e heart of man. If the labours of Men of science should ever create
any material revolution, direct or indirect, in our condition, and in
the impressions which we habitually receive, the Poet will sleep then
no more than at present; he will be ready to follow the steps of the
Man of science, not only in those general indirect effects, but he
will be at his side, carrying sensation into the midst of the objects
of the science itself. The remotest discoveries of the Chemist, the
Botanist, or Mineralogist, will be as proper objects of the Poet's art
as any upon which it can be employed, if the time should ever come
when these things shall be familiar to us, and the relations under
which they are contemplated by the followers of these respective
sciences shall be manifestly and palpably material to us as enjoying
and suffering beings. If the time should ever come when what is now
called science, thus familiarized to men, shall be ready to put on, as
it were, a form of flesh and blood, the Poet will lend his divine
spirit to aid the transfiguration, and will welcome the Being thus
produced, as a dear and genuine inmate of the household of man.--It is
not, then, to be supposed that any one, who holds that sublime notion
of Poetry which I have attempted to convey, will break in upon the
sanctity and truth of his pictures by transitory and accidental
ornaments, and endeavour to excite admiration of himself by arts, the
necessity of which must manifestly depend upon the assumed meanness of
his subject.

What has been thus far said applies to Poetry in general; but
especially to those parts of composition where the Poet speaks through
the mouths of his characters; and upon this point it appears to
authorize the conclusion that there are few persons of good sense, who
would not allow that the dramatic parts of composition are defective,
in proportion as they deviate from the real language of nature, and
are coloured by a diction of the Poet's own, either peculiar to him as
an individual Poet or belonging simply to Poets in general; to a body
of men who, from the circumstance of their compositions being in
metre, it is expected will employ a particular language.

It is not, then, in the dramatic parts of composition that we look
for this distinction of language; but still it may be proper and
necessary where the Poet speaks to us in his own person and character.
To this I answer by referring the Reader to the description before
g