nsations, and with
the causes which excite these; with the operations of the elements, and
the appearances of the visible universe; with storm and sunshine, with
the revolutions of the seasons, with cold and heat, with loss of friends
and kindred, with injuries and resentments, gratitude and hope, with
fear and sorrow. These, and the like, are the sensations and objects
which the Poet describes, as they are the sensations of other men, and
the objects which interest them. The Poet thinks and feels in the spirit
of human passions. How, then, can his language differ in any material
degree from that of all other men who feel vividly and see clearly? It
might be _proved_ that it is impossible. But supposing that this were
not the case, the Poet might then be allowed to use a peculiar language
when expressing his feelings for his own gratification, or that of men
like himself. But Poets do not write for Poets alone, but for men.
Unless therefore we are advocates for that admiration which subsists
upon ignorance, and that pleasure which arises from hearing what we do
not understand, the Poet must descend from this supposed height; and, in
order to excite rational sympathy, he must express himself as other men
express themselves. To this it may be added, that while he is only
selecting from the real language of men, or, which amounts to the same
thing, composing accurately in the spirit of such selection, he is
treading upon safe ground, and we know what we are to expect from him.
Our feelings are the same with respect to metre; for, as it may be
proper to remind the Reader, the distinction of metre is regular and
uniform, and not, like that which is produced by what is usually called
POETIC DICTION, arbitrary, and subject to infinite caprices, upon which
no calculation whatever can be made. In the one case, the Reader is
utterly at the mercy of the Poet, respecting what imagery or diction he
may choose to connect with the passion; whereas, in the other, the metre
obeys certain laws, to which the Poet and Reader both willingly submit
because they are certain, and because no interference is made by them
with the passion but such as the concurring testimony of ages has shown
to heighten and improve the pleasure which co-exists with it.

It will now be proper to answer an obvious question, namely, Why,
professing these opinions, have I written in verse? To this, in addition
to such answer as is included in what has been already sa