Chapter 6

ARGUMENT.

Pleasure in observing the tempers and manners of men, even where vicious or absurd. The origin of Vice, from false representations of the fancy, producing false opinions concerning good and evil. Inquiry into ridicule. The general sources of ridicule in the minds and characters of men, enumerated. Final cause of the sense of ridicule. The resemblance of certain aspects of inanimate things to the sensations and properties of the mind. The operations of the mind in the production of the works of Imagination, described. The secondary pleasure from Imitation. The benevolent order of the world illustrated in the arbitrary connexion of these pleasures with the objects which excite them. The nature and conduct of taste. Concluding with an account of the natural and moral advantages resulting from a sensible and well formed imagination.

What wonder therefore, since the endearing ties Of passion link the universal kind Of man so close, what wonder if to search This common nature through the various change Of sex, and age, and fortune, and the frame Of each peculiar, draw the busy mind With unresisted charms? The spacious west, And all the teeming regions of the south, Hold not a quarry, to the curious flight Of Knowledge, half so tempting or so fair, 10 As man to man. Nor only where the smiles Of Love invite; nor only where the applause Of cordial Honour turns the attentive eye On Virtue's graceful deeds. For, since the course Of things external acts in different ways On human apprehensions, as the hand Of Nature temper'd to a different frame Peculiar minds; so haply where the powers Of Fancy [Endnote X] neither lessen nor enlarge The images of things, but paint in all 20 Their genuine hues, the features which they wore In Nature; there Opinion will be true, And Action right. For Action treads the path In which Opinion says he follows good, Or flies from evil; and Opinion gives Report of good or evil, as the scene Was drawn by Fancy, lovely or deform'd: Thus her report can never there be true Where Fancy cheats the intellectual eye, With glaring colours and distorted lines. 30 Is there a man, who, at the sound of death, Sees ghastly shapes of terror conjured up, And black before him; nought but death-bed groans And fearful prayers, and plunging from the brink Of light and being, down the gloomy air, An unknown depth? Alas! in such a mind, If no bright forms of excellence attend The image of his country; nor the pomp Of sacred senates, nor the guardian voice Of Justice on her throne, nor aught that wakes 40 The conscious bosom with a patriot's flame; Will not Opinion tell him, that to die, Or stand the hazard, is a greater ill Than to betray his country? And in act Will he not choose to be a wretch and live? Here vice begins then. From the enchanting cup Which Fancy holds to all, the unwary thirst Of youth oft swallows a Circaean draught, That sheds a baleful tincture o'er the eye Of Reason, till no longer he discerns, 50 And only guides to err. Then revel forth A furious band that spurn him from the throne, And all is uproar. Thus Ambition grasps The empire of the soul; thus pale Revenge Unsheaths her murderous dagger; and the hands Of Lust and Rapine, with unholy arts, Watch to o'erturn the barrier of the laws That keeps them from their prey; thus all the plagues The wicked bear, or o'er the trembling scone The tragic Muse discloses, under shapes 60 Of honour, safety, pleasure, ease, or pomp, Stole first into the mind. Yet not by all Those lying forms, which Fancy in the brain Engenders, are the kindling passions driven To guilty deeds; nor Reason bound in chains, That Vice alone may lord it: oft adorn'd With solemn pageants, Folly mounts the throne, And plays her idiot antics, like a queen. A thousand garbs she wears; a thousand ways She wheels her giddy empire.--Lo! thus far 70 With bold adventure, to the Mantuan lyre I sing of Nature's charms, and touch well pleased A stricter note: now haply must my song Unbend her serious measure, and reveal In lighter strains, how Folly's awkward arts [Endnote Y] Excite impetuous Laughter's gay rebuke; The sportive province of the comic Muse.

See! in what crowds the uncouth forms advance: Each would outstrip the other, each prevent Our careful search, and offer to your gaze, 80 Unask'd, his motley features. Wait awhile, My curious friends! and let us first arrange In proper order your promiscuous throng.

Behold the foremost band; [Endnote Z] of slender thought, And easy faith; whom flattering Fancy soothes With lying spectres, in themselves to view Illustrious forms of excellence and good, That scorn the mansion. With exulting hearts They spread their spurious treasures to the sun, And bid the world admire! But chief the glance 90 Of wishful Envy draws their joy-bright eyes, And lifts with self-applause each lordly brow. In number boundless as the blooms of Spring, Behold their glaring idols, empty shades By Fancy gilded o'er, and then set up For adoration. Some in Learning's garb, With formal band, and sable-cinctured gown, And rags of mouldy volumes. Some elate With martial splendour, steely pikes and swords Of costly frame, and gay Phoenician robes 100 Inwrought with flowery gold, assume the port Of stately Valour: listening by his side There stands a female form; to her, with looks Of earnest import, pregnant with amaze, He talks of deadly deeds, of breaches, storms, And sulphurous mines, and ambush: then at once Breaks off, and smiles to see her look so pale, And asks some wondering question of her fears. Others of graver mien; behold, adorn'd With holy ensigns, how sublime they move, 110 And bending oft their sanctimonious eyes Take homage of the simple-minded throng; Ambassadors of Heaven! Nor much unlike Is he, whose visage in the lazy mist That mantles every feature, hides a brood Of politic conceits, of whispers, nods, And hints deep omen'd with unwieldy schemes, And dark portents of state. Ten thousand more, Prodigious habits and tumultuous tongues, Pour dauntless in and swell the boastful band. 120

Then comes the second order; [Endnote AA] all who seek The debt of praise, where watchful Unbelief Darts through the thin pretence her squinting eye On some retired appearance which belies The boasted virtue, or annuls the applause That Justice else would pay. Here side by side I see two leaders of the solemn train Approaching: one a female old and gray, With eyes demure, and wrinkle-furrow'd brow, Pale as the cheeks of death; yet still she stuns 130 The sickening audience with a nauseous tale, How many youths her myrtle chains have worn, How many virgins at her triumphs pined! Yet how resolved she guards her cautious heart; Such is her terror at the risks of love, And man's seducing tongue! The other seems A bearded sage, ungentle in his mien, And sordid all his habit; peevish Want Grins at his heels, while down the gazing throng He stalks, resounding in magnific praise 140 The vanity of riches, the contempt Of pomp and power. Be prudent in your zeal, Ye grave associates! let the silent grace Of her who blushes at the fond regard Her charms inspire, more eloquent unfold The praise of spotless honour: let the man, Whose eye regards not his illustrious pomp And ample store, but as indulgent streams To cheer the barren soil and spread the fruits Of joy, let him by juster measures fix 150 The price of riches and the end of power.

