In work which is not composed, there may be many beautiful things, but they do not help each other. They at the best only stand beside, and more usually compete with and destroy, each other. They may be connected artificially in many ways, but the test of there being no invention is, that if one of them be taken away, the others are no worse than before. But in true composition, if one be taken away, all the rest are helpless and valueless. Generally, in falsely composed work, if anything be taken away, the rest will look better; because the attention is less distracted. Hence the pleasure of inferior artists in sketching, and their inability to finish; all that they add destroys. § 11. Also in true composition, everything not only helps everything else a _little_, but helps with its utmost power. Every atom is in full energy; and _all_ that energy is kind. Not a line, nor spark of color, but is doing its very best, and that best is aid. The extent to which this law is carried in truly right and noble work is wholly inconceivable to the ordinary observer, and no true account of it would be believed. § 12. True composition being entirely easy to the man who can compose, he is seldom proud of it, though he clearly recognizes it. Also, true composition is inexplicable. No one can explain how the notes of a Mozart melody, or the folds of a piece of Titian's drapery, produce their essential effect on each other. If you do not feel it, no one can by reasoning make you feel it. And, the highest composition is so subtle, that it is apt to become unpopular, and sometimes seem insipid. § 13. The reader may be surprised at my giving so high a place to invention. But if he ever come to know true invention from false, he will find that it is not only the highest quality of art, but is simply the most wonderful act or power of humanity. It is pre-eminently the deed of human creation; [Greek: poiêsis], otherwise, poetry. If the reader will look back to my definition of poetry, he will find it is "the suggestion, by the imagination, of noble grounds for the noble emotions" (Vol. III. p. 10), amplified below (§ 14) into "assembling by help of the imagination;" that is to say, imagination associative, described at length in Vol. II., in the chapter just referred to. The mystery of the power is sufficiently set forth in that place. Of its dignity I have a word or two to say here. § 14. Men in their several professed employments, looked at broadly, may be properly arranged under five classes:-- 1. Persons who see. These in modern language are sometimes called sight-seers, that being an occupation coming more and more into vogue every day. Anciently they used to be called, simply, seers. 2. Persons who talk. These, in modern language, are usually called talkers, or speakers, as in the House of Commons, and elsewhere. They used to be called prophets.