THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES 

 
 PHILOSOPHICAL and CRITICAL 
 
 OBSERVATIONS 
 
 ON THE 
 
 NATURE, CHARACTERS, 
 
 AND 
 
 VARIOUS SPECIES 
 
 OF 
 
 COMPOSITION. 
 
 By JOHN O GIL VIE, D. D. 
 
 
 IN TWO VOLUMES. 
 
 
 
 VOL. I. 
 
 
 H crwj uv aWwy? trvtrn Ta& TO I1AN, n pj PYQJVTfl tm wit 
 
 METPft I1ANTA ytyrorrcu. E & I1ANTA a^a, vtoKKu yg 
 fcaXto* O AOrOS, art MM nEPIEKTIKOE AIIANTftN fiN. 
 
 AONriN. AnOXIIAS. 
 
 Of all the arts in which mankind excel, 
 Nature's chief mafter-piece is writing well. 
 
 Buckingham. 
 
 LONDON, 
 
 Printed for G. Robinson, in Patemofter-Row. 
 MDCCLXXIV.
 
 . 

 
 CT3Hp 
 
 ADVERTISEMENT. 
 
 /N the mofl flour iflnng ages of Greece and 
 Rome, the various branches of the fub- 
 jecl of this Ejjay employed the pens of 
 authors, whofe works every fucceeding age 
 has contemplated with admiration. In the 
 prefent enlightened cera, to whatever frivo- 
 lous objecls the public tajle may have been 
 Jbmetimes directed, the author cannot f up pofe 
 that fuch dfubjecl can fail of being in itfelf 
 univerfally agreeable, as it naturally draws 
 the attention as well ofthofe who occupy the 
 different departments of the A rt, as of the 
 reader who hath perufed their writings with 
 emolument or pleafure. -With regard to the 
 execution in the prefent injiance, every reader 
 will judge for himfelf. The author will 
 neither attempt to raife his ejleem of it, by 
 enlarging on the approbation with which it 
 has been honoured by fome refpeclabk critics ; 
 nor to reprefs juft cenfure by mean acknow-- 
 ledgments of timidity. He will take the li- 
 berty only to obferve, that though the works 
 f/ the mojl eminent ancient and modern wri^ 
 A z ters 
 
 - r * t * ? * '-V
 
 ( n ) 
 
 ters on the fubject of Compojition have been 
 confulted, and are often referred to in thepre- 
 fenty yet far from following their track with 
 fertility, he has, upon fame occafions, differed 
 from them in opinion^ and has even expofed 
 their blemijhes with freedom. This conduct 
 will difpleafe no reader who obferves that it 
 was neceffary to give examples of the faults, 
 as well as of the beauties of Compojition ; and 
 that both are mofl clearly difcerned, when 
 contra/led properly with each other. Opi- 
 nions which he judged exceptionable, he will 
 likewife be excufed for having attempted to 
 refute, by thofe who acquit him of the only 
 charges that render this conduct inexcus- 
 able petulance, or malignity. Where the 
 writers whom he confulted either fuggefled to 
 his mind a certain train of obfervation, or 
 ferved to confirm and illujlrate fuch as oc- 
 curred to him, he has never failed either to 
 quote the pafj age from their works, or to 
 throw it into the notes ; which lafi, in a 
 work of this kind, have been rendered un- 
 avoidably numerous and protracted. That 
 this coincidence of fentiment did not occur 
 more frequently, the author can only afcribe 
 to the extenfive view which he was led to 
 take of his fubject. His tract in thefirfi part 
 of the work fin which the intellectual powers 
 
 are
 
 ( Mi ) 
 
 are confdered as influencing Compofition) he 
 was left to chalk out for himfdf*. The 
 lights thrown upon the other branches of it, 
 particularly by the ancient critics., are 
 Jlronger, and more dive? fifed. He has there- 
 fore endeavoured at the fame time to confirm 
 his own obfervations by a variety of exam- 
 ples drawn from their writings, ft be tnoft 
 fir iking of which are made intelligible to. the 
 Englifh reader ), and to relax the mind from 
 rigid difquifition, by placing before it fijm 
 capital jlrokes of the mojl confummate majlers 
 of the art. There is fiill another, and an 
 important branch of the fubjefl that remains' 
 to be treated-, in which it is prop/fed to 
 confder this, divine Art as a. principal means- 
 of promoting the civilization* and the happi-> 
 nefs of mankind. This view of it isnecef* 
 fary to complete the Author s original plan ; 
 though the critical part is fully comprifed in 
 what is now offered to the public. In fo 
 large a compafs as is here taken, and on 
 themes in canvaffing which freedom of 
 thought is not fubjedled to cenfure, there 
 muft be a correfponding variety of opinions., 
 The writer does not form fo idle an expecta- 
 tion, as that every reader will think in the 
 
 * See the two firft Notes of Sed, I. 
 
 fame
 
 ( iv ) 
 
 fame manner as himfelf on each of thefe fub* 
 jecls. To the quejlion therefore, By 
 wbatjlandard would you have your perform- 
 ance to be tried V he replies, Let the 
 fame degree of candour and impartiality 
 be employed in judging of the merit or de- 
 fects of the following obfervations, which the 
 author himfelf has applied to thofe of every 
 author, ancient or modern, which in the pro- 
 fecution of this attempt he hath had occafion 
 to invejligate, 
 
 N. B. The reader will obferve that the 
 terms Under/landing, Judgment, Reafon, are 
 ufed to fgnify the fame intellectual power, 
 though thefirjl of thefe, Jl r icily fpeaking, is 
 of larger import. This liberty the author 
 took in order to avoid repetitions.
 
 CONTENTS- 
 
 BOOK i. 
 
 Of Compofition as it regards the Faculties 
 of the Mind. 
 
 SECTION I. 
 
 Introductory Obfervations on the Nature of 
 Compaction. p % i 
 
 S E C T I O N II. 
 
 Of the Province of the Underfianding in 
 Compofition. 44. 
 
 SECTION III, 
 Of the influence of Imagination on Com- 
 poftion. 56 
 
 SECTION IV. 
 
 Of Penetration or Difcernment, as it re- 
 gards Compofition, 173 
 
 SECTION V. 
 
 Of the Vfe of Memory in Compofition. 225 
 
 SEC-
 
 vi CONTENTS. 
 
 SECTION VI. 
 
 Of the 'various Combinations of intellectual 
 
 Powers in the different fpecies of Com- 
 
 pofition. p, 248 
 
 ' 
 SECTION VII. 
 
 Of that Combination of the intellectual Fa- 
 culties which gives rife to the arts of 
 Poetry and Criticifm. 293 
 
 SECTION VIII. 
 Whether that balance of the intellectual 
 Powers, from which the perfection of 
 Compofition refults, can be obtained \ and 
 by what methods we can make the nearejl 
 approach to it, 376 
 
 The following ERRORS wefe occafioned by the Author's 
 diftance from the Prefs. 
 
 Page 29. line 6. of the note, for throw read thrown. P. 133. |. 7, 
 ftr conflux read conflict. P. 149. 1, 24 of the note, for in read of. 
 P. 176. I. 11. for abftains read obtains. P. 202. I. 24. read in the art, 
 &c. P. 209. 1'. 22. for a while read and while. P. 230. 1. 8. of the 
 rtote, for in concluding read to conclude. P. 238. 1. 21. plate the ( ; ) after 
 the tvord whatever. P. 247. 1. 6, of the note, for Cinzas read Cineas. 
 P. 271, ]. 9. for or read for. 1. 10. for mild read wild. P. 317. 
 i. 3. of the note, dele the. P. 368. 1. 12, 13. for perfpicacity read per. 
 fpicuity, P. 412, 1. 9. after venture add to propofe.
 
 PHILOSOPHICAL and CRITICAL 
 
 OBSERVATIONS 
 
 H 
 
 COMPOSITION. 
 
 cticooooaooec*ocoooco*coooooQcoooc<>dot04oce9ooGcoocca5coooec9eeoMceee5soo*c*ocecscc*4 
 
 BOOK I. 
 
 Of Gompofition as it regards the Faculties of 
 the Mmdi 
 
 SECTION I. 
 
 introductory Observations on the Nature of 
 Compoftion. 
 
 COMPOSITION will probably be 
 contemplated by a mind that reflects 
 on its nature, importance, and tendency, 
 in the two following general lights, It 
 will be confidered in one view as the 
 refult of a peculiar combination, and pro- 
 penfity of the faculties of the mind : in 
 another, as an art-, diftinguifhed by par* 
 Vol. L B ticular
 
 2 Philofophical and Critical 
 
 ticular characters, divided into various fpe- 
 cies ; and producing effects of the greater! 
 importance to the civilization and happinefs 
 of mankind. It is propofed, in the prefent 
 Eflay, to examine this copious fubject un- 
 der thefe general heads : in the profecution 
 of which, after having endeavoured to point 
 out the fpheres of the intellectual powers 
 in this art, to mark the fignatures by 
 which each is difcriminated; to difplay 
 their diverflfied combinations, and to lay 
 down fuch rules as tend to bring thefe 
 moft nearly to an equipoife, when found 
 to have been originally difproportioned ; 
 we propofe to confider, in feparate fections, 
 the principal characters of claffical compo- 
 fition; to take a view of its various fpe- 
 cies, as formed by the union of thefe cha- 
 racters; and to conclude the work by mak- 
 ing fome obfervations on the defign, im- 
 portance, and tendency of the art. 
 
 As it will be obvious to any perfon who 
 hath read on this fubject, that we muft 
 here underftand the term Compofition 
 (thus comprehenfively viewed) in a larger 
 fenfe than hath formerly been afhgned to 
 
 it,
 
 Obfervations on Coinpofition. 3 
 
 it 1 *, we mall make a few remarks, in the 
 prefent fe&ion, on the powers that occupy 
 
 its 
 
 * Our meaning will be greatly miftaken, if it is fup- 
 pofed that any general cenfure is implied here on the 
 authors who have examined this fubjedr. ; as if their 
 views of it had been contracted and defective. Far 
 otherwife. By faying that the term Compofition is 
 taken in this Eflay in a larger fenfe,or includes a greater 
 variety of parts than thefe affign to it, we intend only 
 to point out the difference betwixt a general definition, 
 including every branch of a comprehenfive art ; and 
 one adapted more immediately to fome detached field, 
 or department of it. The philofophical critic, it is 
 obvious, may take a view of the prefent theme fuffi- 
 ciently adequate as far as this fcience is concerned, 
 though propriety will require that it fhould extend to 
 nothing beyond it. The fame remark may be ap- 
 plied to poetry, eloquence, hiftory, confidered as fpe- 
 cies of one comprehenfive art. In each it is obvious 
 that the definition of this term, when applied to any 
 of thefe feparately, muft neceffarily include fewer ob- 
 jects, and take in a much lefs compafs upon the whole, 
 than when it is viewed as relating to all. It happens 
 indeed frequently, that in confequence of that natural 
 propertfity, which every writer feels to place his own 
 fubject in as important a light as poffible, and to make 
 it comprehend the moft various affemblage, accounts 
 of thefe are pompoufly given, which difpaffionate rea- 
 fon may reject as exaggerated. In this manner the 
 different provinces of this art, inftead of being proper- 
 ly difcriminated, are promifcuoufly blended together, 
 B 2 and
 
 4 PhiJofophical and Critical 
 
 its various departments; as neceflary t6 
 place before the mind a full and appropri- 
 ated idea of the fubjed *, 
 
 The 
 
 and the mind, after having confidered what different 
 writers have advanced on each, finds itfelf wholly at a 
 lofs to determine its bounds with precifion. It is this 
 circumftance principally which renders it a matter of 
 fo much difficulty to felecl:, in treating particular fub-' 
 jects, the composition that it is beft adapted to its na- 
 ture. Hence the philofopher, either afFuming too of- 
 ten the drefs of the orator, or laying it afide altoge- 
 ther, in a fphere where he meets with models of each 
 kind, is in hazard, according to the particular biafs of 
 his mind, of making too much, or too little ufe of the 
 ornaments of difcourfe, by which means his expreffion 
 is rendered either florid, or enervated and unintereft- 
 ing. The obfervation hath equal force when applied 
 to the other branches abovementioned. A general 
 view of the art, in which we confider not only what 
 conltitutes the perfection of each character contem- 
 plated by itfelf, but in what manner the concurrence 
 of all ought to diftinguifh its various fpecies, mud 
 fupply thefe defects if properly executed. The com- 
 parifon of thefe lad with each other likewife, will na- 
 turally produce a clearer and more particular notion 
 of what is juft and appropriated in each, than can be 
 obtained by efh'mates formed from the writings of 
 different authors, whofe views have' regarded fingle 
 parts , and whofe manner of treating them varies, 
 according to their diverfity of tafte and difpofition. 
 
 That
 
 Obfervations on Compofiiton. 5 
 
 The faculties of the mind, whofe offices 
 in the province of composition we propofe 
 
 to 
 
 That the ancients in general, who have examined 
 the feveral branches of competition with great 
 .accuracy, lay down the beffc rules, and exhibit the 
 nobleft models for imitation in every department, will 
 be called in queftio.n by no man who is converfant 
 with their works. Many modern performances both 
 abound with precepts, and difplay examples that are 
 equally admirable. It is a considerable part of our 
 "bufinefs in the following work to confirm this truth, 
 partly by a critical examination of fuch obfervations, 
 particularly of the former, as relate moft immediately 
 to the prefent fubjecT:, carried on with the utmoft im- 
 partiality ; and partly byilluftrations of the characters 
 by which the artisdrftinguifhed, drawn from the moft 
 eminent performances, both ancient and modern. The 
 author intends only from the remarks made in this 
 note to fuggeft a plea in his own vindication, to thofe 
 who may cenfure him for having made choice of a 
 theme that hath employed the pens .f fo many iliuftri- 
 ous writers; and an excufefor his differing in opinion 
 lo often from fome of them. The relation in which 
 he was led to confider one part as franding to another, 
 makes him affign a narrower precinct: to it, than would 
 probably have been the cafe, had heconfidered each of 
 thefe apart. This the reader will keep uniformly in 
 ,his eye. 
 
 * We propofe here to lay before the reader fbme of 
 B 3 the
 
 6 Philofophlcal and Critical 
 
 to confider feparately, and even if poffible to 
 determine with fome precifion, are the un- 
 derstanding, 
 
 the various meanings that have been given to the word 
 Compofition by authors of the greateffc eminence, in or- 
 der to confirm an obfervation made in the preceding 
 note. Dionyfius of Halicarnalfus, in his excellent 
 treatife IIEPI STN0EIEH2 ONOMATX2N, enters 
 upon his fubject by explaining the fenfe of this term, 
 which he confiders in two different lights. His firffc 
 definition is general, relating to the common accep- 
 tation of the phrafe. H 2TN0ESIS ri/, utnrtg xxi 
 uto hXoi ovoy-x, nOlATIS EII2 FLAP' AAAHAA 
 TON TOT AOrOT MOPmN ITITPAM : Tom. 2. 
 p 2. edit. Lipfic. This account of the art, in which 
 the whole weight lies upon a due diftribution or order 
 of parts, includes unqueftionably one principal pro- 
 vince of compofition. But confidercd as a definition 
 of the fubjecl: taken in one comprehenfive view, it is 
 defective, as we receive from it no idea of the proprie- 
 ty and harmony of modulated language correfponding 
 to the fentiment of a work, or of beauty arifing from 
 happy illufhation. Thefe points, however, are fully 
 included in his next definition, which relates to his 
 own fubject, and is much more particular. Er 2t tj? 
 TN0EE2Z EPrA oixnw? ^nvxi rxrt OvopxTa -rrxo 
 aAA*iAa, xxi tqi; xojAoi; xttoSowxi tw 7Tf>o<rwo'j<rxv AP- 
 MONIAN xxi TAI2 IIEPIOAOIS hx\xm xvrou 
 oXov tov Aoyov. ibid. Thefe definitions of the term 
 ZYNQEZIS, exhibit an idea of it, only incomplete as 
 
 they
 
 Obfervatlons on Compofitio?u J 
 
 derftanding, the imagination, or inventive 
 power ; difcernment, as indicating the ope- 
 ration 
 
 they regard not its connection with a certain union of 
 intellectual powers, an omiffion for which our author 
 is no way culpable, becaufe this view of the art falls 
 not in with his fubject. Another ancient Critic, who 
 appears to have taken a pretty full view of compofition, 
 defines it very particularly. Att<x$ towvv AOT02, svvokkv 
 
 TU %, at pSG$0V TTigl tr\\i tWQUZIt, KXl AEHIN, 7\ 
 
 Ttsrois y(pr.fi{j<.ortxi' Tn? 3e otv Ae'iu<; e^ovarr,; zravroc; 
 
 TlVOCy X.XI OCVmS 1$10{J.0C,TZ, HxXlV UT %r\[A0t,TX Tf * 
 
 rim xoci KxXa ITZ0EIEI2 tb, nxi ANAIIATZEIS 
 KOSl TO ct(j.(poiv txtow vvvifoipivov O PT0MOF. 
 EPMOrEN : vifi IAEX1N. |3iC. A. K<p. (3'. The 
 critic it is true hath a regard in this account, princi- 
 pally to eloquence, or the art of perfuafion. But the 
 definition is full, and appropriated as far as the fubjecT: 
 required it to be fo. Its defect, as a complete view of 
 compofition, is the fame as in the former inftance, and 
 for the reafon formerly afiigned. The great ancient 
 Critic has treated offeveral different branches of com- 
 pofition in many parts of his writings. In his firft 
 book on rhetoric, particularly, he affigns a diftint. chap- 
 ter to each diftinguiflied character of this art. But his 
 fentiments of the fubject in general we muft collecl: 
 from different parts of his works. Thus he obferves, 
 that by a juft arrangement of parts we acquire clear 
 ideas of objects that are at firft obfeurely known to us, 
 CT2IK : (3j. A. xi!p. . and infers the neceffity of 
 J3 4 mentioning
 
 3 Philofophkal and Critical 
 
 ration of both; and memory, whofe ufe 
 we fhall endeavour particularly to fpecify. 
 
 The 
 
 mentioning the members of which a fubject confifts 
 particularly and fully, in order to render it thoroughly 
 intelligible and ufeful, ibid. He confiders the rheto- 
 rical art under three general divifions, which compre- 
 hend different fpecies of compofition, the philofophical 
 in particular. Thefe are the STMBOYAEYTIKON, 
 A1KANIKON, and EniAEIKTIKON. PHTOPIK. 
 |3i. A. xt(p. y. Laftly he points out with great pre- 
 cision, the method of laying down an accurate difpofi- 
 tion, id. j3G. T. xi(p. ly, and META$TZ (3.6. r. 
 v.i(p. jo'. But as he treats not fyftematically of the 
 fubject of this effay as a general term including many 
 fubdivifions, a definition of it regarding its origin, and 
 comprehending its various branches fell not in with 
 his defigns. Longinus, whofe fphere is much more 
 contracted than that of our great philofopher, takes 
 notice of a STTKAEIOT2A ZTN0E-II, as the lad 
 ingredient of the fublime, and neceffary to connect the 
 Other four fources which he had previoufly enumerat- 
 ed, into one body. riEPI TY02 t^. *'. and &'. 
 But as this regards only a particular character of it, 
 which will be examined in its place, we have but juft 
 mentioned it here. Of Roman writers who have treat- 
 ed of the prefent fubjett, the judicious and elegant 
 Quintilian is by far the moft copious and particular. 
 In his well-known work, intitled Jnftitutiones Orato- 
 rise, (of which the reader will find much ufe made in 
 
 the
 
 Obfervations on Compofition. 9 
 
 The three firfl mentioned of thefe, though 
 employed in fpheres that are diftind from 
 
 each 
 
 the following effay, and whofe excellence is equal to 
 almoft any eulogium) the prefent fubject is difcuffed 
 by itfelf. The fourth fection of his ninth book con- 
 tains his obfervations on it. Here he confiders three 
 things as constituting juft. compofition, order, or a due 
 arrangement of parts j connection, (junctura) or a juft 
 correfpondence of the members of a fentence, as well 
 as of words to each other ; and harmony, (numerus) 
 or the graceful and melodious ftructure of periods. Wc 
 fhall have occafion afterwards to examine what he hath 
 advanced on thefe heads. At prefent we need only 
 obferve, that his view of compofition, as an art, princi- 
 pally regards expreffion, which is the lead part of it; 
 and even here likewife he hath a particular regard, as 
 we might naturally expect, to eloquence, which is his 
 fubjecl:. It would be an endlefs taflc to felect from the 
 writings of the illuftrious Pvoman orator and philofo- 
 pher, the different views that are prefented to us of 
 compofition. There is neither a character nor fpecies 
 of it which he hath omitted to examine at one time or 
 other in his works. It is only to be regretted that his 
 obfervations on this fubject lie detached, inftead of 
 being placed together in one view, as they thus lofe a 
 great part of their effect. In confequence likewife of 
 treating the fubject in this manner, its connection with 
 the faculties of the mind (which forms afirftand prin- 
 cipal object in our eftimation, when we furvey it as a 
 proportioned whole) falls not particularly under ob- 
 
 fervation.
 
 lo Philofuphical and Critical 
 
 each other, yet are required to exert unit- 
 ed influence in every fpecies of this art, 
 when properly conducted. Of this we 
 fh all judge with more precjfion from a ge- 
 neral confideration of their different of- 
 fices. 
 
 " The underftanding is that power of 
 the mind which determines the relation of 
 parts to each other in laying down the plan 
 of a performance of whatever nature ; 
 which judgeth. of its comprehenfion as 
 fuited to the fubjec"t j which, following the 
 
 fervation. In his firft book De Oratore, and twelfth 
 chapter, he gives a definition of the term with conli- 
 derable extent, diftinguifheth betwixt the expreffion 
 and fentiment \ and feparates with great propriety and 
 difcernnient the provinces of philofophy and eloquence 
 from each other. Thus much for the fentiments of the 
 Ancients on the meaning of this term. We would 
 fwell out this note to too much length by confidering 
 the accounts of it given by modern writers, which dif- 
 fer in nothing materially from the preceding ones, at 
 leaft as far as the author can judge from his acquaint- 
 ance with their works. The opinions of fome of the 
 moft eminent on this fubject we fhall have occafion 
 to adduce, and to examine likewife at large in different 
 fetlions of the following effay. 
 
 feries
 
 Observations on Compojition. 1 1 
 
 feries of effe&s to their original, inveftigates 
 a caufe; and fuperintends the conduct 
 of this procedure in fuch a manner as to 
 make the expreffion bear the fame relation 
 to the fentiments of any performance which 
 thefe laft are required to do to each other*" 
 " Imagination, or the inventive faculty, as 
 it is denominated, is that which ftrikes out 
 happy imitations, forms new and original 
 afTemblages of ideas ; and thus fupplies the 
 materials of thofe juft and beautiful illus- 
 trations, which at the fame time improve 
 the expreffion of compofition, and heigh- 
 ten the effecl: of its fentiment." "By 
 difcernment we underftand that faculty 
 which, without carrying on any regular 
 procefs, comprehends as it were inftanta- 
 neoufly the proper manner of treating any 
 fubjet, by fixing upon the points that are 
 of principal confequence, and accomplifh- 
 eth by this mean, at once, purpofes which 
 the underftanding alone cannot effe&uate 
 m fame cafe shy any exertion; and obtains in 
 thofe to which it is adapted, by a flow and 
 deliberate procedure." This power ap- 
 pears to participate of both the former, but 
 
 is
 
 1 2 Philofophical and Critical 
 
 is conftituted wholly by neither. From 
 judgment, confidered by itfelf, it differs 
 remarkably in quicknefs of perception at 
 ail times univerfally, and even upon fome 
 occafions, in its choice of objects. From 
 imagination it is no lefs diftinguifhed by 
 making ajuji inftead of a fuperjicial or in- 
 difcriminate JeleSiion of means \ and by go- 
 ing to the bottom of a fubject, inftead of 
 fkimming lightly on its furface. Difcern- 
 ment, thus including a part of the offices 
 both of judgment and imagination, we {hall 
 Hnd to ad in different departments, accord- 
 ing to the proportion in which either of 
 thefe faculties is conferred on an indivi- 
 dual. Thus when a large fhare of the in- 
 ventive is united with a much greater 
 proportion of the reafoning power, to 
 which laft therefore it is wholly fubfer- 
 vient, the intellectual eye, though taking 
 cognizance in general of all objects, will 
 be confpicuous principally, either in con- 
 ducting, or in judging of that difquifition 
 which is directed by the underftanding. It 
 judgeth for inftance in this cafe of the force 
 and propriety of an argument, whofe con-- 
 
 ne&ion
 
 Obfervdtions on Compojition. 13 
 
 nection with the fubject might wholly ef- 
 cape the obfervation of a lefs intelligent 
 mind. It brings together proofs from 
 every quarter, to fupport and confirm an 
 hypothefis framed originally by an act 
 that indicates the moft acute perception; 
 and hits (to life the language of an emi- 
 nent writer) upon that particular point on 
 which the bent of each argument turns, or 
 the force of each motive depends *." Thus 
 it is, that philofophical difcernment is pe- 
 culiarly conftituted, and becomes confpi- 
 cuous, either in the fphere of compofition, 
 when a fubjecl: is methodifed and difcuifed, 
 
 * Pope's preface to Shakefpeare. Our author afcribes 
 this conduct of the great Genius whom he characterif- 
 eth, to a talent different from that of judgment ; fome- 
 thing he fays, " very peculiar^ and betwixt penetration 
 and felicity" I do not underftand the meaning of thefe 
 laft words very clearly. Shakefpeare poffefled in an 
 eminent degree the difcernment that arifeth from 
 judgment and imagination acling in vigorous concur- 
 rence, and it is one of the criteria of this power (as 
 we (hall fliow particularly in its proper place) to pro- 
 duce this happy but uncommon effect, which could 
 not efcape the obfervation of a writer who himfelf 
 pofl'efTed fo large a proportion of intellectual acumen. 
 
 or
 
 14 Philofophical and Critical 
 
 or in forming an eftimate of the execution 
 when fubmitted to critical inveftigation. 
 
 A proportion of the inventive faculty 
 more adequate to that of the reafoning 
 power, (each fuppofed to exift in an emi- 
 nent degree) renders the influence of dis- 
 cernment flill more confpicuous than in 
 the former inftance, becaufe it appears 
 with equal advantage in this cafe, when 
 judging of the arts, as well as of the in- 
 veftigations of fcience ; and will pronounce 
 as properly of what is beautiful m. the one, 
 as of what is juji and decifive in the other. 
 The means by which both is effectuated 
 we fhall confider more particularly, when 
 we come to treat of this as a diji'mfl facul- 
 ty, operating univerfally on the various 
 branches of compofition. 
 
 We have in the preceding obfervations 
 confidered the intellectual powers only as 
 influencing the various fpecies of the fub- 
 ject of this eflay. But there are two quef- 
 tions arifing from our account of thefe 
 which muft be anfwered before we acquire 
 a clear idea of compofition as it regards the 
 faculties of the mind. Is (it may be afked) 
 
 the
 
 Obfervations on Compojition. 1 5 
 
 the ; concurrence of thofq we have enumerat- 
 ed necefiary to give maftery to an author's 
 execution in any department of this com- 
 prehensive art? We may reply without 
 hefkation, that though the degrees in which 
 this union may take place vary according 
 to the nature of a fubjeet, yet the combi- 
 nation in fome degree it necefiary for this 
 purpofe. But inould it again be afked, 
 whether a talent for any fpecies of compo- 
 fition, or a power of placing thoughts in 
 the happier! difpofition, and of exprefling 
 them in the fitteft words ; whether this ta- 
 lent always accompanies the union of in- 
 tellectual qualities abovementioned, even 
 when fubfifting in a high degree ; we ihall 
 find upon enquiry, that there is no necef- 
 fary connection betwixt thefe, as the for- 
 mer may fubfift, when there is no peculiar 
 bias to the latter. 
 
 1 . It is ufually thought that wherever a 
 vigorous imagination exerts its influence, 
 the mind commonly receives a propenfity 
 to compofition ; and that the higheft walks 
 of this art are always occupied by thofe 
 who poiTefs an eminent proportion of it. 
 
 Authors
 
 1 6 Philofophlcai and Critical 
 
 Authors in general have not contradicted 
 the prevailing opinion with regard to the 
 connection betwixt this mental quality and 
 the fubject of which we treat. But a little 
 reflection will fhow us that we are miftaken 
 in this eftimation. 
 
 Upon furveying attentively the mental 
 powers by which man 16 diftinguifhed from 
 the inferior creation, we fhall find each of 
 thefe affuming forms fo various as it ope- 
 rates on particular characters, that, with- 
 out bellowing clofe attention, we may 
 overlook the caufe from which effects 
 feemingly fo remote from each other derive 
 their origin. Thus a mechanical engine, 
 an animated figure in hiftory painting, a 
 philofophical theory, and a feries of inte- 
 refting and well concerted incidents, ap- 
 pear at firfl: view to be objects whofe con- 
 nection is fo diftant, that it demands at- 
 tention to difcover that the inventive facul- 
 ty, affuming different afpects, is the com- 
 mon parent of all. The difficulty of trac- 
 ing to their original fource the phenomena 
 that arife from imagination, is ftill greater, 
 when we confider its influence on the 
 
 actions
 
 Obfervdtions &n Compofition* iy 
 
 actions of men. Thus among the active 
 part of mankind, who are commonly fup- 
 pofed to poflefs no great (hare of this fa- 
 culty, becaufe perhaps they are incapable ei- 
 ther of difcovering, 6r of feeling the beauties 
 of compofition ; we are apt to overlook 
 or not to affign to its proper caufe, the fa- 
 cility with which thefe men invent plans 
 of happinefs adapted to their difpofitions, 
 one after a former hath been difappointed ; 
 the uncommon expedients they fometimes 
 adopt to carry thefe into execution ; in 
 fhort, their capacity of finding fuch remote 
 and extraordinary refources as render the 
 moft formidable dangers not only fur- 
 mountable, but even familiar: yet it is 
 unqueftionably the fame power receiving 
 only a different direction, which produceth 
 thefe effects in life as it is that in the 
 fpheres of poetry and eloquence invents 
 the fable, or fupplies the illuftrations. 
 
 It is not however only from the actions 
 of men that we may be led to confider the 
 bufy part of them as pofleffing in many 
 inftances no inconfiderable fhare of imagi- 
 nation. A little acquaintance with life 
 
 Vol. I. C will
 
 1 8 Fhilofophical and Critical 
 
 will fet before us another clafs upon whofe 
 cowoerfation this faculty appears to operate 
 in a very ftriking manner, though without 
 extending any further. Thefe are men 
 who inheriting from nature a certain quick- 
 nefs and volatility of thought, which eva- 
 porates in an inflant, are qualified to fparkle 
 a moment in the circle of their compa- 
 nions. But the talent of methodifing fen- 
 timent, and that of throwing out loofe 
 thoughts, however entertaining, are wholly 
 different. The firft is the offspring of 
 fancy deriving little affiftance from the rea- 
 foning power; whereas the laft is effec- 
 tuated by an effort indicating mature and 
 deliberate recollection. Thus it happens 
 that men wholly difqualified for the one 
 of thefe employments, affume the other as 
 a province in which nature hath fully com- 
 penfated the defect. 
 
 As imagination itfelf is thus fufceptible 
 of fuch different appearances, fo the un- 
 derftanding, confiftent and uniform as its 
 operations ufually are, participates like- 
 wife, in confequence of its union with the 
 former, of this variety of character. Thus 
 
 judgment
 
 Chfervaiiohs on Compofitioti. 10 
 
 judgment united with that invention which 
 carries a man through the hufy fcenes of 
 life, derives from this power an expreffion 
 o different from that which diftinguifhetri 
 it in compofition, as not to be marked 
 without clofe attention from its effects *. 
 Its employments are indeed fo diftincl: from 
 each other in thefe cafes, that the fame in- 
 tellectual faculty which judgeth of the 
 moft effectual expedients in the various 
 occurrences of life; weighing the force of 
 an argument, or eftimating the propriety 
 of an illuftration, appears in afpects feem- 
 ingly incongruous, and is feldoiti or never 
 
 * Thus one of the greateft matters of reafon afligns 
 to this faculty two diftincT: offices, that of laying down 
 plans of action ; and that of contemplating abstracted 
 ideas with fteadinefs and comprehenfion. Ki tsto 
 tyxvifiov opoius ivt too; rtaTa TEXNHN,xat roig nocrx 
 $T2IN. (3Atou o*t to Xoyov c%ov Jtr,pr\TXi t Jn/?j xaS' 
 
 0V7Tp fiwO|!AV Tp07T0U <5jajl/. O [XcV DOCfl IIPAKTIKOS 
 
 tr hoyos, o Si 0EX1PHTIKOZ. Hitocvtwi; ovv avacyxvy 
 &C APISTOT. nOAIT. H. With the fame la- 
 titude another ancient philofopher confiders this faculty 
 as ENNOIA $TIKH TX2N KA0OAOT. XPTIftT. 
 apudAlorEN. AAEPT. ZEN, /3*- g. 
 
 C 2 able
 
 20 Philofophical and Critical 
 
 able to ad in both capacities with an equal 
 degree of accuracy *. 
 
 That mental power which when exerted 
 either in executing, or in judging of exe- 
 cution in the fields of compofition takes 
 the defignation of difcernment ; in com- 
 mon life is known by that of ' fagacity. In 
 the lafl it is diftinguifhed by a percep- 
 tion of the real character, and an infight 
 (if we may thus . term it) into the fecret 
 motives that influence conduct, no lefs 
 juflly than inftantaneoufly conceived, from 
 circumftances that efcape a common ob- 
 ferver. Its effect in the firft inftance we 
 
 * It is probably on account of this inability that we 
 find thofe who pofTefTed the greatefl (hare of reafon, fo 
 pathetically lamenting its weaknefs. I mention here 
 a paflage of Cicero preferved by St. Auflin not only on 
 account of its analogy to the 'prefent fubject j but as 
 it is exprefTed with peculiar elegance and propriety. 
 * Homo (fays he) non ut aMatre, fed ut a NovercaNa* 
 tura editus eft in vitam, corpore nudo, fragili, & in- 
 firmo: animo autem anxio ad molefrias, humili ad 
 timores, molli ad labores, prono ad libidines: in quo 
 tamen ineflet tanquam obrutus quidam divinus 
 ignis 1NGENII & mentis. Patiicii Fragment. Cicer. 
 
 have
 
 Obfervations on Compofition. 21 
 
 have formerly pointed out. Perhaps it 
 may be faid with truth, 'that the fame qua- 
 lities which form a penetrating judge of 
 compofition, would form likewife the Ja- 
 gacious obferver of manners and action, and 
 always does fo when accompanied with 
 experience. But whatever truth may be 
 in this, the reverfe furely does not hold, 
 that he who is acknowledged to ihowjaga- 
 city in the one cafe, poflefTeth always dif- 
 cernment in the other. This is fo evident 
 as to ftand in need of no confirmation. 
 
 From thefe obfervations on the human 
 mind it will follow, that the talent above- 
 mentioned of placing thoughts in the hap- 
 pieft order, and of clothing them in the 
 fitted words, accompanies not necelfarily^ 
 the poiTeffion of the higheft intellectual 
 qualities whether acting feparately or in 
 union with each other. Imagination we 
 have feen diftinguifheth the mechanic as 
 well as the poet, and judgment is fhared 
 in common by the philofopher and the man 
 of bufinefs. Both faculties indeed we have 
 feen to be combined in this laft inftance ; 
 and yet the perform diftinguifhed by their 
 C 3 combination,
 
 22 Philofophical and Critical 
 
 combination, not only unable to acquire 
 excellence in, but even to conceive ideas 
 of mafterly compofition. To reply tp 
 thefe fads, that excellence in the art of 
 which we treat, depends not upon the pof- 
 fefhon of the principal powers, but upon 
 the degrees in which they fubfift, will be 
 found upon examination to be diffatisfac- 
 tory. Admitting the truth of this aflertion 
 it can anfwer no purpole, unlefs we mean 
 to affirm that the fhare of reafon and ima- 
 gination required to conflitute a talent fqr 
 Compofition, is neceffarily and ejfent tally fu- 
 perior to that portion of thefe which forms 
 an ingenious mechanic, or a man of abili- 
 ties in the tranfaclions of life. This, howr 
 ever, reflection will lead us to reject as 
 contrary in many inftances to the di&ates 
 both of reafon and experience. 
 
 The firft inventor of any complicated 
 piece of machinery, (a clock, or a watch, 
 for inftance) in whofe cpnftru&ion many 
 inferior and regulated movements concur 
 to accomplish the defign of the artift, muft 
 be confidered as having received from na- 
 ture in an. high degree not only the faculty 
 
 of
 
 Obfervations on Competition. 23 
 
 of invention, but that likewife which judg- 
 eth with acutenefs and penetration. The 
 extent of the former appears from his con- 
 ception of fo original a work; the depth 
 and fubtlety of the latter, from an exqui- 
 fitely nice arrangement of parts, and the 
 mutual dependence fubfi fling through the 
 whole. In the fame manner, the man 
 who is interefted in the bufinefs of life, 
 and is able to make various and remote ex- 
 pedients terminate in the accomplifhment 
 of ibme purpofe of importance, cannot 
 upon many occafions be denied his claim to 
 a very uncommon mare of both thefe qua- 
 lities without injuftice; the one being re- 
 markably confpicuous in the invention of 
 fuch expedients; the other in their appli- 
 cation to particular purpofes. Thus, will 
 it be denied that a general entrufted with 
 fupreme authority, whofe mind is fruitful 
 of refources, and who by the happy means 
 that occur to him, extricates himielf with 
 honour when placed in the molt, critical and 
 perilous circumflances ; will it be denied 
 that fuch a man difplays confummate ge~ 
 nius, i, e. (fuppoiing this character to de- 
 C 4 pend
 
 24 Jfhilofophical and Critical 
 
 pend principally upon imagination) great 
 invention in the military art? Admitting 
 this to be true, mull we not allow him like- 
 wife to difcover difcernment in the trueft 
 fenfe of that word, when we obferve that 
 he hath forefeen and fuperfeded the defigns 
 of his rival, that his ftratagems have not 
 only difplayed imagination in their contri- 
 vance, but the greateil addrefs in being car- 
 ried into execution? Can we in the laft 
 place deny his claim to extenfive under- 
 Handing, when we find that his whole con- 
 duct hath in general been regulated by 
 thofe maxims that moft commonly in- 
 fluence the difcreet and the prudent*? 
 
 Should 
 
 * The reader who would fee thefe obfervations ex- 
 emplified, will find a variety of inftances to his purpofe 
 in perufing the hiftory of Sertorius oppofed alternately 
 to the bed Roman generals ; in the detail of Hannibal's 
 exploits while he maintained himfelf in Italy; in the 
 conduct of Csefar, (who wrote indeed almofl as well as 
 he fought) particularly after the battle of Dyrrachium. 
 In more modern times he will meet with wonderful 
 proofs of this military genius carried to its utmoft ex- 
 tent in the hiftory of Conde and Turenne, when op- 
 pofed to each other; in the laft campaign of the latter 
 
 when
 
 Obfervations on Compofition. 25 
 
 Should it again be replied, that how- 
 ever extenfive we may allow imagination 
 fometimes to be in the cafes abovemention- 
 ed, yet this faculty when employed at 
 leaft in the higher fpecies of compofition, 
 dwelling on fublime and abjlr acted objects, 
 and forming as it were a new creation of 
 its own, mull be originally of a ?nore exalted 
 cajl (if we may thus exprefs it) in a mind 
 directed to fuch purfuits, than when it re - 
 
 when he appeared as a competitor for glory with 
 Montecuculi ; in the firfl Italian campaigns of Eugene, 
 and as an inftance adequate to any of the former j in 
 the laft proof exhibited hy Marlborough of his confum- 
 mate abilities, when he commanded againfl Villars at 
 the fiege of Bouchaine. It will be obferved that we 
 have only feleled examples here of celebrated leaders 
 acting in oppofition to each other. A man of know- 
 ledge and experience in the art of war may obtain a 
 feries of eafy victories over a weak or inexperienced 
 antagonift. But to triumph in the midft of danger and 
 difficulty by the natural refources of a copious inven- 
 tion is the province of genius alone. We have like- 
 wife upon this occafion confidered only excellence in 
 the military profeffion. The difcerning reader may 
 apply what hath been faid on this fubjeel to men who 
 ar. in other fpheres of life, in which he may be aflift- 
 ed by the preceding obfervations. 
 
 ceives
 
 7.6 "Philofophical and Critical 
 
 ceives any other bias of what kind foever; 
 we would obferve, that this objection re- 
 fers not to the degree in which invention 
 fnbfifts, but to the particular fubjects to 
 which it difcovers a propenfity. Thefe 
 however are objects wholly diftinct from 
 each other. He who raifeth a mafs of iron 
 from the earth, poffeiTeth it is evident the 
 fame degree of natural ftrength with him 
 who bears a quantity of gold or diamonds 
 precifely equal in weight to the former. 
 The difparity lies therefore not in the 
 ftrength of the two men, but in the ob- 
 jects to which it is directed, Swift and 
 Butler were neither of them geniufes of a 
 very exalted clafs. Yet it will not we pre- 
 fume be denied that the former in his Tale 
 of a Tub, and in the Travels of Gulliver, 
 the latter in his inimitable Hudibras, dis- 
 cover copious, fruitful, and even original 
 imagination. But without efti mating the 
 comparative value of different objects, it 
 is fufficient for us to obferve at prefent, 
 that the mind of that perlbn who prefides 
 over a great people and conducts the com-* 
 plicated machine of government with abi- 
 lities
 
 Obfervations on Compofition. 27 
 
 Jitles adequate to the office*; that the 
 intellectual powers of that commander who 
 
 # Quintilian, folicitous of drawing almoft every hu- 
 man excellence within the vortex of eloquence, will 
 pot give up the character mentioned in the text to the 
 claim of philofophy. He contends that fuch a man 
 ought likewife to be efteemed an orator. His words 
 are remarkable. ^'Neque enimhoc concefTerim, ratio- 
 pem recuse, honeftseque vitne ad Philofophos relegandam ; 
 cum vir ille vere civilis, & publicarum privatarumque 
 rerum adminiftrationi accommodatus ; qui regere con- 
 ciliis urbes, fundare legibus, emendare judiciis point; 
 non aliler fit profeElo quam orator. Quare tametfi me 
 fateor ufurum quibufdam quae Philoibphorum libris 
 continentur tamen ea jure, vereque contenderjm efTe 
 pperis noftri, proprieque ad Artem Oratoriam pertinere." 
 The truth of this obfervation depends in a great mea.- 
 fure upon the fenfe in which we underftand the word 
 Orator. If we underftand by this term a power of 
 fpeaking in fuch a manner as to obtain the purpofes of 
 convincing, pleafing and moving the pafiions, it is 
 certain that the pofleflion of the firft of thefe qualifies 
 men principally to give laws to fociety; and that it 
 hath diftinguifhed perfons who fhared not at leafl in 
 any eminent degree of the laft. Such men therefore 
 could not with propriety be denominated eloquent, at 
 leaft according to Cicero's definition of the word. 
 H Erit Eloquem is qui ita dicit, utprobet, ut deledet^ ut 
 flectat. Probare necejfttatis eft, dejeciare fuavitat'u, 
 fjeclere vifloritc" 
 
 l Jays
 
 t$ Philofophkal and Critical 
 
 lays down the tranfadtions of a future 
 year, and in the profecution of his plan, 
 accommodates himfelf to difficult, per- 
 plexing, and unexpected obftructions ; that 
 thefe are fitted by nature to form great 
 ideas, and whether endowed or not with 
 a talent for compofition, poflefs an emi- 
 nent fhare of the powers that give rife to 
 its operating in an enlarged and compre- 
 henfive direction. 
 
 We have now evinced from a feries of 
 obfervation on the characters of men, that 
 the art of which we here treat, confidered 
 as regarding the faculties of the mind, 
 neither accompanies neceflarily the poffef- 
 fion of any of thefe viewed feparately; or 
 even arifeth from the degree in which they 
 are conferred when acting in combination. 
 " What then, it may be afked, is Compo- 
 fition in the prefent important view of 
 that art, and by what eircumftance is it 
 conftituted ?" We reply. " A talent for 
 Compofition is formed by a mare of thofe 
 intellectual powers we have defcribed, va- 
 ried indeed in proportion to the value of 
 that fpecies to which the mind hath re- 
 ceived
 
 Observations on Compojition* 29- 
 
 Ceived a bias; but accompanied in every 
 cafe with a propensity to place fuch ideas 
 as occur to it in lights at the fame time 
 happy and diverfified, to range thefe in 
 juft and perfpicuous difpofition ; to exprefs 
 them in fuitable words which are felecl:ed 
 with facility; and to give* the whole fo 
 permanent a form by committing it to 
 writing, as that the mind may contemplate 
 it with pleafure upon a review." It is not 
 therefore from the proportion of mental 
 qualities conferred on any man, that we 
 ate to judge of the degree in which hepof- 
 feffeth a talent for the art in queftion, or 
 even of its exiftence *. The bias which 
 4r thefe 
 
 * When we fpeak of a talent for compofition (as 
 that term hath been defined) we muft take care to ex- 
 clude from this idea, that flight propenfity to a fuper- 
 ficial kind of writing which fome men difcover, in 
 which the thoughts are at the fame time conceived 
 with quicknefs, and throw it into language with fa- 
 cility. This happens when trite fubjecls fall to be dif- 
 cufled by minds that are either difqualified by nature 
 to take any comprehenfive view of things, or when 
 indolence, encouraged by a defective education, pre- 
 vents a man poflefled of talents from putting thefe to 
 
 their
 
 3 6 Plillofophical and Critical 
 
 thefe receive from nature is the circum-* 
 Itance particularly to be attended to iri 
 forming this eftimation. The ufual indi- 
 cations of this extraordinary propenfity, 
 and the manner of cultivating it moft fuc- 
 cefsfully, whatever direction it may have 
 received, will be confidered, when we come 
 to treat of the moft proper method of 
 bringing the intellectual powers, when dif- 
 tinguifhed by this bias, as nearly as poflible 
 to a juft equipoife. 
 
 2. Having thus taken a view of Com- 
 pofition as connected in general with the 
 faculties of the mind, we are next to con- 
 fider what is implied in it when viewed as 
 an art diftinguifhed by particular" characters, 
 confifting of various fpecies, and contri- 
 buting eminently to promote the happinefs 
 and civilization of mankind. 
 
 their proper ufe. In this laft cafe, thefe, in confe- 
 quence of having early received a different direction 
 from that in which they might have appeared to the 
 higheft advantage, become at laft unfit to fix in it with 
 f uch fteadinefs as is neceflary to the accomplifhment of 
 anv valuable purpofe. 
 
 In
 
 Ohfervations on Compojition, 31 
 
 In order to acquire a juft idea of our fub* 
 ject in thefe points of view, we mull here 
 make one general obfervation on the qua- 
 lities that molt commonly go along with 
 this uncommon and valuable propeniity* 
 It is, that deliberate recol lection, and a 
 gradual rather than rapid fucceffion of ideas 
 are criteria that in all cafes whatever 
 characterife the minds that are thus par- 
 ticularly diftinguifhed by nature. A little 
 attention to the fubject will enable us to 
 judge of the truth of this obfervation, (pa- 
 radoxical as it may at firft appear to be) 
 and to obviate the objections that will na- 
 turally be made to it. 
 
 Diverfified as the fubjects of Compoli- 
 tion certainly are, we mull yet be convinced 
 upon reflection, that there is no fpecies of 
 the art in which difpofition or a certain or- 
 derly arrangement of parts is not eflentially 
 neceflary. In fome branches of it indeed 
 this arrangement is no doubt much more 
 confpicuoufly ufeful than in others ; when 
 an Author, for example, muft defcend from 
 the general view of a fubject to contemplate 
 the particular parts of which it confifls ; 
 
 or
 
 32 Philofophical and Critical 
 
 or when fome leading fentiment is to be 
 fhown in different lights, and to be illus- 
 trated by a feries of connected obferva- 
 tions. But fo indifpenhble is this requi- 
 fition, that the perfection of thofe perfor- 
 mances which are deemed the loofeft and 
 moft detached, lies not in the want of me* 
 thodical accuracy, but in the artful con- 
 cealment of a regular difpofition, by which 
 means the entertainment ariiing from cer- 
 tain graces thrown into a piece with ap- 
 parent negligence, and the information de- 
 rived from a well conducted procefs, are 
 happily united. 
 
 In order to render the difpofition of ob- 
 jects accurate, it i necefTary that the mind 
 fliould pofTefs a power of contemplating 
 each of thefe fteadily by itfelf, that it may 
 at the fame time be fully exhibited, and 
 may occupy the place that moft naturally 
 belongs to it. But this purpofe can at no 
 time be efFe&uated when there is a rapid 
 fucceflion of ideas taking place in the mind. 
 The underftanding (which is the parent, of 
 this difpofition) muft curb even the moft 
 cxcentric imagination with fo ftrong a 
 A rein,
 
 Obfervatlons on Compofition, 33 
 
 rein, as to fix it to one place as long as 
 may be expedient; and to prefcribe to it 
 certain boundaries, within which its range 
 muft at all times be limited *. Thus there- 
 fore it happens that what appears to have 
 been owing to a Hidden effufion, comes 
 to be feen as arifing from cool recollection; 
 and a faculty to have directed the conduct 
 of fome procedure in which we might be 
 apt at firft view to judge that its operation 
 would be in a great meafure fufpended f. 
 
 * The Author laft quoted, gives his fan&ion to this 
 opinion. Thus he not only advifeth the orator to be 
 cautious and deliberate in his compofjtion 5 but to 
 prove that thefe ingredients conftjtute a bias for the 
 art in general, he adduceth the examples of Salluft and 
 Virgil. M Sic fcripfiile Salluftium aecepimus, & fane 
 manifeftus eft ex opere ipfo labor. Virgilium quoque 
 pauciffimos die compofuiiTe verfus auctor eft Varus. 
 Oratoris alia conditio eft. Itaque hanc moram & folli- 
 cltudinem in initiis impero." Inftit. Orator, lib. x.cap.3. 
 Defcribing afterwards the manner in which Compofi- 
 tion is carried on, he fays, " P 'aulatim res facilius fe 
 oftendent, verba refpondebunt, Compofitio fcquetur, 
 cunta denique ut in familia bene inftituta, in offi- 
 cio erunt." Id. 
 
 + See this point more fully explained, Section II. 
 
 Vol. I. D Thefe
 
 34. Philofophical and Critical 
 
 Thefe obfervations when followed pro- 
 perly oat, will enable us to comprehend 
 the caufe of a phenomenon formerly taken 
 notice of; that in many inftances imagi- 
 nation exerts remarkable influence on the 
 converfation of men, who are difqualitied 
 to exercife it in any branch of Competi- 
 tion *. The /allies of wit, the quicknefs 
 of repartee, the power of comprehending 
 a dijiant hint; and of expreffing with fa- 
 cility ideas that arife inflantaneoufly in the 
 mind, indicate (as we formerly obferved) a 
 certain volatility of thought that is loft in 
 an inftant * ; but which conffitutes the cha- 
 racter of an agreeable companion, and fits 
 the perfon, whom it diftinguiiheth, pecu- 
 liarly for focial life. But, in the art of 
 which we treat, we have endeavoured to 
 fhow that qualities wholly different from 
 thefe muff, be exerted in order to characte- 
 rife a good writer. When the man there- 
 fore in whom they are acknowledged to fub- 
 lift, attempts to range his thoughts at lei- 
 fure, and to combine a feries of objecls fo 
 
 * Page 13. 
 
 juftly
 
 Obfervations on Compoftion. 25 
 
 juftly as that each may throw fome light 
 upon another, in a comprehenfive detail; 
 the heat and freedom with which he thinks 
 upon other occafions, renders him then 
 unfit to form an adequate ejlimate-, and the 
 rapid juccejjion of his ideas to exprefs with 
 perfpicuity that which may occur to him. 
 He on the other hand, who with an ani- 
 mated and vigorous imagination, is qua- 
 lified to felect at leifure from the variety 
 of objects fuch as are inoft appofite, and 
 calculated from the order in which they 
 are placed to promote his general pur- 
 pofe, mull it is obvious, in order to excel 
 equally in both characters, be able to 
 think at one time with promptitude, and 
 even precipitance; and at another with de- 
 liberate recollection ; or his excellence 
 confined to this laft fphere, will ceafe to 
 be confpicuous in the other. 
 
 It will, we are here aware, be imme- 
 diately faid, that however neceiTary this 
 gradual fucceffion of ideas may be to ex- 
 cellence in fome fpecies of Compofition, 
 it mull be limited to the two branches of 
 philofophy and hiftory. But with regard 
 D 2 to
 
 36 Vhilofophical and Critical 
 
 to others, (particularly the poetic art) ra- 
 pid tranfitions, and apoftrophes feemingly 
 unconnected, not only produce the ftrong- 
 eft effect, but even the appearance of thefe 
 is neceffary to perfect the execution. Thus 
 where it will be afked would be the beauty 
 of the Ode, (that high and inchanting 
 fpecies of poetic compofition) if we fhould 
 deprive it of thofe animated fallies, thofe 
 abrupt and daring flights of genius, which 
 arife from an imagination intenfely agi- 
 tated, and ftarting with little apparent con- 
 nection from one objedt to another * I The 
 
 fame 
 
 * From fuch views as thefe it probably was that fome 
 of the ancients were led to confider poetry in general 
 as a kind of enthufiaftic effufion arifing from a divine 
 and irrefiftible impulfc; and the poet infpired by his 
 *viuse, like the fibyl on her tripod, throwing out dark 
 myfterious, and prophetic exhibitions. Thus even in 
 later ages among the Romans, the word vates fig- 
 nified equally a poet, and a prophet. Strabo confiders 
 poetic enthuliafm as a kind of divine infpiration re- 
 iembling the prophetic. E^<rix<r[xoq nrivivrif t<* 
 S-fj^v t^ttv ooxti, xoa Til MANTIKjfl ym\ TsXuvizfyiv* 
 (3i6, I. Plato in the fame manner fets out in his beau- 
 tiful dialogue on this fubjecl by calling poetry EN0E1A 
 
 ATNAMI2V
 
 Obfervattons on Gompqfitioh. 37 
 
 fame queflion may be applied with fome 
 Variation to every other fpecies of the art, 
 the didactic alone excepted. 
 
 But before we pronounce a decifion on 
 this fubjecl:, let us endeavour to diftin* 
 
 ATNAMI2j an infpired energy, and goes fo far as to 
 affirrh on O 0EO2 ATTOI tnv Xiy<J, that God 
 himfelfis the fpeaker in their compofitions. IIAAT. 
 1X2, Again he tells us, as the refult of his obfervations 
 on this fubjecl:, Eym ovv a,v xoci tnoi zroiriTuv ev oXiyut 
 
 TOUTO, OTt OU SOMA TTQIQIEV X 7T0J9JIV, CtWx (P'J<rU 
 
 vm xwENO0TZIAZONTE2 cwrTKf 9iEOMANTES 
 
 Kai xphsmxiaoi. AnoAor. IOKP. xtp. z. 
 
 Ariftotle and the elegant writers of the Auguftan age 
 fpeak much more rationally and philofophically on this 
 fubjeft. The reader who choofeth to enquire into 
 their fentiments, may confult particularly the firftand 
 tenth chapter of the Poetics of the former, and the 
 writings of Cicero throughout. Admiting however 
 the definition of Plato to be juft and appropriated, it 
 will no more follow, that a man whofe powers are ab- 
 forbed in the contemplation of abftractcd objects* 
 ftiould on that account be disqualified to furvey thefe 
 feparately with attention, and to difpofe of each in the 
 bell manner, than that his eye When beholding an 
 agreeable and diverfified landfcape, (hould be always 
 difqualified to take cognizance of particular beauties 
 or defects. 
 
 D 3 guifh,
 
 38 Phihfophical and Critical 
 
 guifh, on every occafion, betwixt the 
 ftrength o? that impreffion which one ob~ 
 jee"r. makes upon a great imagination, and 
 a ieries of thefe palling before it perhaps 
 in quick but fuperficial review. Keeping 
 this necefTary diftinclion in our eye, we 
 fhall find that even in thofe poetic produc- 
 tions in which we meet with the boldeft 
 turns, and the molt unexpected tranfi- 
 tions, the genius of the poet appears in 
 the iignificance that he gives to particular 
 lineaments of his portrait; in the colour 
 that he throws upon the moft finking and 
 diftinguilhed features ; in the feledtion of 
 appropriated images ; and in the attitude 
 and diipofition of every feparate figure of 
 the piece, a work that requires him to 
 dwell with attention on the ideas that pafs 
 fucceflively in review before his mind to 
 whatever degree of fervid contemplation it 
 
 may be wrought up *. 
 
 In 
 
 * This aflcrtion may require to be exemplified 
 
 Let us take an example from one of the moft feem- 
 
 ingly irregular productions of the bard, whom im- 
 petuous
 
 Obfervations on Compqfition* 39 
 
 In the moft perfect productions of ge^ 
 iiius, both ancient and modern, the difcern- 
 
 ing 
 
 petuous imagination mod eminently difHnguiftieth. It 
 is his third Olympic addrefled to Theron of Agrigen- 
 tum. Upon a fuperficial view of this ode, nothing is 
 confpicnous to the reader, but an enthufiaftic bard ad- 
 dreffing Caftor, Pollux, and Helena (deities who have 
 ho concern in the games of Greece) inftead of invok* 
 ing Jupiter, Minerva> or Apollo; or beginning with 
 the praifes of the hero whom he profefled to celebrate* 
 With no apparent connection he drags Hercules into 
 the ode a little after, and tranfports his reader in art 
 inftant from the plain of Olympus to the Utopian clime 
 of Hyperborea. Having informed us that Hercules 
 tranfplanted an olive from this country to Greece, 
 that the Olympic victors might be crowned with it, 
 he takes occafion to pay a compliment to Theron with 
 which the ode concludes. ^Such is the firft appearance 
 of this piece in which a number of heterogeneous ideas 
 feem to have poured upon the mind of the poet, and 
 to have been jumbled together without coherence. 
 But when we come to obferve, that by reprefenting as 
 [acred every circumftance relating to thefe games, the 
 higheft honour mi reflected upon the conqueror, who 
 was thus fuppofed to be the peculiar favourite of the 
 gods; when we are informed that Caftor and Pollux 
 were fuppofed to have been appointed by Hercules the 
 guardians and patrons of the confecrated olive', when 
 "we advert likewife that being tranfplanted from a 
 D 4 country
 
 4^ Thllofophical a?id Critical 
 
 ing reader will find this capacity of cool 
 recollection, thofe criteria that indicate 
 a gradual fucceffion of ideas in the thoughts 
 of the writer diftingui filing his perform- 
 ance upon every occafion. Thus we ob- 
 
 country vvhofc inhabitants were thought to enjoy pcr- 
 fe St felicity, the happinefs of Theron is more ftrongly 
 fet before us, by having this fymbol of pleafure wreathed 
 around his head, than by the mod fludied defcrip- 
 tion : when we attend to thefe circumftances, we are 
 led to admire the addrefs of the poet in the conduct of 
 his fubjecT:; the artful and even judicious fek&ion of 
 his topics, and the arrangement obvious in the "whole 
 piece. It were eafy to fhow likewife that the imagina- 
 tion of Pindar, impetuous as it is, yet dwells with 
 fteadinefs upon particular objects; and that he difcovers 
 at the fame time vivacity and prccifion in the concep- 
 tion, the colouring, and the difpofition of his figures. 
 In the very ode that we have fele&ed on this occafion \ 
 obferve the beautiful and finifhed picture which he fets 
 before the reader, of the moon mining on the altar of 
 Jupiter, at the time when this olive was conferred on 
 the conqueror. 
 
 7iJf yap oivru) 
 
 tuv S^oumr,g oKov ^Pva-{xoy.aTog 
 lentous o^Oatytcv et)tTt(p~Ais jocr^va. 
 
 niNA. oATMn. r. 
 ferve
 
 Obfervations on Compejition. 41 
 
 
 
 ferve Homer, like a confummate general 
 overlooking the battle from an eminence, 
 maintaining a majeftic and uniform com- 
 pofure in the midft of tumult and univerfal 
 commotion. He defcribes particularly the 
 ground upon which the armies engaged ; 
 carries the reader's eye fucceffively from 
 one fcene to another, as they may be fup- 
 pofed to have changed their fituation: 
 he drops one hero fometimes in the moft 
 interefting part of the action, that he may 
 introduce another, whofe different man- 
 ners give an entertaining variety to the 
 poem, and to the difplay of whofe peculiar 
 character the circumftances are happily 
 adapted. In fhort, when a crifis is brought 
 on in the action, we find this great genius 
 paufing in the midft of his career to render 
 by fublime and appropriated imagery every 
 circumftance relating to the combatants, 
 a fucceflive object of admiration. Thus 
 the helmet, the plumage, the fhield, the 
 buckler, and the very point of the fpear 
 of Achilles are called in to heighten the 
 defcription of that exalted fphere in which 
 this hero conflantly moves. This con- 
 duct
 
 42 Thilofophical and Critical 
 
 duct is wholly different from that which 
 a man would have purfued, whofe ideas 
 poured in with hafte and rapidity. Such 
 a man, had he attended to all the circum- 
 fiances which Homer hath difplayed to 
 fuch advantage, would have paifed each 
 of thefe over as quickly as poffible, in 
 order to arrive at the principal event. 
 Embarrafled with the variety of his ma- 
 terials, his work would confift rather of 
 brilliant flrokesfcattered profufely through- 
 out, than of proportioned figures com- 
 pletely exhibited. In fhort, whatever fpe- 
 cies of Compofition we may fuppole a 
 man of this character to attempt, his ideas 
 muft be loofe and disjointed, his expref- 
 fion obfcure and inaccurate, though fe- 
 lected with much difficulty; and unable 
 to fupport either the majefty of defcrip- 
 tion, or the feries of argument, every part 
 of his performance would be left uncom- 
 pleted. 
 
 From the whole therefore it is we pre- 
 fume obvious, that imagination, however 
 naturally irregular, muft be able to con- 
 template ivith attention the figures that 
 
 compofe
 
 Ob/wo at ions on Compojition. 43 
 
 compofe a whole piece; and an Author of 
 whatever denomination, to adjuft the mem- 
 bers of his work with coolnefs. and recol- 
 lection, otherwife he will be unequal to 
 the tafk of exhibiting each (at leaft inCom- 
 polition) with grace, proportion, and 
 energy. 
 
