But these circumstances of classical regularity are of little consideration
in estimating the real merit of any work of this nature. Its merit must
depend on the importance of the action, the disposition of the parts, the
invention and application of incidents, the propriety of the illustrations,
the liveliness and chastity of the images, the suitable intervention of
machinery, the moral tendency of the manners, the strength and sublimity of
the sentiments; the whole being clothed in language whose energy, harmony
and elegance shall constitute a style every where suited to the matter they
have to treat. It is impossible for me to determine how far I may have
succeeded in any of these particulars. This must be decided by others, the
result of whose decision I shall never know. But there is one point of view
in which I wish the reader to place the character of my work, before he
pronounces on its merit: I mean its political tendency. There are two
distinct objects to be kept in view in the conduct of a narrative poem; the
_poetical_ object and the _moral_ object. The poetical is the
fictitious design of the action; the moral is the real design of the poem.

In the Iliad of Homer the poetical object is to kindle, nourish, sustain
and allay the anger of Achilles. This end is constantly kept in view; and
the action proper to attain it is conducted with wonderful judgment thro a
long series of incidents, which elevate the mind of the reader, and excite
not only a veneration for the creative powers of the poet, but an ardent
emulation of his heroes, a desire to imitate and rival some of the great
actors in the splendid scene; perhaps to endeavor to carry into real life
the fictions with which we are so much enchanted.

Such a high degree of interest excited by the first object above mentioned,
the fictitious design of the action, would make it extremely important that
the second object, the real design of the poem, should be beneficial to