ed by a poet, than by a view of nature, probably arises from the want of a lively imagination. The poet contracts the prospect, and, selecting the most picturesque part in his camera, the judgment is directed, and the whole force of the languid faculty turned towards the objects which excited the most forcible emotions in the poet's heart; the reader consequently feels the enlivened description, though he was not able to receive a first impression from the operations of his own mind.
Besides, it may be further observed, that gross minds are only to be moved by forcible representations. To rouse the thoughtless, objects must be presented, calculated to produce tumultuous emotions; the unsubstantial, picturesque forms which a contemplative man gazes on, and often follows with
