When we attend to the language which savages employ on any solemn occasion, it appears that man is a poet by nature. Whether at first obliged by the mere defects of his tongue, and the scantiness of proper expressions, or seduced by a pleasure of the fancy in stating the analogy of its objects, he clothes every conception in image and metaphor. "We have planted the tree of peace," says an American orator; "we have buried the axe under its roots: we will henceforth repose under its shade; we will join to brighten the chain that binds our nations together." Such are the collections of metaphor which those nations employ in their public harangues. They have likewise already adopted those lively figures, and that daring freedom of language, which the learned have afterwards found so well fitted to express the rapid transitions of the imagination, and the ardours of a passionate mind. If we are required to explain, how men could be poets, or orators, before they were aided by the learning of the scholar and the critic? we may inquire, in our turn, how bodies could fall by their weight, before the laws of gravitation were recorded in books? Mind, as well as body, has laws, which are exemplified in the course of nature, and which the critic collects only after the example has shown what they are. Occasioned, probably, by the physical connection we have mentioned, between the emotions of a heated imagination, and the impressions received from music and pathetic sounds, every tale among rude nations is repeated in verse, and is made to take the form of a song. The early history of all nations is uniform in this particular. Priests, statesmen, and philosophers, in the first ages of Greece, delivered their instructions in poetry, and mixed with the dealers in music and heroic fable. It is not so surprising, however, that poetry should be the first species of composition in every nation, as it is that a style, apparently so difficult, and so far removed from ordinary use, should be almost as universally the first to attain its maturity. The most admired of all poets lived beyond the reach of history, almost of tradition. The artless song of the savage, the heroic legend of the bard, have sometimes a magnificent beauty, which no change of language can improve, and no refinements of the critic reform. [Footnote: See Translations of Gallic Poetry, by James McPherson.]