ies benevolence solely
in reference to the _human race_, and always to masses, not to
individuals. One who devises some plan to benefit numbers, is called
"philanthropic;" but we should not talk of "philanthropically giving a
loaf to a hungry child."'--(P. 83-85.)

As space is beginning to press, our last extract must be short: it
relates to words often enough employed indiscriminately--_imagination,
conception, fancy_. '"Imagination" and "fancy" are frequently confounded
together, but are, nevertheless, very distinct in their signification.
In the first place, "imagination" implies more of a _creative_ power
than "fancy;" it requires a greater combination of various powers, and
is therefore a higher exercise of genius. "Fancy," on the other hand, is
more an employment of ingenuity and taste, though it also requires
inventive power. Secondly, "imagination" implies a longer flight;
"fancy," rather a succession of short efforts: the one is a steady
blaze; the other, a series of sparkles. An epic poem would require an
exercise of the first; a ballad, or other lighter production, of the
last: hence, we may see that the difference between the two is, in some
measure, one of subject-matter; for the same power which we call "fancy"
when employed in a melody of Moore, would be called "imagination" in the
works of Dante or Milton. In short, the efforts of "fancy" bear the same
relation to those of "imagination" that the carving and polishing of a
gem or seal does to sculpture.

'In the third place, _wit_ may come into works of "fancy," and could not
be admitted into the province of "imagination." The same with what are
called _conceits_.

'"Conception" has something in common with imagination, but it implies
more decidedly a creative power, and is referred to something tangible
and real; whereas, in efforts of fancy and imagination, there is always
a consciousness of unreality. The province of "conception" is that which
has a real existence: hence, the productions of painters, sculptors, and
musicians, are called "conceptions." "Conception" also denotes something
framed and originated in our _own_ mind; whereas the imagination or
fancy may be acted on merely from without. The poet or writer of fiction
exercises his own conceptions, but awakens the imagination of his
readers.'

These quotations will give as general a notion of the work as can be
conveyed by a few extracts. To those among our readers who may be in
quest of su