Another tribe succeeds; [Endnote BB] deluded long By Fancy's dazzling optics, these behold The images of some peculiar things With brighter hues resplendent, and portray'd With features nobler far than e'er adorn'd Their genuine objects. Hence the fever'd heart Pants with delirious hope for tinsel charms; Hence oft obtrusive on the eye of scorn, Untimely zeal her witless pride betrays! 160 And serious manhood from the towering aim Of wisdom, stoops to emulate the boast Of childish toil. Behold yon mystic form Bedeck'd with feathers, insects, weeds, and shells! Not with intenser view the Samian sage Bent his fix'd eye on heaven's intenser fires, When first the order of that radiant scene Swell'd his exulting thought, than this surveys A muckworm's entrails, or a spider's fang. Next him a youth, with flowers and myrtles crown'd, 170 Attends that virgin form, and blushing kneels, With fondest gesture and a suppliant's tongue, To win her coy regard: adieu, for him, The dull engagements of the bustling world! Adieu the sick impertinence of praise! And hope, and action! for with her alone, By streams and shades, to steal these sighing hours, Is all he asks, and all that fate can give! Thee too, facetious Momion, wandering here, Thee, dreaded censor, oft have I beheld 180 Bewilder'd unawares: alas! too long Flush'd with thy comic triumphs and the spoils Of sly derision! till on every side Hurling thy random bolts, offended Truth Assign'd thee here thy station with the slaves Of Folly. Thy once formidable name Shall grace her humble records, and be heard In scoffs and mockery bandied from the lips Of all the vengeful brotherhood around, So oft the patient victims of thy scorn. 190

But now, ye gay! [Endnote CC] to whom indulgent fate, Of all the Muse's empire hath assign'd The fields of folly, hither each advance Your sickles; here the teeming soil affords Its richest growth. A favourite brood appears, In whom the demon, with a mother's joy, Views all her charms reflected, all her cares At full repaid. Ye most illustrious band! Who, scorning Reason's tame, pedantic rules, And Order's vulgar bondage, never meant 200 For souls sublime as yours, with generous zeal Pay Vice the reverence Virtue long usurp'd, And yield Deformity the fond applause Which Beauty wont to claim, forgive my song, That for the blushing diffidence of youth, It shuns the unequal province of your praise.

Thus far triumphant [Endnote DD] in the pleasing guile Of bland Imagination, Folly's train Have dared our search: but now a dastard kind Advance reluctant, and with faltering feet 210 Shrink from the gazer's eye: enfeebled hearts Whom Fancy chills with visionary fears, Or bends to servile tameness with conceits Of shame, of evil, or of base defect, Fantastic and delusive. Here the slave Who droops abash'd when sullen Pomp surveys His humbler habit; here the trembling wretch Unnerved and struck with Terror's icy bolts, Spent in weak wailings, drown'd in shameful tears, At every dream of danger: here, subdued 220 By frontless laughter and the hardy scorn Of old, unfeeling vice, the abject soul, Who, blushing, half resigns the candid praise Of Temperance and Honour; half disowns A freeman's hatred of tyrannic pride; And hears with sickly smiles the venal mouth With foulest licence mock the patriot's name.

Last of the motley bands [Endnote EE] on whom the power Of gay Derision bends her hostile aim, Is that where shameful Ignorance presides. 230 Beneath her sordid banners, lo! they march Like blind and lame. Whate'er their doubtful hands Attempt, Confusion straight appears behind, And troubles all the work. Through many a maze, Perplex'd they struggle, changing every path, O'erturning every purpose; then at last Sit down dismay'd, and leave the entangled scene For Scorn to sport with. Such then is the abode Of Folly in the mind; and such the shapes In which she governs her obsequious train. 240

Through every scene of ridicule in things To lead the tenor of my devious lay; Through every swift occasion, which the hand Of Laughter points at, when the mirthful sting Distends her sallying nerves and chokes her tongue; What were it but to count each crystal drop Which Morning's dewy fingers on the blooms Of May distil? Suffice it to have said, [Endnote FF] Where'er the power of Ridicule displays Her quaint-eyed visage, some incongruous form, 250 Some stubborn dissonance of things combined, Strikes on the quick observer: whether Pomp, Or Praise, or Beauty, mix their partial claim Where sordid fashions, where ignoble deeds, Where foul Deformity are wont to dwell; Or whether these with violation loathed, Invade resplendent Pomp's imperious mien, The charms of Beauty, or the boast of Praise.

Ask we for what fair end, [Endnote GG] the Almighty Sire In mortal bosoms wakes this gay contempt, 260 These grateful stings of laughter, from disgust Educing pleasure? Wherefore, but to aid The tardy steps of Reason, and at once By this prompt impulse urge us to depress The giddy aims of Folly? Though the light Of Truth slow dawning on the inquiring mind, At length unfolds, through many a subtile tie, How these uncouth disorders end at last In public evil! yet benignant Heaven, Conscious how dim the dawn of truth appears 270 To thousands; conscious what a scanty pause From labours and from care, the wider lot Of humble life affords for studious thought To scan the maze of Nature; therefore stamp'd The glaring scenes with characters of scorn, As broad, as obvious, to the passing clown, As to the letter'd sage's curious eye.

Such are the various aspects of the mind-- Some heavenly genius, whose unclouded thoughts Attain that secret harmony which blends 280 The etherial spirit with its mould of clay, Oh! teach me to reveal the grateful charm That searchless Nature o'er the sense of man Diffuses, to behold, in lifeless things, The inexpressive semblance [Endnote HH] of himself, Of thought and passion. Mark the sable woods That shade sublime yon mountain's nodding brow: With what religious awe the solemn scene Commands your steps! as if the reverend form Of Minos or of Numa should forsake 290 The Elysian seats, and down the embowering glade Move to your pausing eye! Behold the expanse Of yon gay landscape, where the silver clouds Flit o'er the heavens before the sprightly breeze: Now their gray cincture skirts the doubtful sun; Now streams of splendour, through their opening veil Effulgent, sweep from off the gilded lawn The aerial shadows, on the curling brook, And on the shady margin's quivering leaves With quickest lustre glancing; while you view 300 The prospect, say, within your cheerful breast Plays not the lively sense of winning mirth With clouds and sunshine chequer'd, while the round Of social converse, to the inspiring tongue Of some gay nymph amid her subject train, Moves all obsequious? Whence is this effect, This kindred power of such discordant things? Or flows their semblance from that mystic tone To which the new-born mind's harmonious powers At first were strung? Or rather from the links 310 Which artful custom twines around her frame?

