remained but to illustrate some particular pleasures which arise
either from the relations of different objects one to another, or
from the nature of imitation itself. Of the first kind is that
various and complicated resemblance existing between several parts
of the material and immaterial worlds, which is the foundation of
metaphor and wit. As it seems in a great measure to depend on the
early association of our ideas, and as this habit of associating is
the source of many pleasures and pains in life, and on that account
bears a great share in the influence of poetry and the other arts,
it is therefore mentioned here, and its effects described. Then
follows a general account of the production of these elegant arts,
and of the secondary pleasure, as it is called, arising from the
resemblance of their imitations to the original appearances of nature.
After which, the work concludes with some reflections on the general
conduct of the powers of imagination, and on their natural and moral
usefulness in life.

Concerning the manner or turn of composition which prevails in this
piece, little can be said with propriety by the author. He had two
models; that ancient and simple one of the first Grecian poets, as
it is refined by Virgil in the Georgics, and the familiar epistolary
way of Horace. This latter has several advantages. It admits of a
greater variety of style; it more readily engages the generality of
readers, as partaking more of the air of conversation; and,
especially with the assistance of rhyme, leads to a closer and more
concise expression. Add to this the example of the most perfect of
modern poets, who has so happily applied this manner to the noblest
parts of philosophy, that the public taste is in a great measure
formed to it alone. Yet, after all, the subject before us, tending
almost constantly to admiration and enthusiasm, seemed rather to