perfection of the imitation: in the one instance, we are voluntary agents in the production of the effect; in the other, the impressions we receive are involuntary.
What has been remarked by Condillac, in his work "Sur l'Origine des Connoissances Humaines," may be applied, with great propriety, to poetical compositions—"that long periods should be avoided, because they fatigue; digressions, because they divert the mind from the subject; too frequent divisions, because they embarrass; and repetitions, because they tire." If these particulars are not attended to, the simplicity and unity of the subject are destroyed; two properties which are as necessary as imagination to the beauty of the piece.
The point from whence the landscape has been contemplated, is the terrace and gardens at Chamber; a spot sufficiently retired, and delightfully situated, whilst it is elevated enough, to command a noble and extensive view of the country. It is not upon this prospect, we can digress on the ruined abbey, or the mouldering castle: the country is nearly barren of antiquities, the whole being a structure of yesterday, and arising out
