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, I have not been disposed to violate probability so far, or to make such a large demand upon the Reader's charity.