would lead us into many useless subtilties； we shall
consider some of the effects of this connection upon the
passions and imagination； where we may open up a field of
speculation more entertaining； and perhaps more instructive；
than the other。
As man is a reasonable being and is continually in
pursuit of happiness； which he hopes to find in the
gratification of some passion or affection； he seldom acts
or speaks or things without a purpose and intention。 He has
still some object in vies； and however improper the means
may sometimes be which he chooses for the attainment of his
end； he never loses view of an end； nor will he so much as
throw away his thoughts or reflections where he hopes not to
reap any satisfaction from them。
In all compositions of genius； therefore； it is requisite that the
writer have some plan or object； and though he may be hurried
from this plan by the vehemence of thought； as in an ode；
or drop it carelessly； as in an epistle or essay； there must
appear some aim or intention in his first setting out； if not in the
composition of the whole work。 A production without a design
would resemble more the ravings of a madman than the sober
efforts of genius and learning。
As this rule admits of no exception； it follows that in
narrative compositions the events or actions which the
writer relates must be connected together by some bond or
tie： They must be related to each other in the imagination；
and form a kind of which may bring them under one
plan or view； and which may be the object or end of the
writer in his first undertaking。
This connecting principle among the several events
which form the subject of a poem or history may be very
different according to the different designs of the poet or
historian。 O/VID has formed his plan upon the connecting
principles of resemblance。 Every fabulous transformation
produced by the miraculous power of the gods falls within
the compass of his work。 There needs but this one
circumstance； in any event； to bring it under his original
plan or intention。
An annalist or historian who should undertake to write
the history or Europe during any century would be influenced
by the connection of contiguity in time or place。 All events
which happen in that portion of space and period of time are
comprehended in his design； though in other respects
different and unconnected。 They have still a species of
unity amidst all their diversity。
But the most usual species of connections among the
different events which enter into any narrative composition
is that of cause and effect； while the historian traces the
series of actions according to their natural order； remounts
to their secret springs and principles； and delineates their
most remote consequences。 He chooses for his subject a
certain portion of that great chain of events which compose
the history of mankind： Each link in this chain he
endeavours to touch in his narration； sometimes unavoidable
ignorance renders all his attempts fruitless； sometimes he
supplies by conjecture what is wanting in knowledge； and
always he is sensible that the more unbroken the chain is
which he presents to his readers； the more perfect is his
production。 He sees that the knowledge of causes is not only
the most satisfactory； this relation or connection being the
strongest of all others； but also the most instructive；
since it is by this knowledge alone we are enabled to
control events and govern futurity。
Here； therefore； we may attain some notion of that
of about which all critics after Aristotle
have talked so much； perhaps to little purpose； which they
directed not their taste or sentiment by the accuracy of
philosophy。 It appears that in all productions； as well as
in the epic and tragic； there is a certain unity required；
and that on no occasion our thoughts can be allowed to run
at adventures if we would produce a work that will give any
lasting entertainment to mankind。 It appears； also； that
even a biographer who should write the life of Achilles
would connect the events by showing their mutual dependence
and relation； as much as a poet who should make the anger of
that hero the subject of his narration。＇10＇ Not only in any
limited portion of life a man's actions have a dependence on
each other； but also curing the whole period of his duration
from the cradle to the grave； nor is it possible to strike
off one link； however minute； in this regular chain without
affecting the whole series of events which follow。 The unity
of action； therefore； which is to be found in biography or
history differs from that of epic poetry； not in kind； but
in degree。 In epic poetry； the connection among the events
is more close and sensible； the narration is not carried on
through such a length of time； and the actors hasten to some
remarkable period which satisfies the curiosity of the
reader。 this conduct of the epic poet depends on that
particular situation of the imagination and of the passions
which is supposed in that production。 The imagination both
of writer and reader is more enlivened； and the passions
more inflamed than in history； biography； or any species of
narration that confine themselves to strict truth and
reality。 Let us consider the effect of these two
circumstances of an enlivened imagination and inflamed
passions which belong to poetry； especially the epic kind；
above any other species of composition； and let us see for
what reason they require a stricter and closer unity in the
fable。
； all poetry； being a species of painting；
approaches us nearer to the objects than any other species
of narration； throws a stronger light upon them； and
delineates more distinctly those minute circumstances which；
though to the historian they seem superfluous； serve
mightily to enliven the imagery and gratify the fancy。 If it
be not necessary； as in the ； to inform us each time
the hero buckles his shoes and ties his garters； it will be
requisite； perhaps； to enter into a greater detail than in
the ； where the events are run over with such
rapidity that we scarce have leisure to become acquainted
with the scene or action。 Were a poet； therefore； to
comprehend in his subject any great compass of time or
series of events； and trace up the death of Hector to its
remote causes in the rape of Helen or the judgment of Paris；
he must draw out his poem to an immeasurable length in order
to fill this large canvass with just painting and imagery。
The reader's imagination； inflamed with such a series of
poetical descriptions； and his passions； agitated by a
continual sympathy with the actors； must flag long before
the period of narration and must sink into lassitude and
disgust from the repeated violence of the same movements。
； that an epic poet must not trace the causes
to any great distance will further appear if we consider
another reason； which is drawn from a property of the
passions still more remarkable and singular。 It is evident
that in a just composition all the affections excited by the
different events described and represented add mutual force
to each other； and that； while the heroes are all engaged in
one common scene； and each action is strongly connected with
the whole； the concern is continually awake； and the
passions make an easy transition from one object to another。
The strong connection of the events； as it facilitates the
passage of the thought or imagination from one to another；
facilitates also the transfusion of the passions and
preserves the affection still in the same channel and
direction。 Our sympathy and concern for Eve prepares the way
for a like sympathy with Adam： The affection is preserved
almost entire in the transition； and the mind seizes
immediately the new object as strongly related to that which
formerly engaged its attention。 But were the poet to make a
total digression from his subject and introduce a new actor
no way connected with the personages； the imagination；
feeling a breach in the transition； would enter coldly into
the new scene； would kindle by slow degrees； and in
returning to the main subject of the poem would pass； as it
were； upon foreign ground and have its concern to excite
anew in order to take party with the principal actors。 The
same inconvenience follows in a lesser degree where the poet
traces his events to too great a distance and binds together
actions which； though not altogether disjoined； have not so
strong a connection as is requisite to forward the
transition of the passions。 Hence arises the artifice of
oblique narration employed in the and
where the hero is introduced； at first； near the period of
his designs； and afterwards shows us； as it were in
perspective； the more distant events and causes。 By this
means； the reader's curiosity is immediately excited； the
events follow with rapidity； and in a very close connection；
and the concern preserved alive； and continually increases
by means of the near relation of the objects； from the
beginning to the end of the narration。
The same rule takes place i