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work. The young, who in nothing can escape delusion, are especially subject to it in their intercourse with poetry. The cause, not so obvious as the fact is unquestionable, is the same as that from which erroneous judgments in this art, in the minds of men of all ages, chiefly proceed; but upon Youth it operates with peculiar force. The appropriate business of poetry (which, nevertheless, if genuine is as permanent as pure science) her appropriate employment, her privilege and her duty, is to treat of things not as they are, but as they appear; not as they exist in themselves, but as they seem to exist to the senses and to the passions. What a world of delusion does this acknowledged principle prepare for the inexperienced! what temptations to go astray are here held forth for those whose thoughts have been little disciplined by the understanding, and whose feelings revolt from the sway of reason!—When a juvenile Reader is in the height of his rapture with some vicious passage, should experience throw in doubts, or common-sense suggest suspicions, a lurking consciousness that the realities of the Muse are but shows, and that her liveliest excitements are raised by transient shocks of conflicting feeling and successive assemblages of contradictory thoughts—is ever at hand to justify extravagance, and to sanction absurdity. But, it may be asked, as these illusions are unavoidable, and no doubt eminently useful to the mind as a process, what good can be gained by making observations the tendency of which is to diminish the confidence of youth in its feelings, and thus to abridge its innocent and even profitable pleasures? The reproach implied in the question could not be warded off, if Youth were incapable of being delighted with what is truly excellent; or if these errors always terminated of themselves in due season. But, with the majority, though