For when the different images of things, By chance combined, have struck the attentive soul With deeper impulse, or, connected long, Have drawn her frequent eye; howe'er distinct The external scenes, yet oft the ideas gain From that conjunction an eternal tie, And sympathy unbroken. Let the mind Recall one partner of the various league, Immediate, lo! the firm confederates rise, 320 And each his former station straight resumes: One movement governs the consenting throng, And all at once with rosy pleasure shine, Or all are sadden'd with the glooms of care. 'Twas thus, if ancient fame the truth unfold, Two faithful needles, [Endnote II] from the informing touch Of the same parent stone, together drew Its mystic virtue, and at first conspired With fatal impulse quivering to the pole: Then, though disjoin'd by kingdoms, though the main 330 Roll'd its broad surge betwixt, and different stars Beheld their wakeful motions, yet preserved The former friendship, and remember'd still The alliance of their birth: whate'er the line Which one possess'd, nor pause, nor quiet knew The sure associate, ere with trembling speed He found its path and fix'd unerring there. Such is the secret union, when we feel A song, a flower, a name, at once restore Those long-connected scenes where first they moved 340 The attention, backward through her mazy walks Guiding the wanton fancy to her scope, To temples, courts, or fields, with all the band Of painted forms, of passions and designs Attendant; whence, if pleasing in itself, The prospect from that sweet accession gains Redoubled influence o'er the listening mind.

By these mysterious ties, [Endnote JJ] the busy power Of Memory her ideal train preserves Entire; or when they would elude her watch, 350 Reclaims their fleeting footsteps from the waste Of dark oblivion; thus collecting all The various forms of being to present, Before the curious aim of mimic art, Their largest choice; like Spring's unfolded blooms Exhaling sweetness, that the skilful bee May taste at will, from their selected spoils To work her dulcet food. For not the expanse Of living lakes in Summer's noontide calm, Reflects the bordering shade, and sun-bright heavens, 360 With fairer semblance; not the sculptured gold More faithful keeps the graver's lively trace, Than he whose birth the sister powers of Art Propitious view'd, and from his genial star Shed influence to the seeds of fancy kind, Than his attemper'd bosom must preserve The seal of Nature. There alone unchanged, Her form remains. The balmy walks of May There breathe perennial sweets; the trembling chord Resounds for ever in the abstracted ear, 370 Melodious; and the virgin's radiant eye, Superior to disease, to grief, and time, Shines with unbating lustre. Thus at length Endow'd with all that nature can bestow, The child of Fancy oft in silence bends O'er these mix'd treasures of his pregnant breast With conscious pride. From them he oft resolves To frame he knows not what excelling things, And win he knows not what sublime reward Of praise and wonder. By degrees, the mind 380 Feels her young nerves dilate: the plastic powers Labour for action: blind emotions heave His bosom; and with loveliest frenzy caught, From earth to heaven he rolls his daring eye, From heaven to earth. Anon ten thousand shapes, Like spectres trooping to the wizard's call, Flit swift before him. From the womb of earth, From ocean's bed they come: the eternal heavens Disclose their splendours, and the dark abyss Pours out her births unknown. With fixed gaze 390 He marks the rising phantoms. Now compares Their different forms; now blends them, now divides, Enlarges and extenuates by turns; Opposes, ranges in fantastic bands, And infinitely varies. Hither now, Now thither fluctuates his inconstant aim, With endless choice perplex'd. At length his plan Begins to open. Lucid order dawns; And as from Chaos old the jarring seeds Of Nature at the voice divine repair'd 400 Each to its place, till rosy earth unveil'd Her fragrant bosom, and the joyful sun Sprung up the blue serene; by swift degrees Thus disentangled, his entire design Emerges. Colours mingle, features join, And lines converge: the fainter parts retire; The fairer eminent in light advance; And every image on its neighbour smiles. Awhile he stands, and with a father's joy Contemplates. Then with Promethean art, 410 Into its proper vehicle [Endnote KK] he breathes The fair conception; which, embodied thus, And permanent, becomes to eyes or ears An object ascertain'd: while thus inform'd, The various organs of his mimic skill, The consonance of sounds, the featured rock, The shadowy picture and impassion'd verse, Beyond their proper powers attract the soul By that expressive semblance, while in sight Of Nature's great original we scan 420 The lively child of Art; while line by line, And feature after feature we refer To that sublime exemplar whence it stole Those animating charms. Thus Beauty's palm Betwixt them wavering hangs: applauding Love Doubts where to choose; and mortal man aspires To tempt creative praise. As when a cloud Of gathering hail, with limpid crusts of ice Enclosed and obvious to the beaming sun, Collects his large effulgence; straight the heavens 430 With equal flames present on either hand The radiant visage; Persia stands at gaze, Appall'd; and on the brink of Ganges doubts The snowy-vested seer, in Mithra's name, To which the fragrance of the south shall burn, To which his warbled orisons ascend.

Such various bliss the well-tuned heart enjoys, Favour'd of Heaven! while, plunged in sordid cares, The unfeeling vulgar mocks the boon divine; And harsh Austerity, from whose rebuke 440 Young Love and smiling Wonder shrink away Abash'd and chill of heart, with sager frowns Condemns the fair enchantment. On my strain, Perhaps even now, some cold, fastidious judge Casts a disdainful eye; and calls my toil, And calls the love and beauty which I sing, The dream of folly. Thou, grave censor! say, Is Beauty then a dream, because the glooms Of dulness hang too heavy on thy sense, To let her shine upon thee? So the man 450 Whose eye ne'er open'd on the light of heaven, Might smile with scorn while raptured vision tells Of the gay-colour'd radiance flushing bright O'er all creation. From the wise be far Such gross unhallow'd pride; nor needs my song Descend so low; but rather now unfold, If human thought could reach, or words unfold, By what mysterious fabric of the mind, The deep-felt joys and harmony of sound Result from airy motion; and from shape 460 The lovely phantoms of sublime and fair. By what fine ties hath God connected things When present in the mind, which in themselves Have no connexion? Sure the rising sun O'er the cerulean convex of the sea, With equal brightness and with equal warmth Might roll his fiery orb, nor yet the soul Thus feel her frame expanded, and her powers Exulting in the splendour she beholds, Like a young conqueror moving through the pomp 470 Of some triumphal day. When join'd at eve, Soft murmuring streams and gales of gentlest breath Melodious Philomela's wakeful strain Attemper, could not man's discerning ear Through all its tones the sympathy pursue, Nor yet this breath divine of nameless joy Steal through his veins and fan the awaken'd heart, Mild as the breeze, yet rapturous as the song?

But were not Nature still endow'd at large With all that life requires, though unadorn'd 480 With such enchantment? Wherefore then her form So exquisitely fair? her breath perfumed With such ethereal sweetness? whence her voice Inform'd at will to raise or to depress The impassion'd soul? and whence the robes of light Which thus invest her with more lovely pomp Than Fancy can describe? Whence but from Thee, O source divine of ever-flowing love! And Thy unmeasured goodness? Not content With every food of life to nourish man, 490 By kind illusions of the wondering sense Thou mak'st all Nature beauty to his eye, Or music to his ear; well pleased he scans The goodly prospect, and with inward smiles Treads the gay verdure of the painted plain, Beholds the azure canopy of heaven, And living lamps that over-arch his head With more than regal splendour; bends his ears To the full choir of water, air, and earth; Nor heeds the pleasing error of his thought, 500 Nor doubts the painted green or azure arch, Nor questions more the music's mingling sounds, Than space, or motion, or eternal time; So sweet he feels their influence to attract The fixed soul, to brighten the dull glooms Of care, and make the destined road of life Delightful to his feet. So fables tell, The adventurous hero, bound on hard exploits, Beholds with glad surprise, by secret spells Of some kind sage, the patron of his toils, 510 A visionary paradise disclosed Amid the dubious wild; with streams, and shades, And airy songs, the enchanted landscape smiles, Cheers his long labours and renews his frame.

