Faith was given to man that his affections, detached from the treasures of time, might be inclined to settle upon those of eternity:—­the elevation of his nature, which this habit produces on earth, being to him a presumptive evidence of a future state of existence; and giving him a title to partake of its holiness.  The religious man values what he sees chiefly as an ‘imperfect shadowing forth’ of what he is incapable of seeing.  The concerns of religion refer to indefinite objects, and are too weighty for the mind to support them without relieving itself by resting a great part of the burthen upon words and symbols.  The commerce between Man and his Maker cannot be carried on but by a process where much is represented in little, and the Infinite Being accommodates himself to a finite capacity.  In all this may be perceived the affinity between religion and poetry; between religion—­making up the deficiencies of reason by faith; and poetry—­passionate for the instruction of reason; between religion—­whose element is infinitude, and whose ultimate trust is the supreme of things, submitting herself to circumscription, and reconciled to substitutions; and poetry—­ethereal and transcendent, yet incapable to sustain her existence without sensuous incarnation.  In this community of nature may be perceived also the lurking incitements of kindred error;—­so that we shall find that no poetry has been more subject to distortion, than that species, the argument and scope of which is religious; and no lovers of the art have gone farther astray than the pious and the devout.

Whither then shall we turn for that union of qualifications which must necessarily exist before the decisions of a critic can be of absolute value?  For a mind at once poetical and philosophical; for a critic whose affections are as free and kindly as the spirit of society, and whose understanding is severe as that of dispassionate government?  Where are we to look for that initiatory composure of mind which no selfishness can disturb?  For a natural sensibility that has been tutored into correctness without losing anything of its quickness; and for active faculties, capable of answering the demands which an Author of original imagination shall make upon them, associated with a judgment that cannot be duped into admiration by aught that is unworthy of it?—­among those and those only, who, never having suffered their youthful love of poetry to remit much of its force, have applied to the consideration of the laws of this art the best power of their understandings.  At the same time it must be observed—­that, as this Class comprehends the only judgments which are trustworthy, so does it include the most erroneous and perverse.  For to be mistaught is worse than to be untaught; and no perverseness equals that which is supported by system, no errors are so difficult to root out as those which the understanding has pledged its credit to uphold.  In this Class are contained censors,