 We have, in the courfe of our obferva- 
 tions on this fubjecl:, taken our examples 
 principally from one of the higheil fpecies 
 of poetry, becaufe it is here, that the qua- 
 lities we have mentioned as accompanying 
 a propensity to the art of which we treat in 
 this work, are judged to be unneceflary, 
 if they can be in any cafe whatever. 
 Having thus therefore mown their in- 
 fluence and importance in this fphere, wq 
 have much eafier work with the others; 
 in which an ultimate end is obvioujly kept 
 in view, while we follow the writer through 
 a methodifed enquiry ; and attend to the 
 operation of each intellectual power, as 
 well as to the effect arifing from their ge- 
 neral combination. Philofophy, hiftory, 
 eloquence, and criticifm, conlidered in this 
 point of view, will amply confirm thepre- 
 8 ceding
 
 44 Philofophical and Critical 
 
 ceding obfervations ; from which at pre* 
 fent we may define Compofition, when 
 viewed as confifting of diverfified charac- 
 ters, and diftinguifhed into various fpe- 
 cies; to be " that art by which the fe- 
 veral parts of a fubjecT: are fo juftly fitted 
 to each other, as to form a proportioned 
 and beautiful whole." Of the manner in 
 which this end is accomplifhed, of the 
 office afligned to each faculty, as well as 
 of the ufiited power of all in bringing it 
 about, we now proceed to treat more par- 
 ticularly. 
 
 i00o***oeeocGo<woco-30coM com wootowocoo oooo NNMMMMNNN eoo co#occeoc.o** 
 
 SECTION II. 
 
 Of the Province of the Under/landing in 
 Compofition. 
 
 AMONG the faculties of the mind, 
 that by which man is chiefly diftin- 
 guifhed from all inferior creatures, forms 
 in the prefent, as in every fimilar invefti- 
 gation, the great and primary object of 
 attention. The offices therefore of the un- 
 derftanding, as thefe have already been 
 
 explained
 
 Obfervations on Composition. \ 45 
 
 explained in general, we fhall novy con- 
 fide r particularly as far as the prefect fub- 
 jecl: is concerned, according to the method 
 formerly laid down*. 
 
 The criteria from which the judgment 
 of a writer is rendered principally con- 
 fpicuous, are the difcovery of a theory or 
 hypothecs; the difpofition of parts in the 
 plan of a work in fuch order as moft ef- 
 fectually promotes an ultimate purpofe; 
 the comprehenlion of this plan as adapted 
 fully to the fubjecl: of whatever kind ; and 
 finally a certain propriety of fentiments 
 and of illuftration, which univerfally indi- 
 cates the prevalence of this faculty, and 
 may therefore be regarded as a perpetual 
 delignation of it. On each of thefe heads, 
 confidered by itfelf, we fhall throw toge- 
 ther fome obfervations. 
 
 1 . Upon a firft view it may appear fome- 
 what extraordinary to aver that any emi- 
 nent fhare of reafon is indicated by the 
 difcovery of an hypothefis, as invention of 
 every kind is ufually afcribed to imagina- 
 
 * Section I. page 7. 
 
 tion,
 
 46 Philofophical and Critical 
 
 tion, which is on that account denomi- 
 nated, by way of eminence, the inventive 
 faculty. The propriety with which this 
 term is applied to it we mall have occafion 
 to examine in the fubfequent lection. It 
 is of importance to the prefent fubjecl: to 
 obferve, that two diftinct kinds of inven- 
 tion will be found to take place in the dif- 
 ferent branches of Composition, and to 
 characterife the perfons who excel in it. 
 The firft of thefc is diftinguifhed by an af- 
 femblage of original ideas brought toge- 
 ther without much recollection ; by the 
 peculiar and happy lights that are thrown 
 upon truths already known, either in con- 
 fequence of a well adapted expreflion, or 
 the application of new and uncommon il- 
 luflrations ; by the unbeaten paths into 
 which an Author falls ; and by the fudden 
 fiajhes of light (if we may thus exprefs it) 
 which he cafts around him. In thefe of- 
 fices it is obvious that imagination is prin- 
 cipally employed, which never fails to ex- 
 cite when obvioufly predominant, a defire 
 of deviating upon every occajion from the 
 received opinions of mankind. 
 
 The
 
 Ohfervations on Compofition. 47 
 
 The other kind of invention is confti- 
 tuted by the intenfe and fteady effort of 
 underftanding, which eftimating the com- 
 parative ftrength of arguments, and ad- 
 vancing from fimpler to more compounded 
 exhibitions in its refearch, deduceth at laft 
 fome conclufion from principles formerly 
 known, which may at the fame time be 
 new, and eftablifhed upon the jnfteft foun- 
 dation. A procefs of this nature is direct- 
 ed principally, if not wholly by the judg- 
 ment of the writer: it is completed by 
 patience and affiduity ; qualities that are 
 particularly charafteriftical of the preva- 
 lence of this faculty, whofe exertion ei- 
 ther enables a man to ftrike out fome truth 
 that had been formerly undifcovered, or 
 to build a new fyftem from the light in 
 which he placeth received maxims. 
 
 When we mention the placing common 
 fentiments in a new point of view as a 
 fpecies of invention fometimes arifingfrom 
 judgment, and fometimes principally from 
 imagination, we are not to fuppofe that it 
 will be a matter of much difficulty to dis- 
 tinguish the caufe from which this effect 
 
 is
 
 48 Philofuphical and Critical 
 
 is derived in particular inftances. We 
 have already afforded a criterion fufficient 
 to determine this matter when it was ob- 
 ferved, that when a work is character ifed 
 by the prevalence of imagination, even 
 where no original fentiment is difplayed, 
 yet fome peculiar energy will diftinguifh 
 the expreffion; or fome ftriking and un- 
 common illuftrations will give ftrength 
 and energy to the thoughts *. Reafon on 
 the contrary never aims at merit of this 
 kind. Confidered by itfelf, what Addifon 
 fays of the foul when viewed abftra&edly 
 from its paflions, may be applied with 
 great propriety to this faculty of it. " It 
 is flow in its refolves, and equally delibe- 
 
 * A modern critic fets this matter in fb juft a light 
 by the ufe of a beautiful and appropriated image, that 
 the reader of tafte will perufe it with pleafure. Speak- 
 ing of the difficulty of entering into characters he 
 fays '* Quare fapienter Plato ut Izevaret hoc onere phi- 
 lofophos praecepit, ut infumma rerum confifterent, ad 
 Jtngula ne defcendent. Nempe juprema & propinqua 
 ccelo aeris pars a turbis libera eft : non cogitur ilia in 
 nubem, non in tempeftatem propellitur, non verfatur 
 in turbinem. Inferior tonat ac fulminat/' Prolus: 
 prima." 
 
 rat*
 
 Obfervations on Compojition. 49 
 
 rate in its execution. It requires there-* 
 fore often to be awakened by the paffions, 
 that the man may be vigorous and atten* 
 tive in the profecution of his defigns *" 
 
 To this cautious procedure it is owing, 
 that a difcovery effectuated by the under* 
 Handing is always confirmed by clearer as 
 well as more fatisfying evidence, than that 
 in which another power of the mind pro*- 
 pofeth the end, and reafon is compelled to 
 fupply the moft probable means of bring- 
 ing it about j\ In this laft cafe the power 
 above mentioned is ftraitened in every ex^ 
 ertion ; and we difcover with very little at- 
 tention, that circumftances are brought to- 
 gether to fupport an untenable proportion, 
 which necefiarily fail in the accomplifh- 
 ment of their purpofe. But in, the other 
 inftance, when judgment at the fame time 
 propofeth a certain end, and conduces the 
 feries of obfervation or of argument that 
 
 * Spehtor, Vol. iv. No. 255. 
 f " Cum fit pofita (ratio) in inventtone nee elocu- 
 tionia ornamenta magnopere defideret, aut circa me* 
 
 moriam & pronunciationem laboret." Quintil, lib, vi, 
 cap. 5. 
 
 Vol. L leads
 
 50 Philofophical and Critical 
 
 leads to its attainment, the tendency of 
 each of thefe to promote this purpofe is at 
 once confpicuous ; and all, when taken to- 
 gether, naturally coalefce in that point in 
 which they ought to concentrate. Thus 
 the whimfical theory of Malebranche *, 
 and that of our ingenious countryman Bur- 
 net f, though relating to fubjects wholly 
 diftinct from each other,. yet equally em- 
 barrafs their authors, though far from 
 being deficient in clearnels of intellectual 
 perception; and lead them either into the 
 higheft refinements of metaphyseal invefti- 
 gation J, as in the firft inftance, or into 
 
 * De ia Recherche dc la Verite. 
 
 \ See* his celebrated work entitled Sacra Theoria 
 Telluris. 
 
 X The great doctrine inculcated m this extraordi- 
 nary work is, that fpirits living in the divine mind, 
 in the fame manner as bodies occupy fpace, all things 
 are feen by thefe as exifting originally in the deity. 
 Recherche liv. iii. part I. This ftrange hypothefis has 
 led our author into many abfurd, though ingenious 
 difquifitions, which it is not our bufinefs to examine 
 here. The principal of thefe (particularly his idea of 
 an infinite Reafon) the judicious Locke hath expofed and 
 refuted with great precifion and (Ircngth of argument. 
 See the Examination of Malebranche, in his Works. 
 
 forced
 
 Obfervations on Compojition, 51 
 
 forced coiiftru&ions of paflages tortured 
 from their obvious figniflcation, as in the 
 laft % The reafon of this embarraffment 
 in both is, that the ultimate purpofe of 
 each work is that which imagination, not 
 reafon, originally fuggefted. But having 
 been once adopted, this faculty is called in 
 as an affiftant to fupport pofitions which 
 it would perhaps have reje&ed. Still how- 
 ever we obferve its ftrength; but it is 
 ftrength mifapplied. Like Samfon when 
 deprived of fight, it retains its vigour, but 
 employs it not to rear a fabric but to put 
 fuch materials together as may be thrown 
 down. Let the reader of difcernment com- 
 pare either of thefe with the excellent 
 work entitled the Analogy betwixt Natural 
 and Revealed Religion, in which the un- 
 derstanding purfues a certain purpofe thro* 
 
 It is not our prefent bufinefs to enter into the proof 
 of this obfervation. The reader who confiders the 
 manner in which this mofl ingenious writer hath 
 managed the proofs of his theory that are drawn from 
 Scripture, will obferve the plaufible appearance which 
 he gives to an interpretation of paffiiges that will not 
 bear to be clofely examined. 
 
 E 2 a fe-
 
 52 ThUofophical and Critical 
 
 a feries of rational and fatisfactory evi- 
 dences ; and he will perceive the eafy pro- 
 cefs by which this faculty obtaineth its 
 end when permitted to operate univerfally 
 as a principal, inftead of the conftraint 
 and obfciirity that mark its progrefs, when 
 employed to fupport hypothefes which it 
 did not form. 
 
 It ought likewife to be obferved on this 
 head, that when it is an author's purpofe 
 either to difcover or to elucidate truth by 
 an accurate enumeration of principles and 
 inferences, the mind muft advance in its 
 Work with the utmoft circumfpedion, as 
 in the fcale of arguments corroborating 
 each other, the defect: or weakncfs of one 
 ftep is fufficient to marr the effect of all. 
 Difpropoftion of parts is indeed much more 
 confpicuous in fuch a work, than in com- 
 position embellifhed with metaphor and 
 imagery. In this laft cafe we are willing 
 to fuppofe that an author hath protracted 
 his examination of a favourite topic, and 
 hath Strained a particular branch of his 
 work beyond its due dimenlions, from the 
 natural and irrefiftible impulfe of a warm 
 
 imagination.
 
 Obfervations on Compofitlon. 53 
 
 imagination. But in the other, as the 
 reader receives lefs entertainment from 
 the external decorations, he is at leifure 
 to examine attentively the proportions of 
 the figure, and is ftruck with a defect in 
 this circumftanoe that might have other- 
 wife efcaped the moft accurate obferver. 
 An understanding adequate to its fubjecl:, 
 and unimpelled by other powers that marr 
 its operations, by keeping one ultimate 
 aim clofely in fight; and by fetting in a 
 clear light every ftep by which we ap- 
 proach to it, feldom permits this fault to 
 become fo obvious as to give offence even 
 to thofe, whofe powers of difcernment en- 
 able them to decide on this point with the 
 greateft preciflon. 
 
 Upon the whole, the requifition princi- 
 pally neceffary to carry on the difcovery 
 of unknown truth, is an underflanding 
 unembarraifed in its purfuit by another 
 power, and adopting the idioms of imagin- 
 ation only to elucidate its principles*, 
 
 inflead 
 
 Two celebrated ancients, Ariftotle and Quinti- 
 
 lian, feem to think very differently of the propriety 
 
 E 3 with
 
 54 Philofophical and Critical 
 
 inftead of being admitted to evince the ge- 
 nius of the writer, while they throw an air 
 of obfcurity over his performance. 
 
 with which metaphors ought to be introduced, and of 
 their ufe in Compofhion. The former (perhaps fome- 
 what too haftily) condemns thefe altogether as produc- 
 tive univerfally of obfcurity, and will not allow even 
 images, which he diftinguifheth from the other, to be 
 introduced, when thefe have a tin&ure of poetry. 
 The latter points out their ufe and expedience with 
 great accuracy. AAXo? a (fays the Greek philofopher) 
 xxi Mtlx^opxv iior.xij, oiov a tw nricnptv x fj.tr xtttw- 
 tov> Sec. I1ANTA yuo A2A$EI to xola META- 
 <I>OPAN AErOiMENON. TOI7IK. {3jg. . In an* 
 other place he fays, Er St xxi n EIKHN Mtrx(popx' 
 Aixtyepti yxp fj.ix.gov' Orxv yxp turn rov AfciXXtx-^- 
 Sl; St Atuv tTTocva-vj. ElKIiN fv. Orxv St Atm 
 nropwt, META$OPA. A* yxg to ap^u xuSptiovs 
 iivai, Tzroo<rr,yopiv<rt fxtrtvtyxxg Atovrx rov A^iXXtx' 
 Xfwri/*e St EIKAN xai tvXoyj. OAirAKlS St, IIOI- 
 HTIKON yxp. Oiftxi St u<nrtg x\ ptrxtpogxi. PH- 
 
 tcp. ftC r. xttp. S. 
 
 " Indofti quoque (fays the Roman critic) non fentien- 
 tes, metaphora frequenter utuntur. Eas facimus, aut 
 quia necefie eft, aut quia fignificantius, aut quia de- 
 centius. Ubi nihil horum praeflabit, quod transfertur 
 improprium eft." Quintil. Inftitut. lib. viii. c. 6. 
 
 II. From
 
 Obfervations on Compofition. 55 
 
 II. From confidering the difcovery of 
 truth, as regulated by the underftanding, 
 we come now to take a view of this power 
 as employed particularly in regulating the 
 difpofition of parts, in fuch a manner as 
 contributes moft effectually to promote the 
 deiign of the whole. In this important 
 province of its work, reafon may be view- 
 ed both as laying down the genera/ plan 
 or method in which a fubjecl: is to be 
 treated ; and as ranging the ideas that oc- 
 cur upon entering into an examination 
 of particular parts in a juft and natural 
 order. 
 
 1. That it is the underftanding alone 
 which regulates the general difpofition of 
 fentiments and illuftrations in all cafes 
 whatever, will be acknowledged imme- 
 diately, when we Attend to its conftant 
 manner of procedure. From that flow re- 
 collection by which this faculty is diflin- 
 guifhed, it is qualified to difcover the beft 
 method of treating any fubjecT:, whether 
 fjmple or copious ; and after having tho- 
 roughly inveftigated its nature, to take 
 cognizance of the propriety, as well as 
 E 4 com-
 
 $6 Philofophkal and Critical 
 
 comprehenfion of a general defign*. Wc 
 obferved formerly, that there is no fpecies 
 
 of 
 
 . . - 
 
 * Pliny fpeaks of juft difpofition, in the art. of which 
 We treat here, as the effect of an extenfive acquaintance 
 with the writings of the learned. M Utinam Ordo, fal- 
 tem & tranfitus & figurse fimul fpetarentur. Nam 
 invenire praeclare, & enunciare magnifice, interdura 
 etiam Barbari folent ; difponere apte y &c. nifi ERUDI- 
 tis negatum eft." Epiftol. lib. iii. Epift. 13. This 
 obfervation is no doubt thus far true, that by being 
 converfant with works in which an exacl: method is 
 laid down and followed out, we acquire a habit qf 
 ranging our ideas on every fubjedt in a certain regulat- 
 ed fucceffion, which is the effecr, in a great meafure 
 of art and attention. This is probably what our au- 
 thor means by that apt difpofition which he appro- 
 priates peculiarly to the learned. Otherwise, as the 
 reafon of every man who is capable of inventing, pre- 
 fcribes to him likewife fome method of ranging to- 
 gether the means of obtaining a certain end, nothing 
 but a total deprivation of this faculty could make him 
 jumble crude conceptions together in fo difcordant a 
 manner, as to afford no glimmering of light by which 
 We may trace his defign. For (to adopt the language 
 of a confummate judge) " Ut opera extruentibus, fatis 
 non eft faxa, atque materiam, & cetera aedificanti uti- 
 lia congerere j nifi iis collocandis Artificum manus 
 adhibeatur : fie in dicendo, quamlibet abundans re- 
 rum copia, cumulum tantum habeat atque congeftum, 
 nifi illas eafdem in ordinem digeftas, atque inter fe 
 
 com-
 
 Obfervations on Compofition. 57 
 
 of Compofition in which a certain harmo- 
 nious arrangement of parts is not efTen- 
 tially neceflary. This order, as was like- 
 wife obferved, is no doubt much more 
 confpicuous in the conduct of a philofo- 
 phical theory *, or in treating of any 
 complex fubjecl:, than in loofer and more 
 negligent compofition, as it may be term- 
 ed. But the perfection of this laft, how- 
 ever feemingly irregular, lies not in the 
 
 commiflas Difpofitio devinxerit. Oratio carens hac vir- 
 tute, tumultuetur neceffe eft, & fine re&ore fiuitet; 
 nee cohaereat fibi : multa repetat, multa tranfeat, ve- 
 lut no&e in ignotis locis errans; nee initio, nee fine 
 propofito Cafum potius quam Concilium fequatur." 
 Quintil. Inftit. lib. vii. c. i. 
 
 * The rules of philofophical difpofition are oompre- 
 henfively laid down in few words by one of the firft and 
 belt of critics. Avxyxn tov rporrov rarov arpoxysiv sx 
 tm a.irx(pi<TTepxv psv m (pvirei, ypiv e cxtpinpui* 7rt 
 rx ccttperepx t (pva-ti xxi yvugipoolEgx. Eft $' ypn 
 to aroaTO o*i)\x xxi <rx(pn rx <rvyx)(vy.tvx juaAAov* 
 Ygtioov $e sx tutu)U ywsrxi yvuptpx tx coi^iix xai 
 xi ctp%xi 9 Jixicwri TauTa, &c. Ta "sraiJta to fxtv 
 izaoiTov zrpoirxyopfvii txxvtxs th? avSpxg t zixrnpxiy 
 xxt [AtiTtoxi; rxg yvvxMxs' Yrtgov fo ^topj^ft tt<; 
 mvtjy APISTOT, 4>T2IK. |3iG. xt<p. A. 
 
 want
 
 58 Philofophical and Critical 
 
 want of difpofition, which would include 
 that of every other excellence ; but in a 
 certain accurate, though apparently negli- 
 gent diftribution of parts, in which the 
 mind perceives fymmetry, upon a clofe 
 examination, and beauty, conftituted as 
 much by the happy pofition of elegant 
 decorations, as by their original inven- 
 tion *. 
 
 * To the examples of this already adduced from 
 the writings of the ancients, we need only to add at 
 prefent, that the firfr. of Roman philofophers appears to 
 have been fo fenfibleof the advantages that refult from 
 an accurate difpofition in his own art, that he wrote a 
 treatife purpofely on this very fubjetf, entitled De 
 Partitione Orato-ria, which is now unhappily loft. In 
 his work however entitled De Oratore he treats this 
 point at great length, and lays down the rules of ex- 
 act arrangement with his ufual precifion, " Ut aliquid 
 ante rem dicamus, deinde ut rem exponamus ; poft ut 
 earn probemus, noftris prasfidiis confirmandis, contra- 
 riis refutandis j'deinde ut concludamus, atque ita per- 
 oremus. Hoc dicendi genus natura ipfa prrefcribit. ,> 
 Lib. ii. c. 76. Again he fays, " Ncque difputemus 
 quibus affequi poffimus ut ea quae dicamus intelligan- 
 tur. Latine fcilicet dicendo verbis ufitatis, &c. non 
 difcerptis fententiis, non prrcpofteris temporibus, non 
 confufis perfonis, non pei turbato ordine." Lib. iii. 
 c. 13. 
 
 Eloquence,
 
 Obfervations on Compofition. 59 
 
 Eloquence, in whofe compofition an ex- 
 ad: and perfpicuous order ought invariably 
 io be obferved, is here altogether out of 
 the queftion. But what mall we fay of 
 certain gay effufions of wit and humour, 
 in which thoughts appear to be carelefsly 
 thrown out juft as they occur, and of thofe 
 animated fallies that derive their origin 
 from a glowing and plaftic imagination ? 
 When thefe laft confift only of a fingle 
 thought, the end is effectuated as foon as 
 this thought is placed before the mind in 
 fuitable colours ; and the only difpofition 
 requifite for this purpofe is that of lan- 
 guage and imagery, of whofe propriety 
 the underftanding decides with a precifion 
 proportioned to its ftrength and perfpi- 
 cacity. But when the defign in both cafes 
 is fomewhat more complex, as demanding 
 a various aflemblage of ideas, we may ob- 
 ferve that a climax is either carried on as 
 in the laft inftance, when it is from the 
 difpofition of inferior objects that the prin- 
 cipal derives its importance ; or in the 
 firft, that objects are put together fo as 
 to reflect light on each other, and to ac- 
 
 complifh
 
 &0 Philofophical and Critical 
 
 complifh an end that is kept clofely in 
 fight. It is, as we may foon perceive, 
 the judgment of an author that brings 
 about both the purpofes that are here 
 taken notice of. When the circumftances 
 in the conduct of an action or defcription 
 are made to rife in their fignificance, fo as 
 to arreft the attention, as well as gradually 
 exalt the reader's imagination as he pro- 
 ceeds; this procefs, though not perhaps 
 confidered in a proper view, juft when the 
 mind is intenfely animated by the fubject, 
 yet upon recollection will difcover an ar- 
 rangement carried on by that faculty which 
 is the parent of order ; and which hath af- 
 figned to each member that place in con- 
 tributing to produce this effect, which it 
 ought moft naturally and juflly to oc- 
 cupy. 
 
 With regard in the fame manner to the 
 loofeft effufions of humorous pleafantry, 
 is it from unconnected fallies that we re- 
 ceive entertainment * ? The defcription 
 
 that 
 
 In concluding pieces of this kinc*, men of genius 
 are fometimes apt to adopt from negligence a faulty 
 
 cxpreffion,
 
 Obfervdtions on Competition. 6f 
 
 that is replete with ridicule, pleafes as 
 much by being judicioully introduced, as 
 when obferved to be wrought up with 
 pointed and particular ftrokes ; and the tale 
 that excites the moft agreeable fenfations, 
 even though feemingly abruptly intro- 
 duced, yet pleafes in confequence of an 
 appofite difpofition, by which it is brought 
 to coalefce with the defign of the whole. 
 Not only therefore does this governing 
 power of the mind place ideas in a cer- 
 
 expreffion, (efpecially when a figured di&ion is at- 
 tempted) which the malignity of an adverfary wilt 
 make him impute to defign. It has ever been a com- 
 mon cafe, as an excellent modern critic obferves, " Vi- 
 ros eruditos faepe improprium ex negligentia (rylum 
 quafi tropicum aut figuratum habere, ex quo errore 
 fit, ut quod per incuriam efFufum eft, id de indujiria 
 dictum exiftiment, adeoque urgeant quod tirgeii non 
 debet.'' Clerici Ars Crit. Vol. I. part. ii. feci, i, c. u. 
 This fault is commonly occafioned by having fixed 
 attention too clofely upon fome one part, in endeavour-. 
 ing to obtain which the author unwarily lays himfelf 
 open in another. That apparent negligence which 
 gives fome pieces fo inchanting an air of elegance, is 
 the effect of defign, not of accident ; and in order to 
 be gained in perfection, correinef$ of language is as 
 neceflary to be attended to as mufical arrangement. 
 
 tain
 
 62 Philofophical and Critical 
 
 tain methodifed order, when thofe fubje&g 
 are treated in which its operation is at firft 
 view leaji perceptible ; but an extenfive 
 mare of it may likewife be frequently dif- 
 covered by a penetrating judge to have 
 been exerted in a province, in which a fu- 
 perficial reader might deem its exercife to 
 be leafi requifite. The underftanding in all 
 the inftances we have here adduced, brings 
 into one point of view the principal mem- 
 bers or outlines of a figure ; and though 
 not perhaps exerting the fame fteady re- 
 collection that renders inferior means fub- 
 fervient through the whole courfe of a 
 work to fome purpofe of importance, is 
 yet equally confpicuous in the conduct of 
 both. 
 
 2. Having thus taken a view of the 
 fphere of underftanding in the prefent art, 
 as far as the general plan or method of a 
 work is regulated by it j we now proceed 
 to confider its influence on the difpoiition 
 of fubordinate parts, ranged together in 
 fuch clofe and natural order as gives con- 
 fiftence and regularity to the whole. 
 
 As
 
 Obfer nations on Compofition. 63 
 
 As in the former bfervations we view- 
 ed reafon as the parent of difpofition in 
 the general fenfe of that word ; we are 
 here to trace its operation more particu- 
 larly in maintaining that fecret connection 
 throughout ; without which, a perform- 
 ance rauft ceafe immediately not only to be 
 edifying, but intelligible. 
 
 In the various fpecies of Compofition, 
 the connection fubfifting betwixt the parts 
 of a difcourfe, is fometimes fuch as an or- 
 dinary mare of underftanding will enable 
 a man to trace without difficulty ; and 
 fometimes fo fubtle and delicate as to be 
 perceptible only to the reader of difcern- 
 ment. A connection of the firft kind 
 takes place in any performance, when we 
 follow the author from one point to an- 
 other in his procedure ; and obferve him 
 attending firft to the general parts of his 
 plan, and next to the objects that fall fuc- 
 ceffively under particular branches of it, 
 until the work is completed by the union 
 of all. When this is the cafe, it is a mat- 
 ter of no great difficulty to judge of the 
 fteps by which a procefs of any kind is 
 3 carried
 
 64 Philofaphical and Critical 
 
 carried on ; and even though we do not 
 thoroughly comprehend intermediate fen- 
 timents, to pronounce upon the coherence 
 and liability of the whole. 
 
 A connection however equally clofe 5 
 though of a much lefs obvious kind, takes 
 place upon many occafions, chiefly in the 
 higher kinds of the art of which we here 
 treat ; and fuch as it is the province, of 
 difcernment (in the proper fenfe of that 
 term) to trace out particularly. This hap- 
 pens either when the thread of fentiment 
 is wrought out fo finely as to be percept- 
 ible, like the film of a fpider, only to the 
 eye that can minutely examine it ; or when 
 ftrokes by which it is propofed to pene- 
 trate the heart are thrown out with little 
 apparent regularity, and may be considered 
 as bold deviations from the fubjecl:. With 
 regard to the firft, it often happens that 
 thoughts are fpun out in fuch a manner 
 by patting through a metaphyseal alem- 
 bic, as to efcape the cognizance both of 
 the author or the critic. It is no doubt 
 one of the fureft proofs of underftanding 
 to be able to determine the boundary, be- 
 
 - yond
 
 Observations on Compaction. 6$ 
 
 yond which this power cannot afcertain 
 the reality of objects ; and thofe who have 
 rafhly attempted to pafs it, have involved 
 themfelves unavoidably in ambiguity and 
 error. We find it often difficult to trace 
 the connection of ideas in fuch difquifi- 
 tions, even when thefe are fufficiently dis- 
 tinct from the abftracted nature of the Sub- 
 ject that fuggefts them. The talk appro- 
 priated here particularly to the reafoning 
 power, is that of adhering fleadily to a 
 general purpofe, and of connecting a feries 
 of intermediate ideas, by whofe interven- 
 tion it is to be gained both with that end, 
 and with each other. 
 
 The fecond clafs of objects in which we 
 obferved that it is a matter of difficulty 
 many times to trace a clofe connection* 
 confifts of ftrokes that exalt the imagina- 
 tion, or penetrate the heart. Here the un- 
 derftanding of the writer is deemed by the 
 Superficial to exert no confpicuous degree 
 of influence. Our judgment, however, 
 when we decide thus at random, is much 
 too haftily formed in this matter. Atten- 
 tion will mow thofe who are qualified to 
 
 Vol. I, F judge
 
 66 Vhilof opine al and Critical 
 
 judge of it properly, that in order to have 
 any juft admiration of thefe beauties, it- is 
 necefiary that we fhould enter into the 
 train of concealed ideas which eftabliih a 
 connection not lefs real, becaufe k may be 
 at firffc imperceptible betwixt thefe ftrong 
 apoftrophes and the circumftances imme- 
 diately preceding, though the mind glances* 
 over fuch intermediate points of arrange- 
 ment fo fuddenly at the time as not to feel 
 their immediate impreffion * 
 
 In 
 
 * We may add here to the remark m the text, that 
 though when the mind is powerfully influenced by 
 any reprefentation, it confiders not particularly the 
 connection of this with the circumftances that pre- 
 eeded in every point of view, while the impreffion *9 
 yet ftrong; it is ftill in proportion as this correfpon- 
 dence is really perceived to take place m a greater or 
 Jefs extent, that a more or lefs powerful efTctt is pro- 
 duced by it upon the mind. The celebrated adjuration' 
 of Demofthenes by the heroes who fell at Marathon 
 and Salamis, to convince the Athenians that they had 
 not done wrong In facrificing their lives at Chscronea, 
 mull have affected but weakly thofe (if there were any 
 fuch among his auditors) who knew only in general 
 that the battles he referred to had been fought with- 
 the enemies of Greece, but were unacquainted with;
 
 Ohfervaliom on Compojition* 67 
 
 In order to fet in a clearer light the 
 truth of this remark, let it be farther ob- 
 ferved, that though where a fecret con- 
 nection is perceived invariably to take 
 place, we are not always ready to trace 
 it out particularly ; yet when it is either 
 really wanting, or even when at any time 
 We are at a lofs to tfifcover it, the defect 
 
 the peculiar honour reflected by thefe victories on the 
 people of Athens, as well as with the glorious caufe 
 in which they fought. Thofe among them whofe an* 
 ceftors had fallen in thefe engagements, and who had 
 been accuftomed to % revere them as the martyrs of li* 
 berty, would be ftrongly influenced by a circumftance 
 that placed before them illuftrious perfonages in fo 
 confpicuous and honourable a light. They would en- 
 ter with ardour into the intention of the orator, and 
 would compare together the caufes thus forcibly illuf- 
 trated. But a man qualified by this circumftance to 
 compare the actions ; interefted in a manner perfonally 
 in both ; juft arrived from the field of Chseronea, and 
 obferving that Demofthcnes feems ** to put that defeat 
 (as an ingenious critic explains it, Eflay on Original 
 Genius, p. 212.) on a level with the glorious victories 
 obtained at Marathon, &c." by conceiving inftantly 
 the full meaning of the fpcaker, and lofing no part of 
 the connection, would be ftruck with this oath in a 
 manner different from the others 5 and would feel all 
 the emotion which it was intended to excite. 
 
 F 2 become*
 
 6% thilofophical and Critical 
 
 becomes then at once confpicuous, and is 
 compenfated by rto excellence whatever, 
 either of fentiment. or expreffion. Thus 
 upon perufing the allegorical portrait of 
 Cebes, he who receives the higheft enter- 
 tainment from obferving the j lift and beau- 
 tiful manner in which the various inci- 
 dents of human life are pourtrayed, the 
 errors of mankind detected, and the caufes 
 perfonifted from which thefe laft are de- 
 rived ; will yet, it is obvious, find difguft 
 and fatiety take place, even when he is 
 contemplating perhaps the moil exquifite 
 part of the fable, as foon as lie becomes 
 unable either to obferve that peculiar pro- 
 priety with which the characters are deli- 
 neated ; or to mark that correfpondence 
 of his allegorical perfonages with the ori- 
 ginals exifting in his own mind, which 
 they are brought to let before him. As 
 we have therefore already fcen coolnefs 
 of recollection and exact proportion cha- 
 racter iiing in general the molt perfect 
 productions of poetry and eloquence ; we 
 fhall find likewife a difpofition equally 
 harmonious taking place uniformly in the 
 
 fubor-
 
 Okfervations on Compqfition. 69 
 
 fubordinate members. The real value of 
 a, performance in either art can only be 
 eftimated by that perfon who following 
 the author in his wildeft excurfions, can 
 trace the manner in which he hath been 
 led to affociate apparently diffimilar ideas ; 
 and thus beholds proportion and harmony 
 fubfifting through the whole piece ; while 
 he whofe perceptions are lefs exquifite, 
 or who is difqualified to judge of the fub- 
 ject, either cenfures particular parts as 
 grofsly defective, or condemns the whole 
 as the disjointed reveries of a heated ima- 
 gination. 
 
 Thefe obfervations on the fubject of 
 connection will enable us to nccount very 
 naturally for an opinion entertained by 
 the lefs intelligent part of mankind, that 
 judgment and imagination are feldom or 
 never united in the fame mind in any con- 
 fiderable meafure. When a work is iiri- 
 prefled principally by the latter of thefe 
 powers, they cannot trace the operations 
 of the former in the fame manner as when 
 it is confpicuous in an unornamented fe- 
 ries of remarks and inferences; and thus 
 F 3 becaufe
 
 JO Philofophical and Critical 
 
 becaufe reafon doth not afliime the only 
 form in which they are accuftomed to dif-* 
 cern it, every man choofeth rather to fup- 
 pofe that fome defect takes place in the 
 mind of another, than to acknowledge it 
 in his own. Thus it happens that as that 
 internal and delicate - perception by which 
 the mind entering into the fpirit of an Au- 
 thor, fupplies certain concealed circum- 
 fiances, is rarely to be met with; works in 
 which there is the clofeft and moll exqui- 
 fite correfpondence of parts are cenfured 
 as deficient in this important character; 
 and that faculty which arrangeth ideas is 
 deemed to have been conferred in a very 
 inconfiderable meafure, where its energy 
 is really exerted in an eminent degree *, 
 
 It 
 
 * It mult no doubt be acknowledged, that when we 
 confider arrangement inCompofition as taking in many 
 diverfified objects, particularly in works of length, 
 and where it is neceffary to infufe a large pioportion of 
 the idioms of imagination ; a man of genius will find 
 confiderable difficulty in preferving it uniformly through 
 his whole performance. "Nam & conjundtaquaeremus, 
 $c genera, & paries generibus fubjedlasj & fimilitu- 
 
 dinca,
 
 Obfervations on Compqfitton. Jl 
 
 . It muft no doubt be acknowledged, (as 
 we mall endeavour more fully to evince 
 afterwards) that it is the province of the 
 difcerningt rather than of the judicious cri- 
 tic, to fill up thofe chafms by which the 
 productions of genius are often marked, 
 fo as to connect parts in a performance 
 
 dines, & diiTimilitudines, & contraria, & confequentb, 
 & confentanea, & quail praecurrentia, & repugnantia, 
 .& caufas rerum veftigahimus ; & ea quas ex caufis arta 
 funt & majora, paria, minora guaerimus." -Cicer. de 
 .Orat. lib. ii. c. 39. Here the reader of difcernment 
 will be at no lo('s to -make an allowance for the defect 
 of a writer, and to diftinguifh inch faults .as arife from 
 exuberance of imagination, from blemifhes perhaps 
 lefs in themfelves, Uut compenfated by no peculiar ex- 
 cellence either of fentimenl or cxpreffion. Msi/co & 
 ovx oXiyx xju jty^ac ap.x0TYiy.x7z. (fays the fpjrited and 
 difcerning Longinus) xxi O (xyoou, xxitw aXXuv ocrct 
 {AiyifOL, xxi Mifx t? T2Txi<Tp,x<rt\> ocot(rx.ofA.ruoSt 
 epos $t p xyxoryiyxTXy (axXXov ocvrx ixn<r.ix 9 
 nxXuv vi vrzpopxfAXTX Si uptXiixv, ^jj zw xxi us 
 
 tTW%tVy VTTO [AiyxXolpVlXi; aVSTTlfXTW; mZfiVTiViyi- 
 
 fj.u/x. ILinnoi yt xtttutos AvoXXmios twv Apj/ovau- 
 rixuv noirjTrif, xxi rot? fiovxoXMOts irXnv oXiy:+ tuv 
 t^o^iv Qio^iToq tTnTj^trxTo;. Acomv OMHPOS 
 xv pxXXov n AttqXXuvios i0Xoj ymirQxi) &c. nEPI 
 T*OTZ, t W . AI. 
 
 F 4 that
 
 j 2 Thilofophlcal and Critical 
 
 that may be deemed to have little relation 
 to each other. As high colouring- com- 
 monly renders its objects obfcure, at leaft 
 to thofe who cannot view the image and 
 its original apart from each other; fo the 
 breaks and daring fallies of an enraptured 
 imagination are apt to render the whole 
 unintelligible. Even when this power 
 operates not in fo confpicuous a manner, 
 it happens as often that obfcurity becomes 
 chara&eriftical of a work in which too 
 much is left to be fupplied by the reader, 
 as that difguft is excited in him when too 
 little appears for this purpofe. In order 
 therefore to prefer ve the juil medium be- 
 twixt thefe extremes, as the difcerning fa- 
 culty which judgeth of the excurfions of 
 genius, ought to regulate thofe fo as eafily 
 to comprehend their connection, fo the 
 underftanding in other branches of Com- 
 pofition fhould difcover its thorough know- 
 ledge of a fubjecl, by placing every idea 
 clearly before the mind of a reader, and 
 by leaving only fuch thoughts to be fug- 
 gefted by him as the objects laid open to 
 him naturally and unavoidably introduce. 
 
 Thin
 
 Gbfervaticns on Competition. 73 
 
 Thus it is that a writer of good fenfe moil 
 clearly evinceth the folidity and compals of 
 his judgment. A reader is flattered when 
 he finds it in his power to complete as it 
 were the intention of the author upon 
 every topic by fome obvious additions of 
 his own; and whether confeious or not 
 that thefe were defignedly left to him, is 
 fenfible of no deficiency from fuch an o- 
 million in point of connection. 
 
 III. As in the preceding obfervations we 
 have endeavoured to fhow the procefs by 
 which reafon either effectuates the difco- 
 very of truth, or eftablifheth order and 
 connection in every branch of Compofi- 
 tion; we are next to confider it as con- 
 fpicuous in that comprehenfive view of a 
 fubject which fhows that no material part 
 hath efcaped attention. This power of 
 comprehending and of adjufting a variety 
 of parts to each other, is peculiarly cha- 
 racteriftical of the judgment of a writer ; 
 and ferves to diftinguifh it from imagina- 
 tion (properly fo called) which Harts from 
 one object to another without ever taking 
 in q\, regulating a great and diverfified fe- 
 
 ries.
 
 74 Phiiofophical and Critical 
 
 ries. This indication of an enlarged Utt- 
 derftanding, in order to be complete, de- 
 mands attention to be extended to a much 
 greater diverlity of objects than we may 
 at fkrr. view fuppofe. It requires not only 
 that every part of any confequence mould 
 be included in the general eftimate of a 
 iubject, which though difficult, it is leaft 
 uneafy to perform; but that the manner 
 of treating every point of whatever kind, 
 fhoiild be that which is beft adapted to its 
 nature ; and the illuftrations made uie of, 
 fuch as convey the moil adequate idea of 
 their original objects that can poflibly be 
 prefented. It often happens that a mind 
 equal to the firft of thele requifitions is de- 
 ficient in the laft. To the full exhibition 
 even of a complicated theme when viewed 
 in general, nothing more is in far. ne- 
 ceffary, than that obfervation which regu- 
 lates the draught and the outlines of a 
 figure ; of whofe fitnefs for this purpofe we 
 may pronounce without hefitation; while 
 we fufpend our judgment of it as adequate 
 to the fulled difplay of fubordinate parts, 
 
 until
 
 Obfervations on Compofilion. y$ 
 
 until thefe fall feparately under examina- 
 tion. 
 
 When we mention as an evidence of 
 comprehenfion, the treating every point in 
 the manner that is beft adapted to its na- 
 ture, we are aware that a certain verfatility 
 as well as compafs of thought is neceffary 
 to this purpofe which is rarely to be met 
 with. The knowledge of the beft method 
 of treating any fubject, and the power of 
 carrying this with adequate energy into 
 execution, are circumftances altogether dif- 
 ferent from each other. Ma^ny perfons 
 iufficiently underftand the importance and 
 utility of means which they are yet unable 
 to employ properly in the purfuit of a cer- 
 tain end. The mind is feldom equal to 
 every part of a theme that requires its fa- 
 culties to act in various, and fometimes in 
 oppoilte directions. In fome it acts as in 
 its native element. But in others, the fa- 
 culty required to predominate appears to 
 have been forcibly wrefted (if we may thus, 
 exprefs it) from its natural bias. Its ex- 
 ertions are therefore unequal, its exprefhon 
 grained, and its conduct in general of that 
 
 kind,
 
 76 Philofophical and Critical 
 
 kind, which befpeaks a man who is better 
 able to judge, than qualified to execute. 
 Comprehenfion of intellect however,though 
 it may be confidered in fome fenfe as inde- 
 pendent of adequate execution, is then 
 powerfully evidenced, when an author 
 though not difcovering equal maftery in 
 the management of every inferior part of 
 his fubjec~t, efpecially when confirming of 
 many diviiions; yet adopts and follows 
 out a method that is upon the whole agree- 
 able; and fuch as mows the juft degree of 
 energy in fome cafes, and a decent apti- 
 tude in all. We may obferve indeed as a 
 criterion univerfally characleriliical of this 
 faculty that in proportion as the judgment 
 of a writer is extenfive, he will more ob- 
 vioufly perceive what weight ought to be 
 laid, either upon points which an ordi- 
 nary reader might overlook, but which in- 
 troduced and explained with propriety im- 
 prefs a fentiment forcibly on the mind; 
 or upon the general ftrain of a character, 
 as it may thus be rendered appropriated 
 and interefting, 
 
 1. Examples
 
 Obfervations on Compofition. jy 
 
 I. Examples to confirm the truth of 
 thefe remarks will occur upon examining 
 the moft approved ftandards either of phi- 
 lofophy or of the fine arts. The Socratic 
 method of reafoning, beyond all others, ap- 
 pears to have arifen from this knowledge 
 of all the circumftances that carry con- 
 viction to the underftanding. Thus we 
 find in the Dialogues of Plato, the philofo- 
 pher not merely fluting his arguments as 
 nearly as poffible to the character of the 
 fpeakers; but introducing his fubjects from 
 the fimpleft occurrences, and drawing his 
 illuftrations from fuch remote, and yet 
 natural refources, as moft ftrongly evinced 
 his addrefs and comprehenfion *. In this 
 
 manner 
 
 * The reader who contemplates the Socratic manner 
 in the prefent point of light, will be entertained a? 
 well as inftructed by attending to the various methods 
 that are fucceflively employed to promote the ends of 
 this philofophy. He will find Socrates fometimes (as 
 in the Euthyphron) obtaining the confidence of a fu- 
 perftitious bigot by a feries of compliments artfully ad- 
 dreffed to his ruling paffion, and by touching his 
 weaknefs with fo delicate a hand as to make him pleafed 
 and fatisfied with reafoning that expofeth it. At others, 
 
 (as
 
 7 8 Phtlofophical and Critical 
 
 manner truths of the greateft importance 
 are gradually laid open to perfons whofe 
 
 (as in the Protagoras) after having Toothed the pride of 
 the imperious fophift, and difpofed him to liften with 
 patience to a few frmple queftions apparently directed 
 only to obtain information, he lays open the falfity of 
 his maxims; and thus inculcates the fublime doctrines 
 of philofcphy with irrefiftible energy, while he appears 
 to be converting familiarly on the plaineft topics, and 
 even about the fimpleft utenfils of life. Varying at 
 other times his method of addrefs to the character of 
 more modeft and difpaffionate hearers, we may obferve 
 this great man in the Meno, Theagis, Crito, Lyfis, 
 and the two Alcibiades, difcourfing of virtue, wifdom, 
 propriety of conduct, friendfhip, rectitude, prayer, &c. 
 and in a manner at the fame time fo fimple and com-* 
 prehenlive, happily uniting the dignity of the philofo- 
 pher with the affability of the friend, that we ceafe to 
 Wonder at the fublime panygeric made upon him in his 
 wunjlyle likewife, by the young Acibiades, who com- 
 pared him to thofe ftatues of fylvan deities whofe out- 1 
 fide appeared rough and unpolifhed, but when opened 
 were found only to be cafes containing images of all 
 the gods! The Protagoras and Crito of Plato con- 
 tain in particular finking evidences of the philofopher'a 
 comprehenfive view of things. In the former the fo- 
 phift's arguments are refuted by reafoning drawn as it 
 fhould feem from very diftant refources. In the latter, 
 Socrates takes - a moft extenfive furvey of an im- 
 portant fubject, in anfwering the reafons by which his 
 friend would have perfuaded him to make his efcape. 
 
 curiofity
 
 Ohfervations on Compofition. yg 
 
 ctiriofity is deeply interefted in the procefs* 
 Nor is the full defign of the philofopher 
 perceived by his antagonift, until the con- 
 dition, which he aims to eftablifh, ftrikes at 
 laft with irrefiftible evidence upon the 
 mind. 
 
 It is fcarce poffible to conceive any me- 
 thod more expreffive of a comprehenfive 
 underftanding than that which is here pre- 
 fented to us, when properly carried on. In 
 order to bring it fuccefsfuily into practice, 
 it was neceffary that the philofopher, after 
 being fully fatisfied of that truth which he 
 intended to prove to his adverfary, mould 
 be able to conduct in fuch a manner inter- 
 mediate means apparently foreign to his 
 purpofe, but tending in reality directly to 
 it ; as that every obstruction being removed, 
 the mind fhould yield that affent which 
 convincing argumentation finally com- 
 mands. 
 
 2. It was remarked likewife that as an 
 enlarged undemanding becomes thus con- 
 fpicuous in the conduct: of an argumenta- 
 tive detail, it is not lefs fo in maintaining 
 upon fome occafions confiftency of cha- 
 racter.
 
 80 Phiiofophical and Critical 
 
 rafter. Comprehenfion of intellect is un- 
 doubtedly evinced when a character in 
 which various excellencies, imperfections, 
 and foibles are blended, is maintained with 
 fo much propriety through an exteniive 
 work, as to be known and approved at all 
 times by thofe finking fignatures that dif- 
 tinguifh it from others. We muft care- 
 fully feparate here the province of imagi- 
 nation in accomplishing this purpofe from 
 that of underftanding. It is undoubtedly 
 by an effort of the firft of thefe, that thofe 
 incidents are invented which call into con- 
 fpicuous exercife the qualities that are here 
 combined in various affemblage. But it 
 is by the laft that an affinity is eftablifhed 
 univerfally betwixt the event and the qua- 
 lity difplayed by it, and the incidents in 
 general are difpofed in fuch a manner as to 
 fhow the whole to the higheft poflible ad- 
 vantage. Of this compafs of thought by 
 which a writer may evince the clearnefs as 
 well as extent of his underftanding, we 
 fhall have occafion to treat more particu- 
 larly, when we come to examine the fpe- 
 
 ciea
 
 Obfervattons on Compofition. 81 
 
 cies of Compofition in which it is mod 
 completely difplayed. 
 
 IV. We have now confidered the pro- 
 vince of the reafoning faculty in the art 
 of Compofition as conftituted by the in- 
 vention of a theory, the arrangement and 
 difpofition of parts, and the comprehend ve 
 ellimate which it forms of a fubjed:. From 
 our remarks on the general operations of 
 this power in the departments abovemen- 
 tioned, it will appear, that a very large 
 proportion of it may take place, and in 
 fac"t does fo upon many occaiions without 
 being difcovered. An ordinary obferver 
 therefore, when effects arifing from judg- 
 ment are blended with fuch as are derived 
 from imagination; without fome general 
 criterion by which the influence of reafon 
 may be always determined, will be apt to 
 form unjuft and fuperficial eftimates. In 
 order therefore to fet this matter in a pro- 
 per light, and to complete our view of the 
 operations of the underftanding as far as 
 the prefent fubject -is concerned ; we may 
 in general obferve, that wherever judg- 
 ment exerts any confiderable degree of in- 
 
 Vol. I. G fluence,
 
 82 Philofophical and Critical 
 
 fluence, fomething juftand appofite, fome- 
 thing particularly appropriated to the fub- 
 ject or occafion, will appear in the Jentiment 
 of a performance. Other marks by which 
 its prevalence may be difcovered, as ftrength 
 of argument, juftnefs of deiign, fymmetry 
 of parts, or progreffion of evidence, either 
 relate to particular arts, or to thofe branches 
 of Compofition which require this faculty 
 molt eminently to predominate. But in 
 all productions whatever, propriety of Jen- 
 timent is invariably chara&eriftical of an 
 author's underftanding ; and points indeed 
 fo naturally to this original, as never, when 
 difcovered, to be afcribed to another. But 
 what, it will be faid, is meant by this term 
 propriety when applied to the fentirnent of 
 Compofition in the various fpecies of the 
 art ? It is a vague and general defignation 
 that admits of different views, according 
 to that branch of the prefent fubjecT: to 
 which it is applied ; and its fenfe ought 
 therefore to be determined and exemplified 
 in each of thefe departments conf dered by 
 itfelf. This requisition is undoubtedly juft, 
 and in order to anfwer it, we muft enter 
 
 fome-
 
 Obfervations on Compofition. 83 
 
 fomewhat more particularly into the fub- 
 jet. 
 
 Propriety characterising the different 
 fpecies of Compofition, fuggefts different 
 ideas, according' to the nature and tendency 
 of each. Thus in philofophy, where it is 
 expected that every poiition will be con- 
 firmed by the befl adapted evidence, pro- 
 priety of fentiment is faid to obtain when 
 the author, though fometimes drawn into 
 little digreffions, yet keeps clofe in general 
 to the principal object of his refearch ; and 
 felects from the various arguments or il- 
 luftrations that occur to him, thofe whofe 
 immediate tendency is to prove or explain 
 the point which he hath ultimately in 
 view *. In hiftory, where the narrative 
 
 manner 
 
 * No ancient writer appears to have ftudied this phi- 
 lofophical propriety more than the elegant philofopher 
 mentioned in the preceding note. It is true indeed, that 
 he freely indulges himfelf in digreffive circumftances j 
 and his fubJime imagination even catcheth at fome- 
 times the figures and di&ion of poetry. See his 
 $AIAPOZ,ab init. See likewife vol. ii. of this work, 
 feet. iii. But when any point of real impor* 
 G 2 tance
 
 84 Philofophical and Critical 
 
 manner takes place of the didactic, fenti- 
 ments have propriety, when thefe grow 
 as it were naturally out of the detail, and 
 feem to be neceflary parts of the work it- 
 felf, rather than fuperfluities that may be 
 lopped off from it*. In eloquence,, pro- 
 priety 
 
 tance is canvafied, the reafoning is ufually conducted 
 with great accuracy and attention. Thus Socrates fays 
 to his friend in the true fpirit of a philofopher : xo- 
 7Tia0a ovv ypr\ vpcci uri ravrx rp5tTou an y>n. lg 
 fvw, 8 [aovos nft tnKhx kou an roauTo?, wj t&jb 
 trow (JwStvi aXXu T3iiivoti y tw Xoyw 0? otv pot Xoyt- 
 ^OjUVw(3ATjro? (pajvnrai. t? <5s AoJ'aj a? tv tu ty,7rpo- 
 cQtv iXiyov ov JvvxfAxi vov txbaXtiv rrraSt pa y\ rvyn 
 ytyovtv. AXXx <r/.t$ov ti opoios (pMVovrsn /aoi, xat 
 TOiavTO? TXfHrZtv'ji xxi ripw us kcu 7rpoTgov y Sec. 
 nAAT. KPIT. 
 
 * There is no occafion here for methodifed obferva- 
 tions, and protracted periods. The former give a ftifF 
 air to the hiftorian's composition. The latter fatigue 
 inftead of entertaining the reader. Comprehenfion 
 and concife expreflion are the two criteria by which 
 thoughts that grow out of hiftorial narration ought al- 
 ways to be charafterifed. When Livy has related at 
 large a decree of the Athenian people againft Philip, 
 from whofe refentment they hoped to be protected by 
 the Romans, he gives his own fenfe of their conduct 
 
 by
 
 Obfervations on Compofition. 85 
 
 priety of fentiment requires, that the orator 
 ihould fix upon fuch motives and argu- 
 ments 
 
 by faying, u Athenienfes quidem Uteris ^verbifque qui- 
 bus folis valenty bellum adverfus Philippum gerebant." 
 Dec. iv. lib. i. Thefe few words contain as much 
 fenfc as might be made to fill out a volume. They re- 
 prefent the low ftate to which the powerful republic of 
 Athens was reduced ; and the term bellum particularly 
 in the prefent connection, throws the ftrongeft ridicule 
 on their procedure. Of a different kind from this 
 is the following obfervation of one of the mod judi- 
 cious of Roman hiflorians, on the funeral of Auguftus. 
 Yet it is interwoven in fuch a manner into the body of 
 his work, that this laft would have feemed to be in- 
 complete without it. " Die funeris, milites velut 
 praefidio ftetere, multum irridentibus qui ipfi vi- 
 derint, quique a parentibus acceperant, diem ilium 
 crudi adhuc fervitii & libertatis improfpere repetitse, 
 cum occifus Dictator Csefar, aliis peffimum, aliis pul- 
 cherrimum facinus videretur: nunc fenem principem 
 longa potentia, provifis etiam haeredum in rempubli- 
 cam opibus, auxiliofcilicet militari tuendum, ut fepul- 
 tura quieta foret." Annal. lib. i. This manner of lay- 
 ing circumftances together hath an excellent effect in 
 hiftory. It carries back the reader upon the winding 
 up of a fcene, to the recollection of events that might 
 have efcaped his memory ; and placeth thefe in fuch a 
 light as is at the fame time agreeable and inftru6tive. 
 Let us take one other example of this propriety of fen- 
 G 3 timent
 
 86 Thilofophical and Critical 
 
 merits as he knows will make the mod lad- 
 ing impreffion upon the audience to whom 
 his difcourfe is addrefTed ; and that the 
 whole fhould be enforced by obfervations 
 judicioufly adapted to the nature of the 
 fubjecl, and to the circumflances of the 
 hearers % With regard to the poetic art 
 
 indeed, 
 
 timent from a modern hiftorian. Voltaire fpeaking of 
 the admin iftration of France under the duke of Or- 
 leans, obferves, that the celebrated Syfi.em of Law 
 which feemed to threaten the fhte with ruin, contri- 
 buted in the event to fupport and even enrich it. It 
 gave an active fpirit to the nation, occafioned the re- 
 vival of commerce, and gave birth to the India com- 
 pany, which had been ruined in the wars. 
 
 This fenhble obfervation hath great propriety in this 
 connection. It is indeed fuggefted naturally by the 
 preceding account of things. But the effect of a civil 
 war, and that of this great game, (as he juftly calls it) 
 upon the human mind, when viewed philofophically as 
 improving certain fatuities of it, feems at the fame time 
 a new and inftructive method of treating the fubject, 
 as fuch considerations tend to enlarge our knowledge 
 of human nature. 
 
 * It hath been often obferved with truth, that the 
 chriftian religion affords a wider field to the orator, and 
 propofeth nobler and more animating motives to in- 
 fluence the conduct of mankind, than any other fyftem 
 of principles whatever. Yet it mult at the fame time 
 
 be
 
 Obfervations on Compofitton. 87 
 
 indeed, as it admits of much greater va- 
 riety of Compofition than any of the 
 
 be acknowledged, that in propriety of fentimenty con- 
 fidered as arifing from an attention to the peculiar cir- 
 cumjlancei of the hearers, the fubjecls on which ancient 
 orators were led to expatiate fuggefted arguments more 
 perfuafive as being drawn from immediate exigencies, 
 than could have arifen from a plan of duty whofe mo- 
 ral fantions were not inftantly to take place. Thus 
 Demoftheges calling up to theAthenians the ghofts of 
 thofe who fell at Marathon and Salamis, as formerly 
 referred to ; Tully invoking the Alban groves and 
 altars polluted by the debauchery of Claudius ; Man* 
 lius, when accufed of treafon before the Roman people, 
 pointing to the Capitol, which in their own memory 
 had been faved from deftrution by his intrepidity ; 
 and Gracchus fignificantly directing the eyes of his au- 
 dience to the very fpot that had been flained with the 
 blood of his brother ; thefe it is obvious laid before 
 their hearers motives of powerful and irrefiftible 
 energy. Vide Demofthen. de Coron. Cicer. pro Mi- 
 Ion. Liv. lib. vi. c. 20. and Cicer. de Orat. lib. iii. c. 
 56. On the other hand however, it ought to be ob- 
 ferved at the fame time, that if we confider the mo- 
 tives of chriftianity as operating indeed more univer- 
 fally, but lefs inftantaneoufly than the former ; it will 
 follow that the chriftian orator may evince a very fu- 
 perior degree of judgment, by felecling from fuch as 
 occur to him thofe that are beft adapted to his pur- 
 pofe ; and by applying them in that manner which he 
 fcnows will have the ftrongeft and moft permanent 
 eiFett. 
 
 G 4 others
 
 83 Philofophkal and Critical 
 
 others it is more eafy in moft cafes to per- 
 ceive the effects of this propriety of fenti- 
 ment, than to fay particularly by what it 
 it is conftituted. Without however having 
 recourfe to the various fpecies of this art, 
 it may be obferved, that we always ap- 
 plaud the judgment of the writer, when 
 we find moral and inftru&ive fentiments 
 wrought into his performance, without 
 either leading the reader from the fubjedt, 
 or breaking the unity of delign *. In de- 
 
 fcriptive 
 
 * In the Georgics of Virgil (a theme indeed natu- 
 rally productive of moral obfervation) the reader whofe 
 mind is fufceptible of impreflion from fentiments that 
 rife out of a paftoral fubject, will find many of thefe 
 introduced with the flri6leit propriety. To a man who 
 had been difappointed in purfuing the plans of ambi- 
 tion, how juft mud the following obfervation have ap- 
 peared which the fubjecr, of the poet fo obvioufly intro- 
 duceth 
 
 Fortunatus et ille, Deos qui novit agreftes, 
 
 Pana, Sylvanumquefinem, Nymphafqueforores! 
 
 Ilium non populi fafces, non purpura regum 
 
 Plexit, 
 
 Non res Romanse perituraque regna ; ncquc ille 
 
 Aut doluit miferans inopem, aut invidit habenti. 
 
 Geor. lib- ii. 
 This
 
 Obfervations an Compofition. 89 
 
 fcriptive pieces particularly we view thefe 
 as buftoes difpofed artfully in variegated 
 fcenery, where they form agreeable and 
 attractive decorations. 
 
 This propriety of fentiment likewife conftitutes one 
 of the principal beauties of Thomfon's Seafons ; a work 
 fo univerfally read, that the felection of any particular 
 example is rendered unneceflary. One of the moll 
 linking inftances of this kind the author remembers to 
 have met with, is in a little ode by Mr. Gray, begin- 
 ning " Lo where the rofy-bofomed hours, &c." After 
 having painted in rich and glowing imagery the infecT: 
 youth as on the wing, 
 
 Eager to tafte the honied fpring, 
 
 And float amid the liquid noon, Sec. 
 thefe images are applied with exquifite propriety in the 
 following moral reflection arifing likewife immediately 
 from the fubjecl:. 
 
 To contemplation's fober eye 
 
 Such is the race of man ; 
 
 And they that creep, and they thatjfy, 
 
 Shall end where they began. 
 
 Alike the bufy and the gay 
 
 But flutter thro' life's little day, 
 
 In Fortune's varying colours drefs'd ; 
 
 Brujh'd by the hand of rough mi/chance, 
 
 Or chill 'd by age, their airy dance, 
 
 They leave in dull, to reft. Gray's Odes. 
 
 To a reader poflcfled of poetic feeling, this painting 
 will need no illuftration. To one who wants this fen- 
 fibility, no illuftration would be of ufe. 
 
 The
 
 <)o Philofiphical and Critical 
 
 The underftanding claims as a province 
 peculiarly its own, the power of diftin- 
 guifhing any performance by this charac- 
 teriftic of propriety. It effectuates this 
 purpofe by giving clofe attention as well 
 to the nature of objects, as to the juflnefs 
 of their difpolition ; and by taking into its 
 eftimate whatever is neceffary to render 
 the exhibition adequate and complete. Thus 
 it is that the fentiment in hillorical narra- 
 tion rifes fo naturally out of the detail, as 
 if it made a part of, and was necefTary to 
 fum it up. Thus a clear relation is per- 
 ceived to take place in the difquifitions of 
 philofophy, betwixt the obfervations or 
 arguments, and the end, whether an ulti- 
 mate or fubordinate one, which thefe are 
 adduced to bring about. In the firft cafe, 
 a judicious and of confequence compre- 
 hend ve furvey of events includes thofe fen- 
 timents that either render the narration in- 
 ftructive, or ferve to conned: one part of 
 the fubjecT: with another; in both which 
 cafes their propriety is obvious. In the 
 laft inftance w r here narration takes no place, 
 it is the power of underftanding likewife 
 
 that
 
 Obfervations on Compqfition. 91 
 
 that by permiting nothing to pafs that is 
 either frivolous or unappropriated, renders 
 the whole an object of rational approba- 
 tion. 
 
 With regard to the arts of eloquence 
 and poetry, where an ampler range is 
 opened to imagination; can any reafon be 
 affigned why effects of the fame kind mould 
 not likewife be confidered as derived from 
 the fame original? And does it not indi- 
 cate a defed: of this faculty, when thefe 
 are wholly overlooked asfg??aturej of it, 
 merely perhaps becaufe they appear in a 
 fpecies of richer and more diverfified Com- 
 pofition I At many times indeed we may 
 venture to affirm, that a fingle thought 
 thrown out at once, and feeming to rife 
 out of the fubjec~t by a kind of new crea- 
 tion, will difcover to a mind capable of 
 taking in its whole force, greater extent of 
 judgment and deeper infight into the 
 fprings by which the mind is moft power- 
 fully actuated, than thofe elaborate re- 
 fearches by which truth is elucidated, after 
 carrying on a progreffive and complicated 
 detail. 
 
 This
 
 92 Thilofophkal and Critical 
 
 This attention to propriety of fentiment 
 as the teft of underftanding, will fhow us 
 that the opinion, however uni\ T erfally pre- 
 valent, is fallacious, that the diftinguifh- 
 ing criterion of this power \sjlrength and 
 juflnefs of argument. In order to judge 
 properly of this point, we muft make al- 
 lowances for the various fubjccts of fpecu- 
 lation, each requiring to be treated in a 
 manner peculiar to itfelf. As florid epi- 
 thets therefore, and pompous declamation, 
 would be juftly looked upon in a difcourfe 
 profefTedly philofophical to be evidences 
 of a defective underftanding ; fo a feries of 
 reafoning uniformly fupported in a piece 
 (which as far as any fubject can be treated 
 in this manner) ought to be purely pathe- 
 tic or deicriptive, indicates in fact a de- 
 ficiency of judgment as much as the for- 
 mer. The difference only is, that in the 
 one cafe an author difcovers that defect in 
 the execution of his fubject, which in the 
 other is confpicuous from his choice of it. 
 
