Novelty, therefore, sufficient for all the purposes of poetry, we may have on sacred subjects. Let us pass to the next objection. Poetry pleases by exhibiting an idea more grateful to the mind than things themselves afford. This effect proceeds from the display of those parts of nature which attract, and the concealment of those which repel, the imagination; but religion must be shown as it is; suppression and addition equally corrupt it; and, such as it is, it is known already. A fallacy may be apprehended in both parts of this statement. There are, surely, real landscapes which delight the mind as sincerely and intensely as the most perfect description could; and there are family groups which give a more exquisite sensation of domestic happiness than anything in Milton, or even Shakespeare. It is partly by association with these, the treasures of the memory, and not altogether by mere excitement of the imagination, that Poetry does her work. By the same rule sacred pictures and sacred songs cannot fail to gratify the mind which is at all exercised in devotion; recalling, as they will, whatever of highest perfection in that way she can remember in herself, or has learned of others. Then again, it is not the religious doctrine itself, so much as the effect of it upon the human mind and heart, which the sacred poet has to describe. What is said of suppression and addition may be true enough with regard to the former, but is evidently incorrect when applied to the latter: it being an acknowledged difficulty in all devotional writings, and not in devotional verse only, to keep clear of the extreme of languor on the one hand, and debasing rapture on the other. This requires a delicacy in the perception and enunciation of truth, of which the most earnest believer may be altogether destitute. And since, probably, no man’s condition, in regard to eternal things, is exactly like that of any other man, and yet it is the business of the sacred poet to sympathize with all, his store of subjects is clearly inexhaustible, and his powers of discrimination--in other words, of suppression and addition--are kept in continual exercise. Nor is he, by any means, so straitly limited in the other and more difficult branch of his art, the exhibition of religious doctrine itself, as is supposed in the following statement: Whatever is great, desirable, or tremendous, is comprised in the name of the Supreme Being. Omnipotence cannot be exalted; infinity cannot be amplified; perfection cannot be improved.