What then is taste, but these internal powers Active, and strong, and feelingly alive To each fine impulse,--a discerning sense Of decent and sublime, with quick disgust From things deform'd, or disarranged, or gross In species? This, nor gems, nor stores of gold, 520 Nor purple state, nor culture can bestow; But God alone, when first His active hand Imprints the secret bias of the soul. He, mighty Parent! wise and just in all, Free as the vital breeze or light of heaven, Reveals the charms of Nature. Ask the swain Who journeys homeward from a summer day's Long labour, why, forgetful of his toils And due repose, he loiters to behold The sunshine gleaming as through amber clouds, 530 O'er all the western sky; full soon, I ween, His rude expression and untutor'd airs, Beyond the power of language, will unfold The form of beauty, smiling at his heart, How lovely! how commanding! But though Heaven In every breast hath sown these early seeds Of love and admiration, yet in vain, Without fair culture's kind parental aid, Without enlivening suns, and genial showers, And shelter from the blast, in vain we hope 540 The tender plant should rear its blooming head, Or yield the harvest promised in its spring. Nor yet will every soul with equal stores Repay the tiller's labour, or attend His will, obsequious, whether to produce The olive or the laurel. Different minds Incline to different objects; one pursues The vast alone, [Endnote LL] the wonderful, the wild; Another sighs for harmony, and grace, And gentlest beauty. Hence, when lightning fires 550 The arch of heaven, and thunders rock the ground, When furious whirlwinds rend the howling air, And ocean, groaning from his lowest bed, Heaves his tempestuous billows to the sky; Amid the mighty uproar, while below The nations tremble, Shakspeare looks abroad Prom some high cliff, superior, and enjoys The elemental war. But Waller longs, [Endnote MM] All on the margin of some flowery stream To spread his careless limbs amid the cool 560 Of plantane shades, and to the listening deer The tale of slighted vows and love's disdain Resound soft-warbling all the livelong day; Consenting Zephyr sighs; the weeping rill Joins in his plaint, melodious; mute the groves; And hill and dale with all their echoes mourn. Such and so various are the tastes of men.

Oh! bless'd of Heaven, whom not the languid songs Of Luxury, the siren! not the bribes Of sordid Wealth, nor all the gaudy spoils 570 Of pageant Honour, can seduce to leave Those ever-blooming sweets, which from the store Of Nature fair Imagination culls To charm the enliven'd soul! What though not all Of mortal offspring can attain the heights Of envied life; though only few possess Patrician treasures or imperial state; Yet Nature's care, to all her children just, With richer treasures and an ampler state, Endows at large whatever happy man 580 Will deign to use them. His the city's pomp, The rural honours his. Whate'er adorns The princely dome, the column, and the arch, The breathing marbles and the sculptured gold, Beyond the proud possessor's narrow claim, His tuneful breast enjoys. For him, the Spring Distils her dews, and from the silken gem Its lucid leaves unfolds; for him, the hand Of Autumn tinges every fertile branch With blooming gold and blushes like the morn. 590 Each passing Hour sheds tribute from her wings; And still new beauties meet his lonely walk, And loves unfelt attract him. Not a breeze [Endnote NN] Flies o'er the meadow, not a cloud imbibes The setting sun's effulgence, not a strain From all the tenants of the warbling shade Ascends, but whence his bosom can partake Fresh pleasure, unreproved. Nor thence partakes Fresh pleasure only; for the attentive mind, By this harmonious action on her powers 600 Becomes herself harmonious; wont so oft In outward things to meditate the charm Of sacred order, soon she seeks at home To find a kindred order, to exert Within herself this elegance of love, This fair-inspired delight; her temper'd powers Refine at length, and every passion wears A chaster, milder, more attractive mien. But if to ampler prospects, if to gaze On Nature's form, where, negligent of all 610 These lesser graces, she assumes the port Of that Eternal Majesty that weigh'd The world's foundations, if to these the mind Exalts her daring eye, then mightier far Will be the change, and nobler. Would the forms Of servile custom cramp her generous powers? Would sordid policies, the barbarous growth Of ignorance and rapine, bow her down To tame pursuits, to indolence and fear? Lo! she appeals to Nature, to the winds 620 And rolling waves, the sun's unwearied course, The elements and seasons; all declare For what the Eternal Maker has ordain'd The powers of man; we feel within ourselves His energy divine; he tells the heart, He meant, he made us to behold and love What he beholds and loves, the general orb Of life and being; to be great like him, Beneficent and active. Thus the men Whom Nature's works can charm, with God himself 630 Hold converse; grow familiar, day by day, With his conceptions, act upon his plan; And form to his, the relish of their souls.

_NOTES_

* * * * *

BOOK FIRST.

ENDNOTE A.

_'Say why was man'_, etc.--P.8.

In apologising for the frequent negligences of the sublimest authors of Greece, 'Those godlike geniuses,' says Longinus, 'were well assured, that Nature had not intended man for a low-spirited or ignoble being: but bringing us into life and the midst of this wide universe, as before a multitude assembled at some heroic solemnity, that we might be spectators of all her magnificence, and candidates high in emulation for the prize of glory; she has therefore implanted in our souls an inextinguishable love of everything great and exalted, of everything which appears divine beyond our comprehension. Whence it comes to pass, that even the whole world is not an object sufficient for the depth and rapidity of human imagination, which often sallies forth beyond the limits of all that surrounds us. Let any man cast his eye through the whole circle of our existence, and consider how especially it abounds in excellent and grand objects, he will soon acknowledge for what enjoyments and pursuits we were destined. Thus by the very propensity of nature we are led to admire, not little springs or shallow rivulets, however clear and delicious, but the Nile, the Rhine, the Danube, and, much more than all, the Ocean,' etc. --_Dionys. Longin. de Sublim_. ss. xxiv.

ENDNOTE B.

_'The empyreal waste'_.--P. 9.

'Ne se peut-il point qu'il y a un grand espace au-dela de la region des etoiles? Que ce soit le ciel empyree, ou non, toujours cet espace immense qui environne toute cette region, pourra etre rempli de bonheur et de gloire. Il pourra etre concu comme l'ocean, ou se rendent les fleuves de toutes les creatures bienheureuses, quand elles seront venues a leur perfection dans le systeme des etoiles.' --_Leibnitz dans la Theodicee_, part i. par. 19.

ENDNOTE C.

_'Whose unfading light'_, etc.--P. 9.