 To the criteria abovementioned as cha- 
 racteriftical univerfally of the mental power, 
 whofe office we are here confidering, we may 
 
 add
 
 Obfervations on Compojition. 93 
 
 add as the laft indication, that it is this fa- 
 culty which makes the expreflion bear a 
 juft relation to the fentiment in any fpecies 
 of Compofition; and that gives accuracy 
 in the application of images to thofe ob- 
 jects which they are brought to illuftrate. 
 The original invention of thefe laft is un- 
 queftionably owing to imagination. We 
 cannot however have a furer proof in any 
 particular inftance of the fuperiority of 
 this faculty above that of reafon, than 
 when we obferve images to be indifcrimi- 
 nately Scattered through a work without 
 regard to the thoughts as not requiring to 
 be thus illuftrated; or when we find thefe 
 difcordant to their objects, and, like fhreds 
 of tapeftry before the piece is completed, 
 exhibiting only a fmgle limb, or fragment 
 of the figure, inftead of letting the whole 
 before the eye in its natural proportion. 
 From that invariable attention to arrange- 
 ment and fymmetry, which we have ob- 
 ferved to charaterife reafon, we may lay 
 it down as a principle, that whatever er- 
 rors a heated imagination may give occa- 
 fion to in the application of images as con- 
 
 lifting
 
 94 Thilofophical a?:d Critical 
 
 filling of foreign and unappropriated cir- 
 cumftances, yet we mall feldom or never 
 find a judicious author employing thefe 
 when they are obvioufly inadequate, or 
 when by recurring too frequently they 
 pall upon the mind, and throw an air of 
 obfcurity on the piece. 
 
 It is by the concurrence of the circum- 
 ftances thus enumerated and explained 
 that Compofition is rendered cor reel. This 
 important character therefore obtains per- 
 fection in confequence of a fteady and af- 
 fiduous exertion of judgment. The de- 
 gree in which it ought to obtain, the at- 
 tention it mould exercife, and its effect in 
 general on the art of which we treat here, 
 will be confidered in a fubfequent branch 
 of the work. 
 
 Thus we have endeavoured to lay be- 
 fore the reader fome account of the exten- 
 live province affigned to the great faculty 
 by which man is diftinguifhed from infe- 
 rior creatures, in the various departments 
 of Compofition. The reader will obferve 
 that in our remarks on this fubject, we 
 have kept in fight the operations of this 
 
 faculty
 
 Obfervations on Compofition. g$ 
 
 faculty confidered apart from the others ; 
 that effects derived from reafon alone, may- 
 be clearly difcriminated from thofe that 
 owe their origin either to fome other men- 
 tal quality, or to a combination of all. By 
 purfuing this courfe, we propofe to accom- 
 plifh a beneficial purpofe both to an author 
 and his critic. The firft, when he is me- 
 ditating a defign, may judge from the 
 criteria that are here laid down as mow- 
 ing the prevalence of underftanding, how 
 far his owfl is adequate to it, and in what 
 points it may be deficient. The laft, when 
 by having viewed the faculties of the mind 
 in this light, he knows how to put every 
 thing to its proper account, will be unem- 
 barrafled in the whole of his procedure; 
 and fhould the obfervations on this branch 
 of the prefent fubjec~t be found to have pro- 
 priety, may found his decifion on furer 
 evidences, than he who takes a general and 
 
 indifcriminate farvey. 
 
 I 
 
 SECTION
 
 9 6, Philofophical and Critical 
 
 SECTION III. 
 
 Of the influence of Imagination in Compo- 
 ftion. 
 
 T IMAGINATION, or the inventive fa- 
 culty as it is denominated, we have al- 
 ready defined as employed in Compofition, 
 to be that " which ftrikes out happy imi- 
 tations, forms original aflemblages of ideas ; 
 and thus fupplies the materials of thofe 
 juft and beautiful illuftrations, which at 
 the fame time improve the expr^ffion in this 
 art, and heighten the effect of fentiment *." 
 It is proper to obferve before we enter par- 
 ticularly into this fubject, that this intel- 
 lectual power cannot be viewed precifely in 
 the fame light as the former ; which we 
 contemplated as fingle and independent of 
 every other. The loofe and unconnected 
 effufions of fancy wrought into no form 
 by the controul of reafon, can only be 
 viewed as the extravagant ravings of a 
 madman. We propofe therefore here to 
 follow as clofely as pomble the track of 
 
 Sed. L 
 
 this
 
 Observations on Compojition. 97 
 
 this excentric faculty; and to point out 
 effects of which it is ultimately the caufe : 
 but, as we fhall not always take notice of 
 the influence exerted by the underftanding 
 in rendering thefe effects the objects of ra- 
 tional entertainment, the reader himfelf 
 muft feparate the operations of thefe 
 powers from each other, in which he may 
 receive direction from the preceding ob- 
 fervations. 
 
 We have in the courfe of this work fre- 
 quently diftinguifhed imagination by the 
 defignation of the inventive power *, that 
 
 its 
 
 * A critic of the prefent age endeavours to make a 
 diftinc~r,ion betwixt invention and imagination, which he 
 fays, " though nearly allied in their fignification^ yet are 
 *' fomewhat different from each other." Invention he 
 defines to be " t\\Q faculty of difcovering certain relations 
 " among various objects, from whence we forma new 
 " and beautiful aflbciation of ideas. Imagination is 
 " the faculty of illuftrating and embellifliing thofe 
 " ideas by new, apt, and ftriking images and figures." 
 I am entirely of this gentleman's mind with regard to 
 the necefiity of giving clear definitions of the terms we 
 employ ; without which it is true that we may " cavil 
 *' without end, and create confufion inftead of begetting 
 
 Vol. I, H " conviaion."
 
 98 Philofophical and Critical 
 
 its operations may be eafily and clearly 
 known from thefe of any other intellectual 
 
 endowment. 
 
 "" conviction." Sec Ruffhead's Life of Pope, p. 447, 
 448. But by a want of precifion in the prefent cafe, I 
 am afraid that his own definitions give rife to fome part 
 of thofe effects which he fo freely and juftly cenfures. 
 ** Invention he fays is "the faculty o{ difcovering certain 
 " relations, &c." The term faculty employed here, 
 naturally fuggefts the idea of fome intellectual power 
 different fronrthofe with which we are acquainted, as 
 neceflarily productive of, certain confequences. It 
 ought-thercfore to have been analifed ; i. e. the author 
 mould have fhown, either in what refpects it is diftincl 
 from the others, or in what manner it is conftituted by 
 their union. Neither of thefe however has this writer 
 attempted, further than by telling us, that we difcover 
 by it certain relations, &c. Certain relations ! What 
 relations ? Thofe that enable us " to form a new and 
 *' beautiful affociation of ideas." In an affociation of 
 ideas recommended by novelty, we have fhown in the 
 preceding fection, that the underftandingor judgment 
 may upon fome occafions be filely employed. See p. 
 28, &C. With regard to the beauty of fuch affociation, 
 .1 would allc in what manner is this character confti- 
 tuted ? Dqes it lie in the juft combination, and me- 
 thodical arrangement of ideas ? To confer according to 
 our author's own decifion the province of judgment. 
 See p. 449. From thefe obfervations it would feem, 
 that by the faculty here termed invention, our author 
 means that of reafon, or underftanding. Uut this he 
 
 will
 
 Obfer '-"cations oh Compojition. 99 
 
 endowment. As this term muft occur fb 
 frequently when we treat of imagination, 
 
 it 
 
 will not permit us to fuppofe. For enumerating in the 
 very next page the qualities that conftitute genius, he 
 mentions invention and judgment as faculties perfectly 
 diftinc~t from each other. Again, is this beauty 
 conftituted by the novelty, aptitude, and vivacity of the 
 colours with which ideas are decorated ? No. Thefe 
 characters are damped on Compofition by imagination 
 which it is his bufinefs to diftinguifh from invention. 
 Since then this extraordinary faculty is diftinct both 
 from judgment and imagination feparately viewed, 
 does it arife from the union of both powers ? Neither 
 is this the cafe according to this gentleman's idea of 
 the term, for in the enumeration above referred to, he 
 takes notice of invention as a faculty by which the poet 
 is enablecf to perceive the relations of objects, and to 
 form a finking and interefting union of thefe, p. 449, 
 before he afiigns the provinces either of imagination or 
 of reafon in forrfrkig his character. Yet in the fame 
 page, after having afcribed to invention a power of 
 placing objects in a certain M flriking union," he men* 
 tions this " ftriking union'' as the effer. not of inven- 
 tion, but of " folid and correct judgment." This in- 
 genious gentleman (in vvhofe work, notwithstanding 
 thefe inadvertencies* there is much juft and valuable 
 criticifm) has embarrafled bimfelf in his account of 
 this characterise of genius, by giving the defignation 
 of a faculty of the mind to fomethiug that is only to be 
 conlidered as indicating its exigence, Invention is not 
 H 2 itfelf
 
 loo Philofophical and Critical 
 
 it will throw light on its various modes of 
 exertion, if we endeavour to determine par- 
 ticularly the meaning of the phrafe. 
 
 * Invention 
 
 itfelf an intellectual power. It is an effect fometimes 
 derived from reafon, when principles already known 
 are laid together in fuch a manner, as to give rife to 
 fome conclufion in which there is at the fame time both 
 novelty and truth : fometimes it proceeds from a warm 
 imagination, as when unufual and ftriking affemblages 
 of ideas are prefented to the mind $ or even when 
 known truths are placed in a light remarkably attrac- 
 tive by new and peculiarly happy illuftrations. It is an 
 effect of difcernment conftituted by the union of both 
 thefe powers, when judgment is confpicuous at the 
 fame time in the methodifed arrangement of ideas, and 
 imagination in their originality, and manner of being 
 fet off to advantage. This laft however is denominated 
 with peculiar propriety the inventive faculty, becaufe its 
 combinations being more uncommon than thofe of the 
 underftanding, and feeming often to have been effectu- 
 ated by a glance of thought, we afcribe to imagination 
 a kind of creative energy of which the former when 
 left to itfelf appears not to participate. It is to this 
 power of the mind likewife as we fliall (how after- 
 wards, that difcernment owes its quicknefs of per- 
 ception, as well as its choice of extraordinary means. 
 That its province in Compofition is much more exten- 
 five than that which we have feen prefcribed to it by 
 this author of embellifliing ideas by new, and ftriking 
 
 figures^
 
 Obfervations on Compojition, ioi 
 
 Invention as a general defignation is ap- 
 plied to every thing in which there is no- 
 velty. Fancy therefore viewed as the pa- 
 rent of invention, is confidered as the ori- 
 ginal fource of thofe new and ftriking af- 
 femblages or imitations which a mind en- 
 dowed with any large proportion of it is 
 faid to create. But what are we to under-* 
 ftand by this laft epithet ? The explanation 
 of it will include that of the other, and is 
 indeed the more necefTary, as terms of this 
 kind not properly underftood when applied 
 to the human mind, are apt to fuggeft to 
 an unintelligent reader a fenfe which the 
 authors never meant to convey by them. 
 In the moft abftracted fenfe of this word 
 as relating to difcoveries purely original^ of 
 which the fenfes receive no patterns, we 
 muft be convinced at once, that with re- 
 gard to man, it can have no fignificance 
 or propriety whatever. The ideas infi- 
 nitely diverfified that are conveyed to us 
 by the fenfes ; or that arife from the vari- 
 
 figures, we (hall endeavour to evince at large when 
 we confider the various manners in which its energy 
 is difplayed. 
 
 H 3 ous
 
 102 TliUofophlcal and Critical 
 
 ous lights in which the mind contemplates 
 its own operations, thefe are indeed by 
 what we term a plaftic imagination aflb- 
 ciated, compounded, and diverfified at plea- 
 sure. Difcernment, in the proper accepta-* 
 tion of that term, is difcovered in feizing 
 remote points of refemblance betwixt ob- 
 jects that have no apparent fimiliarity ; and 
 in the elucidation of truth from topics 
 which the man of mere fancy, or of mere 
 reafon might wholly overlook. But in the 
 whole of this procefs, the originality ob- 
 vioufly refults from the manner in which 
 objects are felected and put together, fo as 
 to form upon the whole an unufual com- 
 bination; though thefe when feparately 
 viewed may each of them be fuch as the 
 mind hath formerly been habituated to 
 contemplate. 
 
 From this power of placing known truths 
 in fuch points of view as make a forcible 
 and permanent impreffion, thofe difcove- 
 ries arife in which philofophical inveftiga- 
 tion is made ufe of. Here the mind hav- 
 ing confidered the moft probable means of 
 obtaining a certain purpole, lays down a 
 
 few
 
 Obfervations on Compqfitton, 103 
 
 few fimple and obviou9 truths from which 
 it forms more compounded exhibitions in 
 a procefs clofely fuperintended by the fa- 
 culty that eftablifheth methodical arrange- 
 ment. Ideas that are familiar to the mind 
 when feparated from each other, imprefs 
 fome truth that is new to it, in confequence 
 of a certain peculiar difpofition ; and im- 
 part in fuch affociation truths that arreft 
 not attention more ftrongly by their ori- 
 ginality, (if that term may here be ap- 
 plied with juftice) than they may be fubfer- 
 vient to edification in confequence of their 
 comprehenfive nature and importance. By 
 varying a little a fimilar train of familiar 
 perceptions we fhall eafily comprehend the 
 precife meaning of the term Invention when 
 applied to the various branches of fcienti- 
 fical enquiry; and the different fenfe in 
 which it is taken from the epithet creative 
 which diftinguifheth other fpecies of Com- 
 pofition. Thus in every kind of analo- 
 gical reafoning, experience fupplies the 
 materials upon which the theory proceeds. 
 We are indeed ftruck in the profecution of 
 reafoning conducted on this plan, when 
 H 4 an
 
 104 Fhilofophical and Critical 
 
 an obvious relation is difcovered to take 
 place betwixt things that appeared to be 
 wholly different. But the fatisfa&ion de* 
 rived from fueh an enquiry arifeth as we 
 find upon reviewing the procefs, not from 
 any originality of the objects themfelves, 
 but merely from the novelty of that fitua- 
 tion in which thefe are expofed to view. 
 
 Thus far, having followed out the firft 
 idea of invention as conftituted by any ex-* 
 hibition in which there is novelty^ we may 
 afcribe it with propriety to the philofopher 
 who conducts to fome unexpected conclu- 
 iion a feries of arguments or to the ora- 
 tor, who fixeth on the molt appofite topics 
 pf perfuafion * f Thefe however, though 
 
 {landing 
 
 * There appears to be a remarkable difference of 
 opinion betwixt one of the firft of ancient and of mo- 
 drn writers with regard to the meaning of the trm 
 Invention. Cicero in his work entitled De Inventione, 
 f which only one half remains at prefent, confiders, 
 this as the principal character of an oratos. Bacon, on, 
 the contrary, will not admit that he who fixeth on the 
 beft arguments hath any title to the defignation of an; 
 inventor. u Inventioargumentorum (fays he) Inven- 
 \\o propr'u noa eft. Inveniie enim eft ignoU detegere; 
 
 non
 
 Obfervations on Compojition. 105 
 
 {landing high in their diftincl: profeffions, 
 and juftly efteemed as men of genius, yet 
 occupy only a fecondary rank as inventors, 
 when compared with him who prefents 
 every moment new aflemblages of objects 
 to the mind, illuminated with the richeft 
 colouring ; and to whofe genius we apply 
 the defignation of creative in confequence 
 of ideas rifing as it would feem fpontane-. 
 
 non ante cognita recipereaut revocare." De Augment. 
 Scient. lib. v. c. 3. But the fentiments of thefe upon 
 the prefent fubjecl: may be eafily reconciled. Should 
 it be allowed that the choice and application of argu- 
 ments may difcover no eminent (hare of invention, 
 yet it is undoubtedly (hown when thefe arguments are 
 brought to enforce fome new proposition. This is ob- 
 vioufly the " ignota detegere" which he fpeaks of, and 
 its author is unqueftionably poflefled of invention. The 
 felelion and application of topics of perfuafion in elo- 
 quence denominate the fame character, and it is this 
 which Cicero calls the principal part of eloquence. 
 Another ancient writer confiders not only invention in 
 general, but various degrees of it as difcovered here. 
 AAA tira tow zTPuGxyfAXTuv ti$n -aromAo, xat tccv 
 arpa<y[MXTbiv a\ rnj<rtff Ja(popoi, woiKiXag, xa rxg 
 ETPE2EIS srzpot$w<ro[ji.Ev uft Tt Of khjc UTrcfitfffw?, aimxas 
 trfivtuttp rft7TTsov ira tig tvgtiriv tk sTfoxarxfeurtug 
 T^vxv. EPMOrEN. rrtfi ETPEI. /3tC. |3. 
 T/*>Jf*. A. 
 
 oufly
 
 106 Thilofophical and Critical 
 
 oufly from the thought of the writer, and 
 falling like the rude materials of the uni- 
 verfe into beautiful arrangement. It is in 
 this procefs that we are to look for the 
 great principle of poetic imitation. In the 
 ftricl: fenfe of that word, the poet is no 
 more a creator or maker than the hiftorian 
 or philofopher. But his imagination is 
 Hoick with expreffions in the various ob- 
 jects contemplated by it, which it poiTeffeth 
 likewife the power of painting in the moft 
 vivid colours. When many of thefe are 
 brought together, the fame faculty that 
 perceived them at firft, affociates them in 
 a manner altogether unufual. To thefe 
 aflfociations we give the defignation ori- 
 ginal ; and to the power which produced 
 them, that of inventive or creative *. 
 
 From 
 
 * As this curious and important branch of the fub- 
 ject may appear to require a fuller difcuffion than we 
 have here had occafion to afford it in the text, we (hall 
 here throw together a few additional obfervations on it. 
 Ariftotle not only confiders every fpecies of poetry as 
 derived from imitation, but he points out the moft dif- 
 tinguifhing branches of the art, as taking their rife 
 from that bias of the character. XtpvoTipoi rxg xixXaq
 
 Obfervations on Compqfition, 107 
 
 From the whole reflexion will point out 
 to us two diftind: caufes in the min<J, from 
 
 which 
 
 (pauACiW, 73-pWTCV \];4>^SJ TTWOUVTEf, &C. 7Ttfl IIOIHT. 
 
 xt<p. A. Purfuing this train of thought a little further, 
 we may obferve, that in the fcale of genius, thofe who 
 are denominated makers or inventors are fuch as copy- 
 immediately from nature, as their great and perfect ori- 
 ginal. Thofe who poflefs a very considerable fhare of 
 this character without ever rifing to a level with the 
 firft, are fuch as fometimes ftrike out new figures in 
 the contemplation of this confummate pattern, and 
 fometimes content themfelves with beautifying and im- 
 proving upon the inventions of others. The laft clafs, 
 wholly confined to the latter fpecies of imitation are 
 disqualified by any art to reach the former ; and are 
 therefore never fuppofed to be diftinguifhed by original 
 merit. To the two firft of thefe the term inventive may 
 be applied with propriety, if we confider it as a crite- 
 rion by which the higheft degree of genius may be dif- 
 tinguifhed from an inferior, or very moderate propor- 
 tion of it ; in which cafe he who ftands in the lowed 
 rank appears only as a fervile and fecondary imitator. 
 It is however in ftri<5t truth improper to apply the word 
 imitation merely to a few of the arts ; when upon 
 taking a more enlarged view of things, we (hall find 
 fome particular fpecies of imitation charadterifing every 
 branch of Compofition. Thus the philofopher in his 
 moft abftracted refearches evidently difcovers this prin- 
 ciple,
 
 io8 Philofophieal and Critical 
 
 which every fpecies of originality is ulti- 
 mately to be traced. The one is, its power 
 of forming fuch various, new, and finking 
 
 ciple, when he delineates the forms either of external 
 or of internal beauty, from that perfedl model which is 
 the objel of his fenfes, or from that image which he 
 perceives to be imprinted on the mind. In copying 
 likewife the expreflion of any intellectual power, we 
 fall naturally into fome mode, of imitation. This be- 
 comes immediately perceptible when the effects of any 
 paflion are to be reprefented, as the expreffion is then 
 tinftured (if we may adopt that epithet) with the colour 
 required to predominate ; and the images are rendered 
 as fignificant as poffible of the objeel to be defcribed. 
 A kind of fecondary imitation we may obferve to pre- 
 vail among the feveral arts, whofe idioms being mu- 
 tually transfufed give peculiar beauty and energy to 
 each other. Thus an eminent ancient hiftorian fhows 
 the origin of rhetoric upon this principle, and explains 
 in a very ingenious manner the fteps by which it was 
 carried forward. n^WTtfa yao tj tronrnxJi xxrourxivv) 
 
 BCtpTlXQtV f J> TO fAfCOV X.OU l\)$0Y.ip.1l\<rV). Eitoc ixuvp-j 
 
 MIMOTMENOI Xv<rtxvTi$ to {AtTpov, tocXXoc JV (puAa- 
 ecvn; rot stowtixx a-jvtypzyca) o zsipi KaJ^cu, zrt^t 
 *biPtx.\)Sw % xcti Exarajcv. Ejtoj c vrtgov ocpon^owTts 
 an ti twv TCTy ff? to VW tdo? Hxrriyctyiv ? otv owe 
 TiJ/puf Tvof. ITPAB. |3j. A. We fhall have occa- 
 fion to fhow afterwards that this beautiful fpecies of 
 imitation prevailed much more among the ancients 
 than it is permitted to do in modern times. 
 
 combinations
 
 Obfefuathns on Compqfitioh. lotj 
 
 combinations of truths univerfally ac- 
 knowledged as open at laft unexpected a- 
 venues of knowledge. The other is its 
 propenfity to imitate upon all occafions 
 the different characters and appearances of 
 nature; whether viewed as exhibiting the 
 moft beautiful external fcenery ; or thrown 
 ing expreflions infinitely diverfified into 
 the characters of men. In proportion as 
 its perception of thefe laft extends to re-<- 
 mote circumftances and connections ; and 
 fuch as are leaft perceptible, the marks of 
 originality are rendered ftill more confpi- 
 cuous ; and in confequence of the novelty 
 which thefe give to a performance the imi- 
 tative powers of the author acquire the de- 
 nomination of invention. 
 
 That this power of imitation is fome- 
 thing diftinct from that which we denomi- 
 nate the reafoning faculty, it will require 
 little attention to evince. The difference 
 muft indeed be rendered obvious from this 
 fingle confideration ; that an eminent fhare 
 of the firft of thefe often diflinguifheth 
 men, who are void of the laft, at leaft with 
 regard to its higheft fcene of operation. 
 
 Thus
 
 1 1 o Philofophical and Critical 
 
 Thus we can eafily conceive that a mart 
 may be capable of tracing with great accu- 
 racy effects from a caufe, or, vice verfa, a 
 caufe from effects, who is yet wholly dis- 
 qualified, upon viewing the external beau- 
 ties of nature, to paint thefe by certain 
 happy and exquifite ftrokes of imitations. 
 It does not indeed follow that he who pof- 
 feffeth this imitative talent may not likewife 
 be qualified to exercife that of reafoning 
 juftly. But an inftance in which it ap- 
 pears that one of thefe is disjoined from the 
 other, clearly mows that they are effenti- 
 ally different. Now if this is the cafe, as 
 argumentation carried on properly to ac- 
 complifh a certain purpofe indicates the 
 exercife of reafon; fo an imitation happily 
 executed can arife only from that power to 
 which we give the name of imagination. 
 But it hath been already fhown that to cer- 
 tain imitative beauties we aflign the appel- 
 lation of original expreflions. It follows 
 therefore that the faculty from which thefe 
 are derived may be characlerifed peculiarly 
 by the epithet inventive. 
 
 Applying
 
 Obfervations on Co'mpofition. 1 1 1 
 
 Applying therefore this defignation to 
 it* let us enquire what fpheres are appro- 
 priated to it in the province of Compofi- 
 tion. We propofe to confider its opera- 
 tions as regarding the images, the inci- 
 dents, the fentiments, or the characters 
 that occur in the various fpecies of this art. 
 In one or other of the views opened to us 
 by thefe, it will appear that we contemp- 
 late imagination; and we fuppofe it then 
 only to be predominant in the higheft de- 
 gree, when the feparate teftimonies of its 
 exiflence acl: in vigorous combination. 
 
 I. Under the general defignation of 
 images, we mean here to comprehend not 
 only thofe fignificant allufions by which a 
 particular thought is placed vividly before 
 the mind, but every fpecies of illuftration 
 by which fentiments either acquire the ad- 
 vantage of being clearly difplayed, or of 
 making a forcible and'lafting impreffion. 
 Of thefe there are two kinds, each of 
 which hath its peculiar importance. The 
 firft takes place when an event or a&ion of 
 effential confequence is completely dif- 
 played by fome fignificant and appropriated 
 
 image,
 
 112 Philofophical and Critical 
 
 image, drawn from external objects, and 
 purfued through a detail of circumftances. 
 The fecond kind is conftituted when maxims 
 or fentiments of importance are explained 
 by appofite metaphors, or are imprefled on 
 the mind by fuitable examples. It is prin 4 - 
 cipally in the higher branches of poetry 
 that we are to look for the firfb of thefe. 
 In epic particularly where admiration is aU 
 moft conftantly to be excited by holding up 
 fome ftandard of confummate excellence, 
 it is at the fame time neceffary, that the 
 principal character mould be expofed in a 
 variety of lights; and that every circum- 
 ftance relating to it mould add ftrength to 
 the paffion which ought to rife higher as 
 the author proceeds. This great effect is 
 wholly to be afcribed to the grandeur of 
 thofe fublime images by which every ob- 
 ject is fucceflively exalted. The folemnity 
 with which thefe are introduced, the cir- 
 cumftantial manner in which they are dis- 
 played, and our own propenfity to extend 
 our idea of the object until it is equalled 
 with the illuftration ; thefe united circum- 
 stances operate fo powerfully on the mind, 
 
 as
 
 Obfervations on Compqfition. i 1 3 
 
 as to fufpend as it were the influence of 
 reafon. Tranfa&ions thus defcribed be- 
 come in fact fo deeply interefiing as to a- 
 waken in us the fame paffions that would 
 have feized immediate fpectators of the 
 
 fcene*. 
 
 In 
 
 * " Onne peut reiiflir dans Ie ftyle eleve du genre 
 fublime qu'on ne foit entierement perfuade que ce 
 ftyle ce forme de chofes qu'on a dire des" grarides im- 
 ages qu'on sen fait ; & de 1'elevation du genie, plus 
 que de celle de l'expreffibn, de 1'eclat de paroles & de 
 cette attirail de periphrafes recherchees." Rap. Reflex. 
 fur l'Eloq. torn. ii. p. 37. This fentiment a reader 
 of tafte will confider as much more juft and noble 
 than that of another critic of the fame nation, whb 
 feems to confider an exar. conformity in every point 
 betwixt the image and the object to be illuftrated, as 
 indifpenfibly neceflary at all times to conftitute juft 
 compofition, BofTu du Poerrie Epique, liv. vi. chap. 3. 
 Here our critic takes a very frigid and defective vieW 
 of his fubjedt. A great genius, when his mind is 
 filled with fublime conceptions, will not even think 
 of keeping up this rigid conformity, by which he 
 might obtain the praife of corre&nefs, at the expencc 
 of being charged with coldnefs and infipidity. Whert 
 an illuftration at fuch times correfponds to the object 
 in fome remarkable circumftance, we riot only allow 
 the writer to throw in others which have no fuch im- 
 mediate connection with it, but wc conlider thefe as 
 Vol. I. I the
 
 1 1 4 Philofophical and Critical 
 
 In every fpecies of didactic compofition 
 it is obvious that this ftyle of exalted ima- 
 gery would be wholly improper, and in- 
 deed unnatural. A judicious writer will 
 
 the exuberance of an imagination inexhauftible in ma- 
 terials ; and (hewing that it poflefleth a larger pro- 
 portion of thefe than neceflity requires. Of this kind 
 the reader will meet with many finking examples in 
 the Iliad, the Paradife Loft, and the Gierufalemme 
 Liberata. We may however, obferve, that though 
 this free ufe of the prefent figure obtains among the 
 moft eminent poets, yet it is not meant to affirm that 
 an image exaftly correfponding to its original will fail, 
 even in this fpecies of compofition, of making a forci- 
 ble and adequate impreffion. This conformity ought 
 particularly to be ftudied when feveral different figures 
 are colle&ed into one group, and the illuftration is 
 applied fuccefiively to each. When ^Eneas is def- 
 cribed as afcending to the top of his father's houfe to 
 learn whence aroie the tumult in the city, how ftrong- 
 ly does the following image let before cur eyes the 
 man, the place, and the fcene that broke out upon 
 him ! 
 
 In fegetem veluti cum flamma furentibus aullris 
 Incidit, ant rapidus montano flumine torrens 
 Sternit agros, fternit fata lasta, boumque labores, 
 Prev 1; :efque trahit fylvas : ffupet infcius aho, 
 Accipiens fonitum, faxi de vertice pallor. 
 
 iEneid. lib. ii. 
 
 therefore
 
 Obfervations 6n Compofition* 1 1 
 
 therefore have reeourfe here to the other 
 kind of illuftration which confifts of em- 
 ploying metaphor or example. It ought 
 to be obferved that though the mind wil- 
 lingly fubmits upon fome occafions to the 
 illufion of fancy; yet this only happens 
 when it is thoroughly captivated by a fe- 
 ties of interefting events; and rather than 
 lofe the pleafure of perufal, we are willing 
 to look upon thefe (if we may thus exprefs 
 it) as momentary realities. This impolition 
 is rendered more or lefs effectual, as the 
 illuftrations participate in a greater or lefs 
 degree of ftrength, beauty, and variety. 
 By thefe means attention is very forcibly 
 arretted by an event otherwife too incon- 
 fiderable to have at all attracted it ; as ob- 
 fervations in the fame manner which might 
 have been otherwife overlooked, by being 
 thus powerfully inculcated, become fubfer- 
 vient to the purpofe of enlarging our know- 
 ledge of mankind. 
 
 In the province of fcience, where criti- 
 cifm exercifeth more rigid feverity, the in- 
 ventive power is principally beneficial, 
 when, under the direction of underftand- 
 I 2 ing,
 
 1 1 6 Philofophical arid Critical 
 
 ing, it fuggefts a mode of expreffion fa 
 happily and juftly metaphorical, as con- 
 veys peculiar energy to philofophical dif- 
 quifition, and placeth hiftorical tranfactions 
 in the moft ftriking points of view. We 
 muft diftinguifh here betwixt examples 
 which refer to a whole feries of obferva- 
 tion taken together, and metaphors which 
 relate wholly to one part or object in this 
 feries. This will be befl underftood from 
 particular inftances. It is the purpofe of 
 Cicero in the dialogue entitled the Dream 
 of Scipio, to imprefs the belief of the im- 
 mortality of the foul. In order to effec- 
 tuate this purpofe, the great Africanus is 
 introduced as addreffmg one of his greateft 
 dependents, and at the fame time that he 
 mentions the evidence of this truth, as 
 powerfully exemplifying the happinefs of 
 the bleffed by companion with the higheft 
 enjoyment of mortals. With this view he 
 points to Carthage * the fcene of future 
 
 * " Oftendebat autem Cartbaginem de excelfo et 
 pleno ftellarum, illuftri et elaro quodam loco." Somn. 
 Seipion. 
 
 triumph
 
 Obfer'vations on Competition. 117 
 
 triumph to the perfon whom he addreffed, 
 and acquaints him of happinefs incompar- 
 ably higher than that which may arife from 
 this .conqueft, to be enjoyed in a future 
 ftate *. He proceeds to convey an higher 
 idea of this happinefs by making it to arife 
 from the contemplation of the universe, 
 that magnificent temple f (as he nobly calls 
 it) of the Deity; in comparifon of which 
 the world itfelf is a point, and the Roman 
 empire altogether, an almoft imperceptible 
 atom ! Every reader muft be fenfible of 
 jthe advantage which the philofophical fen- 
 timents of this dialogue acquire from being 
 exemplified in fo exalted a ftyle of imagery. 
 Metaphors, or fhort comparifons as thefe 
 may be denominated, are applied indeed 
 
 * " Sic habeto : omnibus qui patriam confervaverint, 
 adjuverint, auxerint, certum efle in caelo ac definitum 
 locum, ubi beati kvo fempiterno fruantur. Imo ii 
 vivunt qui ex corporis vinculis tanquam ex carcere 
 evolaverunt : veftra vero qux dicitur vita, mors eft." 
 Id. ibid. 
 
 f " Deus is, cujus templum eft omne hoc quod con- 
 fpicis." 
 
 I 3 to
 
 1 1 8 Philofophical and Critical 
 
 to particular objects, inftead of thus illus- 
 trating fentiments that fland in connection 
 with each other. Yet their effecl: when 
 properly applied, is fuch as every reader 
 pofleffed of feniibility muft feel as highly 
 interefting. When Socrates, in his laft dif- 
 courfe, is laying open the myfteries of his 
 philofophy, he informs his difciples that 
 above the heaven in which the ftars are 
 placed, there is another region denominated 
 the aether. The earth we inhabit he re- 
 prefents as a kind of fediment drawn from 
 the other, like thofe grofs particles that 
 fall to the bottom when duft is fprinkled 
 on a fine fluid. We, he obferves, who in- 
 habit this grofs region are fo little fenfible 
 of it, that we fancy ourfelves to live in the 
 pureft one ; " in the fame manner as per- 
 " fons fuppofed to inhabit the bottom of 
 w the fea might judge that furfacc through 
 " which they fee the fun and ftars, to be 
 u the heavens; and having never been 
 " able to raife themfelves above it, are ig~ 
 " norant that we inhabit a purer and 
 " higher region than theirs, and meet 
 
 " with
 
 Obfervations on Compofition. 1 1 g 
 
 " with none to give them information *." 
 Here the fentiment of the philofopher is 
 ftrikingly and aptly conveyed by an image 
 correfponding to one objecl: in every cir- 
 cumfiance. 
 
 A temperate ufe of this figure produceth 
 like wife an happy -effect in hiftorical nar- 
 ration, where an author of genius is na- 
 turally led into it by the recital of fome mo- 
 mentous tranfaction. His imagination 
 catcheth fire from the incident he relates ; 
 and while he is ftudying to clothe it in 
 fuitable language, fuggefts to him an ade- 
 quate image. Thus defcribing a mob pre- 
 
 * Haf ovv oiXMTXg tv TOig xoiXoig xvTr.g XtXvfttvxi 
 kxi oitaQxi xuu iiri T*i? yy\g cixtiv. fltnrif ti rig cv 
 
 (XHTU TW ZJlQfAtVl T ZTiXxyXg OIXUV, 01QITO Ti iTTl T]J 
 
 SaAaTT*!? oixeji', xxi Six th \.SxTog ops rov nXiov xxi 
 tx xXXx arpa, ty,v S'xXxttxv nyono ovpxvov tivxi' 
 Aix St j3pa<TuTJrra T, xxi xatitviixv, fAnSt7rumeTt tni tx 
 xxpx Trg SxXxTrvg x^iy^tvoc^ fxr,St tupxxug tin txSvg 
 xxi xvxwyxg tx Trig SxXxTTrig tig tov twxdz tovov otrx 
 xxQxpvnpog xxi xxXXiuv Tvy^xvzi &> t wapa GtyicriV) 
 (j.Yl$i xXXv xxrixoxg tirj tk fwpaxoToj. IIAATHN. 
 $AlA. xt(p. vr\. 
 
 I 4 cipitate
 
 1 20 Vhilofophical and Critical 
 
 cipitate and furious in all its motions, he 
 feizeth the idea of a torrent fwelled with 
 the ftorms of winter *. The array of an 
 army on march fomewhat difordered 
 by inequality of motion is with great ele- 
 gance and propriety compared to the fwell- 
 ing of a billow of the fea f. A prince na- 
 turally of good difpofitions, but eafily 
 thrown into paffion, to the ocean ferene at 
 times, but apt to be agitated by every 
 breath of wind J. A hiftorian may even 
 
 7 O 0m te t[A7T(ruv toc Tzrpa'yy.a.Tx uvsv vos, -yttuupato 
 vrorxpu ixtXo;. HPOAOT. A. 
 
 f EENO$. Trfpi Kvo. p. 77. 
 
 + HPOAOT. Eufif. To the metaphors here men- 
 tioned we may fubjoin, as one of the happier! and mod 
 beautiful illuftrations that is to be met with, one that 
 is made ufe of by the celebrated Lucretia Gonzaga to 
 a learned man who complained of his poverty. 
 *< EfTendo voi (fays (he) perfona dotta, mi maraviglio 
 che di fi ftrana maniera vi attriftiate par la poverta: 
 quafi non fappiate la vita dei povere efler fimile ad 
 una navagatione preflb il lito ; & quella de ricchi non 
 effer difFerente da coloro, che fi ritrovano in mare. 
 A gli uni e facile gittar la fune in terra, & condur la 
 nave a ficuro liogo, & a gli altri e fummamente diffi- 
 cile." Lettres di L. Gonzaga, p. 215. 
 
 fometimes
 
 Obfervations on Compojition. 121 
 
 fometimes ufe the fublime images of poetry, 
 as we fhall mow afterwards, either when 
 his mind is exalted by the greatnefs of an 
 event; when he is drawing an illuftrious 
 character; or when certain remarkable 
 tranfactions require to be exhibited with 
 ftrength and vivacity of colouring. In 
 all thefe cafes it would be ufelefs to attempt 
 proving that it is the faculty of imagina- 
 tion which feizeth the illuftration, as it is 
 judgment that applies it. Both thefe facts 
 are admitted on all fides. 
 
 II. From contemplating the inventive 
 power as the fountain of beautiful illuftra- 
 tion, we are next to confider it as exerting 
 eminent influence in the invention of inci- 
 dents. This laft effect we may view as in- 
 dicating immediately the prevalence of 
 fancy, without whofe continued operation 
 we cannot fuppofe it at any time to take 
 place. It is conftituted by no very diffi- 
 cult, but by a very finking effort of this 
 faculty of the mind, calling up either fic- 
 titious perfonages ? or fuch as receive con- 
 fiderable heightening from its creative pen- 
 cil; and adapting to each a feries of events, 
 
 from
 
 122 Thllofophical and Critical 
 
 from whofe novelty, variety, and impor- 
 tance we commonly judge of the degree in 
 which imagination is conferred. This 
 amufing, ingenious, and inchanting exer- 
 cife of fancy, forms, though not perhaps 
 the moil fublime, yet by far the moft va- 
 rious and agreeable lights in which we find 
 it difplayed. In following out thefe, the 
 mind is loft in a kind of ideal labyrinth ; 
 in which the fame power that fuggefted the 
 incidents to the author, takes cognizance 
 of thefe principally, and excites the moll 
 pleaflng fenfations to the perfon who pe- 
 rufeth his performance. 
 
 We ihall not, therefore, form an inade- 
 quate idea of the invention of incidents, 
 if we confider thefe as indications of an 
 imagination various, flexible, excurfive; 
 capable of confiderable extent of compre- 
 henfion, and pofleffing a power of work- 
 ing up into the moll attractive fhapes, 
 materials lupplied by experience, and of 
 forming unufual combinations. But we 
 ihali be miftaken if we confider this cri- 
 terion of genius (unleis perhaps in fome 
 very rare inftances) as indicating the great- 
 
 nefs,
 
 Obfervations on Compofition. 123 
 
 nefs, fublimity, or even exuberance of that 
 power from which it takes its rife. This 
 laft obfervation will appear perhaps extra- 
 ordinary to many readers at firft view; 
 becaufe as there is no characteriftic of ima- 
 gination more obvious to every man than 
 that of contriving a complicated feries of 
 events ; fo, with the bulk of mankind, 
 whatever implies excellence in the only 
 fphere of exertion which they have been 
 accuftomed to appropriate to this quality, 
 is naturally fuppofed to difcover its pre- 
 dominance not only in the greateft, extent, 
 but in the higheft degree. Refledion 
 however will lead us to make a wide dis- 
 tinction between thefe objects. But in 
 order to render this thoroughly compre- 
 henfible it will be neceflary to enter into 
 the fubject more particularly. 
 
 The incidents of any work confidercd as 
 the immediate offspring of imagination, 
 may be viewed either as means of arreft- 
 ing attention by their variety, novelty, 
 and agreeable arrangement ; or as circum- 
 ftances that upon fome occafions aftonilh 
 and exalt the mind by that grandeur and 
 
 fublimity
 
 124 Philofophical and Critical 
 
 fublimity of which they are viewed as in- 
 dications. In the firft of thefe views it is 
 obvious, that if we judge a great imagin-r 
 ation to be characterifed by the complw 
 cated incidents that it works into a fable, 
 we mail then be led to admire the authors 
 of the old romance much more than thefe 
 of the Iliad, the iEneid, or OdyfTey. For 
 the former have varied their narration 
 with a detail of imminent dangers, for- 
 tunate efcapes, unexpected interviews, fur- 
 prizing revolutions, fuccefsful temerity, 
 and relblute enterprize; to which in the 
 writings of the others (the OdyfTey itfelf 
 not excepted) we meet with nothing of 
 this kind in all refpecls adequate. Upon 
 the fame principle the Orlando Furioib 
 might be preferred equally both to the 
 one and other, diftinguifhed as it is by fo 
 amazing a feries of ftupendous events, that 
 the mind is loft among them as in a la- 
 byrinth, and cannot difentangle the parts 
 of fo complicated a plan. 
 
 It will ferve however to convince us 
 that no very eminent fhare of imagination 
 is required to effe&uate this purpofe if 
 
 we
 
 Obfer<vations ori Compofuicn. i2 
 
 we reflect that a comparifon of the works 
 formerly mentioned with the Iliad, &c. 
 will induce us to judge either that their 
 authors poffefTed but an inferior propor- 
 tion of imagination, or that the irregularity 
 with which it appears to have operated, is 
 wholly unaccountable and extraordinary. 
 For if we lay it down as a principle, that 
 the invention of incidents is always the 
 criterion of a vigorous imagination, it will 
 then follow, that a faculty which is deemed 
 equal at one time to the accomplifhment 
 of a noble and interefting purpofe, ought 
 likewife to be equal to another arifing from 
 the fame caufe ; and demanding it is fup- 
 pofed an exertion no higher than the 
 former. Should we judge therefore the 
 invention of characters to demand no 
 greater effort of the faculty above-men- 
 tioned than is difplayed in the prefent cafe; 
 we may naturally afk by what means it 
 happens, that authors who have attained 
 fo high a degree of excellence in one of 
 thefe fpheres, are yet fo deficient in the 
 other ? for amidft all that variety of events 
 by which the works that exhibit marks of 
 
 this
 
 126 Philofophtcal and Critical 
 
 this invention are feparately chara&erifed, 
 the reader, who may expert to meet with 
 a correfponding variety of qualities in the 
 minds and deportment of the principal 
 perfonages, will be furprifed to find evi- 
 dences in this point of view of barren in- 
 vention, defective arrangement, and upon 
 the whole of an infipid and difgufting uni- 
 formity. The numerous inftances which 
 we meet with in thefe works, becaufe they 
 indicate always the exiftence of imagina- 
 tion, are upon a fuperficial view fuppofed 
 to determine its extent. But however 
 beautiful in themfelves, yet the illufion 
 fubfides when they are contemplated in 
 this laft light, and we perceive the weight 
 that ought to be laid upon them. 
 
 In the fame manner it muft be obvious 
 that if the variety of events that may take 
 place in a work, are no indications of a 
 great, they are as little to be regarded as 
 the marks of an exuberant imagination. 
 The laft mentioned quality is faid to cha- 
 radr.erife this power of the mind when it 
 is obferved to throw out a profufion of 
 images ; to clothe its objects in the raoft 
 
 luxuriant
 
 Obfervations on Compofition, 127 
 
 luxuriant drapery ; when in fhort, not fa- 
 tisfied with what is merely proper and ex- 
 pedient, it adds likewife whatever is fup- 
 pofed to be beautiful and ornamental. 
 
 However, very little attention will ferve 
 to convince us that the talent of colouring 
 Compofition is wholly diftinft from that 
 of inventing incidents ; and that though 
 few men pofTefs the former, who are not 
 likewife capable of exercifing the latter of 
 thefe, yet the exertion of this laft by no 
 means implies a power in the perfon whom 
 it diftinguifheth, of difplaying the other to 
 equal advantage. Thus will it be faid 
 that, in the works formerly mentioned 
 where we meet with a feries of ftupend- 
 ous and aftoniihing events ; thofe pic- 
 turefque images are introduced which place 
 the various fcenes in fucceflion before the 
 very eye of the fpedtator * ? Are the 
 
 events 
 
 * It is not meant that thefe remarks fhould be ap- 
 plied either to the Orlando Furiofo, or to Spencer's 
 noble allegorical poem, in both of which the defcrip- 
 tion is almoft as diverfified as the events : it is only 
 intended to evince, from taking a view of works diftin- 
 
 guifhed
 
 I28 Philofophical and Critical 
 
 events even when fuppofed to be fuch as 
 might arreft the attention of a judicious 
 reader, as thefe defcribed, or does the au- 
 thor who invents, appear able to paint 
 them with that rich, vivid, and expreffive 
 colouring, which confers importance on 
 the moll trivial cireumftances, and excites 
 admiration by fomething wholly indepen- 
 dent of any tranfattion, as the mind is 
 taught to feel this paflion when a fenfation 
 entirely oppofite muft have been raifed 
 even by correct and chaftifed compofi- 
 tions * ? Do we obferve, in fhort, that 
 the power of multiplying and diverfifying 
 events is naturally characteriftical of that 
 which throws out a blaze of imagery, and 
 
 guifhcd only by numerous incidents, that the degree 
 of imagination required to effectuate this purpofe is 
 not fo eminent as is ufually fuppofed j and to aflign 
 an author in whom this excellence is principally con- 
 fpicuous, his proper rank in the fcale of genius. 
 
 * " Turn eft Hyperbole virtus, cum res ipfa de qua 
 loquendum eft, naturalerh modum exceffit. Conce- 
 ditur enim amplius dicere, quia dici quantum eft ndn 
 poteft : meliufque ultra quam citra fiat oratio." Quintil. 
 lib. viii. cap. 6. 
 
 riots
 
 Obfer vat ions on Compofition. 129 
 
 riots in luxurious ornament ; or do we af- 
 fociate with this idea, that likewife of a 
 perfon, 
 
 Qui irritat, mulcet, falfis terroribus implet 
 Ut Magus, & modo me Thebis, modo ponit Athenis X 
 After all however it is not our defign 
 to infinuate that the fpecies of invention 
 laft mentioned is never to be regarded as 
 the criterion of fertile and copious ima- 
 gination *. Our obfervations on this fub- 
 jecl: regard rather the nature of thofe ob- 
 jects which this faculty delights to con- 
 template, than the degree in which (ex- 
 cluding this laft confideration) it may be 
 acknowledged to fubfift. The truth is, 
 our judgment of the genius of a writer 
 depends wholly upon the principle we lay 
 down as the moft efTential teft of this un- 
 common character. If a difplay of various 
 
 * En $s ov to orcwav (fays Longinus fpeaking of 
 the adjurations of Demofthenes) ti opo<roa piya, ro 
 
 Si 7TS XKl 7T&}?, X i? M Xp:0V, XZi TiVOf IViKX. AAa' 
 
 txfi ptv ovStv if u jt* opxx;, xxi zc-po? euTv^avras tri, 
 xat Joum? Trasuforiaj tj A6ijj. TMHM. <r 
 
 Vol. I. K and
 
 1 30 P/ii/ofophical and Critical 
 
 and complicated events is viewed as the 
 evidence of original invention, a judgment 
 will be formed of the imagination from 
 which thefe were derived, either as a 
 reader may be directed by the nature of 
 the incidents, or from their diverfihed 
 combinations perceived to take place. If 
 on the other hand we confider the great- 
 nefs and luxuriance of this faculty as in- 
 dicated by the novelty and grandeur of 
 thofe illustrations, fentiments, or charac- 
 ters which may pafs before the mind as a 
 fubjecT: may require any one of thefe alter- 
 nately to prevail ; in that cafe, the former 
 fpecies of invention will fuggeft the idea 
 of versatility rather than elevation of 
 fancy ; and even an incident comparatively 
 great and interesting will rarely be confi- 
 dered without the concurring circumitance 
 of exalted imagery, as the certain charac- 
 teristic of a fublime imagination. 
 
 In order to render this remark more 
 thoroughly comprehended, let it be ob~ 
 ferved, that in efti mating the grcatnefs 
 of any event whatever (contemplated in 
 the prefent point of view) we mull over- 
 look
 
 Obfervations on Compojition. 131 
 
 look the natural advantages or difadvan- 
 tages of the perfons by whofe miniflration 
 it is fuppofed to be effectuated. By natural 
 advantages, &c. I underftand thofe quali* 
 ties which we are apt invariably to afib- 
 ciate with a certain order of beings, as 
 fuperior ftrength, magnitude, velocity, per- 
 feverance, whofe existence and combina- 
 tion being wholly independent of the 
 author, cannot reafonably be fuppofed to 
 give him additional merit. Thus Miltori 
 arming his celeftial combatants with the 
 mountains; and Homer placing in the 
 hands of his human heroes broken rdcksj 
 ftones of enormous fize, fhields and fpears 
 proportioned to their proWefs; and even 
 clothing them from the armoury of Vul* 
 can ; thofe two great geniufes are with 
 regard to thefe circumftanees on a level 
 with each other. The comparative extent 
 and fertility of their invention mufl be efti- 
 mated from proofs more immediately ex- 
 premve of an imagination able to explore 
 the latent fources of wonder, and to afto-* 
 nifh the mind with great and unexpected 
 combinations* Taking this truth there-* 
 K 2 fore
 
 132 Philofophical and Critical 
 
 fore for granted, it will follow that as art 
 author can juftly lay claim to no great 
 merit as an inventor from the fuperior 
 ability of his perfons, fo the events that 
 arife from this circumftance, confidered as 
 adapted to it with juftnefs and propriety, 
 are proofs indeed of accuracy and clear 
 underftanding, but not of exuberance or 
 fublimity of imagination. In this laft 
 point of view there is indeed a kind of 
 prefumptive evidence that he who at the 
 fame time fele&s the moft dignified per- 
 fonages, and employs thefe in tranfa&ions 
 proportioned to their greatnefs, poffeffeth 
 himfelf an imagination fitted to take iii 
 exalted and fublime ideas. But this very 
 prefumption is a decifive proof that the 
 events themfelves, however extraordinary, 
 carry no conviction along with them as to 
 this matter; fince after having heard thefe 
 recited, our judgment is Hill fufpended, 
 until we obferve the manner in which a 
 work is executed. Thus let us fuppofe 
 that we had been informed of the combat 
 of Michael and Satan, in the Paradife Loft, 
 without knowing at the fame time that 
 
 ftyle
 
 Obfewations on Compofttion. 133 
 
 #yle of exalted imagery, and thofe circum- 
 stances expreflive of divine genius- that are 
 wrought into the defcription. Was a 
 ftranger told more particularly that the 
 author of this work defcribed an engage- 
 ment betwixt beings of a fuperior order ; 
 carried on fometimes by the conflux of 
 hofts encountering in the air, fometimes 
 by the combat of their leaders oppofed to 
 each other which fufpended the action; 
 let us judge him to be informed that the 
 prize for whofe pofleflion thefe combatants 
 fought, was as far beyond the reach of 
 man's ambition, as the perfons themfelves 
 exceeded him in ftrength and capacity; 
 and finally, that the action terminated -by 
 the defcent of the Almighty, and by a 
 punifhment inflicted on his enemies befit- 
 ting omnipotence ; it is obvious that the 
 evidence of the author's genius arifing 
 from this account would be at moft pre- 
 fumptive and conjectural. In order to be 
 thoroughly convinced whether he pofTefled 
 an imagination adequate to fo great a fub- 
 ject, we would immediately have recourfe 
 to the work itfelf, and take in the circum- 
 K. 3 fiances
 
 134 Philefophical and Critical 
 
 fiances formerly fuggefted. When we 
 come to examine it in this point of view, 
 our attention is called off" from the inci- 
 dents to the characters, the fentiments, and 
 the fplendor of the imagery. In thefe 
 lights, when before the commencement of 
 the battle we meet with fuch a ftroke as 
 f;he following : 
 
 High in the midft, exalted as a God 
 Th' apoftate in his fun-bright chariot fat; 
 Idol of majefty divine ; inclofed 
 With flaming cherubim and golden /hields ; 
 Then lighted from his gorgeous throne; for now 
 ? Twixthoft and hoft but narrow fpace was left 
 A dreadful interval ! 
 or when we behold this great arch-angel 
 
 recoiling from the ftroke of Abdiel 
 as if on earth 
 Winds under ground, or waters forcing way, 
 Sidelong had pufh'd a mountain from his feat, 
 Half funk with all his pines ! 
 
 perhaps thefe, and a few other ftrokes of 
 the fame kind would convey to a real judge 
 of poetic Compofition a truer idea of the 
 genius of Milton, than a fimple narration 
 pf all the incidents (various and noble as 
 thefe arc) of this divine performance. 
 
 From
 
 Obfervations on Compofition. 135 
 
 From the whole then we may conclude, 
 that a numerous and diverfified feries of 
 incidents is always an evidence of a flexible 
 and excurfive, commonly of a copious 
 and comprehenfive imagination ; and that 
 in fome inftances it affords the higheft pre- 
 emption that this faculty is at the fame 
 time fubiime and exuberant. It forms 
 likewife by far the moil various and agree- 
 able exercife of this faculty ; fo agreeable 
 indeed, that even its w T ildeft and moft irre- 
 gular excurfions afford an entertainment 
 from which we never rife difgufted or fa- 
 tiated. When the rules of credibility are 
 once wholly violated, an author muft either 
 give the utmofl difgml to his readers, or 
 he ought to fet no bounds to the excur- 
 fions of fancy. This lafl circumftance it 
 is which gives fuch high merit of one kind 
 to thofe delightful tales which go. under 
 the name of Arabian Night's Entertain- 
 ments. The mind in perilling thele is in- 
 chanted with the wild and variegated fuc- 
 ceffion of objects ever new, and dwells 
 upon thefe with that kind of pleafure w T hich 
 it receives from a dream where many pleaf- 
 K 4 ing
 
 136 Fhllcfophical and Critical 
 
 ing illufions are floating perpetually be* 
 fore the imagination. In this cafe we 
 permit ourfelves willingly to be impofed 
 upon, and rather than lofe the pleafure of 
 viewing fuch beautiful machinery as the 
 fylphs in the Rape of the Lock, or fuch 
 fublime beings as the Mohammedan Ge- 
 nii, we are contented to aifign both a mo- 
 mentary exiftence. But when actions 
 
 wholly beyond the power of man are af- 
 cribed to a merely human agent (as in 
 thofe monftrous collections of abfurdities 
 entitled, Clelia, Cleopatra, CafTandra, &c.) 
 and that in fo ferious a manner as if thefe 
 were real, we reject the impofture with 
 indignation, and confider the attempt as 
 an infult on the understanding. 
 
 III. Having thus taken a view of ima- 
 gination as the fource of beautiful imagery 
 and of diverfified incidents in the various 
 fpecies of Compofition, this power falls 
 next under our confideration as throwing 
 out new and ingenious fentiment. Senti- 
 ment ! (will fome reader exclaim) of what 
 fentiment is imagination the parent ? 
 This important province is confidered as 
 
 occupied^
 
 Obfervations on Compojition. 137 
 
 occupied wholly by the underflanding. 
 We have already obferved that the power 
 here contemplated ought always to be 
 viewed either as acting in direct fubfer- 
 viency to that of reafon, or at leaft as 
 united with fome {hare of it. That fentir- 
 ments in order to have either propriety or 
 connection with each other, muft be fuch 
 as the underflanding hath approved, is a 
 truth which no man will call in queftion. 
 Of thofe however, there are fome which 
 in confequence of indicating a certain wild- 
 nefs which we confider as a criterion of 
 imagination; of being thrown out with 
 promptitude rather than with accuracy ; of 
 being placed in loofe arrangement; of 
 prefenting in fhort, upon the whole, ideas 
 which the mind rather contemplates as 
 brilliant, with a tranfient fatisfaction, than 
 dwells on as juft with fixed attention ; 
 we afcribe originally to that power whofe 
 various offices we here enumerate. 
 
 As thoughts that have a kind of wild 
 originality derived from fancy, a man of 
 reflection will confider many of thofe in- 
 genious conjectures in philofophy which 
 
 will
 
 1 38 Philofophical a??d Critical 
 
 will not ftand the teft of a clofe examina-* 
 tion. Sentiments of the other kinds are 
 Jfuch as we meet with mod commonly ei- 
 ther in fuperficial fketehes of a fubject: not 
 brought to perfection ; or in thofe loofe 
 pieces in which ideas are carelefslyexpreff- 
 ed as they occur, and methodifed arrange- 
 ment is profefledly fet afide. When we 
 confider Plato's account of the origin of 
 rivers, fountains, &c. from a capacious 
 refervoir in the bowels of the earth, we 
 admire the fublime genius of the philo- 
 fopher, but are fenfible that this notion 
 had its origin in his imagination. We 
 have already {hewn that a clofe attention 
 to method often takes place even in thofe 
 tallies of wit and humour in which it is at 
 firft view leaft perceptible. When this is 
 the cafe, we acknowledge the whole con- 
 duel: to have maflery. There are, however, 
 pieces that pleafe upon the whole as imi- 
 tations of nature, in which a lively fancy 
 appears to have delineated objects juft as 
 they occurred, and to have coloured fo 
 highly thoughts that indicate quicknefs 
 rather than depth of conception, as to 
 
 merit
 
 Obfervations on Compofition, 139 
 
 merit the appellation of having originally 
 fuggefled them. 
 
 Thefe we muft obferve with very little 
 attention to be the peculiar and immediate 
 provinces of imagination ; which, inftead 
 of proceeding by flow and deliberate gra- 
 dations in its procefs, making every ftep in 
 the fcale of evidence lead naturally to an- 
 other, is chara&erifed by its combination 
 of difhmilar ideas, affociated from points 
 of refemblance extremely remote, but 
 whofe union, when once formed, is by this 
 very circumfiance rendered ftriking and 
 uncommon. In the feries of thoughts, 
 however, arifing in this manner from va- 
 rious exertions of the inventive faculty, 
 fome will no doubt appear to have been 
 immediately derived from the different ex- 
 ternal forms of nature. Others on the 
 contrary, wholly fubordinate to, and inci- 
 dentally riling as it were from the former, 
 will grow out from the principal fubjecl, 
 which like a vigorous plant will thus ap- 
 pear furrounded with ihoots, which fhew 
 the native ftrength and fertility of the root 
 from which they fprung. Of thefe, the 
 
 former
 
 140 Philofophical and Critical 
 
 former conftitute a vein of fentiment purely- 
 original, and require a very large propor- 
 tion of what is denominated plaftic or cre- 
 ative imagination : the latter are only to 
 be confidered as the confequences of being 
 thrown into a certain track, in which 
 when a man of no uncommon genius is 
 once fet out, he may either improve upon, 
 or add to the difcovery of the original in- 
 ventor. 
 
 In whatever light, however, we view 
 imagination as the parent of new and in- 
 genious fentiment, it mult be acknow- 
 ledged extremely hazardous to fubmit to 
 its guidance in this delicate exertion. The 
 province of imagery and that of incidents 
 is indeed naturally occupied by this power, 
 becaufe we know no other adequate to 
 invention in either. But in the fphere of 
 fentiment, the qualities which formerly 
 rendered fancy an agreeable and entertain- 
 ing companion, become the immediate 
 caufes of our diftruft and fufpicion. Thus 
 its vivacity will lead us to be diffident of 
 the clearnefs and comprehenfion of its 
 theory j its verfatility, of the juftnefs and 
 
 fymmetry
 
 Obfervatiims on Compofition. 141 
 
 fymmetry of its proportions; its power 
 of feizing remote points of refemblance 
 will induce us to call in queftion the accu- 
 racy of imitation ; and the unufual com- 
 binations which it prefents to the mind 
 will very naturally infufe a fufpicion of 
 their folidity and truth* Coherence and 
 proportion are never to be regarded as the 
 native offspring of imagination. This fa- 
 culty will indeed invent in any branch of 
 fcience whatever; but without the fuper- 
 intendence of the former, its difcoveries 
 will confift of loofe and unfupported afler- 
 tions, uncommon perhaps, and finking at 
 firft view; but which being placed in no 
 juft connection, and forming no links in 
 the chain of progreffive evidence, afford 
 not any folid improvement to the mind, 
 and are recollected only for their brilliance 
 and novelty. The mind likewife under 
 this direction is wholly inadequate to the 
 talk of examining its decifions with cool- 
 nefs and leifure ; and miftaking fome dif- 
 tant refemblance of. truth for the object of 
 which it is in purfuit, it is fatisfied with a 
 
 curfory
 
 142 Philofophical and Critical 
 
 curfory view, and is called off immediately 
 by fome newer profpect 
 
 Upon the whole, therefore, in this 
 fphere of imagination it will appear necef- 
 fary beyond any other, that this power be 
 kept within the clofeft limitations ; as a 
 foundation wrong-laid, or formed of im- 
 proper materials, will render a ftru&ure 
 however beautiful to the eye, yet defective 
 in ftrength, folidity, and duration. Thus 
 even where the judgment of an author is 
 comprehenfive and penetrating, it may yet 
 be employed by the former to fupport a 
 whimfical and extravagant hypothefis. In 
 this cafe indeed it will be no difficult mat^ 
 ter to diilinguifh the fpheres of each ; and 
 at the fame time that we admire the ro- 
 mantic theory of fancy, we may contemp- 
 late with wonder the acutenefs and fub- 
 tility of that judgment which can fupport 
 it by fubtle diftinctions and the mod plau- 
 fible arguments. A work of this kind 
 will however be viewed by the difcerning 
 judge only as a fplendid monument of hu- 
 man weaknefs j and as a proof of the many 
 
 errors
 
 Obfervations on Compofu'iGn. 143 
 
 errors into which a man will be led by 
 endeavouring to render that convincing to 
 the reaibn of others, which had its origin 
 from a different faculty in himfelf. No 
 work therefore will ever be valuable in 
 point of fentiment, unlefs when the ima- 
 gination of the writer acts in immediate 
 fubferviency to his understanding, which 
 reviews its various objects, and felects fuch 
 as have fitnefs for a certain end from the 
 promifcuous aflemblage. Thus it will 
 happen that the tendency of thefe when 
 duly eftimated will be, to extend the rea- 
 der's knowledge of his fubject, rather than 
 amufe him by finking on his fancy ; and 
 that the whole will evince that fagacity 
 and good fenfe which is the parent of ac- 
 curacy, perfpicuity, and proportion. 
 
