reason, that only so can the will which rises with its emotion ever be satisfied. This principle given, strongest in strongest passion, but accompanying all emotion, is the root of Impersonation. All intellectual analogies, all coincidences of reality with the demands of emotion, will quicken and facilitate this act of the mind; but neither analogies nor coincidences, nor any other inclining reasons, are requisite. The emotion will reconcile and assimilate any object to itself, if it is reduced to them. Here then is a principle sufficient to animate all nature, all being, and to any extent or height. This seems to be the foundation of Impersonation—that it is the nature of man to fill all things with himself. It is plainly a radix for all poetical Impersonation. He makes and reads everywhere reflection of mind; he does this without passion, that is, not without feeling—for in all ordinary thought there is feeling—but without transported passion. His strong passions in their transport show us in plainer evidence how he involves all things with himself, and subjects all things to himself; and his gentler feelings do the same. He is almost the cause of a world of mind revolving round and upon himself—he makes himself such a centre; this is the constant temper and the habitual mode of conceiving and hearing of all minds. TALBOYS. We seem, sir, to be talking of Imagination? NORTH. If the act of imagination is the perception of the sublime—of the beautiful, of the wonderful—then pleasure is an element of the product;—for without pleasure, the Sublime, the Beautiful, the poetically wild or solemn, does not exist. All other ingredients, if pleasure be absent, leave the compound imperfect—the thing undone. Therefore Addison says boldly, the pleasure of Imagination, whom Akenside follows. But further, Talboys—I believe that in Imagination poetical, there is always—or almost always—Illusion. I cannot get it out of my head as a main element. In its splendour, this is past doubt—in Impersonation—Apostrophe to the dead, or absent, or unborn—Belief is in the power of your curses—seeing the past or future as present; and in the whole fiction of Epos or Drama, the semi-belief in the life and reality of the feigned personages. TALBOYS. A certain degree of passion, sir, appears to be requisite for supporting Illusion. We well know that in all the history of Passion, to produce illusion is the common operation. Why not in Imagination? NORTH.