with coldness and indifference, or finding" the representation extremely natural, where another can perceive nothing of likeness and conformity. This different taste must proceed, either from the perfection of imagination in one more than another, or from the different ideas that several readers affix to the same words. For, to have a true relish, and form a right judgment of a description, a man should be born with a good imagination, and must have well weighed the force and energy that lies in the several words of a language, so as to be able to distinguish which are most significant and expressive of their proper ideas, and what additional strength and beauty they are capable of receiving from conjunction with others. The fancy must be warm, to retain the print of those images it hath received from outward objects; and the judgment discerning, to know what expressions are most proper to clothe and adorn them to the best advantage. A man who is deficient in either of these respects, though he may receive the general notion of a description, can never see distinctly all its particular beauties: as a person, with a weak sight, may have the confused prospect of a place that lies before him, without entering into its several parts, or discerning the variety of its colours in their full glory and perfection. 0. We find one-finding. Very inaccurate. Besides, we have first the particle passive transported, then the particle active finding. Another inaccuracy. Better thus:-transported with a passage which, &c., or pleasea with a description as extremely natural, where, &c.—H. No. 417. SATURDAY, JUNE 28. PLEASURES OF THE IMAGINATION. "How a whole set of ideas hang together, &c. A natural cause assigned for it. How to perfect the imagination of a writer. Who among the ancient poets had this faculty in its greatest perfection. Homer excelled in imagining what is great; Virgil, in imagining what is beautiful: Ovid, in imagining what is new. Our own countryman Milton very perrect in all these three respects.' WE may observe, that any single circumstance of what we have formerly seen, often raises up a whole scene of imagery, and awakens numberless ideas that before slept in the imagination; such a particular smell or colour is able to fill the mind, on a sudden, with the picture of the fields or gardens where we first met with it, and to bring up into view all the variety of images that once attended it. Our imagination takes the hint, and leads us unexpectedly into cities or theatres, plains or meadows. We may further observe, when the fancy thus reflects on the scenes that have past in it formerly, those, which were at first pleasant to behold, appear more so upon reflection, and that the memory heightens the delightfulness of the original. A Cartesian would account for both these instances in the following manner. The set of ideas," which we received from such a prospect or garden, having entered the mind at the same time, have a set of traces belonging to them in the brain, bordering very near upon one another; when, therefore, any one of these ideas arises in the imagination, and consequently dispatches a flow of animal spirits to its proper trace, these spirits, in the violence of their motion, run not only into the trace, to which they were more particularly directed, but into several of those that lie about it: by this means, they awaken other ideas of the same set, which immediately determine a new dispatch of spirits, that in the same manner open other neighbouring traces, till at last the whole set of them is blown up, and the whole prospect or garden flourishes in the imagination. But because the pleasure we received from these places far surmounted, and overcame the disagreeableness we found in them, for this reason there was at first a wider passage worn in the pleasure traces, and on the contrary, so narrow a one in those which belonged to the disagreeable ideas, that they were quickly stopt up, and rendered incapable of receiving any animal spirits, and consequently of exciting any unpleasant ideas in the memory. It would be in vain to inquire, whether the power of imagining things strongly proceeds from any greater perfection in the soul, or from any nicer texture in the brain of one man than of another. But this is certain, that a noble writer should be born with this faculty in its full strength and vigour, so as to be able to receive lively ideas from outward objects, to retain them long, and to range them together, upon occasion, in such figures and The author is wonderfully happy in his account of this whimsical Cartesian philosophy. The brightness of the expression makes one almost take it for sense.-H. representations as are most likely to hit the fancy of the reader A poet should take as much pains in forming his imagination, as a philosopher in cultivating his understanding. He must gain a due relish of the works of nature, and be thoroughly conversant in the various scenery of a country life. When he is stored with country images, if he would go beyond pastoral, and the lower kinds of poetry, he ought to acquaint himself with the pomp and magnificence of courts. He should be very well versed in every thing that is noble and stately in the productions of art, whether it appear in painting or statuary, in the great works of architecture which are in their present glory, or in the ruins of those which flourished in former ages. Such advantages as these help to open a man's thoughts, and to enlarge his imagination, and will therefore have their influence on all kinds of writing, if the author knows how to make a right use of them. And among those of the learned languages who excel in this talent, the most perfect in their several kinds, are, perhaps, Homer, Virgil, and Ovid. The first strikes the imagination wonderfully with what is great, the second with what is beautiful, and the last with what is strange." Reading the Iliad is like travelling through a country uninhabited, where the fancy is entertained with a thousand savage prospects of vast deserts, wide uncultivated marshes, huge forests, misshapen rocks and precipices. On the contrary, the Eneid is like a well ordered garden, where it is impossible to find out any part unadorned, or to cast our eyes upon a single spot, that does not produce some beautiful plant or flower. But when we are in the Metamorphosis, we are walking on enchanted ground, and see nothing but scenes of magic lying round us. These parallels were fashionable in the writer's time. Mr. Dryden had set the example, and was followed, in this practice, by all the wits that were bred in his school; as Mr. Addison in this lively paper, Mr. Pope in on Homer, and others. It is a way of writing, in which the fan re to do than the judgment.-H. his essa cy has Homer is in his province, when he is describing a battle or a multitude, a hero or a god. Virgil is never better pleased, than when he is in Elysium, or copying out an entertaining picture. Homer's epithets generally mark out what is great, Virgil's what is agreeable. Nothing can be more magnificent than the figure Jupiter makes in the first Iliad, nor more charming than that of Venus in the first Æneid. *Η, καὶ κυανέησιν ἐπ' ὀφρύσι νεῦσε Κρονίων· Il. 1. v. 528. He spoke, and awful bends his sable brows, Dixit, et avertens roseâ cervice refulsit: POPE En, 1. v. 406. Thus having said, she turn'd, and made appear, Her neck refulgent and dishevell❜d hair; Which flowing from her shoulders, reach'd the ground, In length of train descends her sweeping gown, And by her graceful walk the queen of love is known. DRYDEN. Homer's persons are most of them god-like and terrible; Virgil has scarce admitted any into his poem, who are not beau tiful, and has taken particular care to make his hero so. -lumenque juventæ Purpureum, et lætos oculis afflavit honores. En. 1. v. 594 And gave his rolling eyes a sparkling grace, DRYDEN. |