 IV. From the preceding remarks on the 
 fpheres and operations of fancy in the pre- 
 fent fubject, its importance in Competition 
 will, we prefume, be fufficiently confpi- 
 cuous, and its modes of exertion will be- 
 come in fome degree familiar to the mind. 
 Of thefe however (various as they are) the 
 highefl and moil difficult remains to be 
 
 confidered
 
 I44 Philofophicdl and Critical 
 
 confidered as difcovered in the higher fpe-* 
 cies of Compoiition in the invention of 
 characters. As we have already feen in 
 the courfe of our obfervations, that the 
 other indications of this faculty may ap- 
 pear in a confiderable meafure, where this 
 laft is either wholly wanting, or extremely 
 deficient; and as experience muft convince 
 us that the introduction of characters dif- 
 tinguifhed by ftrokes of originality, and 
 fupported with dignity through a com* 
 plicated feries of events ; that this is one 
 of the rareft efforts of genius, and fuch as 
 requires the greateft proportion of intel- 
 lectual qualities * ; it will be no incurious 
 
 refearch 
 
 The truth of thefe remarks will be fully evinced, 
 if we confider only the various circumftances to which 
 an author muft attend in order to render his characters 
 fuch as may acquire approbation from the more judi- 
 cious or difcerning. Thefe are fo juftly ranged, in 
 the following paffage, by an author who was well ac- 
 quainted with human nature, that nothing farther 
 needs to be added on this part of the fubject. 
 
 " Natio : (pi imo exfequenda eft) nam & gentibus pro- 
 prii mores funt ; nee idem in Barbaro, Romano, Gneco 
 probabile eft. Patria : quia fimiliter etiam civitatum 
 
 leges,
 
 Ohfertjaiions on Compofetion. 145 
 
 refearch to examine the caufe which ren- 
 ders this invention particularly difficult* 
 and which leads a reader of difcernment 
 to value it fo highly where it is found upon 
 examination to take place. 
 
 In that fpecies of invention which arif* 
 eth as we have already feert from known 
 objects placed in finking and unufual com- 
 binations, it will be acknowledged, that 
 the eafieft talk is performed by that per- 
 fon whofe excellence lies in having felected 
 from the variety of external ones thofe 
 which have perhaps efcaped the attention 
 of former imitators* The moft arduous i3 
 affigned to him, who furveying ideas purely 
 intellectual, and to whofe difcovery or 
 arrangement the fenfes cannot be fuppofed 
 
 leges, inftituta, opiniones habent differentiam. Sexus : 
 ut latrocinium facilius in viro, veneficium in faemina 
 credas. /Etas: quia aliud aliis annis magis convenit. 
 Educatio & difciplina : quoniam refert a quibus Sc 
 quo quifque modo inftitutus. Habitus corporis 2 du- 
 citur enim frequenter in argumentum fpecies libidinis, 
 robur petulantise, his contraria in diverfum. For* 
 tuna : nee enim idem credibile eft in divite aut pau* 
 pere propinquis, amicis, clientibus abundant & his 
 omnibus deflituto, &c" Inftitut. lib. v. cap. io. 
 
 Vol, I, L at
 
 146 Fhilofophlcal and Critic at 
 
 at all to contribute, is yet able to form 
 fuch various, juft, and animated expref- 
 fions ; to accomplifh fueh new and happy 
 exhibitions of nature as refult from the 
 union of experience and difcernment. In 
 the firfl cafe, an author has indeed the merit 
 of rendering a profpect peculiarly pleafing 
 by placing at proper intervals objects cal- 
 culated to excite at the fame time pleafure 
 by their beauty, and wonder by their no- 
 velty. This merit, however, is confider- 
 ably leffened, when we reflect that the 
 materials of which the whole is com- 
 pounded lie open to the fenfes. Imagina- 
 tion therefore, when employed to cull out 
 amidft an exhauftlefs variety, fuch forms 
 as have been paffed over without obferva- 
 tion, acts the fame part as he who by a 
 peculiar quicknefs of external perception, 
 even without the aid of experience, mould 
 obferve in a collection of diamonds a few 
 of the pureft water, and felect thefe for his 
 own ufe ; after the whole had undergone 
 the fevereft fcrutiny, and every jewel of 
 real value was deemed to have become a 
 iucceflive object of admiration. Here 
 
 therefore
 
 Qbfervations on Compojition. 14/7 
 
 therefore we afcribe to the inventive fa- 
 culty quicknefs and energy ; we are ftruck 
 with the acutenefs and novelty of its per- 
 ceptions. But employed as we ftill fup- 
 pofe it to be in the felection of objects 
 which have an independent original; or 
 in the imitation of beauties which it can- 
 not improve; we confider it upon the 
 whole as pofleffing only a kind of fecon- 
 dary originality ; and its work as the fuc- 
 cefsful difplay of an elegant landfcape. 
 
 When from this view of imagination in 
 the former cafe, where it works upon ma- 
 terials laid before it, we pafs to the latter, 
 where thefe in confequence of their nature 
 and diflance are collected at leaft with 
 greater difficulty, and the mind is agree- 
 ably flattered with the thought of railing 
 in fome fenfe a new creation ; when We 
 contemplate this exertion of fancy, the 
 profpect aflumes a very different appear- 
 ance. The mind inftead of taking cog- 
 nizance only of external objects, is em* 
 ployed to combine remote and abftracled 
 ideas, independent of it indeed with regard 
 to their original exiftence, but which are 
 L 2 placed
 
 148 Philofophical and Critical 
 
 placed in a point of view wholly extraor- 
 dinary, and whofe union forms altogether 
 an object never formerly perceived. While 
 the one therefore only imitates beauties 
 prefented to him by fenfation, the other 
 by a ftrenuous effort of reflection placing 
 the radical qualities by which man is dif- 
 tinguifhed in an uncommon light, becomes 
 properly the inventor or maker of a new 
 character. He exceeds therefore the other 
 in the fame proportion as the painter, who 
 by throwing innumerable animated and 
 diversified expreffions into the faces of an 
 audience, fuggefts the full meaning, action, 
 and vehemence of the orator; would be 
 admitted to excell him whofe merit lay in 
 difcerning and copying a caricatura *. 
 
 It 
 
 * That we may not be judged from the comparifon 
 ftated here, to have magnified one effort of imagination 
 at the expence of detracting from another in which 
 the energy and extent of that faculty are extremely 
 confpicuous ; it may be proper to obferve, that, by 
 copying a caricatura, it is not meant to reprefent the 
 objects of defcriptive Compofition as in general either 
 mean in themfelves, or as indicating when pourtrayed 
 with accuracy and elegance, a fcanty proportion of the 
 
 inventive
 
 Obfetvations on Compofition, 149 
 
 It will be faid perhaps, in anfwer to 
 thefe obfervations on the invention of cha- 
 racters, 
 
 inventive faculty. It is only intended to fbow this in 
 its proper light, when fet in oppofition to that fpecies 
 of invention by which genius appears to be principally 
 chara&erifed. That authors of the firfl clafs occupy 
 however, a very high rank in the ftyle of genius is 
 by no means denied, and will indeed be obvious to 
 any perfon who has tafte to difcern the refined and 
 exquifite beauties of defcription, and a fufficient {hare 
 of imagination himfelf to judge of the exertion by 
 which thefe in moft inftances are felecled and pour- 
 irayed. The ingenious author of the Eflay on the 
 Writings and Genius of Pope, has pointed out fomc 
 Strokes of this kind in Thomfon's Seafons which are 
 in themfelves truly original, and have efcaped the 
 notice of former critics, Seel:, ii. p. 42, &c. I know 
 no writer indeed who in a work profefTediy defcriptive 
 has equalled in all refpe&s this amiable poet. Theo- 
 critus indeed, at firfl: view, may appear to ftand in 
 competition with him, but the merit of the Greek 
 upon nearer infpection will appear to be inferior to 
 that of the Britifh poet. In the Idylliums oi the former 
 it will be obferved that there is little defcriptive beauty 
 of the kind here referred to. The principal merit of 
 thefe inchanting poems confifts in their peculiar ten- 
 jdernefs of fentiment, and of an exquifite and inimit- 
 able Simplicity of expreflion. This fimplicity as it 
 feems to be incompatible with ftrength or variety of 
 epithet, excludes indeed naturally pi&urefque and in- 
 L 3 tenfely
 
 150 Thilofophical and Critical 
 
 rafters, that we have not only in a pre- 
 ceding part of this work attempted to 
 
 prove 
 
 m- ... .,. , - 1 , , 1 . , , , 
 
 tenfely animated Compofition. Accordingly we rarely 
 find Theocritus adopting the epithetical ftylej and 
 when he does fo his epithets are the fimpleft imagin- 
 able. He generally gives every rural object its com- 
 mon defignation, and hence arifeth that unaffected eafe 
 which as the genuine language of nature is fo univer- 
 sally interefting. 
 
 XatptG', a) fiuxoko; vpy.i.v iyu Aa(pnj ml it av vha,v 
 Ovx.iT oo) a<Jpuju,wj, kx a.\<na.' Xocif ApfOoura, 
 Kaj ~0Tju,ci to* X, iiri xa Aou xu.ru SujUopiJoj tiJaip. 
 
 0EOK. @TP. 
 In the Seafons of Thomfon we meet with examples 
 of both fpecies of the beauty here referred to, along 
 with others which the Sicilian bard appears not to have 
 been capable of rivaling. That union of fimplicity 
 and tendernefs, which forms fo inchanting a combina- 
 tion, the reader will difcover in the pathetic tale of 
 Amelia and Celadon, as inftances of rich and exquifite 
 painting are univerfaily to be met with. This ami- 
 able and judicious poet is diftinguifhed likewife emi- 
 nently by one excellence which I have not obferved to 
 be afcribed to him in the high degree he feems to de- 
 ferve. I mean that of improving the moft trivial cir- 
 cumftance by instructive and appropriated illuftrations. 
 To adduce but one example : how juft and expreffive 
 js the following image, when after having defcribgd 
 
 the
 
 Obfervatiom on Compofition. 151 
 
 prove that imitation in fome fenfe extends 
 to the whole compafs of human inveftiga- 
 tion ; but this reprefentation of character 
 proceeds in molt cafes obvioufly from the 
 principle above-mentioned, as it implies 
 only the power in an author of copying 
 fuccefsfully thofe characters with which 
 experience and obfervation have rendered 
 him converfant. 
 
 Admitting the truth of both thefe re- 
 marks, it ought ftill however to be remem- 
 bered, that in the fjrft cafe where a cha- 
 racter is marked with ftrokes of originality, 
 and ftrikes us, upon the whole, rather in 
 
 the birds as conveying "the moft delicious morfel to 
 their young," the poet immediately fays 
 
 Even fo a gentle pair, 
 
 Py fortune funk, but form'd of generous mould, 
 In fome lone cott amid-.fl the defiant woods, 
 Suflain'd alone by providential Heaven, 
 Oft' as they weeping eye their infant train, 
 Check their own appetites and give them all. 
 "We fhall conclude this long note by obferving that 
 defcriptive poetry in fuc.h inftances as thefe, affumes 
 indeed a dignified afpecl:, and indicates in the writer 
 an high fhare of the moft valuable qualities both in- 
 tellectual and moral, that are conferred on mankind. 
 
 L 4 the
 
 152 Philefophical and Critical 
 
 the light of what may be fuppofed to take 
 jplace, than of what we have had occafion 
 to witnefs as actually exifting; in this cafe 
 we have already feen the term invention to 
 be applied with particular propriety. In 
 the other, where the imitation is more per- 
 ceptible, we muft yet acknowledge it from 
 the refined and abftracted nature of the 
 objects imitated, to demand an exertion of 
 which an imagination able to ftrike off 
 exact refemblances in the field of external 
 beauties, might be deemed incapable. 
 
 Great, however, and comprehenfive as 
 we muft fuppofe an imagination to be, that 
 is adequate in mod inflances to the inven- 
 tion of characters, reflection will yet lead 
 us to diftinguilh the degrees in which this 
 faculty takes place, as indicated by the fol- 
 lowing circumftances : by the various 
 qualities that enter into a character; by 
 the difcriminating ftrokes that ferve to give 
 it ltrength and peculiarity ; and by its 
 grandeur as arifing from native greatnefs 
 and fublimity of genius, 
 
 Thefe indications we mall here confider 
 feparately, in order to have a full view 
 
 of
 
 Obfervations on Compqfition. 153 
 
 of the province of this power in Com- 
 pofition. 
 
 1, With regard to the firft mentioned, 
 the qualities that enter into a character, it 
 will be acknowledged that the Ulyffes of 
 Homer, diftinguifhed by fo various an 
 affemblage of ftriking qualifications, fets 
 the inventive powers of this writer in a 
 much ftronger light than either his Neftor 
 or Diomed, whofe characters are more 
 uniform. Thefe laft, however, taken in 
 with the former, fill us with the higheft 
 .admiration of a mind capable of varying this 
 affemblage fo much, and of comprehending 
 the parts of fo complicated a detail. It is 
 indeed a talk incomparably more- difficult 
 to exhibit a variety of diftinct qualifica- 
 tions as combined to form one character, 
 than to parcel thefe out as it were among 
 many perfons, and to affign each a fepa- 
 rate virtue or vice which along with a few 
 common and fubordinate acquirements 
 complete the exhibition. 
 
 When a very various affemblage of 
 qualities meet in one character, each muft 
 receive different expreffions according to 
 
 thofe
 
 154- Philofophical and Critical 
 
 thofe with which it is united, while at the 
 fame time the diftinguifhing marks muft 
 be uniformly maintained by which it 
 ought on all occafions to be known. 
 When, on the other hand, only a few are 
 brought together, many of thefe expref- 
 fions are necefTarily loft, fuch of them in 
 particular as arife from the union of one 
 qualification with others that are diffimilar 
 to it. The office therefore that is afhgned 
 to imagination, when a prevailing quality 
 is exhibited only in few lights, even 
 though ftrong and pi&urefque, is deemed 
 with great juftice inferior to that which it 
 exercifeth when the fame quality, whether 
 moral or intellectual, is placed before the 
 mind in many different views, as it re- 
 ceives a caft from intricate, finking, and 
 unufual combinations. 
 
 In the portrait of UlyfTes that wifdom 
 which forms his diftinguifhing character- 
 iftic, is happily expofed in fb many points 
 of view arifmg from other virtues, or even 
 imperfections which it calls out to obferv- 
 ation, as will ferve to illuftrate fully the 
 preceding remarks. Thus when joined 
 
 with
 
 Obfervations on Compojition. i$$ 
 
 with juft and glowing indignation it 
 prompts him to chaflife vice or infolence 
 (as in the punifhment of Therlites in the 
 Iliad, or of the fuitors in the OdyfTey) with a 
 fe verity unexpected perhaps, and fuddenly 
 exerted, but which appears upon examin- 
 ation to have been the effect of thought, 
 and adapted properly to the occafion *. 
 When co-operating with heroic fortitude 
 and the love of his country, it becomes in 
 the laft exigence a principle by which he 
 is induced to place himfelf in the breach 
 againft a victorious enemy f , all other ex- 
 pedients having proved ineffectual J. Ani- 
 mated by zeal in a critical moment, it 
 produceth the molt active and vigorous 
 meafures . In dangerous circumftances, 
 on the contrary, it is cool, confiderate, 
 and fruitful of refources IT. When joined 
 with ambition, it is eloquent and infinuat- 
 ing ||, intrepid and refolute ; the fame 
 
 * IAIAA (3. OATS. X- t Id ' 
 
 J IAIAA. A. 401,. &q. Id. |3. 265. 
 
 *!I See his night- adventure with Diomed IAIAA. x. 
 240, & feq. 
 
 P See his fpeech to Achilles. IAIAA. T- 225, &c. 
 
 power
 
 156 Philofophical ana Critical 
 
 power which fuggefls at one time the moll 
 prudent councils *, permitting at another 
 the nobleft emulation f. In fine, amidft 
 all this variety of paffions, temptations, 
 and dangerous enterprizes, inftead of being 
 fometimes dropt as might naturally be ex- 
 pected, or of acting frequently by inter- 
 rupted exertions, it is a coniiftent and ope- 
 rating principle, afluming the direction 
 upon every occafion, and appearing moft 
 confpicuous in thofe fituations where from 
 the paffions of human nature it was moft 
 difficult to be preferved. In the two cha- 
 racters of Neftor and Diomed, diftinguifhed 
 as both are by the fame predominant 
 quality, it is placed, however, in lights ex- 
 tremely different both from that of UlyfTes, 
 and from each other. The wifdom of the 
 former is principally the refult of expe- 
 rience in an old man, endowed naturally 
 with fagacity and penetration; as that of 
 the latter is the refult of early reflection in 
 a young warrior, who, unaided himfelf by 
 experience, has ftill docility enough to re- 
 
 * IAIAA. X. 312. t. 154- 215. 
 f Id. . 168. v[/. 755, &c. 
 
 ceive
 
 Obfervations on Compofition* 157 
 
 ceive inftru&iofr from a fage with whom, 
 notwithstanding the difparity of years, a 
 general fimilarity of difpofition eftablifheth 
 an intercourfe of good offices *. 
 
 * The friendfliip that is obferved on every occafion 
 to take place betwixt Neftor and Diomed, difcotfers at 
 the fame time the judgment of Homer, and his exten- 
 five knowledge of the human heart. The laft men- 
 tioned might be fuppofed at firft view rather to have 
 made choice of Ulyfles, whom he appears indeed to 
 treat upon all occafions with particular refpecl:. But 
 befides that thefe laft: might be confidered as rivals, a 
 character which neceflarily excludes any great degree 
 of intimacy, the general fimilarity which takes place 
 betwixt Neftor and Diomed renders their mutual 
 friendfliip perfectly natural. Neftor poflefTeth that 
 calm and confiderate valour which appears always to 
 have been regulated by prudence, and which is now 
 moderated by a very confiderable (hare of experience. 
 Diomed with both the former of thofe qualities, is 
 from his early youth deficient in the latter ; and ap- 
 plies to the fage whom he reverenceth as a father, to 
 have this defect compenfated. This affection will 
 likewife appear to be ftill more natural, if weconfider 
 it as beftowed on a perfon who poflefled great benig- 
 nity and fweetnefs of difpofition. Thus the eloquence 
 of Neftor is particularly charafteiifed as diftinguifhed 
 by the milder and more insinuating graces. 
 
 ' ' TOUTS 0* NffWp 
 
 H<Ju7nij xvopovarc, Xiyvs FIuAiwv aj'opri'njf 
 
 Tou xoci onro ykuvrns /aeAto? yhvKnau fetv <x.v$n. 
 
 IAIAA. . 
 It
 
 158 Phikfophical a?id Critical 
 
 It may indeed be obferved, with the 
 ftricteft truths that in the whole conduct 
 of this perplexing detail an eminent fhare 
 of judgment is indifpenfibly requifite, as 
 well as a vigorous and extenfive imagina- 
 tion. That the laft of thefe however is 
 principally confpicuous in it will be ac- 
 knowledged when we reflect that its pecu- 
 liar province, as hath been already evinced, 
 is to give that air of originality to any 
 performance which refults from a new and 
 various aflemblage of objects ; and in pro*-' 
 portion as thefe are lingular in their kind, 
 or diverfified in their fituation, are we 
 naturally induced to confider that genius as' 
 creative and exuberant which gave birth to 
 fo many agreeable and interefting circum- 
 ftances. In this procefs the power of in- 
 vention is particularly diftinguifhed as 
 taking an enlarged and extenfive range in 
 the field of fpeculation; as aflbciating ideas 
 drawn from the molt remote fefources ; 
 and as aftonifhing the mind by the variety, 
 beauty, and perpetual novelty of its ma- 
 terials. To reafon the difficult tafk is 
 affigned of preferving coherence and fym- 
 
 mctry
 
 Observations on Compcfition, i$q 
 
 metry betwixt the feparate members of the 
 piece amidft a diverfity of objects con- 
 ftantly fluctuating, and therefore demand- 
 ing the united efforts of difcernment, ex- 
 perience, and attention. 
 
 2. Thefe remarks on imagination as 
 difcovered in the invention and conduct of 
 a complicated character, will enable us to 
 form fome idea of that degree of it which 
 is necefiary to give the perfons lively, pe- 
 culiar, and difcriminating features. As 
 therefore, in the province already pointed 
 out, the inventive power is required to 
 poffefs extent and comprehension, fo in 
 the prefent we confider as difplayed to the 
 greater!: advantage its vigour and energy. 
 A Strong and vivid imagination is known 
 as certainly by this criterion, as a fight 
 uncommonly piercing and vigorous is dis- 
 tinguished by its clear, and accurate per- 
 ception of external objects, either delicate 
 in their ftructure, or requiring from their 
 pofition an organization peculiarly excel- 
 lent. In characters, as in every other fpe- 
 cies of inventive exertion, there are certain 
 marks, by whofe aid, even when thefe are 
 
 recom-
 
 160 Phllofophical and Critical 
 
 mended by novelty and fupported with 
 judgment, we may yet difcover the radical 
 ftrength or imbecility of the power from 
 which they derived their origin. Thus in 
 the other fpheres of this faculty its cold- 
 nefs and debility are fuppofed to be indi- 
 cated by a certain languor of expreffion 
 much more eafy to be felt than defcribed, 
 by fparing and feeble illuftrations ; by faint 
 and inadequate colouring ; and, finally, by 
 fo obvious a defect in the pihirefque and 
 animated as leaves us at no lofs to diftin- 
 guifh the caufe from which thefe proceed* 
 This debility likewife becomes always moft 
 confpicuous when the author attempts to 
 excel in the higher fpecies of Compofition. 
 Some degree of difcernment may perhaps 
 be deemed necefTary to difcover it in the 
 more fimple branches of this art ; becaufe 
 where ftrength and energy are not con-* 
 fidered as indifpenfibly requifite, it is fome- 
 times difficult to diftinguifh that execution 
 which a fubjecl: naturally demands from 
 that which is the confequence of a defective 
 imagination. But when fome ftrenuous 
 effort is required, and when the mind 
 
 finks
 
 Obfcr-vations on Compojition. 161 
 
 finks under the greatnefs of its fuhject, 
 even a common obferver becomes fenlible 
 of the defect, and can judge of the in- 
 equality betwixt the theme and the ability 
 of the writer. A number of characters 
 therefore, in the fame manner as images, 
 in which we find no great variety of quali- 
 ties, and the greater number common, or 
 but little difcriminated from each other, 
 may be contemplated as marks of an ima- 
 gination inadequate to this high /train of 
 invention, even when in other refpects it 
 is capable at once of enlarged compre- 
 henfion, and of vigorous exertion *. 
 
 As 
 
 * It would) no doubt, be deemed temerity to apply 
 this obfervation to one of the greateft geniufes of anti- 
 quity, who has otherwife fo nobly occupied the highefi: 
 fphere of human excellence ; I mean the divine author 
 of the iEneid j did not the teftimony of fome excellent 
 critics concur with proofs that arife frOm the poem 
 itfelf compared with the Iliad, to fhow its juftice and 
 propriety. Thofe have with great truth remarked, 
 that in his fidus debates, his forth Gins, fortifque Clo- 
 antbus, his Nifus and Earyalus, whofe adventure is fo 
 obvioufly copied from Homer, and whofe characters- 
 are fo little diltinguifhed by firokes of originality : and 
 finally, that his vEneas himfelf, a calm and moderate 
 
 Vol. I* M hero,
 
 1 62 'Philofophical and Critical 
 
 As a ftrong imagination therefore will 
 give to its characters fignificance and pe- 
 culiarity, fo we may eftimate in a great 
 meafure, the degree of its ftrength from 
 the nature of that theme, or action, which 
 it is employed to celebrate. Thus we 
 have feldom reafon to expect: that a man 
 of cool and temperate fancy will make 
 choice of a fubject demanding not merely 
 the temporary, but almoft invariable pre- 
 valence of qualities, in which he muft 
 feel himfelf (comparatively at leaft)to be 
 deficient. Even fuppofing him from the 
 partiality of mankind in circumftances of 
 this nature, not to be fenfible of this de- 
 fect, yet the choice of fuch a man will fall 
 much more naturally upon a general fub- 
 jecT: (fuch as that of the iEneid or Phar- 
 
 liero, brave indeed, pious and intrepid ; but indi- 
 cating from thofe very qualities an imagination more 
 chafte and temperate, than the fierce, the impetuous, 
 the implacable Achilles; our critics have remarked, 
 that thefe are all indications of an invention unequal 
 to this high rank of excellence, and defective in that 
 vigour with regard to peculiarity of character, which 
 however is difplayed fo eminently in the narration, ex- 
 preffion, and colouring of his work. 
 
 falia),
 
 Obfervations on Compofition. 163 
 
 falia), great perhaps, and comprehenfive, 
 with whofe magnificence the mind is ele- 
 vated and dilated, than merely Upon the 
 effects of one particular paffion, and that 
 too the moft impetuous and ungovernable 
 of all that actuate the human mind. In 
 this laft cafe it muft be obvious that the 
 nrft propofal of fuch a theme would fug- 
 ged to us the idea of an imagination 
 rapid, glowing, and intenfely fpirited from 
 the confideration of thofe fallies abrupt 
 and animated to which this paffion muft 
 neceflarily give rife, and of that dark but 
 expreffive colour, which muft naturally 
 tincture and predominate in the character. 
 Contemplated in the prefent point of 
 view, the author of the Iliad will be found 
 to excel all other uninfpired writers as 
 much in the ftrength of thofe fignatures 
 which diftinguifh his perfons, as in the 
 fplendor, richnefs, and beauty of his illus- 
 trations. His fubjedl is precifely of that 
 kind which a daring imagination could 
 alone have adopted. He breaks into it 
 likewife with an abruptnefs fuited to the 
 theme, and with one ftroke of his creative 
 M 2 pencil
 
 164 Philofof Ideal and Critical 
 
 pencil cr'ves the outlines of an hero Tin- 
 bridled, furious, implacable, refentful, in 
 whom thoie diflinguifhing qualities are 
 afterwards called out, and are fo fcrongly 
 marked in the detail of his conduct. 
 
 MHNIN txtiSi Six nnXmaJtw A^iXriog 
 
 " Sing (fays he) O goddefs, the wrath 
 " of Achilles the fon of Peleus." The 
 Roman poet, whofe imagination in con- 
 fequence of its equability was more fitted 
 to take a comprehenfive furvey of various 
 objects, but lefs to difcriminate thefe from 
 each other by vigour and energy, opens 
 his fubjedf. with a detail of circumflances, 
 which, however noble and interefting in 
 themfelves, yet ftrike not the mind fo 
 forcibly when taken together, as the fingle 
 flroke of his inimitable rival *. 
 
 Arma 
 
 * The remark made in the text on the invention of 
 Homer, as ciifp'aycd in the ftrength of his ideas, and 
 in the mafterly ftroke by which his perfonagcs are 
 marked and introduced, will imprefs the mind more 
 ilrongly when we compare the introduction of the 
 OdytTey with that of the Iliad, as expreflive of his own 
 character in the various periods of life. As in the 
 latter, when his genius was in its full maturity, and 
 
 vigodr,
 
 Obfervathns on Compofition. 165 
 
 Arma virumque cano. Troja; qui primus ab oris 
 Italiam fato profugus, Lavinaque venit 
 Littora^ &c. 
 
 It were eafy to evince by a variety of 
 examples drawn from the higheft ftandards 
 of poetic Compofition, both ancient and 
 modern *, the manner in which a genius 
 diftinguifhed by the characleriftic above- 
 mentioned will difplay it in the various 
 pourtrait of manners. The reader, how- 
 ever, by carrying the preceding obferva- 
 tions along with him will be able to judge 
 for himfelf in this matter, a fuller di- 
 cuffion of which belongs more properly to 
 a fubfequent fe&ion. 
 
 3. From the confideration of an exten- 
 five and vigorous invention as difplayed 
 in the various ingredients, and in the dif- 
 
 vigour, we find him breaking abruptly into his fubjecl:, 
 and chooiing the moft various and difficult imagin- 
 able ; fo in the former when the fire of his imagination 
 muft have fubfided with age, we find his hero de- 
 fcribed as recollected and moderate, and the bard en- 
 tering coolly into the detail of circumftances when he 
 propofes his theme. 
 
 Avfyx juot mnri Mowrot 7roAuTpo7rov, f{ jt*Xa ttoWx 
 
 M 3 criminating
 
 1 66 Philofophical and Critical 
 
 criminating ftrokes of a character, we arc 
 led naturally to view it in this enlarged 
 fphere of its operation as exhibiting evi- 
 dences of greatnefs and fublimity. Thefe 
 we fuppofe always to be indicated when 
 fome perfonage of fuperior merit is intro- 
 duced either as a principal or fubordinate 
 actor in the piece, and when amidft many 
 critical, important, and unexpected inci- 
 dents, we find the native dignity fo inva- 
 riably fupported, as that without difficulty 
 we can from the circumftances in which 
 the perfon is placed, form an idea of the 
 manner in which his actions will be regu- 
 lated. We mult here, however, make a 
 diftinction betwixt comprehenfion and fub- 
 limity of genius as difcovered in this con- 
 duct, fmce the former of thefe is principally 
 confpicuous in the nature of the fubject *, 
 
 whereas 
 
 * It is neceflary to obferve here, that this view of a 
 comprehenfive fubjer. as indicating in fome branches 
 of Compofition a great imagination, ought by no means 
 to be confounded with what hath been advanced in a 
 former part of this feftion on the invention of inci- 
 dents. It was cbfcrved that thefe lafl however great 
 
 cr
 
 Obfervations on Compofition. 167 
 
 whereas the latter wholly relates to fome 
 individual as the perfon to whom all is 
 referred. Thus in the Paradife Loft it is 
 obvious that the firft propofal of a fubject 
 comprehending heaven, hell, the chaos, 
 and origin of all things ; a ftate of nature 
 altogether different from the prefent, and 
 objects in the fame manner diftinguifhed 
 from thofe w T ith which we are converfant, 
 that the propofal of this fubjed: muft fill 
 our minds with the idea of a genius capa- 
 ble of taking in an uncommon compafs of 
 thought, and great in proportion to the 
 abftracted nature of thofe objects it was 
 
 or extraordinary afford no certain charafteriftic of a 
 fublime imagination, unlefs when fomething exalted 
 appears likewife either in the fentiment or imagery. 
 When we obferve a feries of thefe extremely compli- 
 cated to be difpofed in exadl order, and to follow each 
 other fo naturally as to give uniformity and confiftency 
 to a fable, we judge with propriety the underftanding 
 of the author to be accurate, and his imagination 
 comprehenfive. But to conftitute a great difplay of 
 genius, each of thefe taken feparately muft have fome 
 proportion of grandeur in order to form one noble and 
 magnificent whole. In this cafe, the comprehenfive 
 nature of the fubjecT: may be faid to denominate not 
 only an extenhve, but a great imagination. 
 
 M 4 employed
 
 1 68 Philofophical and Critical 
 
 employed to contemplate. The character, 
 of fublimity, on the other hand, arifeth 
 principally from the deportment and con- 
 duel of certain diftinguifhed perfonages. 
 
 In general it may be obferved on thifc 
 branch of the fubjecl, that nothing con- 
 tributes more to fix the denomination of 
 fublimity upon a work, than when a great 
 mind is reprefentcd as rifing fuperior to 
 the mocks of adverfity. In circumftances 
 invariably profperous, or even chequered 
 fometimes with the fhade of affliction, it 
 'is difficult to fupport this defignation with 
 propriety, which feems to require con- 
 itantly that the fympathetic feelings of hu- 
 man nature mould be awakened, and that 
 the mind mould be able to form fome 
 comparifon betwixt the paft and the pre- 
 fent, and dwell on both with a folemn and 
 melancholy pleafure. This circumftance it 
 is which confers fuch peculiar dignity on 
 the Satan of Milton, who is therefore re- 
 prefented by a rival poet as the hero of 
 his work. When we contemplate this 
 auguft perfonage as maintaining a Heady 
 and unfhaken fortitude in a fituation of 
 
 all
 
 Ohfervations on Compofition. 169 
 
 ail others the moft ruinous, where even 
 
 1- Hope never comes, 
 
 That comes to all : 
 when we behold him coafting the regions 
 of darknefs in his arduous journey to earth, 
 encountering alone the fhoc'k of elements ; 
 daring his tremendous foe to the combat ; 
 deceiving Uzziel, oppofing Gabriel; and, 
 finally, perfifting amidft dangers of every 
 kind until he had effectuated his purpofe ; 
 when in all thefe fituations we keep in 
 our eye the glory of his former Piate, and 
 yet fee him coping with the higher!: cre- 
 ated beings, even when he flood 
 
 With faded fplendor wan : 
 
 the pernicious nature of his enterprize, the 
 malevolence of his difpofition, and even 
 the deftru&ion which he is reprefented to 
 have brought upon the human race, can- 
 not prevent us from furveying him with 
 an admiration and pity, which though it 
 mould be culpable, cannot be fuppreffed. 
 
 In fad:, however, the admiration ex- 
 cited by qualities of this kind upon being 
 traced to its fource, will be difcovered to 
 exift without dependence, not only on mo- 
 ral character of what kind foever, but even 
 
 on
 
 170 Philofophical and Critical 
 
 on the more ftriking light in which x 
 perfon muft appear when contemplated by 
 an individual as a fiiend or an enemy. In 
 this laft cafe, it may indeed happen, that 
 the medium of prejudice will either obfcure 
 the lutire of thofe qualities where they are 
 acknowledged to fubfift, and by that means 
 confiderably leffen our admiration ; or by 
 concealing thefe from us altogether, will 
 remove the caufe from which this pafTion 
 proceeds. But both the indances above- 
 mentioned are proofs that the theory we 
 have here laid down proceeds upon juft 
 principles, as it is obvious that a mind 
 diftinguimed by the virtues of fortitude, 
 intrepidity, and a certain daring ambition, 
 is contemplated in general with an admi- 
 ration which can have no other foundation 
 but thofe excellencies, fmce we find this 
 always correfponding to the degree in 
 which the former are fuppofed to take 
 place. 
 
 From this train of obfervation we will 
 readily comprehend the reafon for which 
 true fublimity of chara&er requires mod 
 frequently to be difplayed in adverfity. 
 
 The
 
 Obfervatlons on Compqfition. lyi 
 
 The virtues of which we have feen it prin- 
 cipally to confift, are all of them either 
 of that kind (as thofe of fortitude, patience, 
 intrepidity, &c.) which can only be ex- 
 erted in actual and refolute oppofition to 
 evils, or of that, (as hardy enterprize, or 
 afpiring ambition) which leads us imme- 
 diately to forefee that thefe mull: be en- 
 countered. In the lad mentioned cafes the 
 fublime of character appears perhaps greater 
 than in the firft. Imagination in this in- 
 ftance is left at liberty to form an idea of 
 perils to be met with when the perfon fets 
 out on fome daring and arduous attempt, 
 whereas in the other, it is fixed down to 
 the contemplation of fuch events as the 
 author has already invented. So much 
 does our pleafure in all cafes whatever arife 
 rather from the expectation of what is to 
 happen, than from the enjoyment of what 
 is actually poflMed. 
 
 Thus we have endeavoured by follow- 
 ing the track of imagination along the 
 various fcenes in which its influence is dis- 
 played, to fhow its real value and impor- 
 tance in the art of Compofition; to dif- 
 
 tinguifh
 
 172 Philofophical crna Critical 
 
 tinguiih its genuine exertions when guided 
 by found judgment from fuch as are the 
 confequences of its intemperance, or which 
 it fhares in common with other intellectual 
 faculties, to mow the degree of its ftrength 
 or comprehenfion as determined by the ob- 
 jects to which it is directed ; and, finally, 
 to afcertain its merit as the power of in~ 
 vention by marking its effects in the fim^ 
 pie ft as well as the moft diverfiiied fields 
 of its exercife. We might, indeed, have 
 further contemplated this power as the 
 parent of allegorical perfonages, and as 
 productive of that machinery with which 
 faj>le is decorated. But in both thefe re- 
 fpechs (as far as they have not fallen within 
 the preceding observations) we will natu- 
 rally be led to confider imagination in the 
 fcibfcquent fections of this eifay. 
 
 SECTION
 
 Obfervations on Compofition, 173 
 
 CV9OeOOO6OMc>OOOCOOOCOOOOO9OOOOCOOOCOOOCOOOCOOOC9OdOO0eOOOOCOO3C9OOC(NM3OCOtOOOCMQCCOOCOOOCC9 
 
 SECTION IV. 
 
 Of Penetration, or Djfcernmenty as it re- 
 gards Compofition. 
 
 HP HE offices of the two principal intel- 
 leclual powers we have confidered 
 particularly in the preceding feclions, as 
 far as the prefent fubjecT: is concerned. 
 Before we proceed any farther, it may be 
 proper to paufe a little here, and take a 
 general view of what each of thefe topics 
 hath fuggefted. The faculty of realbn, 
 and that of imagination we have feen to 
 be effentially different from each other; 
 not only in their original choice of objects, 
 but in their method of procedure, in order 
 to obtain an ultimate purpofe. The un- 
 derstanding we have obferved, when em- 
 ployed either in methodifing the parts of a 
 comprehenfive plan fo as to give the whole 
 proportion, or in carrying on a procefs of 
 regular argumentation to a period, accom- 
 plifheth its purpofe univerfally by means 
 that indicate caution and circumfpeclion. 
 
 On
 
 174 Philofaphicai and Critical 
 
 On the contrary, the aflemblages that are 
 formed by imagination confift of ideas in- 
 flantaneoufly combined, in which the mind 
 expects to meet rather with animated ex- 
 preflions than juft difpofition; and with 
 flrokes that excite momentary fenfations, 
 inftead of fuch as terminate in permanent 
 conviction. When therefore, it was ob- 
 ferved in another part of this work, that 
 deliberate recollection and a gradual rather 
 than a rapid fucceflion of ideas, are crite- 
 ria that accompany a talent for Com- 
 pofition * ; the remark is to be underuood 
 of minds, in which this faculty, though 
 lofing no part of its natural quicknefs and 
 energy, is fixed by that of judgment fo 
 Readily upon each particular object as to 
 contemplate and difplay it with precifion. 
 The inventions (if we may thus term 
 them) of fancy when viewed apart, as far 
 as fuch a view can be taken of it, bear no 
 marks of this precifion. Its flights are 
 fudden and irregular; its tranfitions fre- 
 quent and unconnected ; and its procedure 
 
 * Sett. i. p. 31. 
 
 fuch
 
 Obfewations on Compofition. 175 
 
 fuch as difpaflionate reafon rather neglects 
 than cenfures. 
 
 When we examine with clofe attention 
 that combination of qualities greatly diver- 
 fified, by which the characters of men are 
 diftinguifhed, reflection will point out to 
 us the marks of an intellectual power dif- 
 ferent from both the former in its manner 
 of operation; whofe effects we mail en- 
 deavour to unfold more particularly, as it 
 has not as far as we know been formerly 
 diftinguifhed from others. The reader 
 will judge from what has been already ad- 
 vanced, that the power here referred to is 
 that denominated the faculty of Difcern- 
 ment, of which we formerly endeavoured 
 to give fome general idea. We fhall here 
 enforce thofe obfervations, 1. by making 
 fome remarks on the characters or iignatures 
 by which this power of the mind is parti- 
 cularly diftinguifhed from the others, and 
 on the union by which it is conftituted. 
 2. We fhall confider its peculiar province, 
 and manner of operation in the various de- 
 partments of Compofition. 
 
 1. The
 
 176 PhHofophkal and Critical 
 
 .1 4 The word Difcernment we have for- 
 merly obferved, points out " that mental 
 " faculty which, without carrying on any 
 " regular procefs, comprehends as it were 
 " inftantaneoufly the proper manner of 
 " treating any fubject, by fixing upon the 
 " points that are of primary importance ; 
 " and accomplifheth, at once, by thefc 
 " means purpofes which the underftand- 
 " ing alone cannot effectuate in fome cafes 
 " by any exertion ; and abftains in thofe 
 " to which it is adapted by a flow and de- 
 " liberate procedure *." The term in this 
 acceptation correfponds to a fight clear, 
 piercing, and qualified to take immediate 
 as well as ample cognizance of the objects 
 that are prefented to it. That there is a 
 quality of the mind diftinguifhed by thefe 
 characters, no man (whether poflelfed of 
 it himfelf or not) will call in queftion, who 
 reflects upon the ideas which the decifions- 
 and fentiments of thofe in whom it is 
 judged to predominate, call naturally up 
 to his thought. When we attempt to ex- 
 
 * Se&. i. p. 11. 
 
 plain
 
 Ohfervations on Compofition* \jj 
 
 plain any. point in which there is confider- 
 able difficulty, as many, perhaps the far 
 greater number of men, muft be gradually 
 led to comprehend it by having every part 
 of the procefs clearly laid open, and every 
 objection regularly fuperfeded ; there are a 
 few with whom this method of proceeding 
 is unneceflary. As foon as the fubjecl; is 
 laid down, and a few principal evidences 
 laid before them, thefe take in the whole 
 by a kind of intuitive perception ; fupply* 
 ing the intermediate means fo quickly, as 
 to render particular reprefentation inex-* 
 pedient. Such perfons we commonly de- 
 nominate men of quick parts, or of acute 
 intellect. When engaged in the fame man- 
 ner in the bufinefs of life, the fame quali- 
 ties by whofe exertion they are acute critics 
 in the former inftance, render them pene~ 
 trating obfervers in the other. In this laid 
 ' cafe indeed, fome part of that knowledge 
 of mankind which experience confers, muft 
 be acquired, without whofe influence the 
 greateft abilities muft. fail of judging with 
 adequate comprehenfion. But when there 
 is a concurrence of this laft with certain 
 Vol. I. N qualities
 
 178 Phihfophical and Critical 
 
 qualities which we fhall explain after- 
 wards, the man becomes capable of enter- 
 ing deeply into the characters of thofe with 
 whom he is converfant. He gains a fa- 
 cility of reading in the countenance thofe 
 fenfations, however clofely concealed, that 
 actuate the heart * ; and of collecting from 
 cafual, loofe, and unfupported affertions 
 thrown out apparently at random, as hints 
 of what might have been advanced, fuch 
 fignificant and diftinguifhing criteria as 
 are decifive of their juftnefs, propriety, and 
 importance. 
 
 When we confider with the fame object 
 in view, the finer arts as they are called, 
 particularly thofe of poetry and eloquence, 
 effects fimilar to fuch as have been already 
 mentioned, naturally point to the fame 
 original caufe. The tranfitions particularly 
 in purely poetic compofition, are often 
 
 * " Eft in primis acuti (fays a penetrating judge of 
 human nature) videre, quo judex ditto moveatur, 
 quid refpuat : quod ex vultu fapijfime, & aliquando etiam 
 diclo, faclove ejus deprehenditur. Et inflare profici- 
 entibus, & ab iis qua: non adjuvant, quam molliffime 
 pedem oportet referre." Quintil. Inftit. lib. vi. c. 5. 
 
 abrupt,
 
 Obfer'valtons on Compq/ition. ijg 
 
 abrupt, and at firft view appear to be un- 
 connected. The thoughts like wife feem 
 to ftand detached from each other ; and by 
 the high colouring of imagination are fre- 
 quently rendered obfeure. Eloquence we 
 have feen in the fame manner to be often 
 moft confpicuous, when abrupt interroga- 
 tions, and ftrokes of nature and paffion are 
 thrown into a difcourfe, whofe connection 
 with the preceding circumftances is ap- 
 parently remote, and to be fully compre- 
 hended only by thofe who have a thorough 
 knowledge of the heart *. As the perfon 
 who works by thefe means upon the moft 
 powerful principles of human nature, muft 
 know every method of calling them into 
 ftrenuous exercife ; he likewife who is 
 fenfible of the full force of every motive 
 that is applied for fuch purpofes, muft, it 
 
 * " In iis caufis (quae funt frequentiflimse) quae vel 
 folis extra artem probationibus, vel miftis continentur, 
 afperrima in hac parte dimicario eft, nee alibi 
 dixeris magis mucrone pugnari. Nam & firmiffima 
 quaeque memoriae judicis inculcanda funt, & praeftan- 
 dum quicquid in actione promifimus, & refellanda 
 mendacia." Id. ibid. 
 
 N 2 18
 
 i8o Thilofophical and Critical 
 
 is obvious, poflefs a confiderable propor- 
 tion of the fame intelligence; and of the 
 faculty that lays open to him the heart 
 and affections. 
 
 That this mental power, by whatever 
 defignation it may be made known, ought 
 to be confidered in a difiinct point of view 
 from either of thofe whofe offices we have 
 yet mentioned, will be obvious from the 
 following account of its nature and effe&s. 
 
 i. We have already taken notice of one 
 flriking difference betwixt the faculty of 
 difcernment, and the underftanding or 
 reafoning power ftrictly fo called, as the 
 former is diflinguifhed by a quicknefs of 
 perception, which ftands in oppolition to 
 the flow and cautious procedure of the 
 latter *. This is one of thofe obfervations 
 
 which 
 
 * It is from having viewed the underftanding in 
 this light that an eminent writer is enabled to lay 
 down fo particularly the different methods by which its 
 influence may be counteracted. Thefe he reduces to 
 three heads, which he confiders as extending to the 
 principal fubjec"r.s in which it is exercifed. " Vel per 
 illaqueationem fophifmatum quod ad Dialefticam 
 pertinet j vel per pneftigias verborum, quod ad 
 
 Rhetoricam ;
 
 Obfervations on Compofit'ion, i8r 
 
 which it is neither necefTary nor indeed 
 practicable to confirm by regular argu- 
 mentation. Every man's feeling and ex- 
 perience muft decide on the truth of it. 
 It is only requifite that we obferve, in 
 order to know how far the powers here 
 compared together, really differ in their 
 method of operation ; whether there are 
 not many perfons poflefTed of unqueftioned 
 judgment as difcovered either in carrying 
 on, or in examining a regular procefs of 
 argument, who far from taking in the 
 whole the view of capital ftrokes when ex- 
 pofed feparately, find even the images 
 that Hluftrate fentiment to fome minds, fo 
 many obftructions to a perfect knowledge 
 of the fubject ; and enter into it thoroughly 
 only when objects pafs fucceffively in re- 
 
 Rhetoricam ; vel per affettuum violentiam quod ad 
 Btkicam. Quemadmodum enim in negotiis qux cum 
 aliis contrahimus, vinci quis & perduci folet, vel aftu, 
 vel importunitate, vel vehementia, ita etiam in ilia 
 negotiatione interna, &c. Neque vero tarn infeliciter 
 agitur cum humana natura, ut ilke artes & facultates 
 ad rationem deturbandam valeant ; neutiquam vero ad 
 andem roborandam & flabiliendam." Bac. de Aug- 
 ment. Scient. lib. vi. p. 366. edit. Raveften, 
 
 N 3 view,
 
 182 Philofophical and Critical 
 
 view, defcrihed in the fimpleft words, and, 
 placed in arrangement fo nearly perfect, 
 as not to be deficient in any point of the 
 fmalleft confequence. Should this be grant- 
 ed, we are naturally led to afk, whence it 
 is, that men, who unqueftionably poflefs 
 this intellectual power, and exhibit when 
 called upon every indication of it, difcover 
 at the fame time the traces of a procedure 
 which never charadterifes the man of mere 
 understanding ? The different manner of 
 operation here evidently diftinguifheth this, 
 lafl mentioned faculty from that to which 
 we apply the word Difcernment, in whofe 
 conduct we obferve the marks of under- 
 standing eminently confpicuous, along with 
 fuch as appear to be derived from fome 
 original wholly diftincl: from it. 
 
 2. But not only is this quality different 
 from the former in the inftance above- 
 mentioned. We mall find it to be fo in 
 an equal degree, when we confider Com- 
 prehenfion as fhared in common by both. 
 
 The man of Difcernment may be faid in 
 general to form a much more comprehen- 
 sive view of things than he who pofleffeth 
 
 judgment
 
 Obfervatioiis on Compojition, 183 
 
 judgment alone, however clear and exten- 
 sive; becaufe he takes into his eftimate, 
 as we Shall fee immediately, a much larger 
 and more diverfified feries of objects. It 
 ought however to be obferved at the fame 
 time, that as the fphere in which this fa- 
 culty acts is much larger than that of the 
 other, fo its decifions are fometimes lefs 
 accurate. The reafon of this we mail dis- 
 cover upon giving attention to their pro- 
 cedure. The understanding by having 
 fhifted and examined its objects in every 
 point of view, difcovers at laft fuch de- 
 fects as were at firft leaft perceptible ; and 
 thus takes into its furvey whatever is 
 finally fubfervient to its ultimate purpofe. 
 The difcerning faculty on the other hand 
 from its affinity to imagination, attracted 
 molt commonly by Striking, animated, and 
 peculiar expreffions, is lefs attentive to ge- 
 neral uniformity. What it obtains there- 
 fore on the part of Strength and novelty, 
 it is often in hazard of loSing on the fide 
 of exactnefs and proportion, Thefe ob- 
 fervations will be molt clearly illustrated 
 by trying an example. 
 
 N 4 It
 
 184 Philofophical and Critical 
 
 It is acknowledged univerfally, that true 
 difcernment is in nothing more confpi- 
 cuous, than in combining the various prin- 
 ciples of action into fome original character ; 
 or in judging of this combination when 
 prefented to view. There is an infinite 
 variety of motives by which conduct may 
 be regulated according to the fituation in 
 which a man is placed ; and in adapting a 
 particular incident fo happily to the dif* 
 tinguifhing paflion or principle as to place 
 it in a clear and ftriking light, an author 
 fhows himfelf moft particularly to be a 
 penetrating judge of human nature. But 
 while he is intent upon this circumftance, 
 the power that enables him to do juftice 
 to one part of a character, may at the fame 
 time overlook another of efTential confe- 
 quence, and thus by difcerning only what 
 is fuitable at the time, without attending 
 to the mutual coherence of parts, may 
 finifh one branch with the utmoft accuracy, 
 while an obvious incongruity takes place 
 among all. Thus it is that difcernment, 
 from its energy and quicknefs, often forms 
 an eftimate whofe defects the undemand- 
 ing
 
 Obfervations on Compofition. 185 
 
 ing is called in afterwards to fupply. Cool 
 and difpaffionate thought concentrates at 
 laft in one point of view whatever hath a 
 tendency to eftablifh an hypothefis, or to 
 determine an opinion. But in either of 
 thefe cafes an eye immediately fixed upon 
 particular objects, of whatever importance, 
 will overlook at the time circumftances 
 that reflection may afterwards fuggeft, but 
 which could not have been then recollected 
 without fuppofing that two powers of the 
 mind, whofe offices we have feen to be 
 different, mould felect at the fame inftant 
 objects of various natures ; and fhould act 
 with an uniformity that is incompatiable 
 with their diftinct modes of operation. 
 
 3. We obferved as a proof of the fupe- 
 rior comprehenfion of the faculty we are 
 contemplating here, that it takes in a much 
 larger and more diverfified feries of objects 
 than that of reafon confidered by itfelf. 
 The proof of this remark will lead us to 
 take notice as the laft inftance of the differ- 
 ence betwixt thefe of the different natures 
 of the objects felected by them. Here we 
 muft acknowledge, that while the man of 
 
 penetration
 
 1 86 Philofophical and Critical 
 
 penetration (in the fenfe given to that term 
 in this work) judges of every point that is 
 examined by the underftanding, he is at- 
 tentive to, and is qualified to decide on 
 others of which the difpaffionate rcafoner 
 takes not cognizance. This laft indeed, 
 judgeth with great juftnefs and propriety 
 of its own ufual operation on the human 
 mind, in the fame manner as a man who 
 hath been long accuftomed to obferve the 
 feveral expreffions of his own countenance 
 in a mirror, will be {truck with the fame, 
 or even with fimilar characters in that of 
 another. A difcerning judge of mankind, 
 is equally qualified when he fuppreifeth the 
 influence of imagination on his decifions, 
 to judge of this matter as coolly as the 
 reafoner who traceth up effects deliberately 
 to their caufes ; and by obferving in what, 
 manner his own judgment operates when 
 tried in various circumftances, will form 
 an adequate idea of the principal characters 
 by which it is diftinguilhed. Of every 
 other means by which the reafoning faculty 
 is rendered confpicuous, we may in the 
 fame manner pronounce, that this intel- 
 lectual
 
 Obfervations on Competition. 187 
 
 ie&ual difcernment is peculiarly qualified 
 either to judge of, or to exercife it. It is 
 otherwife with regard to the understand- 
 ing, when we come to examine the more 
 peculiar province of that power whofe 
 offices we are employed in contemplating. 
 A man of deep penetration, and ftrong 
 fenfibility, may reafon folidly and calmly 
 on fubje&s that demand to be laid open 
 by clofe argumentation; becaufe a very 
 fuperior fhare of the power that employs 
 this medium to effectuate its purpofe, en- 
 ters into his character. But is the ab- 
 ftracled reafoner, whofe feelings perhaps 
 are weak, and his paffions fubjecled to the 
 controul of reafon at all times, able to 
 detect: with the fame perfpicacity the caufes 
 of actions lying remote in the heart, <md 
 indicating certain powerful emotions with 
 which he is wholly unacquainted ? Cer- 
 tainly not. " Why ?" Becaufe he hath 
 here no principles upon which to proceed. 
 He cannot in this, as in other inftances, 
 judge from comparison, becaufe having 
 never been fenfible of the effect: himfelf, 
 which he is incapable perhaps of having 
 
 flrongly
 
 18S Philosophical ana Critical 
 
 ftrongly excited, he has recourfe in vain to 
 his own mind for any caufe that may de- 
 termine his judgment. In this cafe like- 
 wife he cannot difcover the original prin- 
 ciple by any procefs of ratiocination, how- 
 ever accurate. The effects of the paffions 
 muft be known in order to be defcribed ; 
 and the feelings of a fufceptible heart are 
 not to be laid open by any procefs which 
 the understanding carries on ; but are 
 painted by him who hath experienced their 
 influence. 
 
 From thefe remarks we may difcover 
 the reafon for which the obfervations and 
 the precepts of many philofophers on thefe 
 laft fubjects, are considered as cold and 
 uninterefting. A man of fenfibility re- 
 jects with indignation the rules which he 
 who appears to have no paffions himfelf, 
 lays down very calmly for retraining their 
 excefs. It is the difcerning mind (as it 
 mayjuftlybe denominated) which enters 
 thoroughly into this matter, and counter- 
 acts moft powerfully the influence of the 
 paffions by drawing a picture from expe- 
 rience of the manner in which they ope- 
 rate
 
 Observations on Compojition. 189 
 
 rate on conduct. In this character the 
 underftanding and imagination concentrat- 
 ing their energy, the latter renders him to 
 whom it belongs fufceptible of ftrong im- 
 preffions from the objects that pafs around 
 him ; and the former directs him to caft 
 off thofe only which are of importance, 
 as well as to combine their caufes with 
 other principles that give confiftency to 
 the whole. 
 
 Hence we may trace to its original the 
 difference betwixt the view which Ifocrates, 
 and that which Homer prefents of human 
 nature. Let us take an example from 
 each, as this will illuftrate the preceding 
 obfervations. The epiftle of the former, 
 infcribed to Demonicus, confifts principally 
 of admonitions that regard his conduct in 
 life. He defires this young man particu- 
 larly " to try to obtain a conqueft over 
 " thofe things by which it is unworthy to 
 " be held in fubjection; fuch as riches, 
 " anger, pleafure, and pain. This con- 
 " queft, fays he, you will obtain with 
 " regard to the firft, if you confider the 
 " acquifition of wealth rather as a mean 
 
 " to
 
 190 Philofophkal and Critic at 
 
 " to encreafe your glory, than to form 
 " mafs of ufelefs treafure. You will fub- 
 " due anger if you always acquit yourfelf 
 " to the perfon who hath given offence, 
 " as you would wifh him in fimilar cir- 
 " cumftances to do to you. Your defires 
 " you will hold perfectly in fubje&ion, if 
 " you reflect properly how unbecoming 
 " it is, that he who commands others, 
 " fhould himfelf be the Have of appetite 
 " and pleafure. You will in the laft place 
 " rife fuperior to the fhock of adverfity, 
 " if you compare your own calamities 
 M with thofe of others, and remember at 
 " all times that you are a man *." 
 
 Thefe 
 
 T(^' M xparucOaj tjiv "4 /u X. r "' Ui %? ov > tovtuv 
 tyxfXTCixv xvxti zjxvtuv, xspJaj, opyvis, nSovrj, 
 XvTrr,g' Earn Si toto?, ci xtpSv [/.ev tivxi vo^i^ns Si' uv 
 tvSox^nasig, aAA' fxy n W iVTropyirus' T*i Se Opyn 
 av Grapx7r\r,<riu><; tyr$ zrpoq tj x^xfrxvovrxg, wnrtp 
 
 C(3t TSrpOS VfXVTQV XU.Xf>TXVOVTXy xxi raj aAAs? tX iV 
 
 afciuruxq. Ev St roiq Ttpirwis xvxifflov V7roXxris, 
 ruv /xtv omutuv APXEIN, rxig St ySovxig AOTAET- 
 EIN. Ev St tojj AvB^potf, xv rxq ruv uXkuv 
 etrv^ixg 7r6A7rr,j, xa etxvTOv us avGp&)7ro?, U7ro/>|iA- 
 wxi?. nPOS AHMONIK. Many of the Pytha- 
 gorean
 
 Obfervations on Compofition* igx 
 
 Thefe advices will be juftly denominated 
 judicious. But they are indeed '* the fug- 
 
 gorcan philofophers, whofe writings have reached the 
 prefent times, lay down cold and general rules of the 
 fame kind with the former ; which, though perfectly 
 juft and rational, can have no influence on practice. 
 RaXov 7T vrxvri to ION, TirepCoXji oe xai EAAayK * 
 imi SoKiti) fays an ancient fage (Democritus) of great 
 eminence. Who difputes the truth of this obfervation, 
 or who receives benefit from knowing it ? The inge- 
 nious Theophraftus, in his piece entitled H0IKOI 
 XAPAKTHPE2, purfues a very fimple method in 
 treating of the paffions; but one that is much more 
 likely to be of ufe. Proceeding upon the maxim that 
 V ice is a monfter of fuch frightful mien, 
 As to be hated, needs but to be feen ; Pope. 
 
 he goes no farther than giving a plain but full defcrip- 
 tion of the perfons in whom certain vices predominate ; 
 and of the effects by which the character may be 
 known. EkQjio-u Je <toi (fays he to his friend) xxrx 
 yms otroe, te Twy^avti ytvr\ Tfovuv t*toi$ zffpecjca^fna, 
 xou ov Tpowov TV) oix.ovojj.ix xpmroa. In proem. Our 
 author's plan is, in other words, to prefent to men in 
 general a juft picture of their faults and vices fo 
 clearly and forcibly drawn as that each may felett his 
 own amidft an aflemblage fo promifcuousj and by 
 feeing its deformity may be enabled to correct it. 
 Siich a reprefentation required knowledge of the hu- 
 man heart, and has obvioufly a ftronger diect than 
 any general ad/nonition, 
 
 " geftions
 
 192 Philofophicdl and Critical 
 
 a 
 
 geftions of a mind at eafe." What effect 
 would they produce upon the angry man, 
 the mifer, the voluptuary, or the head- 
 ftrong? Whether fuch general and un- 
 appropriated maxims would work any per- 
 manent effect upon practice, let the per- 
 fons who may be fubject to thefe paffions 
 pronounce. Let us next confider in what 
 manner Homer hath treated this fubject. 
 
 That it is the purpofe of the Iliad to 
 cxpofe the fatal confequences that arife 
 from the indulgence of anger, is known to 
 every man who hath any acquaintance 
 with that work. We are not here to fhow 
 how this author acquits himfelf in attack- 
 ing the prefent paffion, as a poet; but 
 how he fucceeds in his purpofe confidered 
 as a philofopher, and a man of difcern- 
 ment. The ninth book of this admired 
 work (which perhaps has lefs than any of 
 the others of purely poetic beauty) affords 
 a ftriking example of the prefent kind. 
 In the various addreffes made to Achilles 
 by thofe who propofed to moderate his 
 anger, obferve the means that are applied 
 for this purpofe ! Ulyffes recalls to his 
 
 memory
 
 Qbfer nations on Compojition. 193 
 
 memory the parting advice of his father 
 Peleus, that he ought above all other things 
 to reprefs this paiiion*; after having at- 
 tempted to kindle every latent fpark of 
 commiferation in the heart of this hero, 
 by a pathetic detail of the miferies of his 
 country f. He tries to let one paffion in 
 oppofition to another in his mind ; and to 
 overcome his refentinent by awaking the 
 powerful ftimulus of ambition J. 
 
 But in order to fet the pernicious efFecis' 
 of this blind fury completely before us, 
 Achilles, whom the eloquence of Ulyffes 
 
 ! 1 ! - -i _4 
 
 "*" fl TZlTTOIly 1!l jWEW <T0l yt UXTWp lTrtTlXACX.rO Ylnhivi 
 
 litxart toj ore vn. pGnj? Atyoc-fA.iu.vovi TSi^xirV 
 Tfxfov fjaov, jcaproj {/.tv AQwoun ti xou Hp*j 
 Aoi(Tou<r' atx' sGfAwo-ij o~v i ptyxKriTopx 3"U|W0!> 
 Jtcr^Hv tv rvQio-o-t' <MAO$POITNH TAP AMEINXINi 
 
 IAIAA. 1. 
 "f Ekriea Si y.iyx cQtvii @Ae[J.ixivu)> 
 
 MuivtTOU fKsrxyXoog, ss'iO'vvog Aii, ovfo t rtfl 
 Avipocg ouJe S"fovj j xpTfpi $e i awgx oiSvxev* 
 
 ^.TiVTXl yap VnI* XTTOKO^ttV 6tx.px XOpVjM.S, &C lDi 
 
 <ru $e claaovs srsf wxix^xtovg 
 
 TfO/*fV0O; tASOtlpl KXTX rpaTOVj 01 <T S'fOV Wf 
 
 TiGovcr r yxp >t cr!p [axax y.tyx xvios apoio^ &C. 
 
