As the first step to the right understanding of any discourse is a
clear apprehension of the terms used, we add, that by Originality we
mean any thing (admitted by the mind as _true_) which is peculiar
to the Author, and which distinguishes his production from that of
all others; by Human or Poetic Truth, that which may be said to exist
exclusively in and for the mind, and as contradistinguished from the
truth of things in the natural or external world; by Invention, any
unpractised mode of presenting a subject, whether by the combination
of entire objects already known, or by the union and modification
of known but fragmentary parts into new and consistent forms; and,
lastly, by Unity, such an agreement and interdependence of all the
parts, as shall constitute a whole.

It will be our attempt to show, that, by the presence or absence of
any one of these characteristics, we shall be able to affirm or deny
in respect to the pretension of any object as a work of Art; and also
that we shall find within ourselves the corresponding law, or by
whatever word we choose to designate it, by which each will be
recognized; that is, in the degree proportioned to the developement,
or active force, of the law so judging.

Supposing the reader to have gone along with us in what has been said of
the _Universal_, in our Preliminary Discourse, and as assenting to the
position, that any faculty, law, or principle, which can be shown to be
_essential_ to _any one_ mind, must necessarily be also predicated of
every other sound mind, even where the particular faculty or law is so
feebly developed as apparently to amount to its absence, in which case
it is inferred potentially,--we shall now assume, on the same grounds,
that the originating _cause_, notwithstanding its apparent absence in