The want of novelty in the principles of Luzan’s Art of Poetry, is compensated by the new application of those principles to Spanish literature. The arrangement of the theory, which was introduced, also belongs, at least in part, to himself; and in the developement of that theory it is easy to recognize the man of judgment, and the perfect master of his subject, though he only improved what had been previously produced. The work is divided into four parts or books. The first developes, according to the notions of the author, the origin, progress, and essence of poetry, (_el origen, progressos y essencia de la poesia_.) The second book explains the usefulness and pleasure of poetry, (_utilidad y deleyte de la poesia_.) The third book treats, at ample length, of tragedy, comedy, and other kinds of dramatic composition; and the fourth of epic poetry. These chief divisions present, indeed, only the outline of Aristotle’s Art of Poetry; and Luzan’s work, can no more than its prototype, be regarded as a complete theory of the poetic art. In this respect Luzan went no further than his predecessor, Lopez Pinciano, who had long before equally clearly perceived that the work, called Aristotle’s Art of Poetry, was, in fact, merely a fragment.[584] It is singular enough that Luzan takes no notice of Pinciano’s remarkable work; but whether he was unacquainted with it, or whether he was intentionally silent, cannot now be known. Within the boundaries of his four unsystematic divisions, Luzan pursues his own course; but the present is not the proper occasion for accompanying him step by step. As, however, the publication of Luzan’s book has been attended by important consequences, it will be proper to explain the manner in which this critic understood the principles of Aristotle, and how he applied them to Spanish literature.