cement which is diffused
through nature, binding all things in one, so that no part can be
contemplated that does not, of necessity, even though unconsciously to
us, act on the mind with reference to the whole,--since this, as we
find, cannot be transferred to any copy of the actual, it must needs
follow, if we would imitate Nature in its true effects, that recourse
must be had to another, though similar principle, which shall so
pervade our production as to satisfy the mind with an efficient
equivalent. Now, in order to this there are two conditions required:
first, the personal modification, (already discussed) of every
separate part,--which may be considered as its proper life; and,
secondly, the uniting of the parts by such an interdependence that
they shall appear to us as essential, one to another, and all to each.
When this is done, the result is a whole. But how do we obtain
this mutual dependence? We refer the questioner to the law of
Harmony,--that mysterious power, which is only apprehended by its
imperative effect.

But, be the above as it may, we know it to be a fact, that, whilst
nothing in Nature ever affects us as fragmentary, no unmodified copy
of her by man is ever felt by us as otherwise.

We have thus--and, we trust, on no fanciful ground--endeavoured to
establish the real and distinctive character of Art. And, if our
argument be admitted, it will be found to have brought us to the
following conclusions:--first, that the true ground of all originality
lies in the _individualizing law_, that is, in that modifying
power, which causes the difference between man and man as to their
mental impressions; secondly, that only in a _true_ reproduction
consists its evidence; thirdly, that in the involuntary response from
other minds lies the truth of the evidence; fourthly, that in order
to this response there must therefore exist some universal kindred
principle, which is essential to the human mind, though widely
differenced in the degree of its activity in different individuals;
and finally, that this principle, which we have here denominated
Human or Poetic Truth, being independent both of the will and of the
reflective faculties, is in its nature _imperative_, to affirm
or deny, in relation to every production pretending to Art, from the
simple imitation of the actual to the probable, and from the probable
to the possible;--in one word, that the several characteristics,
Originality, Poetic Truth, Inven