It was a notion of the great Mr. Huygens, that there may be fixed stars at such a distance from our solar system, as that their light should not have had time to reach us, even from the creation of the world to this day.

ENDNOTE D.

_'The neglect Of all familiar prospects'_, etc.--P. 10.

It is here said, that in consequence of the love of novelty, objects which at first were highly delightful to the mind, lose that effect by repeated attention to them. But the instance of habit is opposed to this observation; for there, objects at first distasteful are in time rendered entirely agreeable by repeated attention.

The difficulty in this case will be removed if we consider, that, when objects at first agreeable, lose that influence by frequently recurring, the mind is wholly passive, and the perception involuntary; but habit, on the other hand, generally supposes choice and activity accompanying it: so that the pleasure arises here not from the object, but from the mind's conscious determination of its own activity; and consequently increases in proportion to the frequency of that determination.

It will still be urged perhaps, that a familiarity with disagreeable objects renders them at length acceptable, even when there is no room for the mind to resolve or act at all. In this case, the appearance must be accounted for one of these ways.

The pleasure from habit may be merely negative. The object at first gave uneasiness: this uneasiness gradually wears off as the object grows familiar: and the mind, finding it at last entirely removed, reckons its situation really pleasurable, compared with what it had experienced before.

The dislike conceived of the object at first, might be owing to prejudice or want of attention. Consequently the mind being necessitated to review it often, may at length perceive its own mistake, and be reconciled to what it had looked on with aversion. In which case, a sort of instinctive justice naturally leads it to make amends for the injury, by running toward the other extreme of fondness and attachment.

Or lastly, though the object itself should always continue disagreeable, yet circumstances of pleasure or good fortune may occur along with it. Thus an association may arise in the mind, and the object never be remembered without those pleasing circumstances attending it; by which means the disagreeable impression which it at first occasioned will in time be quite obliterated.

ENDNOTE E.

_'This desire Of objects new and strange'_.--P. 10.

These two ideas are oft confounded; though it is evident the mere novelty of an object makes it agreeable, even where the mind is not affected with the least degree of wonder: whereas wonder indeed always implies novelty, being never excited by common or well-known appearances. But the pleasure in both cases is explicable from the same final cause, the acquisition of knowledge and enlargement of our views of nature: on this account it is natural to treat of them together.

ENDNOTE F.

_'Truth and Good are one, And Beauty dwells in them'_, etc.--P. 14.

'Do you imagine,' says Socrates to Aristippus, 'that what is good is not beautiful? Have you not observed that these appearances always coincide? Virtue, for instance, in the same respect as to which we call it good, is ever acknowledged to be beautiful also. In the characters of men we always [1] join the two denominations together. The beauty of human bodies corresponds, in like manner, with that economy of parts which constitutes them good; and in every circumstance of life, the same object is constantly accounted both beautiful and good, inasmuch as it answers the purposes for which it was designed.' --_Xenophont. Memorab. Socrat_. 1.iii.c.8.

This excellent observation has been illustrated and extended by the noble restorer of ancient philosophy. (See the _Characteristics_, vol. ii., pp. 339 and 422, and vol. iii., p. 181.) And another ingenious author has particularly shewn, that it holds in the general laws of nature, in the works of art, and the conduct of the sciences (_Inquiry into the Original of our Ideas of Beauty and Virtue_, treat, i. Section 8). As to the connexion between beauty and truth, there are two opinions concerning it. Some philosophers assert an independent and invariable law in nature, in consequence of which all rational beings must alike perceive beauty in some certain proportions, and deformity in the contrary. And this necessity being supposed the same with that which commands the assent or dissent of the understanding, it follows, of course, that beauty is founded on the universal and unchangeable law of truth.

But others there are who believe beauty to be merely a relative and arbitrary thing; that, indeed, it was a benevolent provision in nature to annex so delightful a sensation to those objects which are best and most perfect in themselves, that so we might be engaged to the choice of them at once, and without staying to infer their usefulness from their structure and effects; but that it is not impossible, in a physical sense, that two beings, of equal capacities for truth, should perceive, one of them beauty, and the other deformity, in the same proportions. And upon this supposition, by that truth which is always connected with beauty, nothing more can be meant than the conformity of any object to those proportions upon which, after careful examination, the beauty of that species is found to depend. Polycletus, for instance, a famous ancient sculptor, from an accurate mensuration of the several parts of the most perfect human bodies, deduced a canon or system of proportions, which was the rule of all succeeding artists. Suppose a statue modelled according to this: a man of mere natural taste, upon looking at it, without entering into its proportions, confesses and admires its beauty; whereas a professor of the art applies his measures to the head, the neck, or the hand, and, without attending to its beauty, pronounces the workmanship to be just and true.

[Footnote 1: This the Athenians did in a peculiar manner, by the words [Greek: kalokagathus] and [Greek: kalokagathia].]

ENDNOTE G.

'_As when Brutus rose_,' etc.--P. 18.

Cicero himself describes this fact--'Cassare interfecto--statim cruentum alte extollens M. Brutus pugionem, Ciceronem nominatim exclamavit, atque ei recuperatam libertatem est gratulatus.' --_Cic. Philipp_. ii. 12.

ENDNOTE H.

'_Where Virtue rising from the awful depth Of Truth's mysterious bosom_,' etc.--P. 20.

According to the opinion of those who assert moral obligation to be founded on an immutable and universal law; and that which is usually called the moral sense, to be determined by the peculiar temper of the imagination and the earliest associations of ideas.

ENDNOTE I.

'_Lyceum_.'--P. 21.

The school of Aristotle.

ENDNOTE J.

'_Academus_.'--P. 21.

The school of Plato.

ENDNOTE K.

'_Ilissus_.'--P. 21.

One of the rivers on which Athens was situated. Plato, in some of his finest dialogues, lays the scene of the conversation with Socrates on its banks.

* * * * *

BOOK SECOND.

ENDNOTE L

'_At last the Muses rose_,' etc.--P. 22.

About the age of Hugh Capet, founder of the third race of French kings, the poets of Provence were in high reputation; a sort of strolling bards or rhapsodists, who went about the courts of princes and noblemen, entertaining them at festivals with music and poetry. They attempted both the epic, ode, and satire; and abounded in a wild and fantastic vein of fable, partly allegorical, and partly founded on traditionary legends of the Saracen wars. These were the rudiments of Italian poetry. But their taste and composition must have been extremely barbarous, as we may judge by those who followed the turn of their fable in much politer times; such as Boiardo, Bernardo, Tasso, Ariosto, etc.

ENDNOTE M.

'_Valclusa_.'--P. 22.

The famous retreat of Francisco Petrarcha, the father of Italian poetry, and his mistress, Laura, a lady of Avignon.

ENDNOTE N.

'_Arno_.'--P. 22.

The river which runs by Florence, the birth-place of Dante and Boccaccio.

ENDNOTE O.

