mulate a definition of poetry that shall be scientifically clear and comprehensive, and also to establish limits beyond which speculation is foreign to the design of this lecture-course.
Various poets and thinkers, each after his kind, have contributed to such a definition. I The antique or classical idea.have mentioned Aristotle. He at least applied to the subject a cool and level intellect; and his formula, to which in certain essentials all must pay respect, is an ultimate deduction from the antique. It fails of his master Plato's spirituality, but excels in precision. Aristotle regards From Aristotle to Goethe.poetry as a structure whose office is imitation through imagery, and its end delight,—the latter caused not by the imitation, but through workmanship, harmony, and rhythm. The historian shows what has happened, the poet such things as might have been, devoted to universal truth rather than to particulars. The poet—the ποιητής—is, of course, a maker, and his task is invention. Finally, he must feel strongly what he writes. Here we have the classical view. The Greeks, looking upon poetry as a fine art, had no hesitation in giving it outline and law.
Naturally an artist like Horace assented to this conception. Within his range there is no Horace, Dryden, and others.more enduring poet; yet he excludes himself from the title, and this because of the very elements which make him so modern,—his lyrical
