If you shall be able to think this excursive disquisition justifiable, it will be because it insensibly leads us to perceive what truly is the legitimate and sole end of the Poetical Art, and because it thus clears the way for one or two elementary propositions regarding the functions of the Poetical Faculty. [Sidenote: 1. not to represent Beauty to the eye, but only to the mind.] First, we perceive that poetry does not aim at the representation of visual beauty. I do not say that beauty may not form the subject of poetry: my meaning is, that the poet can depict it poetically in no way except by indicating its effects on the mind. When poetry mistakingly attempts to represent beauty by its external form, its failure to affect the mind is signal and complete, and must be [88:1]so, even supposing it to be possible that the picture should be so full and accurate that the painter might sketch from it. The reason of this is perhaps discoverable. [Sidenote: Contrast of the effects of Beauty and Expression, of Fine Art and Poetry, on the mind.] Such a description cannot affect the mind with the poetical sentiment, because it does not represent to the imagination those qualities by which it is that the poetical effect is produced; and if it were to move the mind at all, it must be with those feelings which beauty excites when it is seen corporeally present. It fails to operate even this effect, and why? Beauty of form affects the mind through the intervention of sense; and the perception of the sensible qualities of form is followed instantaneously and necessarily by the pleasurable emotion. [Sidenote: Beauty gives pleasure, rest, absorption.] This mental process is involuntary, and the nature of the sentiment excited implies inactivity and absorption of the mind. [Sidenote: Poetry stirs the Imagination, the Will, disturbs the passiveness that Beauty produces.] When however the imagination is called on to combine into a connected whole the scattered features which words successively present, an effort of the will is necessary: and the failure in the pleasurable effect appears to be adequately accounted for (independently of any imperfection in the result of the combination) by the inconsistency of this degree of mental activity with the inert frame of mind which is requisite for the actual contemplation and enjoyment of the beautiful. [Sidenote: It can't produce an image by sight, but only by association.] When, again, the poet represents beauty in the method chalked out for him by the nature of his art, it is quite impossible that he can convey any distinct visual image; for he represents the poetical qualities by indicating them as the causes which produce some particular temper or frame of mind: and as every mind has its distinctive differences of association, a truly poetical picture is not realised by any two minds with precisely similar features. [Sidenote: Its effect is opposite to that of Beauty of