'_Parthenope_.'--P. 23.

Or Naples, the birth-place of Sannazaro. The great Torquato Tasso was born at Sorrento in the kingdom of Naples.

ENDNOTE P.

'_The rage Of dire ambition_,' etc.--P. 23.

This relates to the cruel wars among the republics of Italy, and abominable politics of its little princes, about the fifteenth century. These, at last, in conjunction with the papal power, entirely extinguished the spirit of liberty in that country, and established that abuse of the fine arts which has been since propagated over all Europe.

ENDNOTE Q.

'_Thus from their guardians torn, the tender arts_,' etc.--P. 23.

Nor were they only losers by the separation. For philosophy itself, to use the words of a noble philosopher, 'being thus severed from the sprightly arts and sciences, must consequently grow dronish, insipid, pedantic, useless, and directly opposite to the real knowledge and practice of the world.' Insomuch that 'a gentleman,' says another excellent writer, 'cannot easily bring himself to like so austere and ungainly a form: so greatly is it changed from what was once the delight of the finest gentlemen of antiquity, and their recreation after the hurry of public affairs! From this condition it cannot be recovered but by uniting it once more with the works of imagination; and we have had the pleasure of observing a very great progress made towards their union in England within these few years. It is hardly possible to conceive them at a greater distance from each other than at the Revolution, when Locke stood at the head of one party, and Dryden of the other. But the general spirit of liberty, which has ever since been growing, naturally invited our men of wit and genius to improve that influence which the arts of persuasion gave them with the people, by applying them to subjects of importance to society. Thus poetry and eloquence became considerable; and philosophy is now, of course, obliged to borrow of their embellishments, in order even to gain audience with the public.

ENDNOTE R.

'_From passion's power alone_,' etc.--P. 26.

This very mysterious kind of pleasure, which is often found in the exercise of passions generally counted painful, has been taken notice of by several authors. Lucretius resolves it into self-love:--

'Suave mari magno,' etc., lib. ii. 1.

As if a man was never pleased in being moved at the distress of a tragedy, without a cool reflection that though these fictitious personages were so unhappy, yet he himself was perfectly at ease and in safety. The ingenious author of the _Reflections Critiques sur la Poesie et sur la Peinture_ accounts for it by the general delight which the mind takes in its own activity, and the abhorrence it feels of an indolent and inattentive state: and this, joined with the moral approbation of its own temper, which attends these emotions when natural and just, is certainly the true foundation of the pleasure, which, as it is the origin and basis of tragedy and epic, deserved a very particular consideration in this poem.

ENDNOTE S.

'_Inhabitant of earth_,' etc.--P. 31.

The account of the economy of Providence here introduced, as the most proper to calm and satisfy the mind when under the compunction of private evils, seems to have come originally from the Pythagorean school: but of the ancient philosophers, Plato has most largely insisted upon it, has established it with all the strength of his capacious understanding, and ennobled it with all the magnificence of his divine imagination. He has one passage so full and clear on this head, that I am persuaded the reader will be pleased to see it here, though somewhat long. Addressing himself to such as are not satisfied concerning divine Providence: 'The Being who presides over the whole,' says he, 'has disposed and complicated all things for the happiness and virtue of the whole, every part of which, according to the extent of its influence, does and suffers what is fit and proper. One of these parts is yours, O unhappy man, which though in itself most inconsiderable and minute, yet being connected with the universe, ever seeks to co-operate with that supreme order. You in the meantime are ignorant of the very end for which all particular natures are brought into existence, that the all-comprehending nature of the whole may be perfect and happy; existing, as it does, not for your sake, but the cause and reason of your existence, which, as in the symmetry of every artificial work, must of necessity concur with the general design of the artist, and be subservient to the whole of which it is a part. Your complaint therefore is ignorant and groundless; since, according to the various energy of creation, and the common laws of nature, there is a constant provision of that which is best at the same time for you and for the whole.--For the governing intelligence clearly beholding all the actions of animated and self-moving creatures, and that mixture of good and evil which diversifies them, considered first of all by what disposition of things, and by what situation of each individual in the general system, vice might be depressed and subdued, and virtue made secure of victory and happiness with the greatest facility and in the highest degree possible. In this manner he ordered through the entire circle of being, the internal constitution of every mind, where should be its station in the universal fabric, and through what variety of circumstances it should proceed in the whole tenor of its existence.' He goes on in his sublime manner to assert a future state of retribution, 'as well for those who, by the exercise of good dispositions being harmonised and assimilated into the divine virtue, are consequently removed to a place of unblemished sanctity and happiness; as of those who by the most flagitious arts have risen from contemptible beginnings to the greatest affluence and power, and whom you therefore look upon as unanswerable instances of negligence in the gods, because you are ignorant of the purposes to which they are subservient, and in what manner they contribute to that supreme intention of good to the whole.' --_Plato de Leg_. x. 16.

This theory has been delivered of late, especially abroad, in a manner which subverts the freedom of human actions; whereas Plato appears very careful to preserve it, and has been in that respect imitated by the best of his followers.

ENDNOTE T.

'_One might rise, One order_,' etc.--P. 31.

See the _Meditations_ of Antoninus and the _Characteristics_, passim.

ENDNOTE U.

'_The best and fairest_,' etc.--P. 32.

This opinion is so old, that Timaeus Locrus calls the Supreme Being [Greek: demiourgos tou beltionos], the artificer of that which is best; and represents him as resolving in the beginning to produce the most excellent work, and as copying the world most exactly from his own intelligible and essential idea; 'so that it yet remains, as it was at first, perfect in beauty, and will never stand in need of any correction or improvement.' There can be no room for a caution here, to understand the expressions, not of any particular circumstances of human life separately considered, but of the sum or universal system of life and being. See also the vision at the end of the _Theodicee_ of Leibnitz.

ENDNOTE V.

'_As flame ascends_,' etc.--P. 32.

This opinion, though not held by Plato nor any of the ancients, is yet a very natural consequence of his principles. But the disquisition is too complex and extensive to be entered upon here.

ENDNOTE W.

'_Philip_.'--P. 44.

The Macedonian.

BOOK THIRD.

ENDNOTE X.

'_Where the powers Of Fancy_,' etc.--P. 46.

The influence of the imagination on the conduct of life is one of the most important points in moral philosophy. It were easy, by an induction of facts, to prove that the imagination directs almost all the passions, and mixes with almost every circumstance of action or pleasure. Let any man, even of the coldest head and soberest industry, analyse the idea of what he calls his interest; he will find that it consists chiefly of certain degrees of decency, beauty, and order, variously combined into one system, the idol which he seeks to enjoy by labour, hazard, and self-denial. It is, on this account, of the last consequence to regulate these images by the standard of nature and the general good; otherwise the imagination, by heightening some objects beyond their real excellence and beauty, or by representing others in a more odions or terrible shape than they deserve, may, of course, engage us in pursuits utterly inconsistent with the moral order of things.

