If those ancient poets in whom this mythology remains, are to be received sometimes as delivering known and accepted names as beings, sometimes as supplying from their momentary inventions unreceived names, then this view of the case also affords proof of the same disposition we have spoken of. It shows the disposition of men to believe in powers the immediate causes of impressive effects; and the Poet must be conceived as suggesting and delivering the shape and name of Powers which it is already believed must be, though themselves are not known—not as inventing them deliberately and ornamentally, nor as declaring them from an assured and assumed knowledge. This disposition to produce shapes of powers which in early ages is attended with positive belief, afterwards remains in imagination—art, though not extinct in the work of our mind for dealing in realities. Do we, sir, ever divest ourselves of a belief in Death, Chance, Fate, Time? But a strong belief overrules with us all such illusions of fancy, withdrawing all power to the great source of power. Therefore, such a disposition, though it continues, is in real thought much oppressed and stifled, and shows itself almost accidentally, as it were, rather than in any constant opinion, for in deliberate opinion it cannot hold. But in Poetry, even in Eloquence, it remains. There we allow ourselves in illusion; and the mind leaps up with a sort of rejoicing, to recover its old liberty of deceiving itself with splendid fictions. SEWARD. Which is again an instance of the two different forms in which Imagination is seen in the earlier and later age—in the first, realised in belief—in the last, having its domain in the avowedly ideal world of Poetry. NORTH.