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to the power of Love—its intimate connexion with generous and social Sensibility—allusion to that beautiful passage in the beginning of the book of Genesis, which represents the happiness of Paradise itself incomplete, till love was superadded to its other blessings—the dreams of future felicity which a lively imagination is apt to cherish, when Hope is animated by refined attachment—this disposition to combine, in one imaginary scene of residence, all that is pleasing in our estimate of happiness, compared to the skill of the great artist who personified perfect beauty, in the picture of Venus, by an assemblage of the most beautiful features he could find—a summer and winter evening described, as they may be supposed to arise in the mind of one who wishes, with enthusiasm, for the union of friendship and retirement.

Hope and Imagination inseparable agents—even in those contemplative moments when our imagination wanders beyond the boundaries of this world, our minds are not unattended with an impression that we shall some day have a wider and more distinct prospect of the universe, instead of the partial glimpse we now enjoy.

The last and most sublime influence of Hope is the concluding topic of the poem—the predominance of a belief in a future state over the terrors attendant on dissolution—the baneful influence of that sceptical philosophy which bars us from such comforts—allusion to the fate of a suicide—episode of Conrad and Ellenore—conclusion.