If it be objected that this account of things supposes the passions to be merely accidental, whereas there appears in some a natural and hereditary disposition to certain passions prior to all circumstances of education or fortune, it may be answered, that though no man is born ambitious or a miser, yet he may inherit from his parents a peculiar temper or complexion of mind, which shall render his imagination more liable to be struck with some particular objects, consequently dispose him to form opinions of good and ill, and entertain passions of a particular turn. Some men, for instance, by the original frame of their minds, are more delighted with the vast and magnificent, others, on the contrary, with the elegant and gentle aspects of nature. And it is very remarkable, that the disposition of the moral powers is always similar to this of the imagination; that those who are most inclined to admire prodigious and sublime objects in the physical world, are also most inclined to applaud examples of fortitude and heroic virtue in the moral. While those who are charmed rather with the delicacy and sweetness of colours, and forms, and sounds, never fail in like manner to yield the preference to the softer scenes of virtue and the sympathies of a domestic life. And this is sufficient to account for the objection.

Among the ancient philosophers, though we have several hints concerning this influence of the imagination upon morals among the remains of the Socratic school, yet the Stoics were the first who paid it a due attention. Zeno, their founder, thought it impossible to preserve any tolerable regularity in life, without frequently inspecting those pictures or appearances of things, which the imagination offers to the mind (_Diog. Laert_. I. vii.) The meditations of M. Aurelius, and the discourses of Epictetus, are full of the same sentiment; insomuch that the latter makes the [Greek: Chresis oia dei, fantasion], or right management of the fancies, the only thing for which we are accountable to Providence, and without which a man is no other than stupid or frantic (_Arrian_. I. i. c. 12. and I. ii. c. 22). See also the _Characteristics_, vol. i. from p. 313 to 321, where this Stoical doctrine is embellished with all the elegance and graces of Plato.

ENDNOTE Y.

'_How Folly's awkward arts_,' etc.--P. 47.

Notwithstanding the general influence of ridicule on private and civil life, as well as on learning and the sciences, it has been almost constantly neglected or misrepresented, by divines especially. The manner of treating these subjects in the science of human nature, should be precisely the same as in natural philosophy; from particular facts to investigate the stated order in which they appear, and then apply the general law, thus discovered, to the explication of other appearances and the improvement of useful arts.

ENDNOTE Z.

'_Behold the foremost band_,' etc.--P. 48.

The first and most general source of ridicule in the characters of men, is vanity or self-applause for some desirable quality or possession which evidently does not belong to those who assume it.

ENDNOTE AA.

'_Then comes the second order_,' etc.--P, 49.

Ridicule from the same vanity, where, though the possession be real, yet no merit can arise from it, because of some particular circumstances, which, though obvious to the spectator, are yet overlooked by the ridiculous character.

ENDNOTE BB.

'_Another tribe succeeds_,' etc.--P. 50.

Ridicule from a notion of excellence in particular objects disproportioned to their intrinsic value, and inconsistent with the order of nature.

ENDNOTE CC.

'_But now, ye gay_,' etc.--P. 51.

Ridicule from a notion of excellence, when the object is absolutely odious or contemptible. This is the highest degree of the ridiculous; as in the affectation of diseases or vices.

ENDNOTE DD.

'_Thus far triumphant_,' etc.--P. 51

Ridicule from false shame or groundless fear.

ENDNOTE EE.

'_Last of the motley bands_,' etc.--P. 52.

Ridicule from the ignorance of such things as our circumstances require us to know.

ENDNOTE FF.

'_Suffice it to have said_,' etc.--P. 52.

By comparing these general sources of ridicule with each other, and examining the ridiculous in other objects, we may obtain a general definition of it, equally applicable to every species. The most important circumstance of this definition is laid down in the lines referred to; but others more minute we shall subjoin here. Aristotle's account of the matter seems both imperfect and false. [Greek: To ghar geloion], says he, [Greek: estin hamartaema ti kai aischos]: 'The ridiculous is some certain fault or turpitude without pain, and not destructive to its subject' (_Poet_. c. 5). For allowing it to be true, as it is not, that the ridiculous is never accompanied with pain, yet we might produce many instances of such a fault or turpitude which cannot with any tolerable propriety be called ridiculous. So that the definition does not distinguish the thing designed. Nay, further, even when we perceive the turpitude tending to the destruction of its subject, we may still be sensible of a ridiculous appearance, till the ruin become imminent, and the keener sensations of pity or terror banish the ludicrous apprehension from our minds; for the sensation of ridicule is not a bare perception of the agreement or disagreement of ideas, but a passion or emotion of the mind consequential to that perception; so that the mind may perceive the agreement or disagreement, and yet not feel the ridiculous, because it is engrossed by a more violent emotion. Thus it happens that some men think those objects ridiculous, to which others cannot endure to apply the name, because in them they excite a much intenser and more important feeling. And this difference, among other causes, has brought a good deal of confusion into this question.

'That which makes objects ridiculous is some ground of admiration or esteem connected with other more general circumstances comparatively worthless or deformed; or it is some circumstance of turpitude or deformity connected with what is in general excellent or beautiful: the inconsistent properties existing either in the objects themselves, or in the apprehension of the person to whom they relate, belonging always to the same order or class of being, implying sentiment or design, and exciting no acute or vehement emotion of the heart.'

To prove the several parts of this definition: 'The appearance of excellence or beauty connected with a general condition comparatively sordid or deformed' is ridiculous; for instance, pompous pretensions of wisdom joined with ignorance or folly in the Socrates of Aristophanes, and the ostentations of military glory with cowardice and stupidity in the Thraso of Terence.

'The appearance of deformity or turpitude in conjunction with what is in general excellent or venerable,' is also ridiculous: for instance, the personal weaknesses of a magistrate appearing in the solemn and public functions of his station.

'The incongruous properties may either exist in the objects themselves, or in the apprehension of the person to whom they relate:' in the last--mentioned instance, they both exist in the objects; in the instances from Aristophanes and Terence, one of them is objective and real, the other only founded in the apprehension of the ridiculous character.

'The inconsistent properties must belong to the same order or class of being.' A coxcomb in fine clothes, bedaubed by accident in foul weather, is a ridiculous object, because his general apprehension of excellence and esteem is referred to the splendour and expense of his dress. A man of sense and merit, in the same circumstances, is not counted ridiculous, because the general ground of excellence and esteem in him is, both in fact and in his own apprehension, of a very different species.

'Every ridiculous object implies sentiment or design.' A column placed by an architect without a capital or base is laughed at: the same column in a ruin causes a very different sensation.

And lastly, 'the occurrence must excite no acute or vehement emotion of the heart,' such as terror, pity, or indignation; for in that case, as was observed above, the mind is not at leisure to contemplate the ridiculous. Whether any appearance not ridiculous be involved in this description, and whether it comprehend every species and form of the ridiculous, must be determined by repeated applications of it to particular instances.

