show its legitimate consequences. It may indeed range widely over the entire domain of science and opinion, so far as they can be illustrated in the action and conversation and experience of fancied personages. 134. Variety of Style appropriate to Fiction.-All the rules applying to Representative Writing apply to this branch of literature. Indeed there is room in it for the exercise of every possible variety of style. Though the most of works of fiction are transient in their character, yet many of them secure as permanent influence, perhaps, as those of any other department of literature. In later years, both the moral and the intellectual character of fiction have greatly improved. The "Vicar of Wakefield," "Robinson Crusoe," Johnson's "Rasselas," "Gulliver's Travels," will probably be remembered and read longer than any other productions by their respective authors. "Knickerbocker's History of New York," a burlesque production, may be remembered as long as any veritable history written by Washington Irving. The fictitious writings of Dickens have called attention to the wretchedness of the poor and ignorant in his native country, and led to efforts for their relief; while the writings of Thackeray have laid bare the follies and emptiness of a merely fashionable life more effi ciently, perhaps, than either essays or sermons could have done. Cooper and Hawthorne have filled out much of what was lacking in history, to complete the picture of early American life. Fiction thus will always have a place in literature. It can not be re lied upon to elevate the tone of morals, or to enlarge the domains of exact thought. It seeks primarily to please, though secondarily it may profit. "Uncle Tom's Cabin," by Mrs. H. B. Stowe, has perhaps circulated more widely than any other book written in the first half of the nineteenth century, and contributed much to form opinion upon the nature of American slavery during the latest period of its existence. No special rules farther than have already been given are needed upon this branch of literature. CHAPTER XVII. POETRY. 135. Definition.-THE word poetry is used with so wide a latitude of meaning that few have attempted to define it accurately, and very diverse descriptions of it are given. It should be considered, first, with reference to its substance, and, second, with reference to its form. Substantially, Poetry is thought produced by an excited imagination, and designed primarily to please. This definition excludes narrative, the prime purpose of which is to relate facts; science, which explains the nature and causes of things; oratory, designed to enlighten and persuade, and all other merely didactic productions. Wit may or may not be a part of Poetry, but it has an empire of its own. Shakspeare presents a vivid idea of Poetry when he says: "The poet's eye in a fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven; And as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shape, and gives to airy nothing A local habitation and a name." Another poet (Byron) has defined his own art thus: "For what is poesy, but to create From overfeeling, good or ill; and aim MEANING OF POETRY. At an external life, beyond our fate, And be the new Prometheus of new men! Whose intellect is an o'ermastering power The form which their creations may essay, Than aught less than the Homeric page may bear; With beauty so surpassing all below, That they who kneel to idols so divine Break no commandment, for high heaven is there Of poesy, which peoples but the air With thoughts and beings of our thought reflected, 237 The object of the poet, in this sense of the word, is not to instruct, not to persuade, not simply to amuse, but to allow a man to enjoy the thoughts which well up in his own soul. 136. The more comprehensive Meaning of the term Poetry.—Though this is the prime meaning of Poetry, it is not always used in so restricted a sense, for sometimes it embraces another object besides mere gratification, and therefore we have such divisions as didactic, patriotic, and religious poetry. The poet is a maker or creator, as the word (from Touw, to make) would signify. The imagination is the creative faculty. Taking the materials already existing in the mind, and gathered by observation or its own exercise, it constructs new fabrics, mental and moral, or adorns old themes with new garments, according to its own affluence of thought. 137. Poetry may be employed to aid in other Productions.-Poetry in this, its highest meaning, may be employed as an assistant in all other kinds of composition. The philosopher may clothe and illustrate the most recondite and logical discussions with poetical imagery, as Plato, Cicero, and many since have done. The orator often, by the aid of Poetry, takes his hearers into regions never before visited, and reveals to them objects wonderful to gaze upon. Even the sober historian borrows beauty from Poetry, to enliven the dullness of the theme, and Science does not altogether disdain her aid. 138. Poetry one of the Fine Arts.-Poetry has been called one of the Fine Arts. The sisterhood consists of Painting, Sculpture, Architecture, Music, Poetry. The prime object of each of the Fine Arts is to please, to elevate the taste, to communicate a special gratification of its own. Painting and Sculpture may be used to instruct; Architecture may be used to improve buildings wholly in a utilitarian sense; but, as an art, it refers rather to rendering them pleasing to the eye and the mind; Music may be used to alleviate pain, or to inspire patriotism or religious feeling, but its prime purpose is to please. So Poetry is designed to produce its own peculiar gratification. 139. Poetry compared with Painting and Sculpture.— Poetry, in this its primitive meaning, has often been compared with Painting and Sculpture, and much dif |