om
each of these considerations, the following Poems have been divided
into classes; which, that the work may more obviously correspond with
the course of human life, and for the sake of exhibiting in it the
three requisites of a legitimate whole, a beginning, a middle, and an
end, have been also arranged, as far as it was possible, according to
an order of time, commencing with Childhood, and terminating with
Old Age, Death, and Immortality. My guiding wish was, that the small
pieces of which these volumes consist, thus discriminated, might be
regarded under a two-fold view; as composing an entire work within
themselves, and as adjuncts to the philosophical Poem, _The Recluse_.
This arrangement has long presented itself habitually to my own mind.
Nevertheless, I should have preferred to scatter the contents of these
volumes at random, if I had been persuaded that, by the plan adopted,
anything material would be taken from the natural effect of the
pieces, individually, on the mind of the unreflecting Reader. I trust
there is a sufficient variety in each class to prevent this; while,
for him who reads with reflection, the arrangement will serve as a
commentary unostentatiously directing his attention to my purposes,
both particular and general. But, as I wish to guard against the
possibility of misleading by this classification, it is proper first
to remind the Reader, that certain poems are placed according to
the powers of mind, in the Author's conception, predominant in the
production of them; _predominant_, which implies the exertion of other
faculties in less degree. Where there is more imagination than fancy
in a poem, it is placed under the head of imagination, and _vice
versa_. Both the above classes might without impropriety have been
enlarged from that consisting of 'Poems founded on the Affections;'
as might this latter from those, and from the class 'proceeding from
Sentiment and Reflection.' The most striking characteristics of each
piece, mutual illustration, variety, and proportion, have governed me
throughout.

None of the other Classes, except those of Fancy and Imagination,
require any particular notice. But a remark of general application may
be made. All Poets, except the dramatic, have been in the practice of
feigning that their works were composed to the music of the harp or
lyre: with what degree of affectation this has done in modern times, I
leave to the judicious to determine. For my own part,