ENDNOTE GG.

_'Ask we for what fair end'_, etc.--P. 53.

Since it is beyond all contradiction evident that we have a natural sense or feeling of the ridiculous, and since so good a reason may be assigned to justify the supreme Being for bestowing it, one cannot, without astonishment, reflect on the conduct of those men who imagine it is for the service of true religion to vilify and blacken it without distinction, and endeavour to persuade us that it is never applied but in a bad cause. Ridicule is not concerned with mere speculative truth or falsehood. It is not in abstract propositions or theorems, but in actions and passions, good and evil, beauty and deformity, that we find materials for it; and all these terms are relative, implying approbation or blame. To ask them whether ridicule be a test of truth, is, in other words, to ask whether that which is ridiculous can be morally true, can be just and becoming; or whether that which is just and becoming can be ridiculous?--a question that does not deserve a serious answer. For it is most evident, that, as in a metaphysical proposition offered to the understanding for its assent, the faculty of reason examines the terms of the proposition, and finding one idea, which was supposed equal to another, to be in fact unequal, of consequence rejects the proposition as a falsehood; so, in objects offered to the mind for its esteem or applause, the faculty of ridicule, finding an incongruity in the claim, urges the mind to reject it with laughter and contempt. When, therefore, we observe such a claim obtruded upon mankind, and the inconsistent circumstances carefully concealed from the eye of the public, it is our business, if the matter be of importance to society, to drag out those latent circumstances, and, by setting them in full view, to convince the world how ridiculous the claim is: and thus a double advantage is gained; for we both detect the moral falsehood sooner than in the way of speculative inquiry, and impress the minds of men with a stronger sense of the vanity and error of its authors. And this, and no more, is meant by the application of ridicule.

But it is said, the practice is dangerous, and may be inconsistent with the regard we owe to objects of real dignity and excellence. I answer, the practice fairly managed can never be dangerous; men may be dishonest in obtruding circumstances foreign to the object, and we may be inadvertent in allowing those circumstances to impose upon us: but the sense of ridicule always judges right. The Socrates of Aristophanes is as truly ridiculous a character as ever was drawn: --true; but it is not the character of Socrates, the divine moralist and father of ancient wisdom. What then? did the ridicule of the poet hinder the philosopher from detecting and disclaiming those foreign circumstances which he had falsely introduced into his character, and thus rendered the satirist doubly ridiculous in his turn? No; but it nevertheless had an ill influence on the minds of the people. And so has the reasoning of Spinoza made many atheists: he has founded it, indeed, on suppositions utterly false; but allow him these, and his conclusions are unavoidably true. And if we must reject the use of ridicule, because, by the imposition of false circumstances, things may be made to seem ridiculous, which are not so in themselves; why we ought not in the same manner to reject the use of reason, because, by proceeding on false principles, conclusions will appear true which are impossible in nature, let the vehement and obstinate declaimers against ridicule determine.

ENDNOTE HH.

_'The inexpressive semblance'_, etc.--P. 53.

This similitude is the foundation of almost all the ornaments of poetic diction.

ENDNOTE II.

_'Two faithful needles'_, etc.--P. 55.

See the elegant poem recited by Cardinal Bembo in the character of Lucretius.-_Strada Prolus_. vi. _Academ_. 2. c. v.

ENDNOTE JJ.

_'By these mysterious ties'_, etc.--P. 55.

The act of remembering seems almost wholly to depend on the association of ideas.

ENDNOTE KK.

_'Into its proper vehicle'_, etc.--P. 57.

This relates to the different sorts of corporeal mediums, by which the ideas of the artists are rendered palpable to the senses: as by sounds, in music; by lines and shadows, in painting; by diction, in poetry, etc.

ENDNOTE LL.

_'One pursues The vast alone'_, etc.--P. 61.

See the note to ver. 18 of this book.

ENDNOTE MM.

_'Waller longs'_, etc.--P. 61.

Oh! how I long my careless limbs to lay Under the plantane shade; and all the day With amorous airs my fancy entertain, etc. _WALLER, Battle of the Summer-Islands_, Canto I.

And again, While in the park I sing, the list'ning deer Attend my passion, and forget to fear, etc. At Pens-hurst.

ENDNOTE NN.

_'Not a breeze'_, etc.--P. 63.

That this account may not appear rather poetically extravagant than just in philosophy, it may be proper to produce the sentiment of one of the greatest, wisest, and best of men on this head; one so little to be suspected of partiality in the case, that he reckons it among those favours for which he was especially thankful to the gods, that they had not suffered him to make any great proficiency in the arts of eloquence and poetry, lest by that means he should have been diverted from pursuits of more importance to his high station. Speaking of the beauty of universal nature, he observes, that there 'is a pleasing and graceful aspect in every object we perceive,' when once we consider its connexion with that general order. He instances in many things which at first sight would be thought rather deformities; and then adds, 'that a man who enjoys a sensibility of temper with a just comprehension of the universal order--will discern many amiable things, not credible to every mind, but to those alone who have entered into an honourable familiarity with nature and her works.' --_M. Antonin_. iii. 2.

THE

PLEASURES OF THE IMAGINATION.

A POEM.

GENERAL ARGUMENT.

The pleasures of the imagination proceed either from natural objects, as from a flourishing grove, a clear and murmuring fountain, a calm sea by moonlight; or from works of art, such as a noble edifice, a musical tune, a statue, a picture, a poem. In treating of these pleasures, we must begin with the former class; they being original to the other; and nothing more being necessary, in order to explain them, than a view of our natural inclination toward greatness and beauty, and of those appearances, in the world around us, to which that inclination is adapted. This is the subject of the first book of the following poem.

But the pleasures which we receive from the elegant arts, from music, sculpture, painting, and poetry, are much more various and complicated. In them (besides greatness and beauty, or forms proper to the imagination) we find interwoven frequent representations of truth, of virtue and vice, of circumstances proper to move us with laughter, or to excite in us pity, fear, and the other passions. These moral and intellectual objects are described in the second book; to which the third properly belongs as an episode, though too large to have been included in it.

With the above-mentioned causes of pleasure, which are universal in the course of human life, and appertain to our higher faculties, many others do generally occur, more limited in their operation, or of an inferior origin: such are the novelty of objects, the association of ideas, affections of the bodily senses, influences of education, national habits, and the like. To illustrate these, and from the whole to determine the character of a perfect taste, is the argument of the fourth book.

Hitherto the pleasures of the imagination belong to the human species in general. But there are certain particular men whose imagination is endowed with powers, and susceptible of pleasures, which the generality of mankind never participate. These are the men of genius, destined by nature to excel in one or other of the arts already mentioned. It is proposed, therefore, in the last place, to delineate that genius which in some degree appears common to them all; yet with a more peculiar consideration of poetry: inasmuch as poetry is the most extensive of those arts, the most philosophical, and the most useful.