 Vol* L O could
 
 194 Philofophical and Critical 
 
 could not move from his purpofe, is next 
 attacked by that of Phoenix, his tutor, his 
 friend; whofe age is refpeclable, and 
 whofe tears ftream as he fpeaks. Let any 
 reader compare the arguments that are 
 brought here againft the indulgence of re- 
 fentment, with the judicious advice of the 
 philofopher, and judge which of the two 
 beft underflood human nature *. The for- 
 mer writes like a man of good fenfef, 
 
 * It would have run this part of the work into un- 
 neceffary length, to have mentioned the characters by 
 which the addrefs of Phcenix is particularly diftin- 
 guifhed. The. reader will find thefe, with every other 
 eloquent beauty that occurs in this book, pointed out 
 with great propriety in the notes of Mr. Pope's tranf- 
 lation. 
 
 f Quintilian affigns, with his ufual accuracy and 
 difcernment, the various fpecies of argumentation by 
 which reafon obtains its purpofe. ** Efle qu;rdam 
 reor (fays he) in omni genere probationum communis. 
 !N am nee ulla quseftio eft quae non fit aut in re, aut in 
 perfona : nee efle argumentorum loci poffunt, nifi 
 in iis quae rebus & peribnis accidunt. Eaque aut 
 per fe infpici folent, aut ad aliud referri. Nee ulla 
 confirmatio nifi ex antecedentibus, aut ex confequen- 
 tibus, aut ex repugnantibus. Et haec necefle eft, aut ex 
 praeterito tempore, aut ex conjun&o, aut ex fequenti 
 petcre." Inftit. lib, iv. c. 2. 
 
 whofe
 
 Obfervations on Compofition. io 
 
 whofe own paffions were cool and ductile, 
 and who formed a judgment of all others 
 by himfelf. The latter, on the contrary, 
 is a -penetrating judge of his fubject, deeply 
 acquainted with the heart of man, and 
 with the molt powerful motive by which 
 it is actuated *. To what caufe ought this 
 ftriking difference, fo confpicuous in the 
 prefent inflance, (and of which an intel- 
 ligent reader may meet with many fimilar 
 examples) to be afcribed ? Not furely to 
 mere fuperiority of understanding in the 
 laft ; for of this faculty both Ifocrates, and 
 other authors who lay down rules for the 
 conduct of life, are acknowledged to have 
 poflefled a very eminent fhare. Beiides, 
 it is unqueftionably certain, that this in- 
 tellectual power often diftinguifheth in an 
 high degree minds that are yet difqualified 
 to prefent fuch a picture of the human 
 heart as Homer hath here exhibited. 
 
 * " Ingenium teleres quidem motus ad excogitandum 
 acute, & quaedam intelligentise alacritas oftendit. 
 Judicium vero fapiens animi Mora, & matura inter 
 res plures eftimatio oftendet." Strad. Proluf. 1 Orat. 
 
 O 2 U
 
 196 PJiilofophkal and Critical 
 
 Is it then to imagination that this effect 
 is to be afcribed ? Surely no man ever 
 fuppofed that this power confidered fepa- 
 rately from the other, can be the parent 
 of thofe expostulations that fo powerfully 
 imprefs the mind ; and of that dejign which 
 appears in the arrangement of various 
 means, rendered fubfervient without decli- 
 nation to an ultimate purpofe. It follows 
 then, that " there is a mental power dif- 
 " ferent in its manner of operation, in its 
 '* extent of comprehension, and in its 
 " choice of objects, from both thofe whofe 
 " offices we have formerly examined ; and 
 " to this it is that we have here applied 
 " the defignation of the faculty of 
 " Discernment *." 
 
 Since 
 
 * Should it be deemed neceffary to trace the di/Ter- 
 ence betv.ixt the difcerning and the inventive faculty 
 more particularly than hath been done in the text, we 
 would obferve, that as reafon is diftinguifhed from the 
 fir ft of thefe in confequence of its flow and deliberate 
 procedure ; imagination is equally fo by its volatility, 
 and its views that are equally indifcriminate and fuper- 
 ficial. Difcernment we have already feen, of what- 
 ever fubjedt it takes cognizance, is always known by 
 
 examining
 
 Ohfervstions on Compofition. 197 
 
 Since therefore this quality differs in 
 eflential refpects both from that of reafon 
 and of invention when viewed as inde- 
 pendent of each other, as far as fuch a view 
 of them can be taken, it mull obvioufly 
 be conftituted by the union of both; of 
 whofe influence reflection will fhow it to 
 participate in very different degrees. From 
 the former it receives fteadinefs, folidity, 
 a proper direction, and a power of felect- 
 ing the moil unexceptionable means. From 
 
 examining it to the bottom , and by feizing in every 
 cafe fuch means as are mod proper to obtain an ulti- 
 mate end. Imagination, on the contrary, if left wholly 
 to itfelf, would neither propofe to accomplifh any 
 /eligible end, nor difcover perfpicacity in the choice of 
 means. When its prevalence over the reafoning power 
 js remarkable in any inftance; it wjll be fixed in fome 
 cafes rather by the brilliance and drapery of objects, 
 than by their importance : in others, when the prof- 
 peel: is more uniform, no parts will be difcovered to 
 have comparative excellence. In all cafes whatever, its 
 courfe, wholly different from that which the difcerning 
 mind purfues, will be excentric and irregular. Its 
 light likevvife inftead of difplaying parts of principal 
 beauty or utility in a work, muft lofe its influence by 
 being indifcriminately and promifcuoufly reflected 
 pver all. 
 
 O 3 the
 
 198 Fhilofophical and Critical 
 
 the latter is derived its quicknefs, perfpi- 
 cacity, and almofl intuitive perception of 
 character and manners. By the under- 
 ftanding a penetrating judge difcovers the 
 purport of arguments as leading to fome 
 principle : while by the inventive faculty 
 co-operating in this work, its Jight is 
 Jharpened (if that expremon may be ufed) 
 with regard to particular objefts, without 
 being impaired in the leaft degree as to 
 general extent and comprehenfion. Thus 
 we fee by what means the mind fixeth at 
 once upon decifive criteria ; and imagin- 
 ation with all its natural volatility is ren- 
 dered fubfervient to the important purpofe 
 either of clearing, or of inveftigating 
 truth. 
 
 Again, when the various emotions of 
 the heart are to be traced to their fources, 
 as arifing from one paffion upon fome oc- 
 cafions, and upon others from a mixture 
 extremely complicated * ; in thefe cafes, 
 
 when 
 
 * A confummate judge of mankind carries the 
 fource of action here mentioned fo far, as to derive 
 from it principally not only the actions but the opinions 
 
 of
 
 Observations on Compofition. 199 
 
 when the fuperior mental powers are united 
 in fuch a manner as confiitutes Difcern- 
 ment ; the caufes which fancy would have 
 fcanned very flightly, if not wholly over- 
 looked, will be thoroughly inveltigated ; 
 and tefls drawn from the fureft of evi- 
 dences, I mean thofe of feeling and expe- 
 rience, Vv T iil be applied to eftimate their 
 liability and power. It is indeed in this 
 laft light, as was formerly obferved, that 
 penetration is principally confpicuous, as 
 mere judgment, and mere imagination, 
 with regard to fuch objects, is equally de- 
 ficient. For the understanding of an indi- 
 vidual proceeds not beyond the fober track 
 of realbning upon fa&s or principles efla- 
 blifhed by itfelf ; or of examining the juft- 
 nefs of fuch reafoning eiiablifhed upon 
 
 of mankind. ** Nee eft enim in dicendo majus, 
 quam ut faveat oratbri is qui audiet ; utque ipfe fie 
 moveatur, ut impetu quodam animi, magis quam ju- 
 xlicio, aut concilio regatur. Plura enim multo homines 
 judicantodio, aut amore, aut cupiditate, aut iracundia, 
 aut dolore, aut Isetitia, aut fpe, aut timore, aut aliqua 
 permonitione mentis, quam veritate aut prsefcripto, 
 aut juris norma aliqua, aut judicii formula, aut legibus." 
 Cicer. de Orat. lib. ii. 
 
 O 4 fimilar
 
 200 Philofophical and Critical 
 
 fimilar fads and principles by that of 
 another. Of the paffions and affections it 
 judgeth philofophically by attending to 
 their moft ufual phenomena in life. But 
 when effects are derived from thefe united 
 with imagination, and impelled by it *, the 
 man of mere reafon, however comprehen- 
 five, being deftitute himfelf of feelings 
 that correfpond to fuch as this union pro- 
 duceth, is evidently deprived of the prin- 
 ciples upon which an eftimate can be 
 formed, or an enquiry conducted. 
 
 * It is in this cafe that fuch a conflict of jarring 
 paffions is often excited, that the nicefl: Difcernment, 
 when tracing effects to their originals in fo promif- 
 cuous an afiemblage, is often fcarce adequate to the 
 fafk of obferving the effects that arife from paffions, 
 with whofe ufual operation, when each is examined 
 apart, it is thoroughly acquainted. It is well obferved. 
 by a modern critic on this point. " Entre ces obfta- 
 cles qui ruinent les paffions, les paffions memes nefont 
 pas le moindres. Les uns combattent & detruifent les 
 autres : & fi Ton met enfemble un fujet de joi'e & un 
 fujct de trifleffe, on ne fera bien fentir aucune des 
 deux. Horace nous avertit que tout la licence poe- 
 tique ne s'etende point jufqu'a ce melange/' BcfTu du 
 Ppeme Epique liv. iii. p. 354. 
 
 II. Having
 
 Obfervations on Competition. 20 I 
 
 II. Having thus endeavoured to fhow 
 in what refpects the difcerning faculty dif- 
 fers from the principal powers of the mind 
 confidered fingly \ and in what manner it 
 is conftituted by their union, we come 
 next to confider its peculiar province when 
 it is viewed as influencing the various fpe- 
 cies of Compofition. It hath been already 
 obferved, that " when a large proportion 
 " of the inventive is combined with a 
 " much greater fhare of the reafoning fa- 
 " culty, to which laft therefore ^t is fub- 
 " fervient, the intellectual eye will moft 
 " commonly take cognizance of that dif- 
 " quifition which is directed by the under- 
 " ftanding." It is thus that philofophical 
 difcernment is conftituted. A fhare, on the 
 other hand, of imagination more adequate 
 to that of reafon in a mind diitinguifhed 
 eminently by both, renders the influence 
 of Difcernment more confpicuous and uni- 
 verfal than in the firft inftance; becaufe 
 " it appears in this cafe with equal advan- 
 " tage when judging of the arts, as of 
 " the inveftigations of fcience, and can 
 " pronounce as properly of what is beau- 
 
 ^ tiful
 
 202 Philofophical and Critical 
 
 " ttful in the one, as of what is jujl and 
 " decifive in the other." In thefe two 
 general lights we propofe here to take a 
 view of this intellectual quality, as we 
 jQiall thus be able to determine its office 
 with precifion as far as the prefent fubjecl: 
 is concerned. 
 
 i. Difcernment when turned to philo- 
 fophical difquiiition, not only fuggefts to a 
 man the trueft and happieft method of 
 treating his fubjecl:, as foon as he hath ac- 
 quired a general knowledge of it; but it 
 enables him likewife to fix upon the moll 
 decifive evidence ; to adopt the molt figni^ 
 ficant illuftrations ; and to confirm his 
 hypothecs where proof is mofc neceffary, 
 by obferving and fuperfeding objections. 
 
 We have already confidered the under- 
 Handing as the parent of exact methodical 
 arrangement ; a criterion from which we 
 juflly form a judgment of its clearnefs and 
 comprehenfion. There is, however, as 
 we may learn from experience, a certain 
 " curiofa felicitas," as it maybe termed, 
 the art of difpofition ; a certain happy 
 manner of putting facts or circumfiances 
 
 together,
 
 Obfervations on Compofition. 203 
 
 together, which we never meet with but 
 among writers of diftinguifhed penetration^ 
 in the fenfe that is here given to that 
 term. What is it that renders the dif- 
 courfes of Plato on valour, friendfhip, 
 death, immortality, &c. fo much more 
 agreeable than thofe of other philofophers 
 who have examined the fame fubjects ? 
 Every reader mull: be fenfible that this is 
 owing in a great meafure to the manner 
 in which he hath difpofed his fentiments 
 on thefe fubjects. Inftead of attending 
 wholly to what it may be juft neceffary to 
 advance on one point, and proceeding im- 
 mediately to another, this author often 
 takes fo large a circuit at his firft fetting 
 out, that we are at a lofs to determine at 
 what point his procefs will terminate. By 
 keeping the mind in fufpence, he in this 
 manner irrefiftiblyfixeth its attention; and 
 while he is fometimes apparently negli- 
 gent of clofe methodical arrangement, ac- 
 complimeth all the ends to which it is 
 fubfervient ; along with another important 
 purpofe which attention to perfect regu- 
 gularity contributes not to bring about. 
 
 The
 
 204 PJulofophkal and Critical 
 
 The illuftrious Roman orator and philo- 
 fopher has wrote a treatife entitled, De 
 Natura Deorum, which has reached the 
 prefent times. The fame fubjedt is treated 
 by Phurnutus, a Greek philofopher, who 
 explains very fuccinctly, and at the fame 
 time with much perfpicuity, the various 
 parts of nature which the deities repre- 
 fented. Yet the firft of thefe (though not 
 the moft mining of Cicero*s writings) is 
 univerfally known : the laft is as much 
 neglected. The reafon is, that the Roman, 
 who is formed in a great meafure upon 
 the Athenian philofopher formerly refer- 
 red to, rangeth his diverfified materials in 
 fuch a manner as that thefe throw mutual 
 light upon each other ; and by going out 
 of his way as it might feem, upon fome 
 occafions, to bring illuftrations of his fen- 
 timents, he keeps attention always awake 
 while a fucceflion of pleafing ideas pafleth 
 before the imagination*. The other, on 
 
 the 
 
 * The beautiful verfes which he is fuppofed to have 
 taken from the Medea of Accius, to mention no other 
 proof of this kind, forms one of the mod agreeable 
 
 illuftrations.
 
 Obfervations on Compcfition* 205 
 
 the contrary, juft difpatcheth his bufinefs 
 in the feweft words, and without taking 
 any compafs to give a beautiful variety to 
 his Compofition, purfues one topic with 
 the fame uniform brevity, after he hath 
 frnifhed a former. 
 
 What fhall we fay of thefe writers when 
 thus compared together? That the laft 
 mentioned treats his fubjecl: like a man of 
 understanding, who comprehends and un- 
 folds it with perfpicuity. But the former 
 are difcerning judges of human nature, who 
 keep in their eye the complicated qualities 
 of which characters are formed; and in 
 order to accomplifh a purpofe with one of 
 
 illuflrations. De Natur. Deor. lib. ii. At other times 
 when talking of the myfterious conduct of the deity, 
 he has recourfe, with great knowledge of human nature, 
 to examples that were recent to his readers in order 
 to illuftrate his fentiments on this perplexing fubject. 
 " Cur omnium crudeliffimus (fays he) tamdiu Cinna 
 regnavit? At dedit poenas. Prohiberi melius fuit, 
 impedirique, ne tot fummos viros intcrficeret, quam 
 ipfe aliquando poenas dare," Sec. We are not here 
 entering into the propriety or juftlce of thefe fenti- 
 ments. Our bufinefs is only to take notice of the 
 manner in which they are laid down and illuflrated. 
 
 thefe
 
 2o6 Phibfophical and Critical 
 
 thefe effectually, judge it proper to have 
 recourfe alternately to each *. 
 
 2. As the faculty here examined directs 
 to the happieft method of treating a fub- 
 ject, fo it fixeth likewife in the conduct of 
 argumentation, upon the moft decifive 
 evidence. This end it effectuates by en- 
 abling a writer , as was formerly obferved, 
 " to hit upon that particular point upon 
 which the bent of each argument turns, or 
 the force of each motive depends *." That 
 
 it 
 
 > 
 
 
 * It is the fame in hiftory as in philofophy. The 
 man of judgment will relate facts with great p'erfpi- 
 cuity, and will accompany thefe with lolid and edify- 
 ing obfervations. But there is a method of inftructing 
 and fatiguing the mind at the fame. time; and where 
 thefe two accompany each other, the fpherc of the 
 former muft be very much contracted. This happens 
 when there is an uniform recital of facts and obferva- 
 tions drawn from thefe regularly carried on ; the re- 
 marks always fucceeding the narration of events peri- 
 odically, inftead of being happily interwoven with it* 
 fo as to grow as it were out of the action, and to be 
 purfued no farther than as it ferves for illuftration. 
 Among modern hiftorians who have fixed on the fame 
 general fubject, Rapin and Hume are the hiftorians of 
 England. The firlt is a circumftantial and judicious 
 
 writer,
 
 Obfer "cations on Compofition. 207 
 
 it' is the peculiar, province of the difcerning 
 faculty to fix upon thefe points in the con- 
 dud: 
 
 writer, whofc relation of facts is both diftinct and par- 
 ticular ; and whofe obfervations on thefe are ufually 
 juft and natural. In perufing his extenfive work we 
 find one uniform method invariably purfued. The 
 tranfaclions are firft related at full length. The re- 
 marks on thefe are commonly placed by themfelves 
 likewife, fo that the reader is never at a lofs in the 
 narration to know what will be the ftrain of a whole 
 paragraph, unmixed with. incidental fentiment or illuf- 
 tration, by cafting his eye on the margin. This ftiff 
 method of procedure renders this valuable work tedi- 
 ous and uninterefiing to readers who defire to be enter- 
 tained as well as edified in reading hiftory, and who 
 neglect the ufeful when the agreeable is not united with 
 it. The detail of events in Hume's Hiftory (which 
 taken altogether is, in the author's opinion, one of the 
 mod complete performances of its kind) is much more 
 concife- But he fixeth with great propriety upon cir- 
 cumftances that render us acquainted at once with the 
 manners of the times and with the characters of the 
 principal perfonages. Thefe, in confequence of their 
 own importance, and of the obfervations that are hap- 
 pily thrown into the narration without breaking it, 
 form altogether an highly interefting exhibition. We 
 are pleafed with the hiftorian's arrangement of fucli 
 various materials, as well as with their fele&ion, and 
 confider the end of hiftory as accomplifhed by the 
 whole. The inference deducible here with regard to 
 
 the
 
 2o8 Philofophical and Critical 
 
 dudt of evidence, will be obvious, when 
 we reflecT: upon what hath been v already 
 faid on its ufual manner of operation. We 
 obferved, as one of the moft diftinguifhing 
 criteria of this power, that as foon as a 
 fubjecT; is laid down, it comprehends the 
 moft proper manner of treating it without 
 any tedious procefs of reafoning, by fixing 
 upon the points that are of principal im- 
 portance* 
 
 Upon weighing therefore the evi- 
 dence by which any doubtful point is to 
 be eftablifhed, the man of Difcernment 
 perceives immediately, not merely the 
 force of one argument compared with an- 
 other in bringing his proof to perfection 5 
 but that particular one which hath pecu* 
 liar energy, as conveying an idea in the 
 cleareft and moft forcible manner to the 
 mind. Thus it happens, that in canvafting 
 a queftion, fuch a man throws out at once 
 every thing that is frivolous, and abfo*- 
 lutely foreign to the purpofe. Perceiving 
 
 the judgment of one writer and the difcernment of the 
 other, is too obvious upon the principles laid down in 
 thie work to be particularly infilled on. 
 
 immediately'
 
 Qbf epilations on Cofnpofiticn. 209 
 
 immediately in what manner each reafon* 
 or motive may be moil powerfully en- 
 forced or applied, he bends the whole force 
 of his talents to the accomplilhment of 
 that purpofe ; and in this manner hits the 
 point upon which the proof may be faid 
 to reft as being decifive of its propriety ; 
 and which, when once placed clearly be- 
 fore the mind, fuperfedes the ufe of any 
 fubfequent enlargement. The influence 
 of the fuperior intellectual powers acting 
 in combination here is obvious* The un- 
 derftanding, Iharpened and animated in 
 its procedure, by being united with a vi- 
 gorous imagination, fees at once the full 
 effect of an important circumftance, which 
 without this union it would have difcover- 
 ed by a gradual and circumftantial dif- 
 quifition. It rejects therefore as frivolous, 
 arguments whofe tendency is not fo im- 
 mediately perceptible, or which lie more 
 open to exceptions; a while it contem- 
 plates fuch as have the moil lafling effect, 
 the inventive power fupplies the means of 
 enforcing thefe with fuitable energy, and 
 of rendering their influence complete. 
 Vol.'L P 3* The
 
 2io Philofophical and Critical 
 
 3. That the difcerning faculty there- 
 fore will likewife fuggeft amidft various 
 obje&s of illuftration, thofe that have the 
 greateft {ignificance when applied to cer- 
 tain motives or arguments, is a point that 
 admits of very eafy proof. It is fancy that 
 invents thefe illuftrations, and it is to judg- 
 ment that we owe their proper application. 
 This laft power never fails to felect fuch 
 as are moft appropriated to their objects* 
 when imagination prefents before it a di- 
 verfified aflemblage. When this laft is 
 languid and enervated, its exertions, what- 
 ever ftrength the underftanding may pof- 
 fefs, muft be proportionably feeble ; and 
 while we are imprefled fuitably by the fen- 
 timents that are dictated by one faculty, we 
 muft at the fame time be fenfible, that it 
 cannot illuftrate thefe by fignificant al'lu- 
 fions, when there is a defect in that power 
 from which they are derived. 
 
 Hence we may difcover the caufe for 
 which many excellent philofophical per- 
 formances are deficient in thofe expreffive 
 images which give perfpicuity as well as 
 beauty to Compofition. The judgment of 
 
 the
 
 Obfervations on Compofitidn. 211 
 
 the writer is confpicuous in. tHe whole 
 execution. But having either never re- 
 ceived from nature any fuitable proportion 
 of imagination^ or having neglected to 
 cultivate it, he either makes feeble attempts 
 to imitate an excellence of which he per- 
 ceives the ufe ; or dropping it altogether, 
 he mars the purpofe which he propofed 
 ultimately to bring about. It is therefore 
 in confequence of that union* of the intel- 
 lectual powers which conflitutes Difeern- 
 ment, that the molt fignifieant illustrations 
 are felected as much in philofophical as in 
 any other fpecies of Compofition* arid are 
 applied to their correfponding original 
 
 4. We obferved in the laft place* that it 
 is the difcerning faculty by which a phi* 
 lofopher is enabled molt effectually to per- 
 ceive and to fuperfede objections to which 
 his theory may lie open. We do not 
 here mean to affirm that a man poifeiTed 
 Of this mental quality even in the higheft 
 degree, will be capable to detect every real> 
 and far lefs every frivolous exception that 
 may tend to invalidate his pofitions. Of 
 the firit, it is undoubtedly proper that 
 P 2 fueh
 
 2 1 2 Philofcphical and Critical ' 
 
 fuch as have importance fhould be per- 
 eeived and removed. With regard to the 
 others, an author would take up both his 
 own and his readers attention to very little 
 purpofe, who fhould ferioufly attempt to 
 obviate thefe, even fuppofmg him to have 
 obferved them. But in order fully to com- 
 prehend the province of Difcernment in 
 this fphere of its exertion, we muft enter 
 more particularly into the fubject. 
 
 The objections confidered in general to 
 which proportions that require to be con- 
 firmed or illuftrated lie open, are princi- 
 cipally of the following kinds. Either 
 thefe are fuch as muft occur to every mind 
 upon the firft propofal of a fubjecl, and 
 fuch therefore as it obvioufly fuggefts ; or 
 though not thus immediately perceived, 
 they are feen to arifc naturally from the 
 various fubdivifions of a general plan, as 
 an author may take thefe up fucceffively 
 in the courfe of his examination; or, 
 lanly, they are of that kind which arife 
 from particular caufes that operate within 
 -a narrow compafs, and though of the ut- 
 moft eonfequence when ftrenuonily urged, 
 
 would
 
 Ohfervatio?is on Compqfition. 213 
 
 would elude the fcrutiny of the far greater 
 number of mankind. 
 
 Let us fuppofe, in order to exemplify 
 thefe obfervations, that a writer takes for 
 his fubject the paffions of human nature, 
 and the neceffity there is for keeping them 
 in fubjection. After having expofed the- 
 evils unavoidably arifing from an indul- 
 gence of thefe, when carried to excefs ; 
 every man will be ready to object, as foon 
 as the means of fubduing them begin to 
 be propofed, the weaknefs and imper- 
 fection of the human mind, which renders 
 the language of the poet that of man in 
 general, 
 
 Video meliora proboque, 
 Deteriora fcquor. 
 
 This therefore is a plea which would be 
 univerfally urged againft all his arguments, 
 and fuch as, if paffed over .without an at- 
 tempt to obviate, would render his rules, 
 however excellent and judicioufly difpofed, 
 of no effect. 
 
 Having therefore guarded as much as 
 
 pofTible againft the force of this objection 
 
 which ftrikes at his general plan, he pro- 
 
 P 3 ceeds
 
 214 Philofophical and Critical 
 
 ceeda to confider the paffions as diftin- 
 guifhed feparately from each other, and 
 to afcertain the influence, defign, and ten- 
 dency of each. Here the pleas which 
 every man is ready to urge in defence of 
 that pafTion which predominates in his 
 pwn mind, will fall naturally under his 
 confideration as objections againft the rea- 
 fons that he may advance for limiting its 
 dominion. Theie it will be obferved are 
 lefs univerfal than the former ; and though 
 flrenuoufly fupported by fuch as are in- 
 terefted particularly in the caufe, are how- 
 ever of a different kind from thofe in 
 which all would confider themfelves as 
 concerned in general. A man of folid and 
 comprehenfive understanding, as he would 
 be immediately on his guard againft an 
 objection of the firft kind in treating this 
 fubjecT:, as well as qualified to remove it, 
 fo he would probably fuggeft with equal 
 fuccefs many of the excufes by which the 
 indulgence of certain paffions is vindicated, 
 and would fhow their inefficacy. But ac- 
 cording to the degree in which the power 
 of a paffion or prejudice is felt by fome 
 
 minds,
 
 Obfervations on Compojition. 215 
 
 minds, will be the fubtlety and acutenefs 
 with which its indulgence is defended. 
 For before men are fubdued fo thoroughly 
 by their pafhons, as to permit thefe to 
 dictate a fyftem of principles fuited to their 
 conduct, they attempt to reconcile, by every 
 plaufible argument that reflection may fug- 
 geft, certain deviations from rectitude, 00 
 cafioned by the prevalence of one paflion, 
 to the temperate dictates of reafon; and 
 invert igate every motive that Is brought to 
 oppofe their defire, with a fe verity that is 
 encreafed by the ftrong inclination they 
 eel to look upon it as irrational. 
 
 In this fituation therefore, objections 
 different from either of the former kinds 
 will naturally be propofed againft our phi- 
 lofopher's own arguments, which ought 
 on that account to arife from a thorough 
 knowledge not only of the fubject ia 
 general, but of the nature and effects of 
 that powerful propenfity whofe exercife he 
 propofeth to limit. But how fhall he be 
 enabled to carry on fuch cogent and for- 
 cible reafoning as muff here be requisite ? 
 Undoubtedly by being capable of placing 
 P 4, himfelf
 
 216 Philvfophical and Critical 
 
 himfelf, by an effort of imagination, in 
 the circumftances of him who is ftrongly 
 actuated by a particular paffion; and by 
 feeling (if we may thus exprefs it) its tem- 
 porary influence. Thus he will be able as 
 clearly and forcibly to expofe the effects 
 of particular pafhons when indulged to an 
 extreme, as by fuperfeding every objection 
 he would moft effectually accomplifh the 
 purpofe that is ultimately kept in view. 
 
 But by what power of the mind is this 
 end brought about? Not furely by the 
 understanding alone. For if it be necef- 
 fary that he who defcribes the effects arif- 
 ing from indulged paffion, mould place 
 himfelf in the circumftances of a man 
 who is ftrongly actuated by it; this fa- 
 culty, whofe procedure is cautious and de- 
 liberate, would fail of prefenting fituations 
 of this kind with fufficient ftrength and 
 comprehenfion to do junice to each. Men 
 of judgment (in the proper acceptation of 
 that term) who have themfelves very mo- 
 derate paflions are furely ill qualified to 
 defcribe an excefs which they never felt ; 
 or in other words, to do juftice to a fub- 
 
 jea
 
 Obfer "cations on Competition. 217 
 
 jec! into which they are not qualified to 
 enter. Their account therefore of it could 
 not be fuch as would exclude the objec- 
 tions of thofe who more thoroughly un- 
 der ftood the question. It is, as we have 
 obferved, by an effort of imagination 
 which always gives ftrength to the paf- 
 ilons, that circumflances of the prefent 
 kind are reprefented with adequate energy. 
 Thefe when placed in a flrong point of 
 view by it, are difpofed in fuch a manner 
 by the faculty of reafon which accom- 
 panies the whole likewife with fuch juft 
 obferyations, as carry conviction moft 
 powerfully to the mind. But as neither 
 power can- accomplifh this end feparately 
 it miift obviouily be effected by that in- 
 fluence of both, which we have mown to 
 conftitute Difcernment. It is therefore this 
 mental power whofe nature and province 
 we have endeavoured to lay open, that 
 fuggefts often the happieft method of treat- 
 ing a- philofophical fubjeel:, fixeth on the 
 mod decifive evidence, felects the moft 
 figriificant illuflrations, and mod ' com- 
 pletely obviates objections. 
 
 In
 
 2i8 Philofophical and Critical 
 
 In the whole conduct of this procedure 
 we muft obferve, that though the concur-* 
 rence of reafon and imagination exiiting 
 in an eminent degree is neceffary to effec- 
 tuate the purpofes here mentioned. Yet 
 the principal exertions are made by the 
 former. The latter (as we fhall fee after-*- 
 wards) though making much more ftrenu-? 
 ous efforts in other departments of litera^ 
 ture, and fuch as bbvioufly point to it as 
 their original; yet is limited here in its 
 range, and fixed down to the contempt 
 lation of fuch objects only as the under-? 
 flanding admits to have propriety in the 
 invefligation of truth. It may therefore 
 be adequate to thefe ends though conferred 
 in a very inferior degree to that with 
 which it co-operates ; and in any cafe muft 
 act according to eftablifhed and determined 
 rules. 
 
 III. Having thus endeavoured to point 
 out particularly the nature and character- 
 iftical marks of philofophical Difcernment, 
 it remains only in order to complete our 
 view of this faculty, that we confider its 
 influence when the reafoning and inven- 
 tive
 
 Obfervations on Compqfition. 219 
 
 tive powers are more adequate to each 
 other ; or at leaft when this laft in what- 
 ever degree it takes place, extending its 
 furvey under the direction of judgment to 
 a greater variety of objects than in the 
 former inft ance ; the mind judgeth as pro- 
 perly of what is beautiful in the arts, as 
 of what is juft and decifive in the refearches 
 of fcience. This branch of our fubject we 
 mall have occafion to difcufs fo much at 
 large in a fubfequent fection, when we 
 pome to trace that combination of the in- 
 tellectual powers which gives rife to the 
 arts of poetry and criticifm j that we fhall 
 only make fome general obfervations here 
 in order to determine the peculiar province 
 and importance of the faculty, whofe na- 
 ture and offices we have endeavoured to 
 difplay. Let us then confider in what 
 manner he who poffeffeth a great and pro- 
 portioned mare both of underftanding and 
 of imagination, will form his eftimate both 
 of the genius of an author, and of the ex- 
 cellence or defects of a performance in 
 which this uncommon character is dis- 
 played. 
 
 1. Difcern-
 
 2 20 Philofophkal and Critical 
 
 f. Difcernment we have already feen, 
 is diftinguifhed by no circumfcance more 
 remarkably than its power of entering 
 into a character, when fupplicd only, with 
 flight materials, and fuch as an ordinary 
 mind would wholly overlook. Its effects 
 confidered in this point of view are uni- 
 form. It is the fame fagacity by which, 
 in the commerce of life, a man judgeth of 
 the heart or intentions of another from 
 openings that efcape the greater number of 
 mankind*; which, transferred to Compo- 
 iition, renders him a judge of the degree 
 in which the intelle&ual powers fubfift, 
 and of their particular propenfity from 
 fmall, and, as they might be deemed, fri- 
 volous indications. Thus it is that a dis- 
 cerning critic, attentive to the firft dawn- 
 ing of genius, will difcover in a few loofe 
 thoughts thrown out without much con- 
 nection, the characters of an accurate or 
 comprehenfive underftanding ; and from a 
 few ftrokes in the fame manner of pathos 
 
 or of defer iption, will judge of the future 
 
 , , 
 
 * See feci. i. p. u, and feci. iv. 
 
 extent,
 
 Obfervatlons on Compofition. 221 
 
 extent, fertility, and even of the chara&er- 
 iftical bias of imagination. The circum- 
 ftances from which a penetrating judge 
 will form his opinions on thefe points vary 
 according to the ftrength of his difcern- 
 ment, and the faculty that influenceth his 
 decifions. Some of thefe are, the models 
 or patterns which a young genius felects 
 for imitation, the vein of refle&ion into 
 which he falls moll naturally, as either 
 carried on with clofe philofophical accu- 
 racy, or laying open, though without much 
 regularity the internal feelings and affec- 
 tions ; the images employed for illustra- 
 tion, as either drawn from remote fources, 
 or from the fimpleft forms of external 
 nature : in fine, the expreffion of a work 
 as either florid, creeping, correct, or in-- 
 flated. From thefe and other circum- 
 ftances, which we need not mention more 
 minutely, the fuperior faculties when act- 
 ing in vigorous concurrence form a judg- 
 ment of the character while yet but begin- 
 ning to open, which we pronounce to arife 
 from intellectual Difcernment. 
 
 As
 
 222 Philofophical and Critical 
 
 As imagination miift make a ftrenuous 
 effort in the mind that judgeth from thefe 
 circumftances of a character, it muft be 
 proportioned in degree to the underftand- 
 ing, which lad* when greatly fuperior iri 
 this refpect, is apt to reprefs the ardor of 
 its companion, and alter the manner of its 
 procedure. 
 
 2. It is in confequence of a fimilar com- 
 bination that we judge properly of the 
 excellence or defects of works in which 
 genius is difplayed. As this extraordinary 
 character is principally faid to take place 
 from the prevalence of effects that owe 
 their origin to imagination ; this power it 
 undoubtedly is that feels their full force, 
 and when united with that of reafon* en-* 
 ables a man to difcern their expedience in 
 the various fpecies of Compofition* The 
 man of Difcernment therefore, when judg- 
 ing of works that are diftinguifhed by in- 
 genuity, is he who by the exercife of an 
 imagination congenial to that of the au- 
 thor, is powerfully imprefTed by ftrokes 
 that have original beauty ; and is qualified 
 
 to
 
 Obfervations on Comf option. 223 
 
 to obferve the heightning which this 
 beauty receives from correfponding diction, 
 fitnefs of illuftration, and viewed as con- 
 nected with other circumftances from pro- 
 priety of difpofition. A more particular 
 account of the manner in which the dis- 
 cerning faculty operates in the extenfive 
 field that is here opened to it, belongs 
 more properly to a fubfequent fection. 
 
 We have now endeavoured to lay before 
 the reader fuch obfervations on the nature 
 of this power of the mind in general, and 
 of its more peculiar influence on the pre- 
 fent fubject in particular, as that he may 
 judge of its manner of forming decifions, 
 as well as of their juilnefs and importance. 
 The author of this effay is no friend to 
 the practice of multiplying dijlin&ions upon 
 every occafion, as thefe are often fjbfer- 
 vient to no other end than that of per- 
 plexing, inftead of informing the mind, 
 and are indeed introduced principally at 
 many times, perhaps to bring the writer 
 off when he is embarraiTed, or to gratify 
 his vanity. When merely nominal, they 
 
 are
 
 224 Pliilofophical and Critical 
 
 are fpecious trifles. But when they ferve 
 to mark that point at which objects of 
 fimilar natures differ effentially from each 
 other, they are of real utility, as they at 
 the fame time enable the mind to think 
 with precifion, and enlarge its fphere of 
 inveftigation. The ufe of a juft difti nation 
 becomes ftill more confpicuous than in this 
 general inftance, when the things diflin- 
 guifhed from each other are to be con- 
 sidered as the caufes of various and im- 
 portant confequences, which laft cannot 
 otherwife be traced up to their .proper ori- 
 ginals. From his belief that this is necef- 
 fary in the prefent cafe, the author has 
 taken a larger view of the fphere appro- 
 priated to the difcerning faculty than of 
 any other intellectual power, and fuch as 
 is not wholly prefcribed by his fubject. He 
 hath fo often obferved the term aifetrning 
 applied to denominate a fimple act of the 
 underitanding by philofophers, and the 
 effects of both powers afcribed indifcrimi- 
 nately to one, that an attempt to lay open 
 their diftinft natures, provinces, and man- 
 ners
 
 Obfervations on Compojltion. 22 r 
 
 tiers of operation, he hopes may be of 
 fome life* if not as a full difplay of the 
 JTubjeft, yet as an opinion that may be fol- 
 lowed into a larger and more diverfified 
 field by thofe who ftudy the philofophy of 
 the Mind. 
 
 csMMoo9tX>oocaoooooMoacaooooncMcoeoci>oca^o<>secoeoecaoceooeooaciaM<>eODOOcaaoec09*ico<j 
 
 o 
 
 SECTION V. 
 Of the life of Memory in Compojitibn. 
 UR view of the intelle&ual powers 
 
 as employed in Compofition, would 
 juftiy be deemed incomplete, if we do not 
 confider that 'by which ideas are treafured 
 in the mind, and without whofe influence 
 the others can effectuate no purpofe. The 
 importance of this valuable quality in all 
 cafes whatever is indeed fo obvious, that 
 it hath been the care of mankind in every 
 age to extend its influence where it is 
 originally vigorous, or to fupply its weak- 
 nefs where it is naturally deficient. Whe- 
 ther indeed we behold it as the parent of 
 experience, arid by that means of fuch in- 
 Vol. t* Q^ veftigation
 
 226 Philofophical and Critical 
 
 veftigation as is derived from this fource *, 
 or as a requifition particularly neceflary to 
 fuch as would excel in arts that include a 
 compafs of diverfified objects f ; whether 
 we view it as an indication of, and attend- 
 ant on genius J, or finally, when improved 
 to the utmoft by art, as capable of being 
 rendered fubfervient to purpofes the moft 
 beneficial ; in all thefe fenfes its various 
 
 Tiyi/trxi S'tx. T7>$ [Avr,(/.n$ tptrtifix roig ai/9pw7ro<?. 
 A yocp sroAXaj y.vn[xxt t& xvtv ZTpxypxrot; fxixq tp- 
 Trufixg Jvvuptv cnroTikovai' xxi $okei %c$qv iiri^r^ 
 
 XXI Tp/m O^OIOV tlVXl 7\ tpTTtlflX' Attq^xwu J 7rJ-r,/Al1 
 
 iixi ti'Xyyi Six Tif f^7rfjptaj toj? avGptOTrsjj, &C 
 APIITOT. MiT(py(rx. Bi. A. Kt<p. a. 
 
 f li Quid dicam de thefauro rerum omnium me* 
 moria ? qua nifi cuflos inventis cogitatifque rebus & 
 verbis adhibeatur, intelligimus omnia, etiamfi prsecla- 
 riflima in oratore peritura? Quamobrem mirari deli- 
 riamUs quje caufa fit eloquentium paucitatis." Cicer. 
 de Orat. lib. i. 
 
 + *' Memoria autem facit etiam prompti ingenii fa- 
 mam, ut ilia qu;e dicimus non domo attulifle, fed ibi 
 protinus fumpfifle videamur, quod & Oratori, & ipfi 
 caufre pluiimum confert." Quint. Inftitut. lib. ii. 
 cap ii. 
 
 J* Ncque tamen ambigimus, quin poffint pneftare 
 per earn (Memoriam fc.) nounulla mirabilia & por- 
 tentofa." Bac. de Attgmcn. Scient. lib. v. c. 5. 
 
 offices
 
 Obfe'r^atiohs on Compqfitlo'n. 227 
 
 Offices will require explanation as a necef- 
 fary branch of the prefent enquiry* Be- 
 fore, however, we confider this faculty as 
 more immediately regarding Compofition, 
 it will be proper to make fome general 
 obfervations on its nature and effects. 
 
 1. It is commonly thought that a me-* 
 mory uncommonly extenfive, if it is not 
 incompatible either With folidity of judg- 
 ment, or with vigour of imagination, yet 
 is rarely united with tliefe in any eminent 
 degree * This maxim however, fup- 
 ported as k is by cuftom and prepoffeffion* 
 is one of thofe which will not Hand the 
 teft of clofe inveftigation. Thus far in- 
 deed, we may allow the laft part of it to 
 be well founded, that men of abftracted 
 and fpeculative minds appear often to be 
 abfent and inattentive to common occur- 
 rences : the incidents about which the 
 bufy part of mankind are interefted* make 
 
 but a very flight impreffion on their 
 
 . 1 1 1 
 
 * in the foul while memory prevails, 
 
 The folid power of underftanding fails; 
 Where beams of warn} imagination play, 
 The memory's foft figures melt away. Pope. 
 
 Q^2 thoughts,
 
 228 Philofophical a d Critical 
 
 thoughts, and are therefore foon erafed be- 
 yond the power of recollection. But this, 
 when properly examined, will be found to 
 proceed not from a defect of Memory, but 
 from want of attention. The fpeculatift 
 who found this charge brought againft 
 him might with great juftice retort the 
 accufation, by faying, that the fame defect: 
 of remembrance which might be imputed 
 to him in the one of thefe provinces, would 
 be transferred to his accufers in the other. 
 Nay, in this laft cafe, the charge will fall 
 much more heavily upon the ;nan of the 
 world (as he is called) than in the former 
 upon the man of fpeculation, as the former 
 would probably be much more deficient 
 in recollecting abftracted truths which he 
 had read with liftleflhefs, (even fuppofing 
 him to have comprehended thefe) or even 
 sl flroke of pathos which he had paffed 
 over without emotion, than the latter 
 would be in recalling to his memory 
 events, in which, however unimportant, he 
 muft after all be interefted in ibme degree 
 as a member of fociety. 
 
 Thefe
 
 Obfervations on Compofitton. 229 
 
 Thefe general remarks on the power of 
 recollection will explain to us the reafon 
 for which it is eonfidered as more mecha- 
 nical than any of the others, and more fuf- 
 ceptible of improvement from application 
 and exercife *. To accomplifh this end 
 
 nothing 
 
 * This confideration has given rife to thofe cxpe* 
 dients for extending memory, which, when rightly ufed, 
 are indeed extremely valuable, but when the under- 
 ftanding is defective render a man contemptible. 
 ' Nam ingentem numerum nominum (fays the pene- 
 trating philofopher formerly quoted) aut verborum 
 femel recitatorum eodem ordine ftatim repetere aut 
 verfus compjures de quovis argumento ex tempore con- 
 ficere, aut quicquid occurrit fatyrica aliqua fimilitudine 
 perftringere, aut feria quieque in jocum vertere, aut 
 contradictione, & cavillatione quidvis eludere, & fimi- 
 lia (quorum in facultatibus animi haud exigua eft co 
 pia, quajque ingenio & exercitatione ad miraculum 
 ufque cxtolli poffunt) hiec certe omnia, & his fimilia 
 nos non majoris facimus quam funambulorum & mi- 
 morum agilitates & ludicra. Etenim eiedem ferme 
 res funt, cum hsec corporis, ilia animi viribus abutan- 
 tur ; & admirationis forfitan aliquid habeant, dignitatis 
 parum." De Augment. Scient. ubi fup. From this 
 pafiage, which is worthy of its author, we may judge 
 in what manner memory will exert itfelf when the 
 fuperior faculties of the mind are deficient, and thus 
 Q^3 diitinguifli
 
 230 Philofophical and Critical 
 
 nothing is more neceffary than that a man 
 ihould be able to transfer his attention 
 from one fet of objects to another, not 
 perhaps originally fo agreeable, but to 
 which he becomes fo much reconciled by 
 inflexible perfeverance, that what was at 
 firft the effect: of neceffity becomes at laft 
 the object: of deliberate felection. The 
 fame motive therefore by which he was 
 impelled to one purfuit taking place with 
 
 diftinguifh its effects when it is a repofitory of indif- 
 crirriinate ideas thrown together without order or pro- 
 portion ; from its real utility when (though perhnps 
 equally extenfive as in the former cafe) its ideas are 
 properly regulated by a clear and comprehenfive un- 
 derftanding. From its precipitance and trifling in 
 the firft of thefe inftances, it is however fomewhat too 
 hafty in concluding, as we are apt to do in general, 
 that becaufe Memory may fometimes contribute to 
 fhOw the defects rather than the excellence of a cha- 
 racter, that therefore a very large proportion of it indi- 
 cates the weaknefs of any intellectual power whatever. 
 This habit of drawing general conclufions from one or 
 two particular inftances, will open an inlet to a variety 
 of errors, and is equally unjuft in moft cafes as it 
 would be to conclude, that every man who practifed 
 the duties of religion was an hypocrite, becaufe a few 
 had concealed many vices under the mafque of 
 devotion. 
 
 regard
 
 Obfervations on Compofition. 231 
 
 regard to another, the memory becomes at 
 once a lafting repofitory of new ideas, and 
 is thus gradually rendered comprehenfive 
 by an eafy and imperceptible procefs. 
 
 Suppofmg then this ufeful power of the 
 mind to receive improvement more or lefs 
 durable, in proportion to thofe degrees of 
 attention which different purfuits are cal- 
 culated to excite, it is obvious that its prin- 
 cipal dependence muft be upon that fa- 
 culty whofe peculiar province it is to arreji 
 attention by energy, pathos, and vigour of 
 defcription. So far therefore is memory 
 from being impaired by ftrength and ex- 
 uberance of imagination, that the beams 
 of this fun ferve to give ftrength, expref- 
 fion, and duration to its figures rather than 
 to melt thefe away, (as Pope moft poeti- 
 cally expfefleth it) and its objedts like dia- 
 monds of the pureft water, reflect the ray 
 with advantage, from which was origin- 
 ally derived their coniiftence and beauty. 
 
 A very plain example will ferve to il- 
 
 luftrate the preceding obfervations. A man 
 
 of tafte and judgment who is at one time 
 
 entertained by the recital of 4 beautiful 
 
 Q^4 poem
 
 232 Vhthfophical and Critical 
 
 poem in the clofet, and at another by hear- 
 ing an elegant and judicious fermon from 
 the pulpit, will perhaps (though his opr 
 portunities are the fame with regard to 
 both) remember afterwards many of the 
 cioft ftriking paffages of the former, when 
 thofe of the latter are wholly obliterated. 
 Suppofmg however the preacher to be a 
 man of a character in all refpects precifely 
 fimilar to his own, I would afk, from 
 whence does it arife that his memory ia 
 more tenacious than that of the former, 
 and that perhap6 only in the fphere in 
 which he is interefted by his profefhon ? It 
 will be acknowledged readily, that a pub- 
 lic fpeaker will not only retain what he 
 has compofed himfelf and has imprefTed 
 upon his memory by application, but that 
 {trokes of eloquence, which another might 
 overlook, will be recollected by him, and 
 will form the models of his imitation. Is 
 it not evident that the former of thefe, 
 being left wholly to his own direction, 
 finds thofe objeds make the deepeft im- 
 preffion that are illuftrated by the colour- 
 ing of imagination ; while the latter being 
 
 compelled
 
 Obfervations on Compefition. 233 
 
 compelled to ftrike into another path, 
 finds his powers of recollection improved 
 by exercife in the one fphere, while thefe 
 at the fame time are in no degree weak~ 
 ened in the other I In both thefe perfons 
 however (fuppofed to be naturally of cha-* 
 rafters precifely fimilar) the mind will 
 retain unalterably its original bias, and 
 though fufeeptible in one cafe of more di- 
 verfified objects, yet will ftill be molt eafily 
 impreffed by thofe on which poetic expref- 
 fion, or ftrength of imagery confers pecu- 
 liar fignificance. 
 
 It is therefore obvious that as Memory 
 is by no means naturally fubverfive either 
 of judgment or imagination ; fo thefe on 
 the other hand are fo far from being in- 
 compatible with it, that this laft acquires 
 its extent by an effort of the one, and be- 
 comes tenacious of particular objects in 
 confequence of being accompanied by the 
 other. In fact, nothing is more ridiculous 
 than thofe idle, and frequently affected 
 complaints which many perfons make fo 
 often of their defect in remembrance. Be- 
 caufe perhaps they may have known men 
 
 eminently
 
 234 "Philofophical and Critical 
 
 eminently porTefTed of this power who en- 
 joyed at the fame time no proportioned 
 fhare of fuch as are deemed more effential, 
 they abfurdly conclude that the united 
 concurrence of all is never to be expected ; 
 and by giving up all pretenfions to that 
 which nature has conferred upon them, 
 they may in reality be difclaiming the only 
 quality by which they were entitled to ap- 
 probation or efteem. Such men ought to 
 reflect that as memory becomes compre- 
 henfive where it is originally weak by a 
 fteady and refolute exertion of reafon, and 
 as it never fails where imagination fubfifts 
 in any high degree to retain thofe ftrokes 
 of nature and paffion of which it is the 
 parent; fo the man who proclaims his de- 
 fect in this faculty acknowledgeth at the 
 lame time the want or weaknefs of the 
 others. 
 
 2. When from confidering the advan^ 
 tr.ges of memory in general, we come to 
 view it more particularly as it regards 
 Composition, the importance and indeed 
 neceffity of acquiring by the method al- 
 ready fuggefled as large a proportion of it 
 
 as
 
 Obfervatlons on Compofition. 235 
 
 as poflible will appear, whether we recol- 
 lect the advantage an author receives from 
 being able readily to remember the fenti- 
 ments of others when his thoughts are 
 employed on fubjects fimilar to theirs ; or 
 when we confider the benefit incomparably 
 greater arifing to a man of reflection and 
 difcernment, from being able to recall upon 
 every fuitable occafion thofe fentiments to 
 his memory which his own experience of 
 mankind may have formerly fuggefted. 
 
 With regard to the former of thefe ob- 
 jects, let a man's natural powers in gene- 
 ral, and that of invention in particular be 
 ever lb eminent, yet the knowledge of 
 what hath been advanced on any fubject 
 whatever by men of acknowledged abili- 
 ties mull be highly beneficial, whether he 
 collects from thefe, obfervations by which 
 the errors of his predeceflbrs may be cor- 
 rected, obtains patterns of imitation for 
 himfelf, or, finally, from hints carelefsly 
 thrown out without any accurate invefti- 
 gation of confequences is able to extend 
 the empire of Science, and lays the foun- 
 dation of fome new and ingenious hypo- 
 
 thefis.
 
 236 Philofophical and Critical 
 
 thefis. In thefe cafes a Memory tenacious 
 of fuch objects as had formerly arretted 
 his attention, and ready to fuggeft an op^ 
 pofite and correfponding train of ideas 
 tending to confirm fome proportion of 
 which he might have been dubious, from 
 the writings of others ; removes at once 
 that diffidence with which the modeft. and 
 ingenuous are apt to propofe their own 
 fentiments when thefe have the appearance 
 of Angularity, and enables an author to 
 purfue his refearch with confidence and 
 fatisfaction. 
 
 A little reflection will fhow us likewife 
 that this power has effects in every branch 
 of Compofition that requires it to be cul- 
 tivated with the greater!: affiduity. It was 
 obferved formerly when we were explain-* 
 ing the nature of invention, that w this 
 " term in its mod: abflracted fenfe can with 
 " regard to the human mind have no 
 '* fignificance or propriety whatever *** 
 Every effort of this kind, in the art of 
 which we treat, is in fact an improvement 
 (or an attempt to improve) on fome prin- 
 
 * Sedl:. iii. p. 101. 
 
 ciples
 
 Obfervations on Cotopojiiibrii 237 
 
 ciples that have formerly been laid down* 
 fome fyftem embraced by our predeceflbrs, 
 fome truths half opened, but not accu- 
 rately followed out through a train of con- 
 fequences by thofe who from the imper- 
 fections of human nature, rather than from 
 any defect of their own faculties (con- 
 fidered as human) were able juft to difclofe 
 a path to their fucceflbrs, without examin- 
 ing, or indeed difcerning themfelves the 
 various fcenery to which it would naturally 
 open. The firft ftep once made, every fuc- 
 ceeding improvement is effectuated with 
 comparative facility. The perfons who 
 make thefe are unqueftionably in many 
 inftances objects of efteem, and even of 
 admiration to mankind ; but to what power 
 of the mind is it owing that a man 'is able 
 to recall at any time to his thoughts the 
 principles, whether iimple or complicated, 
 from which his inventions derived their 
 origin ; and by whofe influence is he en- 
 abled to follow out the comparifon betwixt 
 caufes and their effects ? Undoubtedly he 
 is in all this principally affifted by the fa- 
 culty of recollection, by which objects are 
 
 prefented
 
 238 P hilofophical and Critical 
 
 prefented to the underftanding loofe in^ 
 deed, perhaps, and forming at firft view- 
 no very clofe or accurate combination ; but 
 which are ftill the real, though rude mate- 
 rials, from whofe union arife the jufteft 
 and moit elegant proportions^ 
 
 Every art and fcience whatever advan- 
 ceth to perfection by a flow and almoft 
 imperceptible procefs. To trace indeed 
 either one or other, through its various 
 transformations to its original draught (if 
 I may fo exprefs myfelf) in the mind, 
 however it might contribute to gratify cu- 
 riofity by opening a fet of new and ex- 
 traordinary combinations, yet would be 
 an attempt wholly impracticable, as the 
 origin of arts, like that of nations, is in- 
 volved in impenetrable darknefs. In thefe 
 however, reflection w r ill convince us that 
 artifts of all denominations have formed 
 one great body; in all nations whatever, 
 cemented by the moft intimate union, and 
 maintaining a dependence on each other 
 not arifingfrom the local influence of laws, 
 fafhions, or what we call national preju- 
 dices, which are at the fame time limited, 
 
 and
 
 Obfervations on Compofition, 239 
 
 and perpetually varying ; but from a na*- 
 tural conformity of fentiment and character 
 whofe effect is inftantaneous, and its ope- 
 ration univerfal. In this immenfe repub- 
 lic, conftituted of fo many members dis- 
 joined by climate, cuftom, manners, and 
 language, Memory is the bond or cement 
 by which the parts are held in connection 
 with each other, and a proportion is ob^ 
 ferved to take place upon the whole. To 
 an improvement thus univerfal, though at 
 the fame time llowly and gradually carried 
 on, all civilized nations will not only be 
 found to have contributed largely at dif- 
 ferent periods, but individuals likewifa de- 
 rive advantage from the writings, as they 
 frequently do from the characters, of their 
 predeceffors, with whofe real utility they 
 are not fufficiently acquainted. Thus the 
 fentiments of a Greek or Roman author 
 when transfufed from their original, of 
 which a writer may have very imperfect: 
 ideas, into a language which he thoroughly 
 under/lands, become beneficial to him in 
 the higher! degree, when his memory fug- 
 gefts tliefe as tending to fupport fome par- 
 ticular
 
 24 Philofophical and Critical 
 
 ticular train of refle&ion; or when his 
 view of a fubjet in confequence of this 
 recolle&ion is rendered comprehenfive % 
 
 Here 
 
 * An author of diftinguifhed eminence obferves 
 with great propriety on this fubjec~t, that " whatever 
 c< is very good fenfe muft have been common fenfe in 
 " all times, and that what we call learning is but the 
 *' knowledge of the fenfe of our predeceflbrs. They 
 " therefore, who fay our thoughts are not our owri 
 *< bccaufe they refemble the ancients, may as well fay 
 u our faces are not our own, becaufe they are like our 
 " fathers." Pope. This obfervation is as juft as it is 
 happily illuftrated, for there is an obvious difference 
 betwixt copying the fentiments of the ancients, and 
 adopting fuch as are fimilar to theirs. In the firft cafe,- 
 an author by either borrowing indifcriminately the 
 thoughts of thofe admired writers, or by a fervile imi- 
 tation of their manner , betrays undoubtedly barrennefs 
 of invention, and a mind afraid to venture beyond 
 certain limits, like a novice detained by fear within a 
 magical circle. Oh the contrary, zfimilarity whether 
 of fentiment or manner in this inftance does honour 
 to a writer as indicating a correfponding refemblance 
 of character, and is to be confidered as a proof that 
 men of good fenfe, in all ages, have agreed in the 
 general tenor of their fentiments on the fame fubjectSj 
 though their manner of illuftrating thefc, the inferences 
 deduced from general principles, their method of de- 
 tailing a fubject, and the expreffion in which their 
 thoughts are conveved are extremely different. It will 
 
 be
 
 Obfervations on Compqfition* 241 
 
 Here therefore new avenues of thought 
 are opened, an inadequate detail is cor- 
 reeled, enlarged ideas occur to the mind as 
 its principal powers arrange and improve 
 upon the objects prefented by the laft men- 
 tioned faculty; and an individual receives 
 innumerable benefits from this general cir- 
 culation of fentiment, while he is igno- 
 rant of the particular fource from which 
 thefe are derived. 
 
 The principal beauties in the art of 
 Gompofition was it poffible to trace thefe 
 accurately to their originals, would be dis- 
 covered to arife (at leaft in many inftances) 
 from fentiments* images, or illuftrations 
 which we have met with in the courfe 
 tither of our reading or converfation ; but 
 having imprefled our minds very (lightly 
 at the time, are afterwards fecretly retained 
 in the memory unknown to ourielves, and 
 
 be obferved, that we fpeak here oiindifcriminate bor- 
 rowing, and of fervile imitation. In other cafes (fuch 
 as thofe above enumerated) the introduction of either 
 proof or illufrration from any writers of eminence, 
 whether aneient or modern, is not only' neceflary but 
 Commendable, 
 
 Vol. I, R are
 
 242 Phitofophkal and Critical 
 
 are either recollected when our thoughts 
 are afterwards employed on fome fimilar 
 fubjecl: as wholly our own -, or become the 
 caufes (however imperceptible to us) of 
 our falling into a certain feries of thought, 
 of reafoning with juftnefs, and of paint- 
 ing with mattery. It is happily not pof- 
 fible in the laft mentioned inftance, parti- 
 cularly to charge an author with plagiarifm 
 (the ufual recourfe of thofe who limping 
 themfelves upon the crutches of antiquity, 
 judge it impomble for others to walk 
 without thefe) becaufe the phrafeology of 
 his original will not be adopted, and the 
 point of refemblance muft lie in fome very 
 minute circumftance. In all thefe inftances, 
 however, as well as when fentiments tend- 
 ing to confirm our own opinions are openly 
 fele&ed for the purpofes above-mention- 
 ed, the advantages of an improved me- 
 mory need not be pointed out. 
 
 3. We proceed therefore to obferve, 
 that as this faculty is of great importance 
 hy enabling an author to acquire real bene- 
 fit from the fentiments of others, fo it will 
 . appear to be of flill greater confequence, 
 
 when
 
 Obfervations on Cvmpofition. 243 
 
 when we confider it as retaining thofe 
 which his own experience of. mankind 
 may have fuggefted to him in the com- 
 merce of life. That knowledge of man- 
 kind which can only be acquired by long 
 and deliberate attention, is evidently fub- 
 fervient to no material purpofe of any 
 kind, unlefs when memory is improved in 
 fuch a manner as to prefent (when thefe 
 can be turned to advantage) fuch reflec- 
 tions as may have arifen from various oc- 
 currences. Difcernment, with materials of 
 this kind laid before it, ads immediately 
 in its proper fphere, when it felects from 
 thefe fuch as tend moft immediately either 
 to eflablifh a theory, or to regulate pra&ice. 
 It' is true, indeed, that many events, com- 
 paratively infignificant, will be wholly obli- 
 terated from the mind ; that many reflec- 
 tions, of no confequence to promote its 
 ultimate purpofe, will pafs fuperficially over 
 it without ever being recalled ; that, in 
 fhort, many occurrences deemed by fome 
 perfons of the moft indifpenfible confe- 
 quence, will be cancelled from the memory 
 when it is ftored with fuch ideas as may 
 R 2 be
 
 244 Phitofophical and Critical 
 
 be turned in this manner to real utility! 
 and this perhaps fuggefts the true reafon 
 why men of understanding, or of pene- 
 tration, are fo often judged to be deficient 
 in remembrance. Common ideas, like in- 
 ferior expreffions in a maflerly drawing, 
 are Struck out at once from the field ; but 
 their place is fupplied by fuch ftrong, fig- 
 nificant, and animated characters as no 
 time can efface, and whofe arrangement 
 promotes the purpofe of entertainment or 
 inftruction, as they may be directed by the 
 governing power. 
 
 It will be faid, and we acknowledge with 
 truth, that Memory appears in all this 
 procefs of the fame value only as a ftore- 
 room, which, though capable, when it is 
 of proper dimenfions, to contain a large 
 proportion of materials, yet is neither fen- 
 fible of the value of thefe, nor capable to 
 regulate their difpofition with accuracy. 
 The utility however of this intellectual 
 repofitory muft be feen in the fame light 
 by the philofopher as that of the former 
 (to carry on the metaphor) is by the man 
 of bufmefs, as neither of thefe can pro- 
 
 fecute
 
 Ohfervathns on Compofition. 245 
 
 fecute his trade without the pofTeflion of 
 fo neceffary an implement, and both re- 
 quire this refervoir to be enlarged as their 
 various fpheres of intercourfe or experience 
 become more extenfive and open. It is 
 in all cafes whatever only principally re- 
 quifite that in the acquifition of know- 
 ledge of whatever kind, a due attention be 
 paid to the underftanding by whofe fupe- 
 rior operation fymmetry of parts is to 
 take place on the whole. We may, no 
 doubt, overload the memory with a mul- 
 titude of incoherent ideas, which the judg- 
 ment of a writer is unable to place in any 
 exacl: difpofition, as well as give the latter 
 too little exercife where it might make a 
 ftrenuous exertion, by too fcanty and dif- 
 proportioned a (hare of materials. The 
 end of inftru&ion is undoubtedly marred 
 in either of thofe cafes, though much more 
 effectually in the firft cafe than in the laft. 
 Obfcurityatleaft, if not utter confuhon and 
 abfurdity, muft take place when the mind, 
 like the body couching beneath an heavy 
 burthen, is overpowered by conceptions 
 half-formed, and juftling out each other; 
 
 R 3 3 s
 
 246 Philofophical and Critical 
 
 as imagination can at fuch a time be im-* 
 prefied but (lightly by any ideas, and 
 judgment muft be unable to feledt from 
 fo many difcordant obje&s, fuch as are beft 
 adapted to particular purpofes. This efrecl: 
 is fometimes occafioned by making too 
 much ufe of the various methods by which 
 men have attempted to extend the power 
 of Memory, or to fupply its defecls *. 
 
 We 
 
 * The illuftrious author whom we quoted above, 
 mentions two methods by which an artificial memory 
 may be acquired. The firft rule he prefcribes is that 
 the mind mould be habituated to contemplate objects 
 as Handing in a certain order with others whofe affinity 
 is moil obvious, rather than to view either of thefe 
 without this relation. This is what he calls pranotio ; 
 and he obferves, that by fuch a perception, the man is 
 kept from wandering in the regions of infinity ; and 
 if memory does not immediately prefent the defired 
 idea, yet it falls into the proper train of discovering 
 it. The other he fuggefts, is that the mind fhould 
 reprefent intellectual objects rather emblematically than 
 as thefe really are, by which means becoming at once, 
 in fome meafure at leaft, the objects of fenfe, they 
 ftrike the memory more forcibly than otherwife, and 
 are recollected with facility. This laft method it pro- 
 bably was by which the Corfican, mentioned by Mu- 
 retus, repeated with eafe fome thoufands of words in 
 different languages, which had no connection with 
 
 each
 
 Obfervations on Compqfition, 247 
 
 We are often however grofsly deceived 
 when we pronounce, as we are ready to 
 do from inftances of this nature, that the 
 principal powers of the mind are really 
 weak in proportion as Memory is compre- 
 henfive. In fad, the only inference aris- 
 ing from this train of obfervation is, that 
 no degree whatever of intellectual qualities 
 can exempt a man from falling into errors 
 and inconfiftencies, when the difproportion 
 betwixt thefe is remarkably obvious. In 
 this cafe the balance of the mind is de- 
 ftroyed; and though neither a compre- 
 
 each other, immediately after he had heard thefe pro- 
 nounced ; each having probably recalled to his me- 
 mory fome fenfible objecl by which he had been ac- 
 cuftomed to reprefent it. We have many other ex- 
 amples, both ancient and modern, of men fome of 
 them (as the celebrated Cinzas) of diftinguifhed genius, 
 who have carried this art to the higheft perfection. 
 After all, however, the former of thefe rules is un- 
 doubtedly by far the mod eligible, as affording exercife 
 to the underftanding, whofe ideas (as long as the re- 
 lation betwixt objects is kept in view) will be conftantly 
 diftinct and explicit : by the latter (when abufed as in 
 the preceding inftance) a man will acquire memory to 
 the fame purpofe as a parrot is taught language, and 
 will be only more valuable in proportion not to the 
 choice of his fubje&s, but the number of his words. 
 
