ular impulses of pleasurable surprise
from the metrical arrangement.--On the other hand (what it must be
allowed will much more frequently happen) if the Poet's words should
be incommensurate with the passion, and inadequate to raise the Reader
to a height of desirable excitement, then (unless the Poet's choice of
his metre has been grossly injudicious), in the feelings of pleasure
which the Reader has been accustomed to connect with metre in general,
and in the feeling, whether cheerful or melancholy, which he has been
accustomed to connect with that particular movement of metre, there
will be found something which will greatly contribute to impart
passion to the words, and to effect the complex end which the Poet
proposes to himself.

If I had undertaken a SYSTEMATIC defence of the theory here
maintained, it would have been my duty to develop the various causes
upon which the pleasure received from metrical language depends. Among
the chief of these causes is to be reckoned a principle which must be
well known to those who have made any of the Arts the object of
accurate reflection; namely, the pleasure which the mind derives from
the perception of similitude in dissimilitude. This principle is the
great spring of the activity of our minds, and their chief feeder.
From this principle the direction of the sexual appetite, and all the
passions connected with it, take their origin: it is the life of our
ordinary conversation; and upon the accuracy with which similitude in
dissimilitude, and dissimilitude in similitude are perceived, depend
our taste and our moral feelings. It would not be a useless employment
to apply this principle to the consideration of metre, and to show
that metre is hence enabled to afford much pleasure, and to point out
in what manner that pleasure is produced. But my limits will not
permit me to enter upon this subject, and I must content myself with a
general summary.

I have said that poetry is the spontaneous overflow of powerful
feelings: it takes its origin from emotion recollected in
tranquillity: the emotion is contemplated till, by a species of
reaction, the tranquillity gradually disappears, and an emotion,
kindred to that which was before the subject of contemplation, is
gradually produced, and does itself actually exist in the mind. In
this mood successful composition generally begins, and in a mood
similar to this it is carried on; but the emotion, of whatever kind,
and in whatever