as in puns, quibbles; or of a whole sentence or poem, as wings, and altars. The final cause, probably, of annexing pleasure to this operation of the mind, was to quicken and encourage us in our searches after truth, since the distinguishing one thing from another, and the right discerning betwixt our ideas, depends wholly upon our comparing them together, and observing the congruity or disagreement that appears among the several works of nature. But I shall here confine myself to those pleasures of the imagination, which proceed from ideas raised by words, because most of the observations that agree with descriptions, are equally applicable to painting and statuary. Words, when well chosen, have so great a force in them, that a description often gives us more lively ideas than the sight of things themselves. The reader finds a scene drawn in stronger colours, and painted more to the life in his imagination, by the help of words, than by an actual survey of the scene which they describe. In this case, the poet seems to get the better of Nature; he takes, indeed, the landscape after her, but gives it more vigorous touches, heightens its beauty, and so enlivens the whole piece, that the images which flow from the objects themselves appear weak and faint, in comparison of those that come from the expressions. The reason probably may be, because in the survey of any object, we have only so much of it painted on the imagination as comes in at the eye; but in its description, the poet gives us as free a view of it as he pleases, and discovers to us several parts, that either we did not attend to, or that lay out of our sight when we first beheld it. As we look on any object, our idea of it is, perhaps, made up of two or three simple ideas; but when the poet represents it, he may either give us a more complex idea of it, or only raise in us shich ideas as are most apt to affect the imagination. It may be here worth our while to examine how it comes to pass, that several readers, who are all acquainted with the same language, and know the meaning of the words they read, should nevertheless have a different relish of the same descriptions. We find one transported with a passage, which another runs over with coldness and indifference; or finding the representation extremely natural, where another can perceive nothing of likeness or 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 lie 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. No. 417. SATURDAY, JUNE 28. Quem tu, Melpomene, semel Clarabit pugilem, non equus impiger, &c. HOR. 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 man ner. 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 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 little disagreeableness we found in them, for this reason there was at first a wider sage 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. pas It would be in vain to enquire, 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 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, mis-shapen 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 Metamorphoses, we are walking on enchanted ground, and see nothing but scenes magic lying round us. 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 his 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 Αμβρόσιαι δ' ἄρα χαῖται ἐπεῤῥώσαντο άνακτος, Homer's persons are most of them god-like and terrible. Virgil has scarce admitted any into his poem, |