upon some subject which of itself excites the feeling of sadness. The most popular and most beautiful elegy in our language is Gray's, upon a country churchyard. The Ballad is a narrative song. Ballads are usually composed among a rude people in the early ages of society, and after society becomes more highly civilized, some writers imitate the old ballads; but in highly polished communities ballads are too simple to please as new and original,- to be interesting, they must, refer to the manners of a past age. The Children in the Wood is a pretty ballad, and well known. The Eclogue is a narrative, or descriptive poem, meant to exhibit the particular manners of some few individuals in a country. The Eclogue is often a conversation. One of Collins' Eclogues, Hassan the Camel Driver, will be found in this collection. Satire, in its best character, is a moral lecture in verse—a censure upon something which is respected without deserving to be so—of some person who is generally approved, or of some prevailing conduct which is allowed without much blame. Satire endeavours to make its subject, whatever it is, contemptible. Satire is sometimes wholesome correction of what is wrong, and sometimes it is mean malignity; the spirit which a writer of talents expresses against some person whom he unworthily hates. Juvenal's Satires from the Latin are translated into the English—they describe the corrupt manners of the people in Rome during the reigns of the emperors, Nero, Domitian, and Trajan. In English poetry Pope's and Young's Satires are of this description-they attack follies and persons ridiculous in their time. Satire is like a caricature; it diverts when first known, but unless it is very just and happy it soon ceases to give pleasure. The fol The Epitaph is designed for a memorial of the dead, and is generally a few verses inscribed upon a tombstone. lowing has been much admired. 66 ON THE COUNTESS OF PEMBROKE. "Underneath this marble hearse Time shall throw a dart at thee."—Ben Johnson. This epitaph expresses very high praise. Before another so exalted by all merit as this lady was, should die, Death himself would cease to number his victims, for she surpassed all who should live after her. But this is hyperbole, or exaggeration. These lines are pretty, and epigrammatic, that is, the words have a variety of meaning, unexpectedly and happily presented to the mind of the reader; but they are wanting in simplicity. Simplicity is a single purpose. The epitaph not only praises Lady Pembroke, it intimates the dignity of her brother, Sir Philip Sidney, and of her son, the earl of Pembroke, and it disparages the |