great harm is done, because there is not much to do: but when chicane and want of principle are let loose upon the world, ‘with famine, sword, and fire at their heels, leashed in like hounds,’ when they have their prey marked out for them by the passions, when they are backed by force—when the pen of the Editor of _The Times_ is seconded by eleven hundred thousand bayonets—then such men are very mischievous. ‘My soul, turn from them: turn we to survey’ where poetry, joined hand in hand with liberty, renews the golden age in 1793, during the reign of Robespierre, which was hardly thought a blot in their escutcheon, by those who said and said truly, for what we know, that he destroyed the lives of hundreds, to save the lives of thousands: (Mark; then, as now, ‘Carnage was the daughter of Humanity.’ It is true, these men have changed sides, but not parted with their principles, that is, with their presumption and egotism)—let us turn where Pantisocracy’s equal hills and vales arise in visionary pomp, where Peace and Truth have kissed each other ‘in Philarmonia’s undivided dale’; and let us see whether the fictions and the forms of poetry give any better assurance of political consistency than the fictions and forms of law. The spirit of poetry is in itself favourable to humanity and liberty: but, we suspect, not in times like these—not in the present reign. The spirit of poetry is not the spirit of mortification or of martyrdom. Poetry dwells in a perpetual Utopia of its own, and is, for that reason, very ill calculated to make a Paradise upon earth, by encountering the shocks and disappointments of the world. Poetry, like the law, is a fiction; only a more agreeable one. It does not create difficulties where they do not exist; but contrives to get rid of them, whether they exist or not. It is not entangled in cobwebs of its own making, but soars above all obstacles. It cannot be ‘constrained by mastery.’ It has the range of the universe; it traverses the empyreum, and looks down on nature from a higher sphere. When it lights upon the earth, it loses some of its dignity and its use. Its strength is in its wings; its element the air. Standing on its feet, jostling with the crowd, it is liable to be overthrown, trampled on, and defaced; for its wings are of a dazzling brightness, ‘heaven’s own tinct,’ and the least soil upon them shews to disadvantage. Sunk, degraded as we have seen it, we shall not insult over it, but leave it to time to take out the stains, seeing it is a thing immortal as itself. ‘Being so majestical, we should do it wrong to offer it but the shew of violence.’ But the best things, in their abuse, often become the worst; and so it is with poetry when it is diverted from its proper end. Poets live in an ideal world, where they make every thing out according to their wishes and fancies. They either find things delightful, or make them so. They feign the beautiful and