Young people are fond of fiction, 42. The danger hence arising, 42, 43. We would not interdict to them the reading of poetry, 44. But give them wholesome advice touching the matter, 45. Poets deal much in fiction: it belongs to the very essence of poetry, 46. This contributes greatly to the entertainment of the reader, 46. Evident absurdities must be rejected, 47. Do not receive as literal truth what the poets say of the gods or of the departed, 48. Poetry is an imitative art: the exactness of the imitation, even of a foul action, gives pleasure, 50. If odious and abominable conduct is to be represented in poetry, the expression must correspond, 51. But the poets, especially Homer, signify their disapproval of such conduct, 52, 53. They often introduce evil examples to promote moral improvement, 55. The contradictions among poets lessen the credit of what they say, and thus diminish the possible danger, 55. The poets often furnish antidotes to the poison they deal out, 57, 58. We may also quote the philosophers against the poets, 59. In using the names of the gods, the poets often mean only the powers of nature, or fortune, or some second cause, 61, 62. They often use words tropically, and then are not to be taken in the literal sense, 64, 65. Poetry requires variety, hence it never represents the same persons, not even the gods, as uniformly virtuous or prosperous, 66, 67. Therefore the young man must not approve or admire every thing which is said of the heroes of poetry, 68. Instance, Achilles and Agamemnon, 69. Several passages in Homer criticised, 69-72. Criticism on Sophocles, 72. More criticisms and explanations of the Iliad, 74-84, 89, 90. Young men may be taught good morals, and how they differ from bad, by the poets, _ib._ Boys may learn something useful even from passages wicked and absurd, 83. We may show young persons how passages in the poets, of good tendency, are confirmed by the language of philosophers, 91. Plato and the poets sometimes speak alike, 92. Thus may poetry and philosophy be reconciled, 93, 94. OF ENVY AND HATRED By Mr. P. Lancaster, of Baliol College in Oxford Envy and Hatred are alike opposed to Benevolence, 95. Yet they are distinct passions, 95. Their points of difference, 95, _et seq._ Hatred regards the hated person as evil; envy regards only the felicity of others, 95. Hatred may be directed against brutes; envy is directed only against man, 96. Brutes may hate but never envy brutes, 96. Envy is always unjust; hatred is often just, 96. Hatred increases as the object grows worse; envy rises higher as the object increases in virtue, 97. Envy often ceases when the object has risen to supreme power; hatred never ceases, 98. HOW TO KNOW A FLATTERER FROM A FRIEND By Mr. Tullie, of Queen’s College