 R 4 henfive
 
 248 Philofophical and Critical 
 
 henfive memory, nor a luxuriant imagina- 
 tion) can (as we have already feen) be faid 
 to argue a defective underftanding, yet we 
 can have no furer teft of a judgment ade- 
 quate to every purpofe in the province of 
 Compofition, than when this laft appears 
 to have the images of the former and the 
 treafures of the latter (confidered as the 
 parent of experience) fubfervient in fuch 
 a manner to fome general purpofe as that 
 each may alternately concur to elucidate 
 and confirm its principles. 
 
 coooocoo oc ao eoooeooooosocoooooooeooocooooooocoooccoo oooG oooo cccscooocooooooocooocaoooooocopotoe* 
 
 SECTION VI. 
 
 Of the various Combinations of the Intel- 
 ledhial Powers in the different fpecies of 
 
 Compofition. 
 
 A Curious reader will naturally be led 
 to enquire from the conclufion of 
 the preceding fection, what is underftood 
 by the balance of intellectual powers, whe- 
 ther this can be gained, and what are the 
 methods mo{l expedient to acquire it. 
 
 Thefc
 
 Obfervations en Compofition. 249 
 
 Thefe points, as of the mod efiential im-* 
 portance, we mall endeavour to obviate in 
 a fubfequent fe&ion: in the mean time 
 it is neceffary, before we proceed to thefe 
 queftions, that after having confidered 
 each faculty of the mind as occupying a 
 feparate province in the art of Compo- 
 fition, we mould take a view of all thefe 
 as exerting united influence not merely 
 on the art in general, but on the parts of 
 which it is conftituted, requiring a combU 
 nation varied in proportion to their dif- 
 ferent natures, tendency, and defign. 
 
 1. To examine particularly every fpe- 
 cies of Compofition, with regard to that 
 union of intellectual powers from which 
 its origin is derived, is not neceffary upon 
 the prefent occafion, becaufe fome of thefe 
 (however different when viewed as diftinct 
 branches of the art) yet have their original 
 in common from the fame concurrence of 
 faculties, varied only from each other not 
 in their manner of exertion, but wholly in 
 the degrees in which thefe fubfift. Thus 
 under the general denomination of poetry, 
 confidered in the prefent point of view, 
 
 WQ
 
 250 Thllofophlcal and Critical 
 
 we may include at the fame time the va- 
 rious fpecies of it as indicating univerfally 
 the union of judgment and imagination, 
 though by no means always in the fame 
 proportion ; and the fifter art of eloquence 
 from which in point of original it hath no 
 peculiar mark of diftinction. Philofophy 
 on the other hand, as a fcience compre- 
 hending diverfified fubjects, fometimes de- 
 manding an high exertion of the inven- 
 tive power, and at others indicating only 
 the exiftence of reafon, whofe proof is car- 
 ried on without the aid of the latter, will 
 require to be more particularly confidered. 
 Hiftory, fable, and criticifm, (the latter 
 more immediately as connected with tafte) 
 will fall under a feparate examination, 
 with which we fhall fum up the enquiry. 
 
 It will occur very readily to a confi- 
 derate mind that to diftinguifh with pre- 
 cifion betwixt fimilar objects, to detect 
 fallacy in an argument or opinion, when 
 this is artfully concealed by a plaufible 
 reprefentation, to eftablifh criteria by 
 which judgment may be regulated, and, 
 finally, to exhibit in exact and perfpicuous 
 
 difpofition
 
 Obfervations on Compofition. 251 
 
 difpofition fuch abftracted ideas as it re- 
 quires the niceft perception to develope 
 with accuracy : that a procedure of this 
 kind, when properly conducted, indicates 
 no common fhare of that difcernment 
 whofe nature and operation we have at- 
 tempted to point out as far as relates to 
 the prefent fubjecT;. From what hath been 
 already advanced on the laft mentioned 
 topic, we may conclude that penetration 
 as requifite for thefe purpofes, muft be 
 eonftituted indeed of underftanding, but 
 may be exerted without any proportioned 
 fhare of the other qualities by which in 
 general we have feen it to be diftinguifhed. 
 The truth of this remark will be obvious, 
 if we confider more particularly that pro- 
 cefs of ideas in the mind by whofe union 
 the ends which it is proposed to obtain in 
 this branch of philofophy, may be moft 
 eafily and completely effectuated. 
 
 When in confequence of clofe and com- 
 prehenfive inveftigation, a theory is gra- 
 dually formed, and the mind proceeds de- 
 liberately to accomplifh a purpofe remote 
 perhaps, and difficult to be reached as it 
 
 may
 
 2 $2 Philofophical and Critical 
 
 may appear at firft view ; a train of inters 
 mediate ideas are gradually prefented as 
 its enquiry is carried on, by which its ap-? 
 proach to this end is facilitated, and the 
 objecl; of refearch is more diftinctly per- 
 ceived, and is examined with greater accu- 
 racy as the diftance lefTens at which it 
 was originally beheld. By this manner a 
 mind intent upon the difcovery of truth, 
 and fixing its whole attention upon one 
 purpofe, can furvey in diftincl: points of 
 view the means as diftinguifhed from each 
 other, by which its aim is to be obtained, 
 and thus can detect fuch fallacies by 
 minute infpeclion as are neceflaril'y over-? 
 looked in a general eflimate however ac- 
 curate and judicious. Imagination, from 
 what hath been already obferved on its 
 manner of operation, mufl of all other 
 powers be moft unfit for a procefs of this 
 nature; and the difcerning faculty as 
 formed by the union of both judgment 
 and fancy, we have feen in general to be 
 characterifed by perceiving a few ftrong 
 and decifive criteria, or by felecling a 
 few effcntial circumftances to form its efti- 
 
 mate ;
 
 Obfervations on Compofitwn, 233 
 
 mate; but not by advancing regularly 
 from one object to another, and by con* 
 fidering feparately each particular part, 
 however neceffary to conftitute a whole* 
 Difcernment therefore, will enable the phi* 
 lofopher to obferve the end of his fearch 
 as practicable, while it is yet at a diftance, 
 and may form this judgment from a train 
 of thought which a common obferver 
 might deem extremely remote, and even 
 incongruous to its purpofe ; but in the fe* 
 leclion of fubordinate parts, as well as the 
 difpofition of thefe in fuch progreffion as 
 leads the mind imperceptibly to the point 
 in view by a confiftent and accurate pro- 
 cedure, in thefe points judgment is re- 
 quired to exert its influence peculiarly ; as 
 in all the others it ought eminently to pre- 
 dominate *. 
 
 * It was probably from confidering judgment in 
 this comprehensive light that Chryfippus is faid to 
 have defined it as that power by which the mind, an- 
 ticipating in fome meafure the dictates of experience, 
 acquires univerfal knowledge of the objects that fur- 
 round it. O $t Xpfmnrog xptTvptz (priav tivsa 
 icr9i(ry xou tcpoATnJ/j*' in $t r, srpoAmJ/*; Ewe<x (pu<nxi5 
 TO)y kkQqXv. &ioy, Ajjt. Zjjvw. |3i. . 
 
 Should
 
 254 Plulofophical and Critical 
 
 Should we therefore be afked to difplay 
 that combination of intellectual powers 
 which gives rife to the more abftracted 
 branches of philofophical difquifition, and 
 to point out the character which ought to 
 be appropriated to each, it may be replied, 
 that in a mind adapted to the accomplifh- 
 ment of fuch purpofes, imagination ought 
 to be diftinguifhed beyond all other quali- 
 ties by acutenefs of perception-^ and reafon 
 by its clearnefs and precifion *. Thus the 
 moft acute perception is obvioufly required 
 to afcertain the precife point in which two 
 objects, to appearance perfectly fimilar, 
 are diftinguifhed from each other; and 
 clearnefs of judgment when this distinc- 
 tion is once perceived, to exprefs it with 
 adequate perfpicuity. Let us try an ex- 
 ample by which thefe remarks may be 
 illuftrated. An image and a metaphor 
 will, at firft view, be fuppofed to convey 
 
 * D.ft acTsv zrpoa-fortoii zrfxyy.xTuv ctyuvxt xt-ni- 
 
 fttVUVy TO v(pifT\K0S fe TtXoS tTTlXoyi^HT^Xi Xt TXXVXV 
 
 Tun ivtpytixv f!f)' w tx dofcx^ofxtvx avxyoptv. E ii* 
 pn, tsxvtx axaKTixi xxi rocfx^r,; tfxi [Atfx 9 &C Id 
 EniK. |3. . 
 
 the
 
 Obfervathns on Compofition* 255 
 
 the fame idea to the mind, as both of thefe 
 are included under the general name of 
 illuftration. A philofopher however, of 
 diftinguifhed eminence, not only diftin- 
 guifheth the one of thefe from the other, 
 as we have already feen*, but clearly 
 fhows us of what the difference confifts. 
 ' An image (fays he) differs in fome re- 
 4 fpects from a metaphor. When it is 
 c faid of Achilles he rujhed like a lion, 
 ' here is a ftrong image employed; but 
 4 when dropping the name of the hero it 
 ' is only faid fimply the lion rujhed^ this 
 * is a metaphor." Thus an image is per- 
 fect when the fimilarity betwixt two ob- 
 jecls is difplayed by having thefe fepa- 
 rately exhibited to view ; whereas a meta- 
 phor fuppofeth this refemblance to be uni- 
 verfally confpicuous, and mentions only 
 the fecondary object of comparifon as in- 
 cluding the firft. 
 
 With the fame perfpicacity does this 
 great genius point out the difference be- 
 
 * Seel. ii. 
 
 twix{
 
 2 $6 Philofophicai and Criticdl 
 
 twixt the ends of eloquence and philo-* 
 fophy.^--" Why (fays he) do we judge the 
 c fphere of an orator to be different from 
 c that of a philofopher ? Is it not becaufe 
 c the latter contemplates the caufe, while 
 1 the former is attentive to the effett? 
 1 The one tells us of what injuftice, for 
 inftance, confifls; the other, to what 
 1 perfons this character belongs. The 
 <c one explains the nature of tyranny, the 
 other illuftrates his fubjecT; by having 
 recourfe to the tyrant *. In thefe ex- 
 amples the union of thofe qualities which 
 conftitute philofophicai difcernment will 
 be perceived, and the understanding in 
 particular as rendering the moft minute 
 diftin&ions perfectly intelligible by a hap- 
 py application of examples, and perfpi- 
 cuity of expremon. Without therefore 
 adopting the opinion of thofe who confider 
 all abftra&ed philofophy as deprived of 
 
 * AiT tod (ptXoaroQov t prirocog oiovtou hx<Qt(>nv 9 
 t ot o fxiv t tft ccfoxiz, o Si us ajixog o Suva' xai o 
 ptv on Tvfoemoti o St oiov Tvgxwig, AgifOT* IlfoGAr?- 
 
 folidky,
 
 Qftfer'vat ion's oh Compojition. iff 
 
 folidity *, and refinement as inconfiftent 
 With juftnefs of reafoning, we may furely 
 affirm that an underftahding, however com- 
 prehenfive, that is not able to feparate 
 clearly the inferior parts of its theory from 
 each other, is unfit for this branch of phi-* 
 lofophical difquifition : and that imagina- 
 tion, in order to be accommodated properly 
 to fuch fubtle irtveftigation, mufl be direct- 
 ed to felect fuch illuftrations as (without 
 regard to mblimity, beauty, harmony or 
 elegance as peculiarly requifite) are fuited 
 with the utmoft propriety to particular 
 objects, judgment, it is certain, may pof- 
 fefs comprehenfion without being able to 
 bbferve the more minute proportions of 
 certain parts; and imagination, extent or 
 fublirhity without the power of tracing its 
 objects through every little relation, in the 
 fame manner as the mind that plans a 
 
 * La philofophie rite devint abftralte qile quand 
 cite cefla d'eftre folide ; on s'allacha deS forrrialitez 
 quand'on n'eut plus rieli de real a dire, & Ton nc 
 s'avifa de recourir a la fubtilite que quand'on n'efpera 
 plus faire valoir la raifort par fa fimplicite. Rap. 
 Reflex, fur la Phildf. torn. ii. p. 358. 
 
 Vol. I. S magni-
 
 2$$ Philosophical and Critical 
 
 magnificent ftructure may overlook the 
 fymmetry of a flight decoration; or an eye 
 that contemplates with wonder the extent 
 of the firmament, may be unfit even with 
 the aid of a microfcope to mark the vari- 
 ous lines in the organization of infects. 
 
 II. From contemplating the evanefcent 
 objects (as they will be deemed by many 
 perfons) of metaphyfical fpeculation, let 
 us proceed to confider with the fame view 
 to the faculties of the mind, a branch of 
 this fcience more eafily comprehended as 
 well as univerfally interefling ; I mean what 
 may be denominated the philofophy of 
 the heart. This noble fpecics of the fci- 
 ence in queflion gives fcope alternately to 
 every intellectual faculty, and engagcth 
 the mind in purfuits which are connected 
 with the molt important interefts of the 
 whole fpecies. Before we proceed to con- 
 fider that combination of thefe powers 
 which gives rife to this philofophy, let us 
 examine a little more particularly of what 
 it may be faid to confift. 
 
 As an inlet to any thorough acquaint- 
 ance with the human heart it is princi- 
 pally
 
 Obfervations on Compojition. 259 
 
 pally neceffary that we mould have ftudied 
 the paffions with regard to their nature, 
 tendency, and effects. Thefe affiime in 
 the various fcenes of human life fo many 
 different, and upon fome occafions feem- 
 ingly incongruous appearances, that tho' 
 their influence extends univerfally to every 
 branch of .conduct or fpeculation without 
 exception, yet there is no enquiry in 
 which the mind is more apt to be bewilder- 
 ed, and to fall into error than that which 
 this various refearch naturally prefents to 
 it. The difficulty here arifeth .from the 
 complicated nature and affinity of the paf- 
 lions to each other, connected as thefe are 
 fo clofely as that caufes wholly diftin'ft 
 and remote in reality are yet apt to be con- 
 founded together when we judge from 
 their effects. This will be obvious to any 
 perfori who refle&s that ambition and 
 avarice, pride and vanity* malignity and 
 envy, love and pity, with many other 
 combinations of a fimilar kind, produce 
 confequences fo perfectly correfponding to 
 one another, that in characters principally 
 influenced by any of thefe, a feries of 
 S 2 actions
 
 260 Philofophical ad Critical 
 
 actions' is ufually neceflary to diftinguifh 
 the principle that is really predominant, 
 from another to which it bears a refem- 
 biance. It happens indeed often that the 
 character is formed, and a ruling pajjion is 
 obferved to be univerfally confpicuous in 
 confequence not of any propeniity implant- 
 ed by nature on the mind with particular 
 ftrength, t>ut merely from certain habits 
 of indulgence. By thefe a paffion weak 
 perhaps originally, or but moderately 
 powerful, hath been called out into exer- 
 tion more frequently than others, and 
 hath thus imperceptibly acquired that pre- 
 dominance which it gains at laft fo com- 
 pletely, and difplays with fuch energy. 
 The inferior and fubordinate emotions of 
 the heart as varioufly excited by an irrefift- 
 ible impulfe, as it may be deemed, are 
 diftinguimed by different denominations, 
 as thefe appear to be more or lefs Subjected 
 to the controul of understanding *. 
 
 From 
 
 * This is ill uft rated in the following paflage from 
 a philoibpher a few fragments only of whole writings 
 
 have
 
 Obfervations on Compcjition. ?.6r 
 
 From the union of thefe, in which, with- 
 out eradicating wholly fuch as are painful, 
 it is principally requifite that a proper 
 temperature mould take place on the 
 whole*; from this union arifeth all that 
 
 variety 
 
 have reached the prefent times. Ksu xxfo fj.iv xpyiTx\ 
 xxi xyiTxi o S"U|U.oj. xxi x nnvvfj.ix wrro t Koyov fvov- 
 to? fj.tptos rxg ij>uxa?, a tyxpxTiix xxi tx. xxprsptx xyi- 
 TiXi TwyyxvovTi. Kaoo ot \xitx \pixq xXX ax txtanui^ 
 tto zjpxvcrovTt xxxixi rvy^xvovrxi. A yxt> ty\v txpnw 
 
 fJ.r\ [JI.ITX XVTTXC, CtXXX [J.ITX %O0VX{ TX JtOVTX JffpX7(THV' 
 
 FLvtixycp. A7ro<T7rx<r. p- 34" 
 
 *" 7TtjjjJ V TV JiOcO? XOCTYj TZiOl ZTXtX, TXV Si Z3&- 
 6fi)V r,$0VX XXI XVTTX VTTSOTXTX, (pXVipoV OTi XX IV T'j) 
 V7Ti%l\l<rQxt TX ZJxQiX Ty\S l}/U>tV!j OC^OUXV XXI XVTTXV f[ 
 
 actrr\ TznTT'^aiv, xXXx iv tw txmtx <rvvxpy.oQ<r$xi. 
 id. ibid. This fentment the author proceeds to con- 
 firm by fome very finking and appofite iiluftrations. 
 Thus he obferved that in order to produce health 
 which arifeth from the temperature of corporeal powers, 
 heat and cold, draught and humidity, however perni- 
 cious in the extreme, are not to be removed, but to be 
 blended fo properly, as that from the concurrence of 
 all may arife an cffecl: of the mod ineftimab'e impor- 
 tance. In the moft inchanting of all arts likewife 
 that of the mufician, thofe fharpordeep founds which 
 a man unacquainted with the art mi^ht judge to be 
 harfh and difcordant, yet when juftly modulated in 
 fome happily conducted air contribute to render the 
 harmony perfect, and to heighten inexprefhbly the ef- 
 S 2 feci
 
 262 Philofophical and Critical 
 
 variety of ftrong, fignificant, and delicate 
 fignatures by which men are in many in-: 
 fiances fo ftrikingly difcriminated. A de- 
 tail therefore of thefe, as exerting fepa- 
 rate or united influence on the conduct of 
 mankind, is in fact an hiftory of the hu- 
 man heart ; and in order to develope the 
 movements of this complicated machine* 
 the fuperior powers of the mind, united 
 with exquifite fenfibility and comprehen-r 
 five experience mull be kept in ftrenuous. 
 and conftant exercife. In order to accom- 
 plifh this purpofe thoroughly, characters 
 muft not only be fet in oppofition to each 
 other, that ihades otherwife imperceptible 
 may be accurately delineated; but the 
 paffions muft be taken feparately; their 
 manner of operating in different afiem- 
 blages expofed; the influence of habit, 
 prepofleffion, an accidental combination of 
 
 fe& of the whole piece. In the fame manner our au- 
 thor obferves that the paffions, though thefe jar indeed 
 and are difcordant when viewed merely by themfelves, 
 yet when fubjected to the controul of reafon, afford the 
 moft powerful incitements to virtue, and are thus on 
 the whole of the moft indifpenfable utility and import- 
 ance. 
 
 objects,
 
 Obfervations on Compofition. 263 
 
 objects, and fuch other caufes as contri- 
 bute to form the variety of minds parti- 
 cularly inveftigated ; and an intellectual 
 mirror held Up to us, in this manner, in 
 which each individual may have an op- 
 portunity to examine his own portrait, to 
 judge of its likenefs, and to correct fuch 
 expreffions as he judgeth to be improper, 
 r fupply thofe in which he perceives a 
 defect. 
 
 1. An eloquent writer of the prefent 
 age obferves very juftly, that, " the under- 
 " llanding and the paffions are indebted 
 " to each other, much more than moralifls 
 "are commonly willing to allow; fince 
 " as the former difcovers our wants, and 
 " their gratifications in confequence of an 
 " impulfe from the latter, fo thefe on the 
 " other hand take in a greater compafs 
 " and variety of objects from that know- 
 " ledge which is acquired by the other *." 
 Judgment however in the whole procefs 
 
 * Roufieau. See his Differt. fur Tinequalite des 
 hommcs. 
 
 S 4 above-
 
 264 Philofophical and Critical 
 
 abovementioned cannot be faid fo properly 
 to difcover original fubjects of fpeculation, 
 as to compare thefe together with accura- 
 cy when they are prefented to it, and to 
 obferve the precife points of oppoiition or 
 refemblance. Thus, when in order to form 
 fome new afTemblage of qualities, the mind 
 recollects the various difpofition of thefe 
 which it obferves to have taken place pro- 
 mifcuoufly among men, the power by 
 whofe operation thefe are exhibited in 
 striking and original combinations is no 
 doubt that of invention: but when the 
 firft heat hath fubfided, the expedience or 
 incongruity of this afTemblage ; the ftrength 
 of particular expreffions, and the compa- 
 rative merit of all, as exhibiting a juft Or 
 defective imitation of nature ; of thofe 
 points the underftanding feparately takes 
 cognifance, and its perfpicacity is properly 
 afcertained from the proportion of thofe 
 figures which have pafTed before it in re- 
 view. 
 
 It is indeed impoflible to behold that 
 faculty by which man is diftinguifhed 
 
 from
 
 Obfervations on Compojition. 265 
 
 from inferior animals employed in a fphere 
 more worthy of its efforts, or more juftly 
 adapted to difplay its energy and compre- 
 henfion than what is here laid before us. 
 The paffions of human nature, of whatever 
 denomination, confidered as fufceptible of 
 the moft lively impreffions from external 
 objects, are brought before this fuperior 
 faculty by imagination, which may be 
 confidered as their parent, to be followed 
 through all their windings, and the effects 
 arifing from each, however complicated, to 
 be traced up to its proper caufe. 
 
 From fuch a variety of paffions, called 
 up for the purpofes abovementioned, rea- 
 fon, when it is required to form juft and 
 natural characters from the union of all, 
 proceeds in courfes extremely different, 
 as its decifions are impreffed by the power 
 that made fo many objects fall under its 
 cognifance. In this cafe a defective un- 
 derstanding appears principally confpicu- 
 ous from the qualities of the mind, as 
 exceeding (if I may fo exprefs myfelf) 
 their natural dimenfions, or forming a 
 
 very
 
 266 Philojbphical and Critical 
 
 very improper combination in particular 
 circumftances for the accomplifhment of 
 any rational purpofe. Of the firft kind 
 are all thofe paffions which are fuppofed 
 to precipitate a man to extremes * upon 
 
 almoft 
 
 * Examples of this kind, readers of a certain clafs 
 will find in great abundance among the writers of the 
 old romance ; among whom nothing is more common 
 than for a hero to run himfelf through the body upon 
 receiving any piece of difagreeable intelligence, parti- 
 cularly when he is jealous of the fidelity of his miilrefs $ 
 and to be in as little danger of death from a thruft of 
 this nature as from the (cratch of a pin. "We muft 
 however take care not to rank with thefe, in theprefent 
 point of view, fuch writers as Spencer and Ariofto, 
 whofe themes are profefledly allegorical, and to whom 
 therefore a different ftandard of criticifm muft be adapt- 
 ed. The conduct of every author whatever with regard 
 to the perfons of his fable, ought to be eftimated from 
 the nature of thofe beings who are his principal actors ; 
 and of this laft clafs again we are required to judge, as 
 having a certain, probable, or merely ideal exiftence. 
 In either of the latter cafes (as when giants, magicians, 
 or dragons and hydras are introduced) we impute no 
 defect, of judgment to the writer, when we find his 
 afters di veiled of human paffions (at leaft of the fofter 
 and more amiable kind) and actions correfponding to 
 the ideas excited by this defcription, we view as con- 
 
 fequences
 
 Obfer 'nations on Competition. 267 
 
 almoft every occafion, from whofe effedis 
 it becomes immediately neceflary to invent 
 
 uncommon 
 
 fequences arifing neceffarily from their introduction. 
 It will indeed be faid that the laft mentioned authors 
 fall into the fame error with the former, when they re- 
 prefent men as not onlyencountering, but obtaining the 
 victory over creatures fo greatly their fuperiors. But 
 a poet whofe ultimate aim is to enforce the motives to 
 virtuous conduct by allegorical reprefentation, is un- 
 doubtedly free to make ufe of expedients without cen- 
 fure, which in an account of tranfactions among mere- 
 ly human agents are certain evidences of defective un- 
 derftanding. Thus therefore the invulnerable Orlan- 
 do attacking fearlefly whatever beings oppofed his in- 
 tentions, and the red-crofs knight reftored to infrant 
 vigour by falling into the well of life after having been 
 wounded and overthrown by a dragon, the fell in- 
 chanter who purfued without remorfe or pity the vir- 
 tuous lady or the hardy knight; and the knight ftimu- 
 lated by the paffion of love, who devotes foul and bo- 
 dy to the fervice of his miftrefs ; all thefe it will be 
 readily granted are examples in which nature is over- 
 trained as it were, andherjuft proportions- are dif- 
 regarded. But without having recourfe to the man- 
 ners of primitive ages, in which the paffion of love 
 particularly gave occafion to actions of the moft ro- 
 mantic extravagance, it is fufficient to obferve that 
 when the moral inculcated by allegorical compofition 
 (in the illultration of which the undemanding of "the 
 writer is principally occupied) appears not to be violat- 
 ed, we permit him to ufe fuch refources with freedom 
 as are moft expedient to his.purpofe ; and fix our atten- 
 tion
 
 268 Philofophical and Critical 
 
 uncommon and often unnatural methods 
 of deliverance. One error it will be ob- 
 ferved in this, as in many cafes, is the pa- 
 rent of another, and the invention of fome 
 itrange and incredible interpofition in or- 
 der to refcue fome perfonage from immi- 
 nent peril, or perhaps almoft inftantane- 
 oufly to raife him from death, is in fact a 
 confequence of the fame inadequate judg- 
 ment by which he was permitted to be 
 expofed to that peril, or to be rafhly 
 placed in fuch defperate circumftances *. 
 
 Reafon 
 
 tion, not upon the probable nature of the incidents 
 but upon the doctrine which fo many agreeable fic- 
 tions are adapted to recommend. 
 
 * The remarks made on this fubject in the preced- 
 ing note, p. 191. will prevent us in a great meafure 
 from extending the charge brought here againft the 
 conduct of authors in a certain fpecies of fable to the 
 events that occur in the great ftandards of the Epo- 
 pcca. In the Iliad, Heclor, ftruck down by Ajax, is 
 carried from the field in a deep faint, is hid down by 
 his attendants at a diltance from the war, and after his 
 recovery is wholly unable to refume the command of 
 his hofl. This command however he muft neceflarily 
 exercife without delay, and his former vigour muft 
 be reftored in a moment. The poet therefore takes 
 advantage of the received mythology of his country. 
 With that matter! y addrefs for which he isfo juftly ce- 
 lebrated,
 
 Ohfervations on Compojitkn. 269 
 
 Reafon when its influence predominates in 
 the mind adjufts the intellectual ballance 
 with more precifion and accuracy; and 
 affigning their proper fpheres to the paf- 
 
 lebrated, heintroduceth the fupreme deity, whofe at- 
 tention for fome time had been purpofely called oft", 
 as turning his eyes on the chief, whofe pains immedi- 
 ately pafs away. The god of health defcends at his 
 command, and that Hector may be enabled to fulfil his 
 deftiny, or rather that the great moral of the fable 
 Ate? $t TiXtino fiovXy, the will of God accomplished, 
 may be inculcated; he is immediately reflored to that 
 ftate in which Jupiter had formerly beheld him. Here 
 therefore there is not only a " dignus vindice nodus," 
 becaufe a fupernatural refource is rendered indifpenf- 
 ibly neceflary ; but the diiafter of Hector is brought 
 on by no unnatural {training of character ; and the 
 caufe in which he fights is fuch as recommends him to 
 the protection of that power which interpofeth for his 
 deliverance. A brave man fufTering in the caufe of 
 his country is no doubt an object in whofe behalf Ho- 
 mer might fuppofe that being to be interefted, who 
 looks not with an indifferent eye upon virtue in dif- 
 trefs. The poet however it muft be owned was in one 
 circumftance peculiarly favoured by the theological te- 
 nets of his countrymen, which permitted him to fup- 
 pofe that the attention of Jupiter might be interrupted; 
 as by afcribing to him an human pajfion, he hath intro- 
 duced the misfortune and the deliverance of the Tro- 
 jan prince by a detail, fo various, fo rich, "and expref- 
 five of fuch aftonifliing invention as fucceeding poets 
 mull admire, with a defpair of being able fuccefsfully 
 to imitate. 
 
 fionsf
 
 270 Philofophical and Critical 
 
 fions, however impetuous, permits not 
 the character to be marked by extrava- 
 gant and unnatural expreflions of their 
 power. 
 
 This faculty of the mind it is likewife 
 that regulates the general combination of 
 the paffions in order to accomplifh parti- 
 cular purpofes. Thus from a heart in 
 which generolity is joined with ambition* 
 humanity with fortitude, and more maf-* 
 culine paffions are tempered happily by 
 clemency and benevolence ; from fuch ari 
 heart we expect the forgivenefs of perfonal 
 injuries, the voluntary facrifice upon uf- 
 gent occafions of private gratification ; pity 
 exercifed towards a vanquifhed enemy, and 
 univerfal benignity extending to all. Here 
 therefore there is that mutual conformity 
 betwixt the character itfelf, and the ad ion 
 arifing from this temperament of qualities 
 which indicates the prevalence of found 
 underftanding. On the other hand a man 
 whofe judgment is inadequate to the tafk 
 of forming from thefe materials any juft 
 and accurate combination, inftead of adapt- 
 ing circumftances to the difplay of paffions 
 united
 
 Obfervations- on Compofition. 271 
 
 united originally for particular purpofes, 
 will at every other time be compelled to 
 throw fome new ingredient into the por- 
 trait of his perfons as he is directed by 
 events. It is eafy to forfee that inconfift- 
 ency and confufion muft be the confe- 
 quence of proceeding in this manner, and 
 a motly combination of intellectual and 
 moral qualities alTembled together, or 
 which nature amidft all her mild and va- 
 riegated productions never yet afforded a 
 model of imitation. 
 
 Thus far we have endeavoured to mark 
 out precifely the fphere that is occupied 
 by the underftanding, confidered as un- 
 connected with the other powers (as far as 
 it can be contemplated in this light), with 
 regard to its influence on the qualities of 
 the heart. The obfervations on this fub- 
 ject have referred principally to the makers 
 or inventors of character, becaufe it is 
 in the writings of thefe that the branch of 
 philofophy we are here examining is moft 
 eminently difplayedj and from thefe there- 
 fore may be felefled the moil finking ex- 
 amples. The fame power however which 
 
 in
 
 272 Philofophical and Critical 
 
 in one mind regulates and adjufts the 
 paffions to each other, fo as to form upon 
 the whole a natural affemblage, in another 
 takes cognizance of this regulation as juft 
 or defective according to its refemblance 
 or diffimilarity to the ftandard of nature^ 
 He therefore who forms the original 
 draught as it may be called from fuch di- 
 verfified materials, and he who judgeth 
 with truth and accuracy of its propriety* 
 differ from each other only perhaps in the 
 degree of intellectual merit, and in the , 
 objects to which the fame qualities receive 
 a direction: in other refpects, the poet 
 who by the various aiTemblage of the paf- 
 fions and affections gives ftrength, figni- 
 ficance, and peculiarity to his characters; 
 the critic who decides of thefe with pro- 
 priety from the unerring ftandard above- 
 mentioned -, and the philofopher who, 
 without regard to either, confiders their 
 different ends, expreffions, and tendency* 
 as forming objects of the greatefl impor- 
 tance and utility in his difplay of the mind 5 
 thefe difcover in their various fpheres that 
 union of intellectual powers which quali- 
 fies
 
 Obfervatiohs on Compofition. 273 
 
 fies for this branch of invefligation, and 
 in particular an underftanding fitted to form 
 juft and decifive obfervations. 
 
 2. Judgment alone however* though 
 operating as we have feen in a very exten- 
 sive range even in the prefent branch of 
 difqnifition, yet is employed principally 
 in the tafk of throwing into juft difpofition 
 fuch objects as are placed before it for this 
 purpofe. The qualification therefore in- 
 difpenfably neceflary to effectuate the full 
 purpofe of developing the heart is that 
 difcernment conftitiited by the fuperior 
 powers in their molt vigorous exertion, 
 which we have formerly endeavoured' td 
 explain and illuftrate. 
 
 If it be true (as we are taught by expe- 
 rience) that imagination is the parent of 
 the paffions, whole ftrength is commonly 
 proportioned to its exuberance and vigour, 
 we may then conclude, that a large pro* 
 portion of it joined to the former (whofe 
 office we have attempted to explain) niuft 
 be conferred, when thefe fprings of human 
 action are purfued through their di- 
 Verfified effects. A man of difcernment 
 
 Vol. I. T obtains
 
 274 Philofophical and Critical 
 
 obtains this purpofe without any tedious 
 procefs of reflection in moft circumftances, 
 becaufe he judgeth immediately, either 
 from experience or comparifon. By the 
 former he is enabled to recollect the in- 
 fluence of thefe on his own mind as acting 
 either feparately or in union with each 
 other; while by the latter he can decide in 
 fuch cafes as fall not within the verge of 
 his immediate cognifance, of the confe- 
 quences arifing from any combination 
 whatever on the conduct of another judg- 
 ing in the fame or fimilar circumftances of 
 what he finds within himfelf 
 
 The judgment therefore that is formed 
 of human nature by a perfon of this cha- 
 racter is ufually at the fame time juft and 
 comprehenfive. Juft, becaufe derived from 
 no fecondary caufe it is the immediate re- 
 fult of feeling and experience ; and com- 
 prehenfive, becaufe the fubject complex, as 
 it is, is only fuited to the mind that fur- 
 veys it, which far from depending upon 
 conjectural evidence, is able to form an 
 enlarged eftimate from thofe qualities 
 which nature has conferred as the means 
 
 of
 
 Obfervations on Compqfition. 275 
 
 of its enquiry. In all this procefs we may 
 obferve, that purpofes are obtained by what 
 we may call with the jftri&eft propriety 
 philofophical difcernment, which difpaf- 
 fionate reafon with all its accuracy and at- 
 tention mult ever be unable in any meafure 
 to accomplilh. For, as a man of weak fancy 
 will be difqualified to trace this power 
 through its higheft fphere of excellence, 
 or a man of mere judgment to follow 
 out reafon through the labyrinth of intri- 
 cate and metaphyseal deduction j fo it is 
 equally impracticable that hewhofe paffions 
 are cold, and his fenfibility proportion- 
 ably deficient, mould be able, however 
 high in underftanding, to trace from their 
 effe&s thofe caufes as powerfully influenc- 
 ing the minds of others, which operate fo 
 weakly on his own. We can indeed 
 eafily conceive a man of this call as quali- 
 fied to lay down excellent rules for the 
 government of the paffions, to point out 
 the danger arifing from their indulgence, 
 and after having defcanted on thofe topics 
 with great juftice and propriety, to render 
 
 each the fubjecl: of fome general declama- 
 T 2 tion.
 
 2j5 Philofophical and Critical 
 
 tion. Thus a man whofe mind was never 
 fiimulated by ambition, may difplay many 
 of the evils of which we know it to be 
 productive ; as he in the fame manner who 
 has no great propenfity to practife candour, 
 benevolence, or friendfhip himfelf, may yet 
 enumerate many advantages derived from 
 thefe with unexceptionable accuracy. But 
 in fuch frigid detail (<of which, was it ne- 
 cefTary, we might adduce many examples 
 from moral writers both ancient and mo- 
 dern) that " vivida vis animi," that pierc- 
 ing energy of thought, by whofe means the 
 influence of one paffion upon another is 
 expofed in fuch a manner as to ftrike out 
 fome peculiar expreffion which the mind 
 inftantly appropriates; this is wholly 
 wanting, and the defecl: is by no means 
 compenfated by exact difpofition, perfpi- 
 c'uous language, and even by what may 
 be deemed a more valuable acquifition than 
 either of the former, an extenfive inter- 
 courfe and knowledge of mankind. 
 
 In general we may lay it down as a 
 maxim, which will be found to hold good 
 with very few exceptions, that where the 
 
 mind,
 
 Obfervations on Compofition. 277 
 
 mind, inftead of fearching its fubjedt to the 
 bottom, runs into loofe declamation; and 
 when it ought to inveftigate a caufe, ex- 
 patiates only pompoufly upon the effect ; 
 in thefe cafes a defect of intellectual powers 
 js commonly indicated, or at leaft an un~ 
 derftanding difqualified to exhibit an ade- 
 quate reprefentation of the object which it 
 propofes to contemplate. A man of real 
 difcernment not only fhifts upon all fides, 
 as it were, every fucceffive profpect that 
 paffeth before him, but for the time is 
 really actuated by the paflion he defcribes, 
 or influenced in fome meafure by the mo- 
 tives he enumerates. By an exertion of 
 the fuperior faculties acting in concurrence, 
 he is able alternately to examine the felf- 
 ifh, as well as more benevolent affections 
 in their various modes of operation; and 
 thus, by the temporary but powerful in- 
 fluence of thefe on his own temper, 
 throws out particular and fignificant cri- 
 teria, whofe truth is not only acknow- 
 ledged by the judgment, but felt by the 
 heart, 
 
 T 3 An
 
 2j% Philofophical and Critical 
 
 An admired ancient, who himfelf pof- 
 fefTed an eminent mare of this difcernment, 
 treats another author with juft ridicule 
 who had chofen a fubjecT: to which he 
 was no way equal. The rhetorician lib- 
 erates introduces a difcourfe which he 
 compofed to convince the Greeks, that 
 they were more indebted to the people 
 of Athens than to thofe of Lacedsemon, 
 by faying, " That eloquence is peculiarly 
 " excellent, becaufe it can deprefs great 
 M actions, and magnify fuch as are incon- 
 " fiderable ; becaufe it can render old 
 " things new, and new old.'* " Are you 
 cc Ifocrates (fays the critic) going to em- 
 tf ploy this eloquence in afcertaining the 
 " comparative merit of the Athenians and 
 lt Lacedsemonians ? Then you give your 
 " reader a warning not to credit a word 
 " you may advance on the fubject *." 
 What then is eloquence ? Let us hear on 
 this fubjecl a perfon deeply {killed in the 
 philofophy of the heart. u An orator he 
 ' i 
 
 " tells
 
 Obfervations on Compofition. 279 
 
 " tells us has the following great ends to 
 " accomplish. He mull conciliate the 
 " minds of his audience by a judicious 
 " exordium, relate fads in a fimple man- 
 " ner, confirm thefe by proof, refute ob- 
 " jections, and after thus influencing the 
 " judgment of his audience, addrefs him- 
 " felf finally to their paffions*." In this 
 laft fphere of his exertion every part of na- 
 ture is to be animated in his difcourfef. - 
 " He is to call up the dead, to make his 
 " country itfelf utter an addrefs to its in- 
 M habitants, as to her degenerate fons; 
 " every thing muft live in his defcrip- 
 
 * M In omni porrocaufa judicialiquinque efle par- 
 tes: quarum exordio conciliari audientem, narratione 
 caufam proponi, confirrriatione roborari, refutatione 
 difiblvi, animos moved, &c." Quintil. Inftitut. lib. 
 vii. 
 
 t !* Hie orator et defunftos excitabit, ut Appium 
 caecum : apud hunc & patria ipfa exclamabit, aliquem- 
 que alloquetur: hie Deos ipfos in congreffum prope 
 fuum fermonemque deducet, " Vos inquam Albani 
 tumuli, atque luci, vos Albanorum obrutas arae facro- 
 rum populi Romani fociae & aequales! Hie iram, hie 
 mifericordiam infpirabit; hie dicet, te vidir, & flevit, 
 & appellavit, &per omnesaffectus trahatur*." Quintil. 
 lib. xii. c. 10. 
 
 * Cicer- pro Milon. 
 
 ' T 4 " tion :
 
 280 Philofophical and Critical 
 
 " tion : at one time he is to fingle out, 
 " and addrefs the criminal ; at another to 
 iC invoke the groves and altars which he 
 " had pollutted. The Gods themfelves 
 * are to be introduced into the affembly, 
 " and rendered fpeak'ers in his difcourfe. 
 f* Thus (fays this confummate judge of 
 " mankind) thus will anger, pity, and 
 *' every paflion of what kind foever be 
 f alternately excited, and the heart be 
 " rendered fufceptible of whatever impref- 
 " fions it may be deemed neceffary to ex- 
 " cite." 
 
 This difference, or rather this oppofi- 
 tion betwixt the Greek and Roman author 
 in treating the fame fubjecT:, ferves to il- 
 luftrate in fome meafure the preceding re- 
 marks. In the former (whofe judgment 
 appears not to have been found enough to 
 regulate the fallies of a puerile fancy) we 
 obfcrve a propenfity to general defcription, 
 and a filly affectation of point and anti- 
 thefis, which indicate a mind able only to 
 take a fuperficial and undiftinguiihing re- 
 view. The latter on the contrary becomes 
 particular in confequence of fuperior dis- 
 cernment.
 
 Obfervatlons on Compofition. 281 
 
 cernment. His mind appears to have 
 comprehended at one view, not merely the 
 general purpofe of the art, but the various 
 means likewife by which this purpofe may 
 be effectuated : he has recourfe therefore 
 immediately to the examples ; and he 
 fpeaks himfelf to the paffions of human 
 nature while he is defcribing the art by 
 which thefe are excited *. 
 
 3. To the combination of qualities which 
 we have enumerated as conftituting excel- 
 lence in this noble branch of philofophy; 
 we need only further add, as one adven- 
 titious but neceflary advantage that expe- 
 rience which indicates a man, 
 
 * Lknow no modern philofophical performance in 
 which the reader will find the qualities abovemention- 
 ed more ftrikingly united, than in Dr. Smith's excel- 
 lent work, entitled, the Theory of Moral Sentiments. 
 This moral anatomift, inftead of being fatisfkd with 
 general exhibitions of his fubjecl:, or of running (like 
 the Greek writer abovementioned) into loofe declama- 
 tion, either ftrikes out in a ftyle of mafterly compofi- 
 tion fuch criteria as come home to " men's bufinefs 
 and bofoms," and require no illuftration ; or confirms 
 by fuch happily feleled examples thofe remarks whofe 
 truth is lefs obvioufly confpicous, as (in the author's 
 opinion) evinceth the trueft philofophical difcernment. 
 
 " Qui
 
 282 Philofophical and Critical 
 
 " Qui mores hominum multorm vidit," 
 who has examined the various manners of 
 mankind. The knowledge derived from 
 this fource produceth effects as widely di- 
 verfified as any fpecies of what kind fo- 
 ever. Thus the confequence of fuch in- 
 tercourfe upon a mind in which the under- 
 standing is fuperficial, commonly is to 
 produce a profufion of " wife faws," (as 
 Shakefpeare calls them), a number of un- 
 exceptionable but uninterefting obferva- 
 tions on manners and character; good 
 admonitions, fententious maxims, and 
 rules of life, whofe fitnefs and propriety 
 no man calls in queflion, becaufe, whether 
 true or falfe, they reach not the cafes of 
 individuals, and therefore become not the 
 objects of inveftigation. On the contrary 
 when the judgment is good, but the ima- 
 gination deficient, fuch remarks as this 
 experience may fuggeft, however folid, 
 will be uniform, and calculated rather to 
 difplay one branch of character than to in- 
 veftigate a whole. It is therefore only 
 when this acquifition falls to the fhare of 
 a mind in which both thefe powers are 
 
 concen-
 
 Obfervatlons on Compo/ition. 283 
 
 concentrated, and co-operate with each 
 other that the heart of man will be laid 
 open, and fuch criteria fixed upon as 
 develope the movements however compli- 
 cated of this various machine. 
 
 It would be a matter of no difficulty to 
 mow that this facility of entering deeply 
 into the feelings of the heart diftinguifh 
 principally thofe authors who will always 
 ftand in the higheft rank of eminence. 
 Take away the various and exquifite fhade- 
 ings of the characters in the Iliad; the talk- 
 ative experience of Neftor, the wary cir- 
 cumfpection of Ulyfles, the noble boldnefs 
 of Diomed, the implacable rage of Achil- 
 les; the fondnefs of Priam, of Hecuba, 
 and of Andromache, fojuftly varied, and 
 fo delicately painted ; take away thefe cir- 
 cumftances, and the merit of this immor- 
 tal work would be no more than that of a 
 picture, in which the mod luxuriant 
 drapery might adorn obje&s whofe lifelefs 
 Similarity the eye would foon contemplate 
 with fatiety and difguft. He mull on the 
 other hand be a very frigid critic indeed 
 who can furvey that feries of thefe fo nobly 
 
 fupported
 
 284 Phllofophical and Critical 
 
 fupported through the whole of this work, 
 and fuppofe the author to deferve from 
 this detail no higher praife than that of 
 judgment. Deep penetration, exquifite 
 fenfibility, and experience, under the direc- 
 tion of thefe, of the avenues that lead mofl 
 directly to the heart, conftitute, in conjunc- 
 tion with the moft copious imagination, 
 the character of a man capable of conduct- 
 ing a work of this nature. The manner 
 in which thefe are feparately required to 
 operate, and the fpheres affigned to each 
 in this work, may be feverally collected 
 from the preceding obfervations, 
 
 III. As we have now endeavoured to 
 trace philofophy in its moft extenfive 
 fenfe, to its original fource in the various 
 combination of intellectual powers ; let us 
 proceed to try in this phllofophical hiftory 
 (as it may be termed) of the fciences and 
 arts, whether we can obferve likewife in 
 fome other views of the faculties formerly 
 referred to, the origin of that fcience 
 which records the various tranfactions of 
 men from the earlieft periods of fociety. 
 Before, however, we enter more imme- 
 diately
 
 Obfervations on Compofition. 285 
 
 diately into this difquifition, it may be 
 neceffary to Hate the difference betwixt 
 the didactic and the narrative manner. 
 
 Hiftory, when we confider it as the 
 means of conveying inftruction by ex- 
 ample, muft be allowed to pofTefs advan- 
 tages above the didactic or philofophical 
 manner, proportioned to the degree of in- 
 fluence which example exerts over the 
 practice of mankind beyond that of cold 
 and inanimated precept. The name like- 
 wife of a profeffed teacher carries along 
 with it a certain idea of fuperiority, which 
 is always admitted with reluctance; and 
 which, joined with the circumftance above- 
 mentioned, acts as a powerful counter- 
 poife, to the good effects of which this 
 fcience is naturally productive. Senfible 
 of this difadvantage, the molt eminent 
 philofophers have, in all ages, endeavoured 
 to compenfate it by adopting as far as the 
 feverity of their profeffion would admit, 
 the infmuating graces of lifter arts, in the 
 fame manner as a man of a coarfe and dif- 
 agreeable afpect will naturally defire to 
 fupply the defect of regular features and 
 
 com-
 
 286 Philofophical and Critical 
 
 complexional beauty, by elegant improve- 
 ment and a captivating addrefs. For this 
 purpofe we not only find the dialogue 
 manner of compofition fixed upon by the 
 mafters of this fcience to render their doc- 
 trines at the fame time agreeable and in- 
 terefting*; but in the pourtray of fce- 
 nery f, and even in developing argument, 
 thefe admit, upon fome occafions, figures 
 borrowed from the arts of eloquence and 
 poetry, in whofe ufe they are neceflarily 
 required to be fparing from the nature of 
 their fubjecT:. 
 
 What the philofopher thus obtains with 
 much difficulty, by calling in foreign and 
 
 * Of this kind every reader knows are the principal 
 parts of the writings of the great Roman philofopher, 
 as well of the Greek, whom the former profefledly 
 imitated. 
 
 t Take the following defcription as an example 
 from the Phaedrus of Plato. H ti yxo rsrKxrxvos xvti\ 
 px\x xjj.^iXx(pn; re xxi vyriXri rv rt xyvv to uvfo?, 
 xxi to gvvkiov srxyxxXov xxi as xxpriv ij^tj to xvQxs, 
 ug xv tvufirxTov izxpiyoi tod mrov' Hyt xv zrriyri 
 
 PajUf$-*Tl V7T0 Tfl? TSXXTXVi pti (AXXx yVfflW l/J\*T0?, 
 
 &c. There are other fine circumftances in the def- 
 cription of this fhade, in which the philofophers re- 
 cline to difcourfe of eloquence. 
 
 adventitious
 
 Obfervations on Compojition. 287 
 
 adventitious aid, the hiftorian can accom- 
 plifh with much greater eafe, as the mate- 
 rials which he is required to mould into 
 proportion are fuch as neceflarily awaken 
 attention, and engage the mind in an ufe- 
 ful and interefting procedure. This cir- 
 cumftance it is that gives the narrative 
 manner fo much advantage above the for- 
 mer. In the explication of a philofophical 
 theory, a feries of clofe reafoning or of 
 abftrafted obfervation is carried on; and 
 fentiments connected with, and fupported 
 by each other, form the great objects of 
 the work. In hiftory, on the other hand, 
 thefe as forming in fome meafure but fe- 
 condary views, and required to grow out 
 of fome preceding narration, arreft the at- 
 tention of a reader in a very forcible man- 
 ner, and when judicioufly introduced, make 
 a lafting impreffion on his memory. Thus 
 it happens, that a well written hiftory is 
 more univerfally ufeful than any other 
 work. The medium through which in- 
 ftruclion is conveyed, we are here difpofed 
 to contemplate with pleafure; and while 
 the manners are tinctured by the examples 
 
 exhibited
 
 288 Philofophical and Critical 
 
 exhibited in fo faithful a mirror;**, a fen- 
 fible mind receives an entertainment of 
 the moll agreeable kind, by obferving the 
 various operation of qualities both intel- 
 lectual and moral on the characters of 
 men. 
 
 Thefe general remarks on hiftorical com- 
 pofition (the particular confideration of 
 which belongs more properly to a fubfe- 
 quent fection) will affift us in afcertaining 
 that union of intellectual powers which is 
 neceffary to conftitute the perfection of fo 
 beneficial a fcience. 
 
 As the hiftorian therefore pofTefieth ad- 
 vantages from the nature of his profefhon 
 fuperior to thofe of the didactic author, 
 and as his ends may be accomplished with 
 greater facility, it will follow, that a mo- 
 derate, but as nearly as poflible an equal 
 proportion of the powers whofe offices we 
 have endeavoured to point out, will be fuf- 
 ficient to effectuate all the purpofes to 
 
 * u Hiftoria illuftri appellatione donatafit, cum ma- 
 giftra morum nominetur, quod qui ad cam fe con- 
 ferunt, inftructi ?.d vitse cafus, fempcrque inde me- 
 liorcs abcuiu." Strad. Proluf, Academ. p. 45. 
 
 which
 
 Obfefvatiotis en Compofitibh. 289 
 
 Which this fcience can be rendered fubfer* 
 fervieriti In philofophy the underftanding 
 Is employed in the feleetion and difpofltion 
 of fuch ab traded ideas as the mind draws 
 from having formed an accurate judgment 
 of its own operation, or from experience 
 with regard to mankind in general* In 
 eloquence the power of invention is emi- 
 nently difplayed likewife, not only as be-* 
 flowing high and expreflive colour on the 
 objects that paf3 before it, but in fixing 
 upon new topics of perfuafion, and prefix- 
 ing thefe home with that irrefiftible energy 
 W r hich penetrates the heart. But in hiftory 
 as the judgment employed in the collation 
 of materials fupplied wholly by others, 
 exerts not an act equally ftrenuous, as 
 When it regulates thofe which owe their 
 exiftence to the mind's penetrating and 
 intenfe contemplation of itfelf ; fo the im- 
 agination in the fame manner that works 
 onlv from facts and incidents laid before 
 it, from which it is not permitted to de- 
 viate, diiplays not the fame flrength, ver- 
 fatility, and exuberance, as when em- 
 ployed in fpheres more juftly appropriated 
 Vol. L U to
 
 2 9 Phiiofophica! ad Critical 
 
 to its exercife, it is with more propriety 
 
 denominated the power of invention *. 
 
 Hiftory therefore, as it purities a mid- 
 dle courfe betwixt the fpheres of philo- 
 fophy and eloquence, demands a (hare of 
 every intellectual faculty, but no fuch pro- 
 portion of any feparate power as will turn 
 the balance obvioufly to a fide. The truth 
 of this remark will be acknowledged moll 
 readily, when we confider the ends which 
 this writer is required to accomplilh. 
 
 An hiltorian then ought to pofTefs a 
 clear and folid judgment, other wife he will 
 not only fail of giving a due proportion 
 to the various members of his work, but 
 
 * What we have faid here of eloquence may be 
 likewife applied to poetry. " Le merite principal de 
 l'hiftorien (fays an elegant critic) ne confifte pas comme 
 celui de poete. Le merite principal de l'hiftoire eft 
 d'enricher notre memoire & de former notre juge- 
 ment ; mais le merite principal de la poelle confifte a 
 nous toucher." Ref. Critiques fur la Poef. &c. v. iil 
 ,p 283. Let us hear Ariftotle on the fame fubjedl;. 
 O yxp IfojHJtof xa -GJowrns a to r, tuptrpx Xtyuv n 
 K^srfcc $ixpipv<nv'- xXXx tsto $ix(ptpu ru tcv ptv 
 ' rx ytvoptvx Xtytiv tow <Je oiov ^ ytvoiro. Aio xa 
 (pi\oa-o(pu}TifiM jcast ff-msfxiOTtpou Ihir t <rn IfO^xs ifw* 
 lloir,T. 
 
 unequal
 
 Obfervations on Compbjitmn. 291 
 
 unequal particularly to the more difficult 
 parts of his profeffion, the defect will be- 
 come remarkably confpicuous when he is 
 required to difentangle truth from a mul- 
 titude of obfcure and perplexing incidents, 
 or to reconcile details of the fame tranf- 
 action that are feemingly contradictory. 
 He ought to poffefs likewife an adequate 
 proportion of imagination, as without this 
 his compofition will have too much uni- 
 formity, and he will be unable to treat the 
 different branches of his fubjecl: in the 
 manner adapted mod properly to each* 
 A confiderable fhare of Difcernment is 
 likewife neceffary to make him improve 
 upon a diftant hint, when he is not fur- 
 nifhed with full and digefted materials ; 
 to aflift him in examining characters to the 
 bottom, and in painting thefe fo juftly as 
 that they may appear to be inferences 
 deduced from the narration of previous 
 incidents. In ihort, that experience of 
 mankind which is acquired by having 
 mixed in fociety, -is. requifite to give com- 
 pafs to his views, and to render his obfer- 
 U 2 vations
 
 292 Philofophical and Critical 
 
 vations on men and things fuch as cha- 
 raclerife human nature; and, to fum up 
 all, ftrength, and even pathos, is upon 
 fome occafions neceffary to complete the 
 character of this writer, that he may hold 
 up an action eminently virtuous to the ad- 
 miration, or a vicious one to the contempt 
 and deteftation of mankind ! 
 
 From this fhort account of the various 
 purpofes of hiftory, and of the intellectual 
 powers as adapted to carry thefe effectu- 
 ally into execution, it muft be evident, 
 that though there are perhaps other de- 
 partments of Hterature in which fome of 
 the fuperior faculties act in a larger fphere, 
 or appear in more vigorous exertion ; yet 
 there is none more happily calculated to 
 difplay different kinds, as well as degrees 
 of excellence, by calling every faculty by 
 which the human mind is diftinguifhed, 
 fucceffively into action. Thefe, however, 
 with other advantages of this noble and 
 inftructive fcience, will fall to be more par- 
 ticularly detailed, when from having view- 
 ed it in its origin, as indicating a peculiar 
 
 com-
 
 Obfervaiions on Compqfition. 293 
 
 combination of mental powers, we come 
 to confider it in the more extenfive light 
 of a fpecies of Compofition. 
 
 <o0occoo &000 3000 coco 3MOO0CO oooo oooocooc caoocooo C 000 0000 0C0OCCC3CCaOC0OO&O3O00OO COOOCMOCOOO CC 
 
 SECTION VII. 
 
 Of that Combination of the intellectual Fa- 
 culties which gives rife to the arts of 
 Poetry and Criticifm. 
 
 \ N ancient philofopher of diftinguifhed 
 -**" name, affigns (I cannot fay with what 
 propriety) admiration as the fource of phi- 
 lofophy *. Whatever may be in this, we 
 may furely, with at lea ft equal truth, 
 judge it to have occafioned the fir ft poetic 
 effufions f, as in proportion to that degree 
 of this paffion with which the mind was 
 tranfported upon having contemplated the 
 
 * MAa (piXotro(pov tkto to waOo; to Sxypx^eiv. 
 Ou <yocp aAA?i otpyrn (piXoiroQiott; n ut. TIXxtuv. fjjT. 
 "f" zvptoTx [/.tv j3Af7rovTf ioA7rov pxrriv' 
 KAuflvrf? oux txoyov' aAA' Qvtipxrtov 
 Aa^xioi [Aop(pa,i<ri tou jtxaxpou %povov 
 Etpvpsy tixrj TvavTot. Aurp^uA. npoy-r,^. 
 
 U 3 works
 
 294 Philofophical and Critical 
 
 works of nature, muft have been the fub- 
 limity of thofe divine hymns in which 
 were celebrated the perfections of the 
 author. As foon, therefore, as men began 
 to exercife their reafon in tracing at the 
 fame time the exiftence and attributes of 
 the fupreme mind, what we denominate 
 lyric poetry received its origin from a 
 warm imagination eyeing the more flu- 
 pendous works of the deity, and arifing 
 from thefe to contemplate their original. 
 Me vero primum dulces ante omnia Mufae 
 Accipiant, caplique vias & fidera monftrent, &c. 
 
 Geor. ii. 475. 
 Such glorious objects as thefe a great ge- 
 nius naturally beholds with that high en- 
 joyment which this power of the mind 
 derives from having dwelt intenfely on the 
 fublime and the wonderful. This branch 
 of his fubjecT:, however, the author hath 
 treated at fuch length in a former efTay, 
 that it would be wholly improper to re- 
 fume on the prefent occafion, what hath 
 already been advanced on it *, 
 
 * See Eflay on Lyr, Poet. lett. ii. 
 
 Suppofmg
 
 Obfervations on Compofition. zg$ 
 
 Suppofing then this high and inchant- 
 ing fpecies of poetic Compofition to have 
 received its origin and improvement from 
 the caufe above-mentioned, let us try 
 whether from different views of the hu- 
 man mind as varioufly imprefled by fur- 
 rounding objects, we can account for the 
 rife and improvement of thofe other 
 branches of this art which are confidered 
 as the moil important. 
 
 That defire of imitating % which our 
 great critic affigns as the fource of all 
 poetic excellence, operates upon the mind 
 either inftantaneoufly as the objects of 
 external nature are reprefented by the 
 fenfes, and imagination fet at work to copy 
 the features of fome admired original ; or 
 it works from fuch materials as are more 
 gradually fupplied by reflection and expe- 
 rience, and forms by thefe means repre- 
 
 Eojxatri h ytWYiGui piv oKug rr\v zroiviTwriv airiaf 
 cvo xxi avrou (pu<nxj- to MIMEIIOAI 2TM$TTON 
 to? av0pco7roK, &C. Ka appovix v.x\ puO^o; f f>^f 
 01 zrt(pvxoTis srpo? jxvtx juaAtra nxrx ^xixpou wpoa- 
 yovTts tymwxv tv Iloirxriv. Ap$-oT. wtpt Honir. 
 
 U 4 fentations
 
 296 Philofophkal and Critical 
 
 fentations of fentiments, characters, actions, 
 and incidents ; either did inct from each 
 other, or Handing in connection, as beau-* 
 tiful and expreflive pictures of the great 
 drama of human life, To the former of 
 thefe very little attention will convince us, 
 that we owe the defcriptive; and to the 
 latter the more complex fpecies of poetic 
 Compofition, 
 
 i. Imagination, when it contemplates 
 the objects of defcriptive poetry, fluctuates, 
 naturally for fome time and wanders from 
 one fcene to another before a feries adapt- 
 ed to its original propenfity irrenftibly 
 determines its choice ; but this little irre- 
 folution in the felection of a fubject ferves 
 only to indicate that no accidental aflem- 
 blage of external objects, however juftly 
 prefented by the fenles, can arrefl: the at- 
 tention of the mind in fuch a manner as 
 to produce imitation, while the fphere is 
 not juftly prefented which it is fitted by 
 nature to occupy, As foon as this afTem- 
 blage occurs, the mind becomes fenfible of 
 its ltrength, and falling at once into its 
 
 proper
 
 Obfervations on Compqfition. 297 
 
 proper track, furveys the objects with plea- 
 lure, and imitates thefe with facility. 
 
 This inftantaneous perception, however, 
 of the fphere adapted naturally to its 
 choice, we are not to fuppofe exifting in 
 the mind independently (as fome philo- 
 fophers feem to think that all inftan- 
 taneous perceptions do) of the faculty df 
 reafbn *. This power approves without 
 
 any 
 
 . 1 1 1 
 
 * When clofely examined, I am perfuaded that no 
 philofopher ever meant to confider inftinct (as it is 
 termed) and reafon as intellectual powers really dif- 
 tincl: from, and independent of each other. This dif- 
 tinction however isfeemingly made by thofe who define 
 the reafoning faculty to be that by which the mind ac- 
 quires the knowledge of truth, in confequence of pro- 
 greffionary evidence ; and the inftin&ive or intuitive 
 power is that which decides injlantaneoufly of the truth 
 or falfhood of certain propofitions, and is termed a 
 fenfe, from this quicknefs of perception. The follow- 
 ing obfervations are thrown together to prevent readers 
 from mifapprehending the meaning of either term, 
 and to (hew that no diftinction of this kind can pof- 
 fibly fubfift. It is undoubtedly a truth, as clear as 
 any mathematical axiom whatever, that of two objects 
 wholly diftinct from each other, we can conceive 
 either to exift feparately. If, therefore, there are 
 truths of any kind which this inftinclivc or intuitive 
 
 power
 
 298 Philofophical and Critical 
 
 any regular feries of argument of a choice 
 adapted with propriety to the character; 
 
 but 
 
 power of the mind perceives without the aid of reafon, 
 it will follow, that there are propofftions fo obvious 
 as to be approved by a mind in which this faculty 
 does not exift. Let us take then the fimpleft of thefe 
 propofitions, that two and. two make four ; and fup- 
 pofe it reprefented to a perfon not difordered in un- 
 derstanding, but wholly deprived of that faculty; 
 would this intuitive truth be inftantly perceived by 
 fuch a perfon, or would any idea be conveyed in con- 
 fequence of repeating it ? No man furely will affert 
 that there would. It' will perhaps be faid, that there 
 is in this reafoning a petitio principii ; fince reafon is 
 here without proof fuppofed to perform the office of 
 this common fenfe^ and the example we have adduced is 
 one in which both being annihilated, a mind cannot 
 properly be faid to have exiftence. But we (hall be 
 convinced, with a little attention, that the power 
 (whatever defignation we apply to it) by which we 
 deduce effecls from a caufe, or inveftigate a caufe from 
 its effec'r.s, is in no other refpect different from that 
 fenfe (as it is called) by which we perceive the truth of 
 the fimpleft axiom, than as in the former inftances 
 it makes an exertion, which in the latter is unnecef- 
 fary. We have mentioned one proportion purely in- 
 tuitive. Let us try another, to comprehend which, 
 fome degree of reafon muft be neceffary. At a very 
 confiderable diftance from the fhore, I obferve a 
 fmall fpeck, fcarce to be diftinguifhed from a cloud, 
 and about whofe nature I remain for fome time uncer- 
 tain.
 
