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Rh admission, they must come under the disguise of personification. This is the reason why poetry tries to select words that have vital qualities,—words that are not for mere information, but have become naturalized in our hearts and have not been worn out of their shapes by too constant use in the market. For instance, the English word "consciousness" has not yet outgrown the cocoon stage of its scholastic inertia, therefore it is seldom used in poetry; whereas its Indian synonym "chetana" is a vital word and is of constant poetical use. On the other hand the English word "feeling" is fluid with life, but its Bengali synonym "anuphuti" is refused in poetry, because it merely has a meaning and no flavour. And likewise there are some truths, coming from science and philosophy, which have acquired life's colour and taste, and some which have not. Until they have done this, they are, for art, like uncooked vegetables, unfit to be served at a feast. History, so long as it copies science and deals with abstractions, remains outside the domain of literature. But, as a narrative of facts, it takes its place by the side of the epic poem. For narration of historical facts imparts to the time to which they belong a taste of personality.