 Obfervations on Compqfitton. 299 
 
 but it approves in confequence of discern- 
 ing this propriety, in the fame manner as 
 
 the 
 
 tain. Common fenfe it will be faid, or inftinft, is the 
 power by which (having once difcovered that this is 
 a fhip) I know its real to be different from its apparent 
 magnitude, while yet at a diftance. Though this is 
 far from being felf-evident to me in any fenfe of the 
 word whatever ; yet let us for once fuppofe it to be fo. 
 As the fhip draws nearer, and the fails, mafts, cordage 
 and mariners, are fucceffively difplayed ; I become 
 curious to know the caufe for which it moves in a par- 
 ticular direction. Here an effect is immediately traced 
 up to its caufe, though the procefs is indeed abundantly 
 obvious. For as foon as it is known that the fhip is 
 moved upon the water, by the wind operating in any 
 way whatever, it will follow that its direction muft be 
 determined by that of the wind , and as foon as the 
 caufe fhall ceafe to operate, the effect (i. e. the motion) 
 arifing from it muft fubfide likewife. This is, indeed, 
 fomewhat more complex than the propofition that two 
 and two make four : yet I will leave any reader to 
 determine, whether a perfon incapable of underftand- 
 ing the former of thefe truths, would have any diftindt 
 idea conveyed to his mind by the latter. Will it be 
 faid that it is inftinct or common fenfe, which equally 
 takes cognizance of both propofitions ? I fhall then be 
 glad to know at what point this intuition ftops, and 
 where reafon begins. Does it trace effects from any 
 particular caufe ? cr, vice verfa, a caufe from its 
 effects? Inftint is then furely not different from 
 reafon; and is ufed only to exprefs the fimp! eft ex- 
 ertion
 
 300 Philofophicai and Critical 
 
 the eye which decides of minute propor- 
 tions from an accurate infpection of fome 
 
 particular 
 
 crtion of that faculty. Is it again ufed to fignify that 
 fenfe by which the mind perceives the truth of certain 
 propofitions which are termed felf- evident, becaufe, 
 without any confideration of caufe or effect, thefe are 
 the immediate objects of internal fenfation, in the 
 fame manner as external appearances are of the 
 fenfes ? It hath been already {hewn, that where the 
 power which traceth the relation betwixt an effect and 
 a caufc ceafeth to operate, this inftinct immediately 
 fubfides along with it ; and as neither of thefe can 
 exift feparately, they muft in fact be the fame. Was 
 it neceffary to purfue this thread of argument ftill fur- 
 ther, we might obferve that as this inftinct, or common 
 fenfe, cannot by any operation be diftinguifhed from 
 reafon when confidered as an internal perception, on 
 the one hand, fo neither on the other has it the leaft 
 connection with, or dependence upon thofe external 
 organs of perception which we denominate the fenfes. 
 The eye of an ideot will prefent to him a tree, a horfe, 
 or a wall, as diftindtly as that of a wife man ; his ear 
 in the fame manner will be imprefled by founds. Sup- 
 pofe him to be deprived of either of thefe fenfes, the 
 remaining four will ftill be diftinct from each other, 
 and external objects will operate as ufual upon their 
 various organs. But does any fuch diftinction as this 
 take place betwixt reafon and inftinct? When we 
 take away the power which inveftigates caufes and 
 effects, does that remain which perceives the truth of 
 a geometrical axiom in the fame manner as hearing 
 
 when
 
 Obfervations on Compofition. 301 
 
 particular object, obferves with eafe that 
 harmony which arifeth from a general 
 correfpondence of parts in fome magnifi- 
 cent ftructure. The laft of thefe decifions 
 therefore, may , with equal propriety be 
 fuppofed to take place without the inter- 
 
 when the fight is removed, feeling when we are de- 
 prived of both ; and any of the five, when the others are 
 obliterated ? The contrary of this we have already 
 evinced. Upon the whole, this diftinction can only 
 be made by thofe who have not attended properly to 
 the various operations of reafon. It may require a 
 long procefs of evidence to render a proportion ob- 
 vious to me, whofe truth another man may perceive 
 and acknowledge as foon as it is laid down. But does 
 it follow from this, that the faculty of my mind which 
 takes cognizance of this truth is effentially different from 
 that which perceives it of his ? Surely not. His un- 
 derftanding in confequence either of its fuperior com- 
 prehenfian, or of having been long accuftomed to a 
 certain ftrain of obfervation, may immediately fupply 
 the intermediate procefs by which an end is obtained ; 
 but it is ftill the fame power ating in one inftance 
 with rapidity, and in the other proceeding with cool- 
 nefs and circumfpection, by which both are conducted 
 to the fame period. This remark holds equally of 
 every propofition whatever. Intuition, as diftin- 
 guifhed from reafon, is that power by which a mind 
 is fuppofed to have before it, at one view, the whole 
 ferics of caufes and effects, and in this fenfe it can 
 only be predicated of the Supreme Being. 
 
 pofition
 
 302 Philofophical and Critical 
 
 pofition of fight or feeling, as the other 
 without that of underflanding. 
 
 Led in this manner at laft into its pro- 
 per train, imagination falls immediately 
 to work, to copy fuch draughts as have 
 made upon it the moll lively and forcible 
 impreflion. But imagination left to itfelf 
 would form an imitation which however 
 itriking, would rather prefent a refem- 
 blance of fome fcattered features. 
 
 Definet in pifcem mulier formofa fuperne, 
 
 than that of a whole proportioned figure; 
 much lefs a feries of thefe, reflecting mu- 
 tual light upon each other, and {landing 
 in the happieft combination. This har- 
 monious concurrence of objects diverfified 
 from each other, to produce one effect on 
 the mind, and the beauty of each object 
 when viewed apart, arifing from the light 
 in which this is prefented to it, denomi- 
 nates that power of perceiving the juflefl 
 attitudes, and the moll delicate expreflions 
 which is known by the name of Tafle ; 
 and whofe influence is peculiarly confpi- 
 cuous in the delineation of external forms. 
 By this internal fenfe (as philofophers 
 
 have
 
 Obfervailons on Compojition. 303 
 
 have denominated it) obje&s are perceived 
 immediately to bear a certain relation to 
 each other, which even the fuperior facul- 
 ties of the mind, when confidered apart, 
 would have been difqualified to trace ; and 
 in the fphere of defcriptive poetry it ei- 
 ther adjufts the illuftrations with elegance 
 and propriety to their correfponding ori- 
 ginals when the work is going on ; or it 
 qualifies the reader, though perhaps unable 
 himfelf to execute with correctnefs and 
 maftery, to judge with the utmoft preci- 
 fion of this correfpondence, and to feel 
 with exquifite fenfibility the effect: arifing 
 from it. The objects of this quality, and 
 the powers by whofe combination it is 
 conftituted, we fhall foon have occafion to 
 detail at more length; its influence on 
 this branch of the fubject, it is juft fuffi- 
 cient to have mentioned. 
 
 As it is therefore neceflary that a def- 
 criptive poet mould be capable of perceiv- 
 ing remote connections, and of imitating 
 beauties of which few are qualified to take 
 cognizance; fo the effecl: arifing from the 
 union of the reafoning and inventive fa- 
 culty,
 
 304 Phitofophical and Critical 
 
 culty, "will be as confpicuous in this, as iri 
 any fphere whatever. Thofe moral obfer- 
 vations in particular, which are judicioufly 
 made to grow out of a defcription of the 
 external beauties of nature ; and which, in 
 confequence of the pleafing fcenery that 
 foothes and delights the imagination, con* 
 vey inftrudtion to the mind at the moft 
 favourable moment ; difcover the writer's 
 judgment by the juftnefs of their difpofi- 
 tion, and the confiftency they give to his 
 performance; his imagination, by the 
 beauty of that vehicle in which thefe are 
 conveyed ; and his tafte, by an happy felec- 
 tion of the fltteft words, and a train of 
 fentiment carried precifely to that point 
 where the mind, gratified but not fatigued, 
 returns with pleafure to the principal fub- 
 ject Nor is it an inconfiderable or com- 
 mon fhare of thefe combined qualities by 
 which excellence in this branch of poetry 
 is conftituted. The wild, the fublime, and 
 the magnificient in nature, indicate not, 
 when painted in the richeft and moft ap- 
 propriated colours, more grandeur of ima- 
 gination, and juftnefs of perception, than 
 
 the
 
 Obfervations on Compofit'ton. 305 
 
 the purpofes which thefe may be made to 
 ferve by infpiring great and exalted con- 
 ceptions of the Author of nature; or by 
 raifing the thoughts above little and tranfi- 
 tory objects to the contemplation of fuch 
 as are noble and eternal; thefe laft dis- 
 cover the compafs of an enlightened un- 
 demanding, operating in a fphere at once 
 dignified and comprehenfive. Even in the 
 fport and paftime of fancy, when the fim- 
 pleft beauties of rural fcenery are deline- 
 ated by her pencil, and the fimpleft occu- 
 pations are afcribed to the inhabitants, a 
 mare of judgment much more confiderable 
 than we are apt to fuppofe is neceflary to 
 render the images, fentiments, and ex- 
 preflion juft fuch as the fubjecl: requires; 
 and an exquifite internal perception of 
 genuine beauty to diftinguifti elegance 
 from rufticity, and to feparate a fimple 
 from a florid or infipid imitation. 
 
 II. From this detail of the intellectual 
 powers as combining to accomplifh thofe 
 purpofes to which a juft difplay of ex- 
 ternal nature may be rendered fubfervierit, 
 let us follow the mind in the more ab- 
 
 Vol. I. X ftra&ed
 
 306 Thilofophical and Critical 
 
 ftracted contemplation of its own internal 
 operations, and obferve the effects that 
 mo(t naturally refult from it. By con- 
 fidering in this manner the paffions and 
 affe&ions of mankind in diftinct points of 
 view, we fhall comprehend moft readily 
 that union of the nobler faculties by which 
 thefe are happily imitated, and exhibit 
 flriking reprefentations of character and 
 fentiments. 
 
 i. As the objects of our fenfes vary 
 their appearances at different feafons, and 
 prefent to us afpects extremely remote, if 
 not feemingly incongruous, upon many 
 occafions ; the human mind in the fame 
 manner, that great object of all our re- 
 fearches, when guided at one time by rea- 
 fon, difturbed at another by pafhon, and 
 driven at a third by a precipitate and irre- 
 fiftible impulfe to lbme irrational conduct, 
 receives exprefhons as diverfified in every 
 refpect as the former, and will make im- 
 preflions not lefs various and lively upon 
 an attentive examination. To effectuate 
 by means of thefe the great purpofe of 
 conveying inftruction, is equally the ulti- 
 mate
 
 O'bfervaiions oh Compqfittbn. $6f 
 
 tnate aim of the philofopher and the poet^ 
 who in the higher branches of his art 
 unites the ends of phiiofophy with the 
 more agreeable ones of his own profeffion-. 
 The means however by which thefe ac- 
 complish the fame general purpofe are 
 very different* and ferve to indicate that 
 concurrence of ,the mental powers bf 
 which each of thefe (the laft in particular.) 
 ought to be difiinguifhed-. 
 
 Let us fuppofe two men with both there 
 characters contemplating the human mind 
 in the earlieft period of fociety* with the 
 view of ftudying attentively its different 
 phenomena, and of inftrue~t.ing mankind 
 by their obfervations. The one obferving 
 many effects arifmg from the fame gene- 
 ral principles variously modified, whofe 
 feemirig incongruity perplexeth him at 
 firft, attempts* as the befl method of era- 
 dicating the moft pernicious* to inveftigate 
 the caufe from which each derives its ori- 
 gin. By accomplishing this purpofe he fup- 
 pofeth juftly that he will at the fame time 
 tlifcover the bcft means of procuring hap- 
 pinefs to himfelf, and of communicating 
 X 2 this
 
 308 Thilofophical and Critical 
 
 this ineftimable benefit to mankind in ge- 
 neral. Our philofopher therefore engag- 
 eth from thefe motives in the fearch of 
 truth, and in confequence of a knowledge 
 of the human mind, acquired by accurate 
 obfervation, and rendered comprehenfive 
 from experience, becomes qualified to efta- 
 blifh rules of conduct, and to fix fociety 
 by laws that indicate thorough acquaint- 
 ance with the human heart upon a folid 
 and permanent foundation. Here then 
 we obferve the origin of moral inveftiga- 
 tion. But by what method fhall thefe im- 
 portant ends be brought about ? Should 
 we put this queftion to our philofopher, 
 he would undoubtedly reply; " I confi- 
 " der man as an intelligent and rational 
 " agent, whofe judgment it is neceffary to 
 " convince by evidence before motives of 
 " any kind can operate on his practice. 
 " To his judgment therefore I appeal, and 
 *' having firft detected the caufes of his 
 " errors by a clear and accurate inveftiga- 
 " tion ; I endeavour to lay before him 
 " fuch rules of conduct as are adapted raoft 
 " properly to remedy his defects, and to 
 
 " afccr-
 
 Obfervations on Compojition. 309 
 
 " afcertain to him the pofleffion of fuch 
 " objects as promife him real and perman- 
 " ent felicity *, Of the accuracy of this 
 " inveftigation, and of the importance of 
 " thofe motives by which new principles 
 " are enforced; of thefe circumftances rea- 
 " fon mull finally decide ; and I have no 
 " other merit than that of prefenting to 
 " this power fuch conlideration as may 
 * c determine its choice to the greater! advan- 
 " tage." Such would be the language of 
 our philofopher on this fubjecT:. Let us 
 next attend to the practice of the poet, act- 
 ing in the higher fpheres of his profeffion 
 with the fame general purpofe as the for- 
 
 * By fome fuch method as this it rauft undoubted- 
 ly be that philofophy is faid to perform the wonders 
 which have been afcribed to it. The flory of Socra- 
 tes is well known : Cicero gives us another example of 
 the fame kind, if not a ftill more ftxiking one. " Stil- 
 ponemMegaricum philofophum acutum fane hominem 
 & probatum illis temporibus accepimus. Hunc fcri- 
 bunt ipfius familiares & ebriofum & mulierofum fu- 
 iffe, neque hoc fcribunt vituperantes fed potius ad lau- 
 dem: vitiofam enim naturam ab eo fie edomitam & 
 compreffam efle doclrina ut nemo unquam-vinolenturn 
 ilium, nemo in eo libidinis veftigium viderit." Cicer. 
 de Fato. 
 
 X 3 mer,
 
 giQ JPhilofophical and Critical 
 
 mer, but fixing on expedients to accom-* 
 plifh it extremely different *. 
 
 He likewife, we fliall fuppoffe, obferves 
 the dangerous confequenGes of indulging 
 the paffions, and as his own have pror 
 bably greater ftrength than thofe of the 
 former, he will be ftruck more forcibly 
 with the neceffity of retraining thefe with- 
 in proper limits. He falls to work there- 
 fore with this great end kept conftantly in 
 his eye ; and having obferved the manner 
 in which the paffions operate on the cha- 
 racters of mankind, he throws off fuch 
 refemblances by lively and ftriking imita- 
 tions as tend to render virtuous conduct 
 the object of attachment; and vicious prac- 
 tice, of deteftation. For this purpofe he 
 either mows the pernicious tendency of 
 vice by that ftain which it throws upon 
 characters the moft dignified and exalted; 
 or he points out the excellence of virtue 
 
 * Ou zaKrcpda. H<tjo<? (%s an able critic) tTruSau 
 
 TV? TOBT ytVGV? TtXtVTri(TOC<TlU US OLpOC JWff Sot.ifJI.OVBS 
 
 ayvoi tTri^onoi TfAt0ou<nv. htGAoj, aAfntaxoi (pv\axt$ 
 SvriTuv a0f 7rw!u Iliicro^ffia ptv ovv, EPMOrEN. zjipi 
 ETPE2, 
 
 by
 
 Obfervatiom on Compqfition. 311 
 
 by the luftre it fheds on pcrfons diftin- 
 guifhed by no fuperiority of intellectual 
 powers : he holds up a faithful mirror to 
 mankind in general * ; and by prefenting 
 examples which all are qualified to contem- 
 plate with impartiality, corrects the bad 
 confequences of that felf-love which com- 
 monly renders us partial to ourfelves. 
 
 Our poetical inftructor attends likewife 
 in this fublime fphere of his profeffion, to 
 fuch ftrokes as make the moll immediate 
 and lafting impreffion on the heart. Thefe 
 he judicioufly contrives to prefs with irre- 
 fiflible energy, and to excite the emotions 
 arifing from all by varying the circum- 
 stances in a natural and happy manner from 
 diftrefs to profperity, thus at the fame 
 
 A.*<* twu zrt7roxyy.tvuv tx Sixirxivxi^ovrog opi^Xovrog 
 tjXotTwai to T&oxypx povov. ov jufy-roi yt xre aiTja*?, utc 
 Xoyurpoiq tqvxtqv t aXAw tivi tTri-^siMpoLTi ocXhat 
 
 fAOVU TOO TOOTTU. AiXUXlVX^tTXl f*tV yxO ZSXVTtaq {it Tl 
 
 twu tjjj sri^fxa-cug. K* p tj 3 xv sheivuw t\ tw t^ottu) 
 tstXxtuvitxi. Kou jUfTa ra Toonx, kxi zs-poa-cii7ro7roixg 
 
 <HX UXOS W TlXlt<T XI f(p ? tXXfH TUV ZJOXTloplVtoV, XUl 
 
 Xtyywxi Jvvxpivuv zragx tujv f[A<pxivo[jt.ti/icv -srpotrumuv tt 
 yr\SiXT\)TT(ji<yu. Id. p. 1 80. 
 
 X 4 time
 
 312 Philofophical and Critical 
 
 time foothing the imagination, inftru&ing 
 the judgment, and mending the heart, 
 Such a procefs of obfervation as this pro- 
 bably gave rife to the drama and epa* 
 poea. 
 
 In this procefs nothing will ftrike a dif- 
 cerning reader more forcibly than the va-* 
 rious operation of the intellectual powers 
 attempting to accomplifh one purpofe in 
 the different fpheres of" their exercife. He 
 will obferve the underftanding, in one cafe, 
 effectuating its end by the fimple medium 
 of proof and inveftigation ; in the other 
 he will trace judgment, in that arrange- 
 ment of incidents which renders thefe 
 adapted happily to produce a certain pur- 
 pofe ; imagination, in their original invent 
 tion, and in the glowing imagery which 
 gives them colour and expreffion ; difcern- 
 ment he will perceive in thofe maflerly 
 flrokes by which the fhades of a character 
 are happily contrafted with its diftinguifh- 
 ing excellencies ; and exquifite fenfibility 
 in that pathos of fentiment and expreffion 
 Which the heart appears to have dictated, 
 
 and
 
 Ohfervations on Compofition. 31 3 
 
 Und by which the heart of the reader is 
 penetrated. 
 
 The drama and the epopoea contemplat- 
 ed in this manner, as arifing from the 
 combination of all the intellectual powers, 
 making feparately the moft ftrenuous ex- 
 ertion, will appear (the former particular- 
 ly) to have called thefe into action with an 
 energy proportioned to the ftrength and 
 variety of thofe manners from which an 
 example is to be formed. As thefe laft 
 therefore varied conliderably in the more 
 cultivated periods of fociety from the uni* 
 form fimplicity of its earlieft ages, the 
 dramatic poets difcovered without doubt 
 greater verfatility of mind, more know- 
 ledge of human nature, and deeper infight 
 into the motives by which the heart is ac- 
 tuated, who to the original imperfections 
 fuperadded a picture of the fafhionable 
 vices and foibles of mankind, than he who 
 confidered man when his manners were 
 iimple and uniform, engaged in a lefs in- 
 tricate and perplexing detail. 
 
 2. Of the firft inventors of the drama 
 We know little with any certainty, nor is 
 
 this
 
 314 Philofophical and Critical 
 
 this a matter of any great confequence, as 
 iEfchylus, the great reformer of this branch 
 of poetry, found it in a ftate of imper- 
 fection, which clearly fhewed that in the 
 preceding ages civilization had made but 
 very little progrefs *. Manners at that 
 time were ftrong, but uniform ; and as the 
 wants of men were comparatively few, 
 their virtues or vices lay open to detection. 
 That it required however both add r els and 
 difcernment, in every fenfe of that word, to 
 ftrike off an exacl: imitation of thofe qua- 
 lities will be acknowledged without difnV 
 culty f. The paffions of terror, anger, 
 
 and 
 
 * ** Ignotum tragic* genus invenifle Camcenae 
 Dicitur & plauftris vexifle poetnata Thcfpis 
 Quse canerent, agerentque peruncli frccibus ora. 
 Poft hunc perfonse, pallaeque repertor honefta: 
 iEfchylus, & modicis inftravit pulpita tignis, 
 t docuit magnumque loqui, nitique cothumo. 
 
 Hor. de Art. Poet, 
 f The great ancient critic appears to have rather 
 reilned too much on his fubject when he fays that 
 " tragedy exhibits an imitation not of men in general, 
 ** but of their actions; of the life for inftance of fome 
 u individual, and of fuch objects as conftitute happi- 
 " nefs or mifery: that happinefs confifts inaction? 
 " and though manners denominate the character, yet 
 
 " it
 
 Obfervatlons on Compojition. 31$ 
 
 and revenge, though thefe may be detect- 
 ed with greater facility, and perhaps pour- 
 trayed in all their appearances with lefs 
 difficulty than fuch as are concealed behind 
 the mafque of hypocrify, or are contracted 
 by an intercourfe with the difTolute and 
 luxurious part of mankind ; yet when 
 confidered as exerted in particular circum- 
 stances, or combined with certain qualities 
 either intellectual or moral, cannot be 
 painted as appropriated to characters with- 
 out a knowledge of the human heart ar- 
 guing at the fame time difcernment and 
 experience. 
 
 Hiftory however relates not any change 
 fo remarkable in the courfe of a few years 
 as that which appears to have been 
 
 *' it is from thefe laft that we decide of man as happy 
 ?' or miferable, in which light he is principally exhi- 
 " bited in tragedy; that therefore a performance of 
 ^ this kind cannot fubfift without action, but may 
 " without an imitation of manners." ee the 6th ch. 
 of his Poetics. This is mere metaphyfical refine- 
 ment. It is certainly not true, that we judge of men 
 as happy or miferable only from their actions : thefe 
 difcover to us in general rather what men ought to be, 
 than what they really are. Their manners upon parti- 
 cular occafions, exhibit a much furer teft, and it is the 
 bufinefs of tragedy to take of both. 
 
 wrought
 
 3 16 , Philofophical and Critical 
 
 wrought upon the manners of the Atheni-* 
 ans, betwixt the time of iEfchylus and 
 that of his fucceffor Sophocles, who came 
 only about thirty years behind him. This 
 Jaft poet found his country men emi- 
 nent for their politenefs, learning, ele- 
 gance, and urbanity, of which they con- 
 tinued for fo many ages to fet mankind a 
 pattern. The ftage, whofe reformation 
 kept pace with refinement of manners in 
 every other refpect, had now received great 
 improvement, not only from the drefs and 
 pronunciation of the actors, as regulated 
 properly to the characters which each was 
 to exhibit, but principally from the change 
 made upon the chorus, which had former- 
 ly confifted of a promifcuous croud, whofe 
 appearance frightened the fpectators in- 
 flead of producing entertainment; and 
 whofe numbers occafioned unavoidable 
 confufion *. 
 
 In 
 
 * Before the time of Thefpis and iEfchylus, tra- 
 gedy was wholly performed by the chorus. The for- 
 mer of thefe, fenfible of the tedioufnefs and infipid 
 uniformity of this defign, added to it one perfon as an 
 
 actor,
 
 Obfervations on Compofition. 317 
 
 In a ftate likewife fo varioufly modified 
 as that of Athens, there arofe in confe- 
 quence of the fields fucceffively opened to 
 every paffion of the human mind, a va- 
 
 actor, but the difproportion ftill continued . to be re- 
 markable. An accident at lad brought about a refor- 
 mation. In the reprefentation of the Eumenides, the 
 barbarous drefles of the chorus, which confided of fifty 
 perfons, frightened the women with child into mif- 
 carriage, and the children into fits. jEfchylus, there- 
 fore, by contracting the number of perfons employed 
 in the chorus, and by adding proportionably to the 
 actors, rendered tragedy fo juft a reprefentation of 
 manners and action as we fee it at prefent. To this 
 change introduced among the perfons he fuperadded 
 others with regard to machinery, decoration, and de- 
 corum. The former he effectuated by erecting a ftage 
 for the actors initead of a cart, which had formerly been 
 employed ; the latter, by cloathing them in the mafque, 
 the bufkin, and the long robe; and the laft, (by far 
 the mod important of all his alterations) by making his 
 murders pafs behind the fcenes, inftcad of being per- 
 formed in fight of the audience. It is on thefe accounts 
 principally that he is fo much celebrated by the an- 
 cients, Vid. Hor. ubi fup. Phil, in Vit. Apollon. lib. 
 vi. c. 6. Vit. -/Efchy. ap. Stanleium, &c. In this re- 
 formed ftate therefore Sophocles and Euripides found 
 the theatre; and when we confider that thefe men 
 poffefTed themfelves great natural abilities, and found 
 the manners of the. Athenian people improved to the 
 utmoft, we fhall ceafe to wonder that their compofition 
 appears fo much more correct and mafterly than that 
 of their predeceflbrs. 
 
 riety
 
 318 Phibfophical and Critical 
 
 riety of characters calculated peculiarly td 
 give exercife to the invention of the dra* 
 matic poet, and from the dread of his ri*- 
 vals, the diverfity of his fubjedts, and the 
 exquiflte tafte of his hearers, attentive to 
 the flighteft deviation from nature and 
 propriety, that correctnefs of Compofition 
 took place, which indicates a judgment 
 matured by exercife, and maintaining its 
 pre-eminence over the other faculties. 
 Thus in comic reprefentation, it became 
 exceedingly difficult either to develope 
 real vices fhaded by a veil of the deepeft 
 hypocrify, or to fix upon thofe little flaws 
 in characters of diftinguifhed eminence, 
 which render an imitation fo happily na*- 
 tural *. In tragic compofition indeed the 
 
 fubjects 
 
 * The divifion of comedy among the Greeks into 
 the old, the middle, and the new fpecies is too ge- 
 nerally known to be infifted on here at any length. In 
 the firft, criminal or ridiculous actions were not only 
 painted in the ftrongeft colours, but the name of the 
 man was publicly mentioned, and an indelible ftigma 
 fixed upon his character. 
 
 Si quis erat dignus defcribi, quod malus, aut fur, 
 
 Quod
 
 Obfervations on Compofition. 319 
 
 fubje&s continued at every period of fen 
 ciety to be of one kind, becaufe the poet 
 
 foar- 
 
 Quod msechus foret, aut ficarius, aut alioqui 
 Famofus, multa cum libertate notabant. 
 
 Hor. Sat lib. iv. Tat. r. 
 In the middle comedy, which took place when the A- 
 thenian date drew nearer to an oligarchy, this licence 
 was curbed, and the poet allowed to expofe the actions, 
 but forbid to name the perfon. The lad fpecies of co- 
 medy, without regard to individuals farther than as 
 thefc may be delineated by the defcription of particular 
 virtues or vices, confided wholly of fuch reprefentations 
 as exhibit a juft piture of human life. It muft be con- 
 feffed that fuch pieces of the celebrated Aridophanes 
 as have reached the prefent times, are for the mod part 
 of the fird mentioned fpecies. This poet however 
 muft be allowed to have performed a tafk which does 
 honour to his difcernment, whatever difcredit it may 
 reflect upon him in other refpedts, when he expofed 
 the divine Socrates as an object of ridicule to the mul- 
 titude, and gave mankind a confpicuous evidence that 
 any character, how exalted foever, may be placed in a 
 ridiculous point of view, when the flighted flaw, or even 
 virtuous indignation carried to an extreme, is expofed 
 by a man endowed with this dangerous talent. If 
 there was any circumdance exceptionable in the con- 
 duel; of Socrates, it appears to have been his being too 
 explicit on the fubject of religion, (the mod dangerous 
 of all topics) and inftilling prejudices againd that of 
 his country into the minds of his pupils, before he had 
 fubdituted fuch principles in its room, as might coun- 
 terbalance the bad confequences arifingfrom this pro- 
 ceeding.
 
 20 Philofophical and Critical 
 
 foaring perpetually here in the region of 
 the fublime and pathetic, finds characters 
 fuited to his defign among the great and 
 unhappy of all ages. But here likewife it 
 became neceflary, that he fhould attend 
 more clofely than formerly to the unity of 
 his fable, to the confiftency of his charac- 
 
 ceeding. He had likewife fomewhat too unwarily ab- 
 fented himfe'f from the theatre when the comedies of 
 that author were reprefented, which was a neg!cr. not 
 to be overlooked. See Rhymer's View of Tragedy, 
 and ./Elian's Various Hiftory, b. ii. c. 13. Of this 
 circumftance in the conduct of this great philofopher, 
 Ariftophanes, animated by the motive we have fuggeli- 
 ed, took immediate advantage. He intends to repre- 
 fent his eloquence as dangerous, and calculated to pro- 
 duce the molt pernicious effects. " He feigns there - 
 " fore that a countryman involved in debt fent his fon 
 '* to Socrates's fchool that he might learn to cheat his 
 " creditors. This young fellow is fo well inftru&ed 
 * by the philofopher, that he goes home, beats his fa- 
 * ther, and then proves that he had acted very proper- 
 l< ly." The end propofed here is perfectly obvious. 
 But it is principally our prefent bufinefs to obferve, 
 that thorough knowledge of human nature, which was 
 neceflary to make Ariftophanes fucceed in his defign, 
 and that fharc of penetration which is neceflary to make 
 an author difcern amidft fo many excellencies as might 
 overpower an ordinary mind, that little fpeck by 
 which all may be obfcured, and the ends defeated to 
 which thefe might otherwife be rendered fubfervient. 
 
 ters,
 
 Ohfer vat ions on Compofithn. 321 
 
 ters ; and to the ftrain of his compofition* 
 as preferving a juft medium betwixt born-* 
 baft and meannefs* a llyle equally remote 
 from the ftiffnefs of pedantry and the rant 
 of declamation* 
 
 Upon the whole, dramatic poetry^ con* 
 f dered with regard to the faculties of the 
 mind, requires principally the poet to be 
 pofTefled of that difcernment which we have 
 fhown to confift of the union of imagina- 
 tion and judgment, and which requires 
 the perpetual, and almoft equal operation 
 of both. The former of thefe powers is 
 required rather to be ftrcng and perfpica* 
 cious in this branch of compofition thaii 
 florid and luxuriant, becaufe it is the bufi- 
 nefs of the dramatic poet to reprefent man 
 as a creature whom paflion, inclination* 
 and appetite often directs in the conduct 
 of life; and paffion never exprefleth its 
 feelings in imagery and metaphor * : the 
 
 latter 
 
 * Some modern writers have indeed found a me- 
 thod of reconciling thefe ci re umftances, and of mak- 
 ing their heroes rave in the flowing ftyle of rhetoric. 
 How far they have followed nature in this conduct 
 their readers muft be left to determine. The ancients 
 
 Vol. I. Y certainly
 
 322 Philofophical ad Critical 
 
 latter ought to poffefs the two qualities of 
 omprehenfion and precifion, that it may 
 at the fame time regulate the plan, adjuft 
 the incidents to the characters, and direct 
 with fuch exquifite propriety the time of 
 throwing in thofe ftrokes whLh penetrate 
 the heart as to render the whole piece emir 
 nently beautiful, and as nearly as poffible 
 perfect in its kind *. A mind capable of 
 
 execut- 
 
 certainly have both judged and ared in a very diffe- 
 rent manner. The Oedipus of Sophocles, upon the 
 difcovery of his guilt, expreffeth his defpair in the 
 fimpleft, but at the fame time in the moft fignificant 
 words. 
 
 I, 18* T tSTKVT UV t%M.0l (Txtyn 
 
 fl (pCCS TiXtVTOUGV <TB TJ-^OIT^At^XlfJt.1 I'M, &C 
 
 He recalls to his memory the places in which he had 
 been educated, and every circumftance contributes to 
 heighten his mifery. 
 
 il YleXvQt, xat K#ffc, xxi tx vjxtoix 
 Aoyu) -craXaja Ja^a6 qiqv agx, y.t 
 KaAAoj xxxuv vxovXov ifyr^xn. 
 
 Z0(p0Y.\. OlSlTT. T^. 
 
 * The poet quoted above, who appears to have been 
 thoroughly acquainted with the human heart, excells 
 particularly in this uncommon faculty of throwing out 
 juft at the proper feafon thofe exquifite ftrokes of paf- 
 
 fion,
 
 ObjerVations on Compofitwn. 323 
 
 executing with maftery a performance of 
 this kind, muft poflefs likewife that exqui- 
 fite feeling either of pleafure or . pain, 
 which renders the author not merely pre- 
 
 fion, or rather that perfect imitation of nature, by 
 which every reader mud be affe&ed, becaufe the prin- 
 ciples here wrought upon are common to all. T he 
 following verfes contain the moft ftriking examples o 
 this kind I remember ever to have met with. Oedi- 
 pus, reflecting on the ftupendous feries of events by 
 which he had been plunged in the blackeft defpair, 
 exclaims in the agony of his thought 
 1 yxuat, yxpot, ttyvaaA* vpxq, xxt (puTtva-xvTts z<raAi> 
 
 AvilTt tXVTOV GTrigfAX Xi X,X7TEdtl%XTS 
 
 Uxrcpag, adiXtpovi;, xsxi^xg x\^x ^(puAiov, &X. 
 From this fcene his mind recoirs with horror, and 
 breaking from the thought, he wifh.es to drop into an- 
 nihilation. 
 
 Ittu$ Txyj.sa. zs^og 3"fai/ su y.e trov 
 KaAuyaT jj (povv<rxT , n Sx\x<y<riQV 
 ILKoiyxr ti9, f/.mror f<ro\|/*<r()' T, oCC. 
 Nature herfelf fpeaks in all this, and it cannot be pe- 
 rufed without emotion. Yet the expreflion is perfect > 
 ly fimple. The poet had judgment enough to difcerrl 
 that ornament here would have been equally ufelefs 
 and difgufting. Oedipus talks the language of a man 
 overwhelmed with defpair. He is hurried by the re- 
 membrance of his crimes, which are exprefled in very 
 few words, to the deiire of infhnt death. This ftroke 
 is introduced juft at the proper feafon, and from this 
 circumftance is derived its pathos and energy. 
 
 Y 2 fent
 
 324 Philofophical and Critical 
 
 fent at every fcene, but deeply interefted 
 in every tranfaclion ; and in proportion 
 to the ftrength or weaknefs of that fenfi- 
 bility in the author, will be that eager 
 appetite, clofs attention, or cool indiffe- 
 rence with which the reader of difcern- 
 ment will perufe his work. 
 
 3. From the preceding obfervations on 
 the intellectual powers, as varioufly dis- 
 played in dramatic compofition, we mail 
 be enabled to point out with greater faci- 
 lity that union of thefe which gives rife to 
 the more complex fpecies of the epopcea. 
 Confidered merely as a branch of Compo- 
 fition, authors have differed very much in 
 their fentiments of dramatic and epic 
 poetry; and a great judge of eminence in 
 both has pronounced a decifion in favour 
 of the former *. His fentiments on this 
 
 fubject 
 
 * " Le pocme epique (fays an ingenious critic) eft ce 
 qu'il'y a de plus grand & de plus noble dans la poefie. 
 C'eft l'ouvrage le plus accompli de l'efprit humain. 
 11 (poete hcroique) faut de grandes images, Sc un ef- 
 prit encore plus grand pour les former- Enfin il faut 
 un jugement fi folide, un difcernement fi exquis, une 
 d perfaite connoifiance de la langue, dans laquelle on 
 
 ccrit }
 
 Obfervations on Compofition. 325 
 
 fubjecl: fall not particularly under our pre- 
 fent examination. It is necefiary only to 
 obferve on this fubjedt, that whatever ad- 
 vantages tragedy derives from the perfec- 
 tion of its plan, as relating to one event *, 
 from the fhortnefs of its action, as calcu- 
 lated to arreft attention more forcibly than 
 the difFufive and various tranfactions re- 
 corded by the epic poet f ; from the fim- 
 plicity of its fable, as admitting of no epi- 
 fodesj; and finally, from the external 
 machinery of the theatre, the mufic, elo- 
 cution, and gefticulation with which its 
 exhibition is accompanied ; yet confider- 
 
 ed 
 
 ecrit; une etude fi conftante, une meditation fi pro- 
 fonde, une etendue de capacite fi vafte que les fiecles 
 entiers a peine peuvent produire un genie capable d'un 
 poeme epique." Rap. Reflex. Poet. p. 126. 
 
 * Et to thtzTTOvi jwrxn to tjAo? t?j? [Atpya-tus $" 
 Afir. ttcpi TIowT. Kt(p. xf. 
 
 ' To avQoourtgov inSxov m zroXKu xtpatfAtvov ru ?ovw. 
 AtytcSt oiou a rig tov OiJWav S"fr) t SocoxAjou? tv 
 frrccriv ecoiq n lAaf. Id. ibid, 
 
 J Et r\TT0V (mix ottqxzo-xv y twv rrroTrouw' Sfjwf iov oV 
 x yap QTTQist<rxv ^i/AWia?, "a-Ktusg T pay u$ 101.1 ywvrou* 
 Ibid. 
 
 EflTf ITfiC JlOTI ZJZVT f%f 0(TTiP n Eiro7rn*' Kai 
 Y 3 y*
 
 326 Philofophkal and Critical 
 
 ed fimply as indicating a certain combina- 
 tion of intellectual faculties, and requiring 
 thefe to be exerted either with compara- 
 tive ftrength or variety; epic poetry has 
 in thefe refpects the advantages of this, and 
 indeed of every fpecies of compofition 
 whatfoever *. This truth will be render- 
 ed more obvious from the following con- 
 siderations. 
 
 1. We have already feen that the mod 
 tliftinguifhing ingredient of genius, the 
 power of invention, difplays in the drama 
 rather ftrength and perfpicacity than rich- 
 inefs and luxuriance, becaufe it admits not 
 in any eminent degree of thofe glowing 
 
 colours which are naturally and fuccefs- 
 
 j\ 
 
 _ _ _ 
 
 yac> too METP2 t'tn ^w0ai, xau cm a /aix^oi/ fxtgoq 
 mv [Acv<rix.nv xxi ryv cjnv *% d? ?l? Taj r t aovag nrifocv- 
 tj evoc^yifocTot,. Ibid. 
 
 * " La prefence de la divinite & le foinqu'unecaufe 
 fi augufte doit prendre de Taction, oblige le poete a 
 faire que cette action foit grande, importante, & con- 
 duit par des princes," & par des rois. Elle oblige aufTi 
 de penfer & de parler d'une maniere relevee au deflus 
 du commun des hommes, & qui egale en quelque 
 forte les perfonnes divines qu'il introduit. C'efl aquoi 
 fert le langage poetique & figure & la majefte du vers 
 heroique.'' BoiTii du Poeme Epique, liv. i. p. 10. 
 
 fully
 
 Obfervations on Compqfition. 327 
 
 fully employed to render narration ani- 
 mated, or to difplay in the happieft atti- 
 tudes the various objects of external na- 
 ture. Eloquence in the fame manner 
 (which derives its origin from a fimilar 
 combination of the powers of the mind) 
 confines this power principally to the in- 
 vention of topics, of perfualion, and to the 
 office of conveying thefe with pathos and 
 energy to the heart. Philofophy and hif- 
 tory exclude its incidents ; but epic poetry 
 affords the molt unlimited range to this 
 faculty in whatever point of view its exer- 
 tions may be furveyed. Thus as the pa- 
 rent of picturefque and beautiful imagery, 
 the whole compafs of objects, whether of 
 nature or of art, that fall within the fphere 
 of human inveftigation lie promifcuoufly 
 open to its ufe. As the poet varies his 
 fcenery in the courfe of his narration ; as 
 by ihowing his principal perfonages in va- 
 rious lights he excites alternately in the 
 minds of his readers admiration, terror, 
 pity, indignation, or diftrefs; he may 
 heighten every fucceffive profpecl: by fig- 
 n|cant and appropriated illuftrations, and 
 Y 4 obtain
 
 328 Philofophical and Critical 
 
 obtain by thefe means every purpofe to 
 which the poetic art in the trueft fenfe of 
 that epithet can be rendered fubfervient. 
 Thefe advantages the epic poet derives 
 from carrying on an uniform narration 
 of events, inftead of afTuming always, 
 like the dramatic writer, the ftyle of con- 
 verfation, which (as we have already feen) 
 contracts the range of imagination, and 
 prefents to it a lefs diverfified feries of ob- 
 jects. Here too the bard has an advan- 
 tage over the hiftorian, even in his own 
 fphere of narration, becaufe the latter is 
 confined to the fimple detail of facts, on 
 which it is neither neceffary nor proper 
 that he fhould frequently throw the glow- 
 ing colours of the faculty we are contem- 
 plating ; whereas in the work of the for- 
 mer thefe are confidered as indifpenfably 
 requifite. 
 
 2. When we again take a view of ima- 
 gination as inventing an endlefs variety 
 of new and furprifing incidents, the epic 
 poet is here likewife eminently diltinguifh- 
 ed by the ufes he may make of this faculty 
 above all other writers whatever : vMl\\c 
 
 an
 
 Observations on Compofition. 329 
 
 &n author is confined by the rules of the 
 drama to a fhort fpace of time, and to in- 
 cidents, however furprifing, yet tending 
 without the leaft digreffive circumftance to 
 bring on the principal cataftrophe ; here, 
 on the contrary, every figure of this mi- 
 niature appears extended to its full pro- 
 portion. The greatnefsof the action ren- 
 ders a confiderable length of time necef- 
 fary to complete the defign, and in the 
 conduct of the fable, every event within 
 the verge of poetic probability may with 
 propriety be introduced. Unanimity and 
 difcord, wifdom and folly, ftrength and 
 weaknefs, anger and friendfhip, war and 
 love, thefe with all the paffions of human 
 nature, wrought into characters, and dis- 
 played alternately in a feries of events 
 conftantly diverfiried, attract the attention 
 of the reader as powerfully, and render 
 him almoft as deeply interefted as if every 
 part of the bufinefs was really his own, 
 and his happinefs or mifery was connected 
 with the event.. 
 
 Add to all this the beauty of thofe in- 
 chanting epifodes, which relieve the mind 
 
 of
 
 330 Thilofophical and Critical 
 
 of the reader fo agreeably, after having, fol- 
 lowed out for fome time the principal bran- 
 ches of the fable ; and the rich and various 
 machinery which fancy is here at liberty 
 to contrive with the utmoft licence, and 
 to paint in the moft animated colours ; and 
 with thefe advantages in its favour, there 
 is perhaps no other fphere whatever in 
 which imagination may difplay its power 
 of inventing incidents in an equal degree. 
 This advantage is indeed univerfally al- 
 lowed to epic poetry, even by thole who 
 confider the dramatic as upon the whole a 
 more perfect fpecies of Compofition *, and 
 it is therefore unneceffary to infill on it 
 any longer. 
 
 Thofe fentimental beauties likewife, 
 which in confequence of their novelty, or 
 
 n ' ! 
 
 * Thus Ariftotle, in a paffage quoted above, ac- 
 knowledges that the plan of an epic poem is more com- 
 plex than that of the drama, and that feveral tragedies 
 might be made of one. It is fomewhat odd that our 
 great critic fhould adduce this circumftance in proof of 
 the excellence of dramatic above epic poetry, as the 
 complex nature of the fable in the latter naturally calls 
 into exercife the intellectual powers in more various 
 combinations, and when properly executed difcovers 
 an higher fhare of merit. 
 
 peculiar
 
 Obfervations on Compqfitwn, 331 
 
 peculiar delicacy are fuppofed to derive 
 their origin from the power of invention, 
 may here be introduced with the greateft 
 propriety. Accordingly in the ftandards of 
 the epopoea the molt, delicate expreffions 
 of parental ten dernefs*, of filial gratitudef, 
 of inviolable friendfhipj, and of conjugal 
 felicity , are every where to be met with. 
 Thofe moral reflections on human life, 
 which tend to foften and m :nd the human 
 heart, are cloathed in fuch ftriking colours 
 as to make a lafting impreffion on the me- 
 mory j] ; and the events perpetually vary- 
 ing, pour upon a contemplative mind a 
 fcries of fuch inftrudtive obfervations, as 
 
 * IAIAA. . 1. 466. OATS. 7r. paC 
 -f OATS, ubi fup ./Eneid. lib. ii. J. 7C7. 
 J IAIAA. . \\ 120, &c. If. 1. 93. jc. 242, &c. 
 ,/Eneid, lib. v. J. 294. 
 
 IAIAA. ubi fup. OATS. $, paff. JEncld. 2. 
 711.738, &c. 
 
 \ How beautiful in this kind is the following image 
 in Glaucus addrefs to Diomed, 
 Oi] Trig (pvXAoov ytvty, rom^i xxi avSguv. 
 3>uAAa t y.tv t xvifAog ^a^adis %, aXXx <Jt S - ' vXri 
 T*iAiSoto<ra (pvii. sacoog Fi7riyiyviTa,i uon. 
 fig uvtyw ywtri, n piy tyvtty r\ FonroXnya. IAIAA. . 
 
 render
 
 332 Thilofophical and Critical 
 
 render this work when properly conduced 
 not lefs ufeful than entertaining. 
 
 3. Of imagination, as employed in the 
 invention of human characters, fo much 
 hath been faid that it would be fuperflous 
 to infift on this branch of the fubjeel; at 
 any length. It muft however be acknow- 
 ledged that the mythology of the ancients 
 gave advantages to the epic bard in draw- 
 ing the characters of his celejiial perfonages, 
 of which he is in a great meafure deprived 
 by that more perfect fyilem of revealed re- 
 ligion, whofe laws permit not imagina- 
 tion to blend oppofite qualities together 
 in fuch a manner as to form pi&urefque 
 and original reprefentations. Homer ap- 
 pears to have availed himfelf of all the be- 
 nefits derived from the religion of his 
 country : and by an happy intermixture 
 of the qualites of the divine with the frail- 
 ties of the human nature, has rendered 
 his deities by far the moft beautiful and 
 entertaining perfonages of his fable *, By 
 
 thefe 
 
 Our incomparable Milton has chofen apian of all 
 others beft calculated to fupply the defett arifing necef- 
 
 larily
 
 Obfervations on Compojition 333 
 
 thefe means he pofTefTeth the peculiar ad- 
 vantage of painting many original charac- 
 ters without violating the rules of poetic 
 probability. This benefit arofe from the 
 practice of the ancient poets, who (as no 
 fyftem of revelation took place) were left 
 at liberty to invent fuch a plan as imagi- 
 nation prefented at random ; and fucceed- 
 ing bards, provided they did not over- 
 throw the fyftem of their predecefTors, 
 might employ their divinities in fuch ac- 
 tions as difplayed in their full extent that 
 union of diverfified qualities which fancy 
 had affigned them. In order to render 
 this reprefentation complete, as an imi- 
 tation of characters, the gentler and more 
 
 firily here from the nature of our religion. His devils 
 however, give by no means that inchanting variety 
 to the Paradife Loft, which the heathen deities give to 
 the works of Homer and Virgil. Thefe laft blend, 
 promifcuoufly the virtues, the weaknefles, and even 
 the vices of human nature in the character of their di- 
 vinities; whereas Milton, in painting his celeftial com- 
 batants, was confined to the firft ; in defcribing their ad- 
 verfaries, to the laft mentioned qualities, but was no- 
 where at liberty to unite both, in fuch a manner as 
 forms that imitation which the human mind delights to 
 contemplate. 
 
 amiable
 
 334 Philofophical and Critical 
 
 amiable female qualities are blended even 
 with the foibles and weakneiTes of that fex 
 among the goddeffes, who act a princi- 
 pal part in the work. Thus, as the fcene 
 varies to heaven, earth, or hell, whofe 
 powers are all interefted in the cataftrophe, 
 attention is kept always upon the ftretch 
 by contemplating objects perpetually di- 
 verfified, and the fubject admits by thefe 
 means an extent and compafs of invention 
 fuperior in every refpect to that which is 
 difplayed in any other branch of the art. 
 
 2. While the imagination thus has fcope 
 in the epopcea to difplay all its exuberance 
 and verfatility, a fphere equally extenfive is 
 opened to the underftanding which is re- 
 quired to operate as univerfally, and with 
 an energy proportioned to the former. 
 
 This truth will be rendered fufficiently 
 obvious, if we obferve, that the preferva- 
 tion of the unities in the epic fable, the 
 adjuftment of its parts to each other in 
 fuch a manner as to form upon the whole 
 a proportioned as well as diverfified feries 
 of objects; its incidents judicioufly adapt- 
 ed to excite, but never to fatigue atten- 
 tion j
 
 Cbfervations on Compojition. 335 
 
 tion; and its epifocles confidered as con- 
 nected with the ultimate aim of the work, 
 and interwoven in fuch a manner as to fet 
 off the principal figures to the greateft ad- 
 vantage; thefe are ends effential to the 
 very exiftence of this high fpecies of com- 
 pofition, and it muft be immediately ob- 
 vious that each is acquired by fome exer- 
 tion of the underftanding. 
 
 Judgment therefore is here required to 
 be at the fame time fedulous and unem- 
 barraffed ; clear and comprehensive : fe- 
 dulous, becaufe the clofeft attention is ne- 
 ceffary to give every member of the work 
 its due proportion and confiftence ; unem- 
 baraffed, that amidft the diverfity of mate- 
 rials, the mind may felect with eafe fuch 
 upon occafion as are fitted juftly to its 
 purpofe ; clear, that every character may 
 be uniformly difcriminated, and that every 
 illuftration may correfpond to its object; 
 and comprehenfive, that it may be equal 
 to purpofes fo widely different, and effec- 
 tuate each with the fame maftery and cor- 
 rectnefs. An artift who follows out a 
 fimple plan with adequate ability naturally 
 
 claims
 
 336 Thilofophical and Critical 
 
 claims our efteem and approbation; but 
 we bellow a much larger lhare of both on 
 him who brings grace and proportion out 
 of an exhauftlefs variety of materials ; who 
 fhapes into form, a figure connfting of 
 the mod complicated ingredients, and with 
 a fagacity attentive to the minutefl cir- 
 cumftance, renders every movement fub- 
 fervient to the ultimate purpofe of his 
 work. 
 
 As judgment therefore may difplay its 
 extent and comprehenfion in the external 
 machinery and mechanifm of the epopcea, 
 fo it may difcover true philofophical pre- 
 cifion in the difcuffion of thofe queflions, 
 whether moral or political, that take their 
 rife from the characters, events, and tranf- 
 actions of the work. Arguments will here 
 be ftated and enforced, objections will be 
 propofed and refuted, expedients fuited to 
 the manners of the perfons, and calculat- 
 ed to fhew the points in which thele laft 
 are difcriminated will be fixed upon as the 
 detail becomes complex and interefting; 
 and doctrines of the molt extenfive utility, 
 with regard to the conduct of life, may be 
 
 either
 
 bbfernjaihns on Cotnpojitwri* 337 
 
 either formally unfolded, be ornamented 
 with imagery,- or be inculcated as the mo-* 
 rals of fome beautiful allegories^ as time 
 and circumftances require thefe to be treat- 
 ed. It was undoubtedly in confequence 
 of his having taken this enlarged view of 
 epic poetry, as affording exercife to the 
 underftanding, that the eloquent and judi- 
 cious Roman poet pronounceth Homer td 
 have excelled the inoft diftinguifhed phi-* 
 lofophers, even in their own fphere* 
 
 Trojarti belli fcriptorem relegi - 
 
 Qui quid fit pulchrum, quid turpe^ quid utile,' 
 
 quid non, 
 Plenius & melius Chryfippoj et Crantore docet. 
 
 Horace; 
 
 A noble and appropriated eulogituh, not 
 lefs honourable to the judgment of the cri- 
 tic who could apply, than to the genius of 
 the poet who could deferve it* 
 
 3. Difcernment of the rhoft exquifite 
 kind, as refulting from the union of the 
 fuperior faculties the epic poet may evince 
 iikewife in the higheft degree, by varying 
 the expreffion of one quality according to 
 
 Vol. L Z the:
 
 338 Phihfcphical and Critical 
 
 the combination in which it is placed*; 
 by obferving the inftant at which the mind 
 is fufceptible of almoft any impreffion ; and 
 beyond all other indications, by throwing 
 out thofe little ilrokes. of nature, imper- 
 ceptible to a fuperlicial eye, which com- 
 mand the immediate acknowledgment of 
 a feeling heart, not by language but by 
 tears. 
 
 . III. The two higher fpecies of fable (the 
 dramatic and epic) we have now confider- 
 ed particularly, as indicating a certain 
 union of the intellectual powers, and we 
 have endeavoured to point out, not only 
 the general .offices appropriated to thefe in 
 the departments above mentioned, but the 
 peculiar qualities by which each may be 
 diftinguifhed. Before we conclude our 
 obfervations on this branch of the fubjecl, 
 it may be proper to examine with the fame 
 view to the faculties of the mind, fome 
 kinds of fable, inferior indeed to the for- 
 mer with regard to the variety of talents 
 
 See feet. iii. 
 
 required
 
 Obfervations on Campcfition. 339 
 
 required for their production, but demand- 
 ing an high degree of fuch as are indifpenf- 
 ably necefTary for this purpofe* and giv- 
 ing occaflon to difplay no inconfiderable 
 proportion of all. 
 
 Among the writers who excel in this 
 clafs, the firft rank will undoubtedly be 
 affigned to thofe who have attempted to 
 follow out the wanderings of the human 
 heart, and to delineate the firft impreffions 
 made upon a fufceptible mind by intereft- 
 ing objects, as well as the manner in which 
 it feels when infenflbly familiarized to 
 their appearance. An author who is ca- 
 pable of exhibiting with propriety a cha- 
 racter of this kind, who adapts circum- 
 stances to the affections which he propof- 
 eth to excite, and paints thefe fo happily 
 when excited, as to imitate nature in her moil 
 delicate fignatures, pofleffeth an high 
 mare of philofophical excellence, and fhows 
 that exquifite fenfibility as exifting in his 
 own mind, which he pourtrays fo juflly 
 in that of another. Here indeed the ima- 
 gination difplays no fublimity, or exube- 
 rance, as the characters are not of that 
 Z 2 exalted
 
 34-0 Philofophical and Critical 
 
 exalted caft which require thefe to be exert- 
 ed : but that inftantaneous perception of 
 certain attitudes, which difcernment ulti- 
 mately derives from imagination, that 
 eorrefpondence of which every man is fen- 
 fible betwixt the action and the feeling 
 giving rife to it in one heart, and excited 
 hj it in another ; thefe eircumftances deno- 
 minate tafte in the rnoft eminent degree, 
 and that deep infight into human nature, 
 which experience may indeed improve, but 
 "cannot pofhbly confer. 
 
 In this kind of fable Mariveaux, Cre- 
 billon, and we may add, our late ingeni- 
 ous countryman Sterne, in his Sentimental 
 Journey, excel all other writers whatever, 
 and their excellence (difplayed in one 
 fphere only) is altogether peculiar and ini- 
 mitable The Marianne of the firit. men- 
 tioned author is a character truly exquinte 
 in its kind, in which however, unlefs the 
 reader feels the fentiments themfelves, it 
 is impoffible to adduce examples. A heart 
 fluttering alternately with love and vanity, 
 touched with the lighter! trifles, burfting 
 with paffion, melting with tenderneis, 
 
 actuated
 
 Obfirvatiom on Compq/ithn. 341 
 
 actuated by impreffions purely feminine, 
 and having the nobleft qualities {haded 
 by a few foibles which render her ftill 
 more the object of affection ; this is the 
 portrait here prefented to us, and it is 
 drawn in fuch a manner as that the hand 
 of a mafter appears in the execution. In 
 that beautiful piece of Crebillon, where 
 the waverings of a young heart unacquaint- 
 ed with the nature of its own fenfations 
 are touched with the niceft difcern merit, 
 the reader of tafte, for to him only thefe 
 works are addrefTed, will find the conduct 
 of a man thrown into life, with fufcept- 
 ible paflions, and a fmall {hare of expe- 
 rience, as happily expofed as the female 
 character of the former. The merit of 
 the Englifh writer, in the work we have 
 referred to, lies in his happy talent of ex- 
 citing the tendereft and molt affecting fen- 
 fations from the moft trifling occurrences. 
 With no uncommon depth or compafs of 
 undemanding, this author is diltinguifhed 
 by a copious imagination, and an eminent 
 proportion of the qualities of the heart. 
 His discernment, therefore, which as a 
 Z J philo-
 
 342 Philofophkal and Critical 
 
 philofopher is neither extenfive nor accu-: 
 rate, yet as a moral painter is exquifite, 
 and, when employed in its proper fphere, 
 never fails to hit upon ftrokes of nature 
 the moft expreffive, and upon motives of 
 powerful and irrefiftible energy. 
 
 A more moderate fliare of all the quali- 
 ties above-mentioned is difplayed upon 
 fome occafions in the invention of fables, 
 by which a variety of familiar characters 
 are exhibited either in new and well 
 adapted circumftances, or with ordinary 
 qualities, in fuch combination as render 
 the whole in fome degree original. The 
 former of thefe ends is obtained when the 
 mind is agreeably led through a feries of 
 incidents, happily calculated to throw light 
 upon the principal character, and tending 
 to fhow it in every feparate point of 
 view; the latter, when its oddity is of 
 fuch a kind as to render it uncommon 
 without being falfe or unnatural *. Ex- 
 amples 
 
 * Was I upon this occafion to chara&erife our two 
 mpft celebrated modern novelifts, I would venture to 
 afciibe the firfi kind of merit to Richardfon,*ar;d the 
 
 laft
 
 Obfervatwm on Compofitton, 343 
 
 amples of both kinds the reader of curio- 
 fity will meet with in the Gil Bias of Le 
 Sage, the Tom Jones and Amelia of 
 
 laft to Fielding. The Clarifla of the former is in no 
 refpeft original. She appears adorned with an afiem- 
 blage of virtues, and -of intellectual endowments, 
 which it is to be hoped we fhall frequently meet with ; 
 only in order to have the force of an example, thefe are 
 raifed confiderably beyond the common level. Con- 
 fidering this then as the author's intention, nothing 
 can be more admirably concerted than the incidents 
 by which every dillint excellence is called fucceffiveiy 
 into action. Firmncfs, vigilance, ciicunifpeCtion, 
 united with all the gentler and more amia! le female 
 qualities, appear in the trial;- While refignation, for- 
 titude, forgivenefs of injuries, and aU the virtues of 
 the chriitian ? are nobly exemplified in the caiajlrophe. 
 The Adams of Fielding on the contrary, ftrikes us 
 wholly in the light of an original, arifing not like that 
 pf Falftaffor Don Quixote, from extraordinary quali- 
 ties exerted in a manner wholly new and furprifingj 
 but from a combination of fuch as are indeed more 
 common, but marked with one defett that throws an 
 air of ridicule and oddity on the whole. This defecjt 
 Is a total want of the knowledge of mankind The 
 incidents of the piece are fewer, and the plan lefs com- 
 plicated than that either of Clarifla, or even of the fub- 
 fequent productions of Fielding : but the character 
 is marked with little Jlrokes which render it truly comic, 
 and there is fcarce a fingle inftancein the whole work, 
 in which the originality either ceafeth to appear when 
 it ought to be confpicuous, or is carried beyond 
 nature. 
 
 Z 4 Fielding,
 
 34-4 Philofophical and Critical 
 
 Fielding, the Roderic Random of Smollett, 
 and a few other Englifh novels which ap- 
 pear to ftand in the fame rank of excel- 
 lence. If we meet not in thefe with thofe 
 exquifite ftrokes of nature and paffion 
 which chara&erife the former, the defect 
 is, however, abundantly compenfated by 
 characters well fupported, and happily 
 difcriminated ; by incidents fuch as we fee 
 conftantly falling out, but connected fo as 
 to form a rational entertainment, in which 
 probability is feldom violated ; by a faith- 
 ful picture of human life in all its diver- 
 iified appearances; and by a knowledge 
 of mankind, which to fome readers may 
 in a great meafure fupply the lofs of a 
 limited acquaintance, and a defective edu- 
 cation. 
 
 It will immediately be perceived that a 
 large proportion of the intellectual powers, 
 is required to produce a mafterly per- 
 formance in this branch of Compofition. 
 Perhaps, however, upon the whole, judg- 
 ment is, difplayed in it more confpicuoufly 
 than imagination. The invention of in- 
 cidents (in which the laft of thefe is prin- 
 
 ci
 
 Ghfervations on Compofition. 34.J 
 
 cipally employed here) is by no means 
 characteriftical, as we have already feen, of 
 the moft eminent degree of this faculty. 
 The judgment which rangeth thefe fo 
 juftly as to employ the different perfons. 
 in fuch fpheres of action as are beft calcu- 
 lated to (how their peculiar qualities to 
 advantage, mud be uncommonly compre- 
 henfive and accurate. The Adams of 
 Fielding would have appeared to no ad- 
 vantage had he been wholly converfant 
 with perfons in very low life, or with fuch 
 as were entirely on a level with himfelf. 
 But the lady, the waiting maid, the hofts, 
 the 'fquires, the parfons, and the juftices, 
 with whom he is alternately and moft ju- 
 dicioufly contrafted, contribute feparately 
 to finifh the character, until the figure is 
 fet before us completely proportioned. 
 
 Penetration likewife, as employed to 
 develope the fecret motives from which 
 the actions of men derive their origin, the 
 ingenious novellift will difplay to great 
 advantage in the artful arrangement of his 
 incidents; in the ftrokes that mark his 
 characters; in the judicious felection of 
 
 fuch
 
 346 Philofophkal and Critical 
 
 fuch topics as make the moll lafting im- 
 preffion on the heart ; and in contrafting 
 the perfons of his fable in fuch a manner 
 as may moft happily expofe vice, detect 
 hypocrify, and render prefumption, affec- 
 tation, or arrogance, the objects of ri- 
 dicule. 
 
 We mall conclude this branch of the 
 fubject by obferving, that Rouffeau and 
 Richardfon have carried this fpecies of 
 fable to its utmoft perfection. Thefe wri- 
 ters have the peculiar merit of having in- 
 troduced into a love-tale, calculated one 
 fhould think principally to give the mind 
 a little tranfient entertainment, all the 
 graces of captivating eloquence, and the 
 noble maxims of a fublime philofophy. 
 No branch of the moral character hath 
 been left unexplored by thefe excellent 
 authors, in whofe writings (particularly in 
 thofe of the laft) the entertainment deriv- 
 ed from narration is fo juftly blended 
 with the improvement acquired from con- 
 vincing and perfpicuous deduction, that 
 we are at a lofs to determine which of 
 thefe ends is moft effectually promoted. 
 
 There
 
 Obfewations on Compojitlon. 347 
 
 There never perhaps, was a female cha- 
 racter more highly finifhed than the Eloifa 
 of Roufleau, which is in all refpects more 
 particular and appropriated than either the 
 ClarifTa or Grandifon of Richardfon. It 
 is, indeed, a perfect picture of nature, 
 finifhed with the moft exquifite tafte, and 
 in which not even the flighteft and moft 
 delicate fhading is deficient. We alter- 
 nately admire, in this inchanting portrait, 
 an happy mixture of tendernefs and fenfi- 
 bility, love and refolution, enthufiafm and 
 reafon, virtue and weaknefs, with a capa- 
 city of receiving and of communicating 
 the moft voluptuous fenfations, which 
 fhow us all together that height of excel- 
 lence of which this fpecies of Compofition 
 is naturally fufceptible. 
 
 If, however, the Englifh writer is infe- 
 rior to his rival in this invention of cha- 
 racter, an impartial reader will allow him 
 perhaps the advantage in the number and 
 variety of his incidents, the precifion and 
 compafs of his philofophy, the ftrength 
 and pathos of his eloquence. In this laft 
 quality perhaps no writer ever excelled 
 
 him
 
 Philofophical and Critical 
 
 him of whom we are treating. The elo- 
 quence of Roufleau is fomctimes fublime 
 and elevating * ; often deeply pathetic j" ; 
 on many occafions rich, luxurious, and 
 inchanting J. But the power of harrow- 
 ing up the foul with woe and horror; of 
 cleaving the heart with pity and anguifh ; 
 of diflblving the mind in that fublime me- 
 lancholy which exalted genius can alone 
 either feel or communicate; thefe feem 
 to be the provinces of Richardfon, in 
 which he is wholly original and inimit- 
 able. 
 
 We have been particularly attentive to 
 difplay that union of intellectual powers 
 which is neceffary to perfection in the fpe- 
 cies of fable here confidered, as our re- 
 marks on this fubjecl: may be of fome ufe 
 
 * See particularly his noble addrefs to the Atlantic 
 Ocean, upon which he was going to launch with 
 Anfon. 
 
 {His letter from the rocks of Meillerai, is wholly 
 in this ftrain. 
 
 X The letter fuppofed to have been written in 
 Eloifa's clofet before the moment of enjoyment, and 
 that fucceeding the full accomplifhment of his defires, 
 are full of this luxurious defcription, 
 
 to
 
 Ohfervations on Compofition. 349 
 
 to authors of this denomination ; and I do 
 not remember to have feen any regular 
 attempt made to lay open the principles 
 upon which a branch of Compoiition fo 
 univerfally popular, and fufceptible of 
 fuch high improvement, ought to be 
 conducted. 
 
 IV. Having now confidered the various 
 combinations of the mental powers, with 
 regard to the other fpecies of Compofition, 
 it is only further neceflary that we mould 
 obferve the degree of influence which thefe 
 exert in the fphere of criticifm. 
 
 This noble art when viewed as extend- 
 ing univerfally to all branches of learning, 
 and to every fpecies of Compofition, will 
 be found to give exercife in fo many ways 
 to the faculties of the mind, that a detail 
 of their various combinations in every art 
 
 m 
 
 and fcience to which the rules of criticifm 
 are applied, would carry us into unnecef- 
 fary length, without effectuating any pur- 
 pofe that may not be obtained by taking a 
 more general view of the fubjecT:. Con- 
 fidering therefore criticifm as exercifing 
 univerfal dominion over the two great em- 
 pires
 
 $$6 Phihfophical and Critical 
 
 pires of art and fcience, we fhall endea- 
 vour to mow what compafs of intellectual 
 powers is required to conftitute the gene- 
 ral character of maftery in this art; and 
 in what degrees the great objects above- 
 mentioned require thefe powers to be 
 exerted* 
 
 i . It requires but fuperficial acquaintance 
 with this fubjeet to make us fenfible that 
 a great and fublime imagination is by no 
 means necelTary to form a mafterly critic. 
 A man poflefTed of this talent in a very 
 high degree, will not only be apt, without 
 conftant circumfpection, to permit its dic- 
 tates too frequently to influence decifions 
 with which it is no way connected, but 
 (as a late ingenious critic obferves very 
 juftly of Longinus) he will be always afpir- 
 ing rather to imitate the beauties of his 
 original, than to point thefe out with that 
 appropriated character which tafte united 
 with judgment will feldom err in confer- 
 ring. The two laft qualities ought there- 
 fore to be confidered as peculiarly and 
 eflentially requifite to critical excellence. 
 The firft in its greatejl extent does by no 
 
 means
 
 Obfervatiom on Compofition*. 351 
 
 means abfolutely difqualify a man for oc- 
 cupying this fphere : in a moderate pro- 
 portion, as the parent of tajle, it is wholly 
 indifpenfable. 
 
 That power which we denominate Tafle 
 in criticiim (as far as the arts are con- 
 cerned) is difcernment corrected by judg- 
 ment in the uje, as it is guided by imagi- 
 nation in the original perception of its 
 objects. It will be obferved that we make 
 ufe here of the term perception rather than 
 that of /election or choice, which arifeth, 
 as we fhall fee afterwards, from another 
 caufe. 
 
 1. That imagination only is employed 
 
 in the original perception of the objects of 
 criticifm, will be obvious, if we reflect by 
 what power of the mind it is that a man 
 becomes immediately fenfible of certain 
 exquifite beauties, or perhaps material de- 
 fects in the fine arts, wholly imperceptible 
 to a common obferver. That it cannot be 
 judgment which directs us in this matter 
 is unqueftionably evident from this iingle 
 circumftance, that even where a very fupe- 
 rior degree of this faculty takes place, we 
 
 often
 
 352 Philofophical and Critical 
 
 eften find the perfons pofleffed of it not 
 only unable to difcover objects of this kind 
 themfelves, but to reliih thefe in any mea-* 
 fure when pointed out to them by others* 
 A kind of artificial tafte (if I may ufe that 
 expreffion) is indeed formed among fuch 
 men by application and experience ; but it 
 generally goes no further than to render 
 them judges of external fymmetry and 
 proportion. The rough outlines of a 
 figure, or the conformity which a work 
 bears to certain general laws eftablifhed 
 either by reafon, or derived from habit, 
 will attract the attention of fuch critics 
 very ftrongly, and as the underftanding 
 when thoroughly acquainted with a fub- 
 ject, and uninfluenced by any other power, 
 feldom errs in its decifions, a judgment 
 will be formed of thefe objects with great 
 accuracy and precifion. But of the effect 
 arifing from a certain happy expreffion in 
 the execution ; of a figure as rendered not 
 merely proportioned, but intenfely ani- 
 mated by an affemblage of well adapted 
 circumftances ; of one exquifite flroke, con- 
 trary perhaps to common rules, and to be 
 
 con-
 
 t)bfef Nations on Compqfition. 353 
 
 contemplated wholly as an object of admir- 
 ation, which prefents a form immediately 
 to the eye with peculiar and inimitable 
 beauty ; of thefe a faculty accuftomed 
 Wholly to clofe inveftigation takes no cog^ 
 nizancc itfelf, and is apt to regard as fport 
 and trifling what it is unable to compre- 
 hend, In fhort* judges (as they may affect 
 to be ftyled) of -Compofition who are di- 
 rected wholly by the underftanding, will 
 form an enunciate in many inftarices equally 
 inadequate as that of the mathematician I 
 have fomewhere read of, who perufed the 
 iEneid with maps of the countries men- 
 tioned in that work, and admired the au- 
 thor only as an excellent geographer. 
 
 As the perception therefore of the ob-* 
 je&s of Criticifm id the arts depends not 
 upon judgment, it muft neceflarily arife 
 from fome other power of the mind ; and 
 this it is obvious cart only be that power 
 which being the parent of thefe in the 
 artift, can alone take cognifartce of them 
 in the perfon who furveys his perform-* 
 ance. " Imagination (as an elegant critic 
 " obferveth) dwells upon an agreeable ob- 
 
 Vol, L A a " je&
 
 354 ' Philofophical and Critical 
 
 " ject with delight, arrays it in the mod 
 " beautiful colours, and becomes ena- 
 tc moured of its own creation. Tafte 
 " catching the contagion from fancy, con- 
 " templates the favourite objecl: with equal 
 " traniport, by which means it acquires 
 " and improves its fenfibility : it be- 
 tc comes more fufceptible of pleafure, and 
 " more exquifitely acute in its fenfa- 
 " tions *." 
 
 In order however to accomplish thefe 
 purpofes, we are not to judge (as was for- 
 merly obferved) that an eminent fhare of 
 imagination is indifpenfably requif.te. In 
 fat, however flrange the remark may ap- 
 pear, it is yet certain that Tafte (when 
 the miiid is employed not in judging, but 
 in execution,) is often found to be moft 
 defective in thofe authors who are allowed 
 to poflefs a fuperior fhare of that faculty 
 from which it is more immediately de- 
 rived. Shakefpeare and Young, among 
 our own writers, and Dante and Arioilo 
 among thofe of a foreign nation, afford 
 
 * Sec Duff's Eflay on Original Geriius, feet. iv. p. 67. 
 
 fuch
 
 Obfervations on Compqfitkn. 35^ 
 
 fuch pregnant examples of the truth of 
 this obfervation, as renders any further 
 Jlluftration of it unneceffary. It is not our 
 intention to infinuate that thefe authors 
 were really detlitute of Tafte, as it enables 
 a man to relifh the moft exquiilte beau- 
 ties, and to judge with the utmoft preci- 
 fion and accuracy of the productions of 
 others. It will appear perhaps upon ex- 
 amination, that men of this Fuperior order 
 are often deficient in execution themfelves, 
 when they are yet capable of deciding, 
 with a difcernment rarely to be met with, 
 of the conformity betwixt a general flan- 
 dard and particular modes of imitation. 
 
 We have already feen the invariable 
 connection that takes place betwixt ima- 
 gination and feeling, or fenfibility. In 
 proportion to the degree in which the one 
 takes place, will be always the poignancy 
 and edge of the other* In eftimating the 
 general merit, or even in being imprefTed 
 by particular beauties or defecls in the 
 work of another, k is obvious that this 
 fenfibility muft be lefs exquifite, and con- 
 fequently the mind more cool and difpaf- 
 A a a fionate
 
 356 Phiiofophical ad Critic dl 
 
 donate, than when its powers are intenfely 
 animated by the fervor with which this 
 faculty in its greateft vigour contemplates 
 the object of its more immediate refearch. 
 In the firft cafe, the mind poffeffmg the 
 power upon which the perception of thefe 
 objects depends, can examine them at lei 
 fure, and can judge of them either by the 
 general laws of Compofition, by their 
 tendency to promote a particular purpofe, 
 or by that train of intermediate ideas with 
 which thefe ought to ftand in connection. 
 But the cafe is altogether different in this 
 laft fituation. A ftrong imagination, wholly 
 engroffed by the greatnefs of its con- 
 ceptions, becomes inattentive to fuch cir- 
 ftances as appear to be inferior, and dwell- 
 ing with tranfport upon fome favourite 
 idea, is rendered incapable of producing 
 uniformity and proportion on the whole. 
 Tafte in this cafe becomes vitiated by the 
 exuberance of that power to which it owes 
 its origin, and thus the fame faculty that 
 invents the theory, appears unequal to the 
 tafk of carrying its principles into exe- 
 cution, 
 
 From
 
 Olfervations on Compqfition. 357 
 
 From thefe obfervations it is, we pre- 
 iume, fufficiently obvious that a moderate 
 portion of imagination is only requifite for 
 accomplifhing the purpofes to which Cri- 
 ticifm (in the arts) is rendered fubfervient. 
 Difcernment in this cafe, if it does not 
 enter fo deeply upon fome occafions into 
 the nature of a fubject as in the other, is 
 yet truer, more confiftent, and lefs apt to 
 be milled in it$ estimations by whim and 
 iingularity. 
 
 In order however, to accomplifh the 
 purpofes above-mentioned, it is neceffary 
 that critical penetration mould be invari- 
 ably corrected by judgment in the ufe of 
 thofe objects whofe perception depends 
 upon the power of invention *. The man 
 of mere fancy, whatever fhare of it he 
 may poflefs, will always err, not indeed 
 in the difcovery of objects, but in the fe~ 
 
 * u Nos quid in quaqua re fequendum cavendum- 
 que fit, doccbimus (fays an admired ancient) ut ad ea 
 judicium dirigatur. Prsccipuum igitur, ne quod effici 
 non poteft aggrediamur : yt contraria vitemus, & com- 
 munia: ne quid in eloquendo corruptum obfcurum- 
 que fit, referatur oportet ad fenfus qui non docentyr." 
 Quintil. de Inftit. Orat. lib. vi. cap. 6. 
 
 A a 3 lection
 
 358 Phihfaphical and Critical 
 
 lection of fuch as are moft proper upon 
 particular occafions, in that juft arrange- 
 ment of inferior parts which renders a 
 whole proportioned and confiftent, and in 
 that judicious application of examples by 
 whofeufe a theory ought to be illuftrated*. 
 
 The 
 
 : j 
 
 * In the noble work of Longinus, whofe vivid im- 
 agination and exquifire tafte were not always regulated 
 by the dictates of an unbiaffed underftanding, we meet 
 in fome inllances, with fuch trivial criticifm as the 
 fpirit in which other parts of that performance is con- 
 ducted, would by no means lead us to expect. Thus 
 he at one time cenfures Herodotus, and at another 
 Theopompus, for little inaccuracies which a writer 
 of fuch fuperior dikemment ought perhaps to have 
 overlooked. The former of thefe in defcribing a tem- 
 ped fays, Tf sjfpi to vxuotyiov ^patrcroy-tvovg i^ih^tro 
 tsAoj AXA1T. Thofe who fuffered fhip- wreck had 
 an unhappy exit. This word AXAPI (unhappy) the 
 critic cenfures as not equal to the greatnefs of the cala- 
 mity. He is no doubt in the right. But where a 
 defcription is othervvife fublime (as Longinus acknow- 
 ledged this to be) and wrought up with even divine 
 magnificence, is it Avorth while for a man capable 
 himfelf of imitating the fublimity whofe original he 
 developes with fuch unqueftioned difcernment, to cull 
 put a circumftance fo comparatively infignificant ? 
 This is rather in the fpirit of Anaxarchus, or Bentley, 
 than in that of an author whofe work othenvife evin- 
 ceth that 
 
 He
 
 Obfervations on Compofition. 359 
 
 The attainment of this laft end requires 
 more immediately a conftant and ftrenuous 
 
 exertion 
 
 He is himfelf the great fublime he draws. Pope. 
 We may here obferve tranfieritly, that an epithet may 
 fometimes have impropriety when referred to fome 
 particular circumftance in a complicated defc-ription, 
 whofe beauty is yet fuch upon the whole, that no 
 reader of tafte would choofe its pofition to be altered, or 
 would fubftitute another in its room. In that fublime 
 defcription of the temped, in which iEneas had fuf- 
 fered fo greatly, the bard reprefents Neptune as rouzed 
 at laft by the war of elements, and arifing to calm 
 the agitated ocean. 
 
 Interea magno mifceri murmure pontum 
 EmiiTamque hyemem fenfit Neptunus, &c. 
 Every reader of the lead fenfibility muft be ftruck with 
 the majefty of his deportment. 
 
 graviter cemmotus, & alto 
 
 JVofpiciens, {nvcwnz placidum caput extpjit unda. JEx\. i. 
 A critic, however, might no doubt, find fome incon- 
 gruity betwixt Jthe idea fuggefted by " placidum 
 caput" which reprefents his countenance as ferene, and 
 that implied in the words " graviter commoius* which 
 fhow him to have been agitated by anger. But does 
 not a criticifm of this kind rather give pain than plea-? 
 fu re to an ingenuous mind, by fliowing that all hu- 
 man excellence is comparative and imperfect ? Would 
 any reader of tafte difplace here the word " placidum" 
 fo cbaracteriflical of that ferene majejiy in the midft of 
 univerfal uproar which ought to diftinguifh the monarch 
 of the ocean, on account of this little impropriety? 
 Unqueftionably not. But let us return to Longinus. 
 A a 4. Our
 
 360 Philofophical and Critical 
 
 exertion of the underftanding. Some ge 
 neral icjea may be obtained by any man. 
 
 of 
 
 Our ingenious critic after having cenfured Herodotus, 
 falls next upon Theopompus He tranfcribes at 
 length a paffage from that hiftorian, where he men- 
 tions the prefents that were offered to the king of 
 Perfia upon his conqueft of Egypt. He is offended 
 with this enumeration, becaufe inftead of rifing from 
 leffer objects to greater, Theopompus clofeth his ao 
 count with defcribing what he calls " the furniture of 
 a kitchen." Cauffm, a writer of fame ingenuity, has 
 condemned Longinus feverely for this cenfure, and 
 Bayle, in his lively manner, approves of his animad- 
 veriions. " Longinus (fays Cauffm) is flat here and 
 " feverc to no purpofe. It was the bufinefs of a faith- 
 (f ful hiftorian, to take notice of the refpect that was 
 ' paid to the king of Perfia by the meaner clafs of 
 * his fubje&s; and if Longinus has taken fuch an 
 *' averfion to bacon, why (fays our critic) does he not 
 M fall out with his defied Homer, who defcribes with 
 " fo much fimplicity the cookery of his princes." 
 Cauff. de Eloq. facr. & human, lib. i. c. 20. This 
 laft hint Bayle looks upon as a home pufh, and gives 
 up Longinus as inexcufable. See his Dit. Critique, 
 &c. art. Theopompus. But with fubmiflion to both 
 thefe gentlemen, there is more plaulibility than truth 
 in this reafoning. Our excellent critic's principal 
 quarrel with the hiftorian here, is not fo much with his 
 account of the laft mentioned circumftances, as with 
 its being mifplaced. Ex roov v^yXortpoov tm t ta-? 
 ftivoTiox a,Tro$t^oc<rnfi atov zcoiwatrOai tjji oun<rw
 
 Obfervations on Compofition. 36* 
 
 pf tolerable imagination, of beauty or de- 
 formity, incongruity or proportion in one 
 object, and examples may be applied with 
 
 tpirotXiv, &c. Utpi T^. Thrift, py. " He finks (fays 
 he) from great to ignoble objects, againft the known, 
 rule of conducing a climax." Longitius is certainly 
 right in this judgment. But the cafe of Homer is no 
 way parallel. When his princes are employed in 
 cookery no fuch climax is attempted. Magnificent 
 objects are not, as in the detail of Theopompus, blended 
 heterogeneoufly with fuch as are comparatively mean 
 and fordid j all is uniformly fimple and natural. In 
 order to render Homer as culpable as Theopompus is 
 here, Cauflin ought to produce fome paflage from the 
 Iliad or Odyffey, in which the poet fums up fome de- 
 rail of magnificent prefents, with an account of frefti 
 and faked pfovifions. The fault therefore here is not 
 that the critic is too fevere, but that his example is 
 unappropriated. Longinus had cenfured Herodotus in 
 two pafiages quoted from that author, for fpoiling a 
 defcription otherwife fublime, not by introducing an 
 improper circumftance, but by making ufe of an ill- 
 adapted expreflion. He quotes the above mentioned 
 pafTage from Theopompus, as containing an error of 
 the fame kind. But the fault attributed to the for- 
 mer is not confpicuous here. The words in this lafl 
 example are fuited with fufficient propriety to the fub- 
 ject. In the firfl, one unlucky epithet deftroys the 
 effecl: of a noble defcription. One therefore is a little 
 inadvertency in the fhading of the piece ; the other 
 indicates a defect of judgment, or at leafl of tafte, in 
 the painter, 
 
 fufficient
 
 362 Fhilofophical and Critical 
 
 fufficient perfpicuity to render this idea 
 clear and even forcible, A houfe for in- 
 ftance, a tree, or a river, may be defcribed 
 with much propriety by a poet ; and the 
 critic may with propriety likewife felec~t 
 this defcription to exemplify fome obfer- 
 vation on defcriptive beauty in the art. 
 But in all this procefs though both are 
 exempted from cenfure, neither do we 
 confider the former as difplaying any emi- 
 nent fhare of imagination, nor the latter, 
 in his application of it to a certain purpofe, 
 uncommon fagacity and reach of under- 
 standing. It is when the fubjecl becomes 
 complicated in one cafe by the happy in-* 
 termixture of various objects reflecting 
 mutual light upon each other (the morn- 
 ing ray for inftance trembling on the 
 bough, glimmering through the cafement, 
 or illuminating the plumage of the little 
 tribes that fpGrt on the undulating wave) ; 
 in the other, when fbme peculiarly happy 
 imitation arifing from this afTemblage is 
 inftantly perceived, and the caufe affigned 
 fr^m which its fignificance and impreflion 
 ultimately arifej it is in thefe cafes that 
 
 the
 
 Obfervatkns on Composition. 363 
 
 the genius of the painter appears in the 
 moft animated light, and the fagacity of 
 the critic in its utmoft perfection. When 
 the mind, on the contrary, forms only ge- 
 ral theories, or even catcheth the idea of 
 pojjible excellence, without being thus par- 
 ticular in the application of examples, we 
 either confider the judgment of the critic 
 as Superficial, or are embarraffed by an 
 uninterefting and unappropriated detail. 
 
 The truth of thefe remarks will be ren- 
 dered ftill more confpicuous, when we ap- 
 ply what hath been here advanced to the 
 faculties of the mind. Man, confidered as 
 a being whofe actions derive their origin 
 from the combined influence of various 
 principles, would furely be defcribed in a 
 very inadequate manner by that moralift 
 who fhould trace (with whatever accuracy) 
 only one intellectual power, or one paflion 
 through its effects on human life; when 
 we know that the fimpleft character ex- 
 hibits an affemblage greatly diverfified of 
 both. As the philofopher therefore dis- 
 covers the ftrength and compafs of his 
 own underflanding by that precifion with 
 
 which
 
 364 Philofophical and Critical 
 
 which he explores the influence of this 
 power on paffions that obftruct its opera-* 
 tion, fo the critic in the fame manner dif* 
 covers true fagacity in his profeffion who 
 obferves in what the excellence of this dif-*- 
 quifition confifts, and adapts an example 
 thus complicated to the illuftration of his 
 own hypothefis. The paffions in this laft 
 inftance, like the external objects of which 
 our fenfes take cognifance mentioned in 
 the former, may be contemplated fepa- 
 rately without much difficulty, and the 
 effect of each on human character may be 
 pointed out with unexceptionable accuracy, 
 by a man whofe philofophical merit is in-r 
 confiderable. But in both cafes, we can 
 have no furer proof that the judgment of 
 a critic poffeffeth depth and folidity, than 
 when we find his obfervations confirmed 
 by examples in which the beauty is not 
 general, or referred to one object ; but 
 arifeth from a diverfified, though natural 
 combination, Difcernment is here {ecn 
 to be guided by imagination in the per* 
 ception of objects whofe ufe is prefcribed 
 by the underflanding, 
 
 II. Criticiim
 
 Obfervattons on Compojitlon. 365 
 
 . II. Criticifm, when confidered more 
 particularly with regard to fcientifical re- 
 fearch, will render ftill more confpicuous 
 our obfervations on thofe important offices 
 which are exercifed in this province by the 
 reafoning faculty. In philofophy we have 
 already leen, that as judgment directs the 
 author in the choice of his fubject, in the 
 method of conducting it, and in the juft 
 proportion of its parts to each other *, fo 
 it is judgment likewife by which the critic 
 is enabled to form an adequate eftimate of 
 the execution. That exquifite difcernment, 
 fo neceflary in the arts where imagination 
 perceives fuch objects as reafon enables us 
 to put to their proper ufe, is not eflentially 
 requifite to characterife the philofophical 
 critic, becaufe the theory of which he is 
 to judge, having been formed originally 
 by the underftanding, its inventor ; fancy 
 can have no extenfive influence in con- 
 
 * To <yxp yt'j$o<; tv Svi/Osm au' tvSt^eron Je xxi 
 $iaipt<nv (paten zs-ai/TCK. To it EN Tffoiouv tjjto O 
 NQT2 (Kxrov. API2TOT. vtoi . f3b. T. xttp. 
 E. 
 
 ducting
 
 366 Philofophicai and Critical 
 
 duting its examination. That we may 
 have a clear view of this fubject, it will 
 be proper to enquire what the critic in the 
 prefent cafe is principally required to have 
 in view. 
 
 The general plan of a philofophicai work 
 is then only complete (as we have already 
 fhewn) when it is diftincT:, connected, and 
 comprehenfive of the fubjecl: %i A writer 
 who obtains thefe points is properly no- 
 minated judicious, becaufe it is unqueftion- 
 ably by an effort of the understanding that 
 materials are arranged in fuch a manner as 
 to form a whole that is proportioned and 
 confiftent. Even the invention of thefe in 
 this fcience we have fhewn to arife from the 
 fame faculty, and we have diftinguifhed 
 by particular criteria this kind of inven- 
 tion from that which is either derived from 
 another power of the mind, or from the 
 union of both. An excellence or defect in 
 
 ' * AIA0E2I2 (fays the great philofopher quoted 
 above) Xtytrui tou t^ovlo; [xcpri ra^is, n xxrx tottov, r\ 
 xxlx ftfogjUtir, ?i xxtx' u$oc. 3"<rv ycxo J51 rivx avxt u<nrt(> 
 xxi to otdfxx SnKoi u AiaOeo-ij. METAOTS. |3S. A. 
 x*<f>. 18. 
 
 this
 
 Obfervatlons on Compojition 367 
 
 this difcovery or difpofition falling under 
 the cognifance of an intelligent judge, will 
 give him occafion to fhow that good fenfe 
 (as it is called), that power of thinking with 
 juftnefs and precifion, which fo univerfally 
 denominates the prevalence of reafon. It 
 is true indeed that a man of difcernment, in 
 the proper fenfe of that word, may difplay 
 this quality to great advantage in fuch a 
 difquifition ; but it is equally certain that 
 a decifion perfectly accurate, and found- 
 ed on the jufteft principles, may be pro- 
 nounced on the invention and difpofition 
 of materials in a philofophical enquiry by 
 a perfon whofe powers of imagination are 
 inadequate to thofe of his underftanding. 
 
 When again we come to weigh the com- 
 parative ftrength of arguments, as carry- 
 ing conviction to the mind, we muft be 
 immediately fenfible that it is the reafon of 
 mankind only to which the philofbpher 
 here appeals, and it is reafon only by whofe 
 aid the truth or fallacy of thefe arguments 
 can be detected by the critic, who judgeth 
 of his work. Penetration, as obferving 
 this fallacy immediately, though concealed 
 
 by
 
 368 "Philofophical and Critical 
 
 by the mod plaufible reprefentation, will 
 render him qualified to enter with eafe, as 
 well as depth andcompafs into his fubject$ 
 but reafon alone, without this quick and 
 almoft intuitive perception, by its fteady 
 attention and gradual procedure, obtains 
 its end at lad as furely, though not per- 
 haps fo quickly as the former ; and by in- 
 vestigating clofely every circumftance of 
 its detail, lays before the mind a view of 
 the whole refearch conceived with com* 
 prehenfion, and exprefled with perfpica- 
 city. 
 
 Here I am aware that a very natural and 
 important queftion will arife. Since (it 
 will be faid) the understanding alone is 
 adequate to fo many purpofes in this dig- 
 nified fphere of compofition, what is meant 
 by that philofophical difcernment^ which a 
 mafterly critic is faid to difcover in this 
 noble and inftructive fcience, and how are 
 its objects to be diftinguifhed from fuch 
 as are contemplated folely by the faculty 
 of reafon ? This queftion is very proper, 
 and in anfwer to it we muft in general ob- 
 ferve, that the degree of difcernment (fuch 
 
 as
 
 Obfervations on Compojitwn. 369 
 
 as hath already been delineated) which is 
 difplayed in philofophical criticifm depends 
 principally upon the conduct of the work 
 which it is propofed to invefligate. The 
 critical art is in this refpect diflimilar to 
 others, that though referred ultimately in- 
 deed to nature and truth as its ftandards, 
 yet more immediately it relates to iome 
 work in which thefe are imitated or deve- 
 loped. In an examination therefore thus 
 conducted, it is obvious that the combina- 
 tion of powers appearing to predominate 
 in the mind of the critic muft be of the 
 fame kind, though not perhaps equal in 
 degree with that which characlerifeth the 
 writer whofe work is examined* Thus 
 we mall naturally be induced to judge of 
 the former as poffefling certain intellec- 
 tual qualities from the choice which 
 he makes of his fubjecl, and with a pre- 
 pofleflion thus far juftly eftablifhed, we 
 fhall confider the execution of his perform- 
 ance. Reafon, we have already feen, 
 takes cognifance of the propriety and con- 
 nection of arguments as {landing together 
 in a natural arrangement: difcernment 
 Vol, I. B b (con-
 
 37$ PhUofophical and Critical 
 
 (confifting of the union of this faculty with 
 that of invention) directs in this fphere in 
 what manner thefe may be mod powerful- 
 ly illuftrated, and difcovers the beft means 
 of enforcing each with energy and ftrength. 
 This laft quality therefore will always ap- 
 pear to the greater!: advantage in philofo- 
 phy, when the work criticifed contains 
 excellencies arifing from the fuperior 
 powers fometimes making a diftincl: and 
 fometimes an united exertion, in which 
 cafes the critic may fhow his penetration 
 in a very ftriking point of view, by tracing 
 each kind to its original fource ; and by 
 following out the operation of either ot 
 both faculties fo accurately as to difcover 
 his own knowledge of the human mind, 
 and to enlarge that of his reader. 
 
 Here it is eafy to obferve that the un- 
 derftanding, however enlarged and com- 
 prehend ve, can be adequate only to a few 
 of thofe purpofes which it is necefTary to 
 accomplifh, beeaufe beauties derived from 
 an union of intellectual powers in the author 
 which fubiills not in the mind of him who 
 attempts to judge of his work, muft either 
 
 be
 
 'Obfer<oali6ris . oh Cornpdjitftn . 371 
 
 W deemed equal to one important branch 
 of his fubject, when his difcernment of 
 others is faulty and deficient. Still how-* 
 ever we are- to remember, that as the fphere 
 afligned to imagination is more limited in 
 this than in any other fpecies of Compo- 
 sition, a man pofleffing ftrength and foli- 
 dity of judgment may employ the critical 
 art'in philofophy, with emolument to his 
 readers, when the examination of other 
 iubj eels requiring a more complicated in- 
 termixture of mental qualities might be 
 juftly chargeable with abfurdity and incon- 
 fiftencei 
 
 Hiftory, when regarded as a mirror in 
 which the mind is faithfully reflected, and 
 the .real charaders of : men tried by the 
 fureft of all tefls, that of their conduct in 
 diverfified occurrences gives fcope to the 
 difcernment of a genuine critic, as much 
 at leaft as any literary department whatever. 
 *There are indeed a kind of drudges who 
 jpretend to appropriate this province to 
 themfelves, whofe labours difcover critical 
 acumen in the fame manner as a waggon- 
 horfe jingling his bells fhows the ardour 
 Bb 2 gncj
 
 372 Philofophical and Critical 
 
 and impetuofity of the hunter ; and who, 
 though ufeful in a certain fphere, are as 
 much difqualified for others, as the former 
 loofed from his machine would be to take 
 the hedge or gate at a leap in purfurt of the 
 greyhound. Among thefe we may in- 
 clude the whole tribe of verbal and chro- 
 nological critics, the latter of whom in par- 
 ticular difplay learning and application, 
 and even the former, upon fome oecafions, 
 ingenuity in their conjectures; but nei- 
 ther of thefe can apply the received opi- 
 nions of what conflitutes excellence or de- 
 fect in the hiftorical profeflion fo juftly to 
 the work they are examining as to evince 
 their own knowledge of the human heart, 
 and thus render hiftory fubfervient to its 
 moft important purpofe, that of inftructing 
 mankind by example. 
 
 We would net be underftood here to de- 
 tract from the real merit of authors, whofe 
 induftry has been of ufe to iuch readers 
 as defire to have every tranfa&ion record- 
 ed in hiftory as clearly elucidated as pof- 
 fible. But without incurring this cenfure, 
 we may furely obferve that he who traceth 
 
 actions
 
 Obfervations on Compqfition. 373 
 
 actions with accuracy up to their original 
 caufes, however remote and apparently 
 incompatible with their effects ; who de- 
 teds for inftance jealoufy, envy, pride* 
 avarice, or ambition in the characters of 
 men, beneath the fhading by which thefe 
 are often fcreened from vulgar cognifance; 
 who, with regard to intellectual endow- 
 ments, ihows what conduct was directed by 
 judgment, what by caprice, what by paf- 
 fion, and what by clear and comprehend 
 five recollection in the perfons of whom 
 he treats ; we may obferve that this au- 
 thor obtains the ultimate purpofe of his 
 profeffion effectually; and that the critic 
 who diftinguifheth the inflances in which 
 thefe are fuccefsfully or unhappily delineat- 
 ed, differs as widely from the moft exact 
 chronologer as he who promotes the edi- 
 fication of mankind does from him who 
 miniftevS wholly to their eurioiity, A pe- 
 netrating judge of human nature has an 
 opportunity here of Showing his difcern- 
 ment in a very eminent manner *, either 
 
 by 
 
 * " Paula r im ad majora tendere incipit hiftoricus, 
 B b 3 laudaxfi
 
 274 Thlkfophical and Critical 
 
 by correcting the errors of the hiflorian; 
 when he appears to have miftaken hia 
 fubjed by entering into a clofe and particu- 
 lar examination of the objects falling under 
 this writer's infpedtion ; or by fupplying 
 his defects where the end of hiilory may 
 not have been fully obtained, by collecting 
 either from one fac"^ or from a feries of 
 tranfa&ions, remarks which render us ac- 
 quainted familiarly with the perfonages of 
 hiilory, and able to explore with philofo- 
 phical precifion the caufes of the rife, ex- 
 teniion, and diflblution of empire. 
 
 Upon the whole therefore, when we 
 confider the critic as required in fome 
 branches of his profeffion to diftinguifh 
 faults from real beauties amidft a group of 
 indifcriminate objects ; to obferve the de- 
 licate and almoft imperceptible fhades by 
 which thefe approach to, and almoft unite 
 with each other ; to be able in others to 
 
 kudare claros viros, & vhuperare improbos, quod non 
 fimplicis utilitatis eft opus. Namque & ingenium 
 e^ercitum multiplici variaque materia, & animus con- 
 templation erecli pravique formatus& multa indc cog- 
 pitio r^ium venit." Quintil, lib. ii. c. 4. 
 
 invefUgate
 
 Obfervations on Qompofition. 375 
 
 inveftigate the principles of an art with 
 the accuracy of a philofopher, at the fame 
 time that the order and proportion of infe^- 
 rior parts is attentively marked ; the caufes 
 pointed which have given rife to uncom- 
 mon deviations in one infiance, and cufto- 
 mary ones in another ; and particular paf- 
 fages referred to either by way of proof 
 or example, in whofe choice as well as 
 difpofition the mind perceives peculiar pro-r 
 priety ; thefe, it mufi be allowed, are of- 
 fices in which various degrees of merit are 
 rendered confpicuous, and are calculated 
 when taken together to mow us complete- 
 ly that combined influence of judgment 
 and imagination which conftitutes difcern- 
 ment in its utmoft extent. 
 
 Thus in the profecution of this curious 
 and delicate fubjecT: we have endeavoured 
 to trace that union of the intellectual 
 powers, which gives, rife to philofophy, 
 hiftory, poetry, fables, and criticifm, 
 ;and to afcertain likewife, as nearly as pof- 
 , fible, that influence which each of thefe 
 Separately confidered requires thefe to exert. 
 Eloquence (in the prefent point of view) 
 B b 4 .differs
 
 376 Philofophical and Critical 
 
 differs in nothing materially from the 
 higher fpecies of dramatic poetry, and, as 
 a branch of the moft eflential importance 
 in the art of which we treat, it will fall 
 afterwards under examination. It will be 
 obferved in general, that there is a diffe- 
 rence betwixt the fimple confideration of 
 the caufes that produce certain efFeclfs, and 
 that of the various manners in which each 
 requires thefe caufes to operate. In the 
 former point of view they have been al- 
 ready confidered ; in the latter they belong 
 to a fubfecment fe&ion. 
 
 ocdocooocoooooooocooooooe 000 ceooooocoooooooooooeoMoococooc9ooccoQoooooooeooocoo6cooooe0o opes 
 
 SECTION VIII. 
 
 Whether that ballance of the intellectual 
 powers from which the perfect ion of Com- 
 pofitioji refults^ can be obtained j and by 
 what methods we may make the nearejl 
 approach to it, 
 
 T7R0M the preceding feries of obferva-* 
 *** tion on the powers of the mind, as 
 varioufly employed in the art of Compo-* 
 fition, it is we prefume evident, that the 
 
 real
 
 Obfervatlons on Compofition. 377 
 
 real faults, as well as inequalities which 
 we meet with fo frequently in works of 
 unqueftionable eminence, arife in moll in- 
 ftances rather from that difproportion 
 which takes place betwixt one faculty and 
 another, than from the pofitive weak- 
 nefs of any particular quality, as we are 
 apt to think upon fuperficial infpection. 
 It will therefore be univerfally acknow- 
 ledged that a mind which had received 
 from nature a propenfity to Compofition, 
 and in which the powers, whofe functions 
 we have attempted to determine, are con- 
 ferred in the highefl degree, and are bal- 
 lanced with perfect equality, would attain 
 the utmoft excellence in this art of which 
 human nature is fufceptible. Without en- 
 quiring whether a mind participating all 
 thefe advantages ever exifted (a fubjecl: 
 foreign to the purpofe) it will be worth 
 while to confider the more obvious caufes 
 by which this equipoife of the powers 
 abovementioned is obftru&ed ; and to fum 
 up our view of Compofition, as it regards 
 the faculties of the mind by laying down 
 
 fuch
 
 37'3 .Philofophical and Critical 
 
 fuch rules as may tend at leaft in fomc 
 naeafure to fupply this defeat. 
 
 I. Amidft that great difproportion of 
 mental abilities, which the flighteft ob*- 
 fervation will fliow.us to take place among 
 men., we ihall find that nature, like a 
 wife and impartial governor, has been 
 careful to preferve a kind of equality in 
 the whole fpecies, by annexing particular 
 faults or imperfections almoft. infeparably 
 to the poffeffion of fuch qualities as have 
 the greateft tendency to render an indi- 
 vidual the peculiar object of admiration 
 and envy. Thus judgment, however ex- 
 act and comprehenfive, w r hen not accom^- 
 panied by imagination is cold and unani- 
 mated : its arguments convince, without 
 amufmg or exhilarating the mind ; and 
 we are apt to judge the trouble we have 
 had in perilling its refearches but poorly 
 compenfated by the infhrudtion which thefe 
 may have ultimately conveyed to us. The 
 philofopher therefore, with all the pride of 
 icience, and of fuperior abilities, finds 
 himfelf neglected becaufe he is difqualified 
 
 to
 
 Obfervations on Compojition* 379 
 
 to blend entertainment with utility, and 
 thus diicovers that he is really inferior in 
 one important circumftance, to thofe whom 
 in other articles he might juftly regard 
 as unable to rife to his fphere of excel- 
 lence. 
 
 As the pofTeffion of judgment without 
 an adequate proportion of imagination is 
 thus naturally accompanied with fome in-* 
 conveniencies, as we mail find much greats 
 er difadvantages almoft infeparably united 
 with vigour, and much more with exube- 
 rance of the laft mentioned faculty. Where 
 a man's paflions are ftrong, his feelings 
 exquifite, and his mind fufceptible alter- 
 nately of almoft every impreffion, it is ob- 
 vious that his manners muft be charac- 
 terized by marks of inequality, which 
 bring him down upon many occafions to 
 the common level of his kind *, and fully 
 
 com- 
 
 * As there is no queftion fo clear but fome philofo- 
 phers have ftudied to perplex, we find the fame bad 
 confequences afcribed fometimes to reafon itfelf, or at 
 lead deduced from the wealcnefs which are here de- 
 rived from the prevalence of a licentious imagination, 
 iid the Deity impeached for having conferred it. 
 
 " Earn
 
 380 Philofophical and Critical 
 
 compenfate for fuch other qualifications as 
 place him in a diftant and exalted region*. 
 
 In 
 
 " Earn dedifles bpminibus rationem quae vitia culpam- 
 que excluderet. Ubi igitur locus fuit errori Deorum? 
 Nam patrimonium fpe bene tradendi relinquimus : qua 
 poflumus falli. Deus falii qui potuit? Si homines 
 rationem bono concilio a Diis immortalibus datam in 
 fraudem malitiamque convertunt non dare illam quam 
 dari humanogeneri melius fuir, &c." Cicer. de Natur. 
 Deor. c. 31. With regard to the prefent fubjecT: we 
 need only obferve in anfwer to thefe objections, (which 
 Cicero has put in the mouth of Cotta) that reafon, 
 though at many times it is fubdued by the pafiions, 
 yet in confequence of its obtaining in many other in- 
 ftances the victory over thefe, and giving confidence 
 to the character, is the power by whofe influence we 
 act with fteadinefs and recollection ; while fancy on 
 the other hand, as impelling the pafiions, and acted 
 upon by thefe is the caufe, in the fame manner of ine- 
 quality and inconfiitence. The one therefore only de- 
 viates fometimes from its purpofe from the imperfection 
 of human nature, whereas the other (unlefs when ref- 
 trained within proper limits) does fo at every time 
 without exception. 
 
 * Men of genius have exhibited but too many ex- 
 amples of the truth of this remark. The author of 
 the life of the celebrated Pallavicini, has very properly 
 illuftrated it from the conduct of that gentleman. His 
 words are remarkable. " Cofi e pur vano che non fi 
 trovi in quefta vita mortale cofa alcuna intieramente 
 compita; & avenga fovente, che quelli, che poffiedono 
 migliore ingegno dcgli altri huomini riefcano nelli 
 
 proprie
 
 Obfervations on Compofition* g8i 
 
 In life therefore, confidered as properly 
 regulated by prudence, fteadinefs, and 
 equability, as well as in the art of Com- 
 pofition, the point of perfection lies in the 
 equipoife of thefe faculties acting with 
 harmony, and extending their confequences 
 to every part of the character. In pro- 
 portion likewife, as the meafure in which 
 thefe are conferred becomes nearer to, or 
 more remote from this equality, will be 
 the excellence or imperfection of that con- 
 duct or production on which the intellec- 
 tual powers are required to exert united 
 influence. 
 
 Uncommon however as an union of this 
 kind is, we mall rind, upon reflection, that 
 a near approach to perfection at leaft, if 
 not the abfolute attainment of it, is in a 
 great degree obftructed by a defective and 
 injudicious fyftem of education. In order 
 thoroughly to comprehend this matter, 
 let us confider a little the firfl train of ideas 
 that are impreffed upon the mind with re- 
 
 proprie attionl, con fcandalo de' femplici peggiori de 
 glialtii huomini." Opere di Pallavicin. vol. i. p. 10. 
 
 gard
 
 382 .Philofophical and Critical 
 
 gard to the fubject of this eflay, and lei 
 us examine the efFedl of which thefe ideas 
 muft naturally be productive, fuppofing 
 nature to have laid a foundation fufficient 
 for bringing both the ftiperior faculties to 
 operate with uniform and almoft perfect 
 concurrence; 
 
 I. It is acknowledged on all hands that 
 In the firft flages of life, the inventive 
 power appears much earlier, and arrives 
 at maturity more fpeedily, than that which 
 obtains its purpofe by the procefs of inter- 
 mediate argument ** A young perfon 
 therefore entering into life with as much 
 of both qualities as the human mind Can 
 be judged to poffefs will difplay the for- 
 mer in great luxuriance before the latter 
 
 : _ ,. .... 
 
 * Quintilian includes Imagination under the name 
 of Memory, which he mentions as the firft indication 
 of genius. " Ingenii fsgnum (fays he) in pucris 
 praecipuum Memoria eft. Ejus duplex virtus: facile 
 percipere, & fideliter continere." When he mentions 
 quicknefs of perception as characteriftical of memory^ 
 he obvioufly includes under this defignation one pro-* 
 vince of the power of invention which is employed, 
 as we have already fhewn, in the original perception 
 of the objects of criucifm, Inftit, lib* i. c, 3. 
 
 has
 
 Obfervations on Compofiiion. 383 
 
 lias arrived at its ftrength and corifift- 
 cnce % This procefs is perfectly natural, 
 and fuited to the firft. notions we form of 
 intellectual exertion. The external beau* 
 ties of creation form the firit, and per- 
 haps the higheft. entertainment of an in- 
 genious and fenfible mind f. Fancy hav- 
 ing thefe at firft imprefFed upon it by the 
 fenfes dwells for fome time with pleafure 
 
 
 * To this faculty, as the parent of ambition, we 
 muft refer the indications which the confurhmate judge 
 of human nature above referred to mentions as disco- 
 vering genius ; " Mi hi ille detur puer quern laus ex- 
 citet, quern gloria juvet, qui viclus fleat. Hie erat 
 alendus ambitu, &c." Ibid. ** Excitabitur laude 
 xmuJatio. Nam licet ipfe yitium fit ambitio, caufa ta- 
 rnen virtutum eft." Cap. 2. 
 
 f " Reprefentons-nous done la naiftance de la mu- 
 fique & de la poefie en quelque belle contree parmi 
 des hommes heureux & innocens. Imaginons-nou_. 
 d'abord des -bergers qui conduifoient leurs troupeaux 
 des le matin dans les plaines fleuries le long des pai- 
 fibles rivieres. Pendant le jour ils les refiroient a 1' 
 ombre des bois, & des toilines. A ces heures-/a 
 jouiffant du repos on des grottes fraifches, fous l'epaif- 
 feur des arbres, ils entendoient le chant des oifeaux, & 
 ils furent imperceptibiement excitez a imiter ces fre- 
 dons & ce doux iamage." De la Poef. et Peint. par M. 
 Gen eft. ap, Div. Trait fur l'Elog, & Poef. vol. ii. 
 % 280, 
 
 upon
 
 384 PMIofophtcal and Critical 
 
 upon the original, and where the mind 
 receives a propenfity to Compofition, pro- 
 ceeds either to copy thefe itfelf, or de- 
 lights in the perufal of fuch productions 
 as contain the moll perfect models of imi- 
 tation. In thefe circumftances it is ob- 
 vious, that imagination gaining perpetual 
 acceffions of ftrength by exercife, while 
 the reafoning power gains no degree of 
 proportioned improvement, mull become 
 at laft fo excentric and irregular as to 
 overpower the other in the fucceeding 
 periods of life, and perhaps to prevent 
 its growth, in the fame manner as a llem 
 permitted to moot beyond its proper di- 
 menllons, or to bear too luxuriant a crop, 
 debilitates the whole trunk, and renders 
 its other productions fcanty and defi- 
 cient. 
 
 It is therefore upon the firft plan of 
 education that is purfued with a mind 
 in which nature has infufed the ingredi- 
 ents of genius, that its future character 
 may be faid to depend. Yet do we at- 
 tend fufficiently to the culture of its fu- 
 periof faculties at a time when fo many 
 
 obvious
 
 Obfervations on Compojitiort. 3^5 
 
 obvious advantages may be derived from 
 this attention ? A courfe, I am afraid, 
 tending naturally and unavoidably to 
 break the ballance of the mental powers 
 is taken by far the greater number of 
 mankind. The parent or the tutor who 
 obferves in a child the firft emanations 
 of genius (mould he choofe to encourage 
 its propenlities) attempts to ilrengthen 
 his- defire of knowledge, and to llimu- 
 late his early inclination to fludy by put- 
 ting, we fhall fuppofe, into his hands 
 books of innocent and agreeable enter- 
 tainment. This conduct is furely thus 
 far proper and judicious. Curiolity, the 
 firfl; paffion that appears in the chara&er, 
 is by thefe means powerfully excited ; 
 and a partiality of the greateft confe- 
 quence in every future period is efta- 
 blifhed in favour of particular fpecies of 
 Compofition. 
 
 The cafe however varies very confider- 
 ably when the mind comes nearer to a 
 ftate of maturity. Imagination, never fati- 
 ated with entertainment, and, where it is 
 conferred in an high degree, running con- 
 
 Voi. I, C c ftantly
 
 386 Philofophic&l and Critical 
 
 ftantly into extremes, acquires, by indul- 
 gence in its irregular excurfions", a certain 
 wildnefs and faulty exuberance, which 
 realbn is afterwards employed to correct 
 to very little purpofe. When the laft like- 
 wife is either originally very unequal, or 
 by being neglected in the firft ftages of life 
 has comparatively received but a fmall 
 fhare of improvement : in this cafe quib- 
 ble, antithefis, and little conceits, which 
 difcover falfe tafte, but are apt to ftrike 
 upon fancy in its age of inexperience and 
 error, will be marked with eagernefs, 
 transfufed into the firft effays of opening 
 genius, and a habit of deviating into bad 
 composition will be eftablifhed at that pe- 
 riod, when every habit of this kind is apt 
 to make the moft lafting, and therefore 
 the moft dangerous impreffions. 
 
 Yet what is the method ufually em- 
 ployed to cultivate a propenfity to this art 
 when it is firft perceived to take place? 
 If thofe performances which tend to pollute 
 the imagination are with-held, ftich as 
 contribute to extend it by the fwifteft pro- 
 grelfion are iupplied with liberal indul- 
 
 \ gence.
 
 Obfervations on Compofition. 387 
 
 gence. Plays, fables, poetic compofitions 
 of the defcriptive kind, and perhaps the 
 extravagant fictions of romance, are de- 
 voured with infatiable avidity. Memory- 
 is loaded with a multitude of undigefted 
 incidents; and tafte is by thefe means 
 often incurably vitiated, when it ought to 
 be formed upon a model the moft accurate 
 and correct. 
 
 It will perhaps be faid in anfwef to thefe 
 remarks, that as the growth of reafon is 
 comparatively flow, and its progrefs to 
 maturity almoft imperceptible, it muft be 
 difficult, if not impoffible, to bring this 
 power to the fame perfection at which the 
 inventive faculty arrives at any early fea- 
 fon of life ; and that as foon as it becomes 
 capable to follow out the thread of argu- 
 mentation, it is cultivated (in thofe at leaft 
 who receive an academical education) by 
 being applied to the ftudy of philofophy. 
 But this inftead of clearing up the matter* 
 renders ftill more inexcufable the conduct 
 of thofe perfons who in place of attempt- 
 ing to ftrengthen the weaker power, add 
 force to that which is originally predo- 
 C c 2 minant.
 
 388 Philofophical and Critical 
 
 minant. Let us fee how this reafoning 
 would hold when applied to the common 
 occurrences of life. A father we mail 
 fuppofe has two fons, the one with a 
 flrong and healthy, the other with a fee- 
 ble and delicate conftitution. It is indif- 
 penfably necefTary that by athletic exercifes, 
 perhaps by hardy culture, and by the ufe 
 of all the methods ufually employed to 
 render the body robuft and vigorous, the 
 latter of thefe fhould, if poffible, be made 
 as able to fupport fatigue and to combat 
 difficulty as the former. Would he judge 
 it an expedient proper to be ufed, if any 
 man fhould fuggeft fuch a method, to 
 ftrengthen by every means the firm and 
 durable conftitution, and leave that which 
 flood in need of the greateft affiftance upon 
 the precarious hope that nature might at 
 laft make an effort in its favour ? Or 
 granting both to be originally equal in 
 ftrengtb, but one of them advancing in 
 ftature and intellect much fafter than the 
 other, w r ould he deem it rational to over- 
 look him who required the mo ft affiduous 
 attention in order to preferve the original 
 
 equality,
 
 Objervatio'ns on Compofition. 389 
 
 equality, and beftow this wholly on the 
 other, whofe progrefs to maturity might 
 indeed be quicker, but by no means furer 
 than that of the former, properly direct- 
 ed ? In circumftances of this nature no 
 man is at a lofs to judge of the moft rea- 
 fonable means, and to know the method 
 that is moft eligible whether he purfues it 
 or not. Whence then, it may be afked, 
 arifeth the difference betwixt the expe- 
 dients made ufe of in iimilar cafes to 
 ftrengthen the body, and thofe that are 
 applied to invigorate the faculties of the 
 mind ? The caufe is obvious. In the 
 firft mentioned cafe, reafon receives im- 
 mediate and convincing evidence from the 
 fenfes : in the laft, without any informa- 
 tion by this canal, the mind is left to form 
 a theory for itfelf. As men therefore in 
 general are by no means qualified for ab- 
 ltradted fpeculation, individuals are go- 
 verned by the eftablifhed cuftoms of the 
 world ; and thus one intellectual power is 
 permitted to acquire almoft unlimited do- 
 minion before an attempt is made to im- 
 C c 3 prove
 
 390 Phllofophlcal and Critical 
 
 prove the other by a regulated plan of 
 education. 
 
 Upon the hypothecs here laid down, a 
 difcerning reader might find it perhaps no 
 very difficult matter to trace thofe afto- 
 nifhing inequalities which are to be met 
 with in performances of the higheft emi- 
 nence to their original fource, at leaft in 
 many inftances. It appears to me unac-^ 
 countable upon any other principles, in 
 what manner authors who at one time 
 {hine in the fphere of fuperior excellence, 
 at another fink into the moft puerile levi- 
 ties. Intellectual operation when directed 
 by judgment, is uniform and confiftent. 
 A man who eflimates with precifion and 
 propriety the comparative value of great 
 objects upon one occafion, will (if his tafte 
 is not vitiated by prepofTeffions acquired 
 before his reafon came to maturity) dis- 
 play the fame perfpicacity in judging of 
 fuch as are of lefs importance at another. 
 But receiving a particular bias to fome 
 fpecies of falfe Compofition, in the fame 
 manner as a man, otherwife of good prin- 
 ciples,
 
 Obfervations on Compojltion. 391 
 
 cipies, gains the habit of indulging a par- 
 ticular paffion, his judgment is unable to 
 reftrain this propenfity in the future pe- 
 riods of his life, and he fees the defect in 
 others, without being equal to the tafk of 
 correcting it in himfelf. 
 
 2. Thus far we have proceeded upon the 
 fuppofition that imagination is originally 
 prevalent in the mind ; and we have 
 fliewn in what manner a wrong plan of 
 education tends to ftrengthen the bad con- 
 fequences of which this difparity is natu- 
 rally productive. It muft, however, be 
 acknowledged, that when reafon happens 
 to prefide eminently over the other pow- 
 ers, thefe confequences are not likely to 
 fall out, at leaft in the firft and earlicft 
 feafon of life ; and in order therefore to 
 preferve an inequality betwixt the two 
 ruling faculties, thofe propcnfities, which 
 in the former inftance are to be moderated 
 in the latter, may be indulged with fome 
 degree of freedom. 
 
 It is natural for every man who pof- 
 
 felTeth the leaft fpark of genius, to turn 
 
 his thoughts at firft upon works of fancy 
 
 C c 4. and
 
 392 Philofophical and Critical 
 
 and invention. A defire of this kind m 
 a man whofe underftanding is folid and 
 comprehenfive, but his powers of inven- 
 tion greatly inferior, ought to meet with 
 encouragement, unlefs it fhould be carried 
 obvioufiy to an extreme, which will rarely 
 be the cafe. Such a purfuit tends to in- 
 vigorate and to extend as much as pof- 
 fible, a faculty which it is neceflary to cul- 
 tivate, and whofe original inferiority in 
 this laft cafe, will leave no room to dread 
 the effects that arife only from its wild- 
 nefs and luxuriance. When the real cha- 
 racter however begins to be perceived, and 
 the bias of the mind determines its choice 
 of objects, a man pofleffing naturally no 
 great fhare of imagination is in hazard 
 of crulhing it altogether, by giving way to 
 that courfe of fludy in which perhaps he 
 is principally fitted to excel. At this 
 time he begins to fix all his attention upon 
 the acquifition of folid and edifying know- 
 ledge as it may be deemed, and in the 
 purfuit of this, neglecting that exterior 
 polifh, and thofe beauties which are elTen- 
 tially neceflary to render this knowledge 
 
 fub-
 
 Obfervations on Compojitton* 393 
 
 fubfervient to any valuable purpofe, he 
 becomes aflimilated to writers who ought 
 by no means to be regarded as ftandards 
 of imitation ; and fees, perhaps when too 
 late, others fuccefsfully employed in a 
 province which his own inattention has 
 difqualified him to occupy. 
 
 But thefe, however material, are not the 
 only confequences which neceffarily arife 
 from neglecting to improve the inventive 
 faculty when it is originally inferior to 
 the understanding. We have already 
 mown in what manner difcernment is 
 constituted by the union of both, and what 
 qualities it derives particularly from a vi- 
 gorous imagination *. Thefe as they mufl 
 neceJTarily lie dormant, or be even anni- 
 hilated in the mind, when that power 
 upon which they depend remains uncul- 
 tivated, will leave a deficiency fo obvious 
 as not to be compenfated by the poffeffion 
 of reafon alone in any extent we can 
 affign to it. A reader deflitute himfelf 
 of this penetration will obferve perhaps 
 
 * Set. iv. p. 92. 
 
 only
 
 394 Thilofophical and Critical 
 
 only that a work is cold and wholly un- 
 interefting, even when the arguments are 
 clear and convincing in the cafe we have 
 ftated, without tracing exactly this defect 
 to its original. But he who is qualified 
 to judge of its influence on the minds of 
 others, from that which it exerts on his 
 own, will mifs in fuch a performance thofe 
 happy illuftrations which render argu- 
 ments forcible as well as perfpicuous ; and 
 will obferve in what inflances thefe mio-ht 
 have been ftrongly irnprefled upon the 
 mind, by having fixed upon a few decifive 
 criteria, inftead of having entered into 
 a minute and tedious detail, from which 
 he arifeth in fome meafure difgufted. 
 
 It is with the art of Compofition in this 
 cafe, as with all other fubjects of what 
 kind foever. Extreme indulgence in any 
 propenfion (efpecially in the firffc part of 
 life) will always have the moft pernicious 
 tendency. We obferve the effects of fcho- 
 laftic education, even in that work which 
 immortalizeth the genius of Milton, as 
 the philofophical difquifitlon into which 
 Pope was led (probably by the contempt 
 
 he
 
 Obfervations on Compofition. 395 
 
 he had for defcriptive poetry) appears to 
 have curbed the exertions of a genius 
 otherwife inventive, fublime, and diver- 
 sified *. Young, on the other hand, feems 
 to have impaired his reafoning powers, or 
 at leaft to have prevented their full exer- 
 cife, by a conduct altogether oppofite. 
 His moral obfervations are often excellent ; 
 his language is highly ornamented, and 
 he rifes often to a wonderful pitch of fub- 
 limity. But his judgment, in fome parts 
 of his writings, would feem to be equal to 
 tafks j~, in the execution of which we find 
 it after all to be deficient. By having 
 formed himfelf at firft upon falfe models, 
 his tafte appears to have fuffered confider- 
 
 * This obfervation (if I am not miftaken) is fome- 
 where made in an ingenious Eifay on the Writings 
 and Genius of Pope. He ufed to call defcriptive 
 poetry as abfurd a compofition as a feaft made up of 
 fauces. EiT. p. 51. This furely was not the refuit of 
 that impartial reflection which preferves a juft medium 
 in its decifions ; and had not Pope's imagination been 
 uncommonly luxuriant, an adherence to this opinion 
 would have rendered his compofition fpiritlefs and 
 profaic. 
 
 t In the conduct of fome of his tragedies for in- 
 flance, and in his Univerfal Paffion. 
 
 ablv,
 
 39 6 Philojbphical and Critical 
 
 ably, and his reafoning, when clofely ex- 
 amined, is commonly lame and difTatis- 
 factory *. In fhort, he is an excellent 
 painter, but a bad philofopher. His loofe 
 remarks are frequently juft and ftriking ; 
 but his arguments want ftrength and 
 propriety. 
 
 II. As we have thus endeavoured at 
 fome length to inveftigate the caufes arif- 
 ing from our own conduct, by which the 
 equipoife of the intellectual powers is 
 principally obftru&ed, it is only further 
 neceffary to enquire by what methods thcfe 
 may be molt effectually removed, and the 
 mind fitted by nature to excel in Compo- 
 iition be qualified to approach as near as 
 poflible to perfection in the art. 
 
 Every man of reflection will acknow- 
 ledge that the ftep requifite to the attain- 
 
 * " C'eft une confolation pour un efprit audi borne 
 que le mien d'etre bien perfuade que les plus grandes 
 hommes fe trompent comme le vulgaire." Volt. It 
 is making a proper ufe of fuch failings in a great ge- 
 nius to confider thefe as evidences of that equality 
 which obtains upon the whole among mankind, as we 
 have formerly obferved, whether in this particular in- 
 stance here adduced we have jufily affigned the caufe 
 of thefe or not. 
 
 ment
 
 Observations on Ccmpojition. 397 
 
 merit of this important end, mult be taken 
 by detecting the particular bias of the mind, 
 to whatever objects it may be fuppofed 
 originally to point. This, among the va- 
 riety of human characters, is in fome iitu- 
 ations perfectly eafy, and in others a work 
 requiring the greater!: attention, and no 
 fmall fhare of difcernment. In every cafe> 
 however, without exception, where any 
 propenfity to the art of which we treat 
 takes place in the mind, a penetrating 
 judge will difcover it in the firft rude 
 eflays, which may be properly denomi- 
 nated the fimple effufions of the heart. 
 In thefe circumftances, by comparing two 
 draughts on the fame fubjecT: (the execu- 
 tion perhaps of a tafk) by a young perfon 
 endowed with this difpofition, and by an- 
 other, at the feme time of life, who is 
 wholly diverted of it, or who poiTelTeth it 
 in a very inconfiderable degree, he will 
 obferve an obvious difference either in 
 ftrength and propriety of epithet, compa- 
 rative regularity of parts, or an eafy flow 
 of expreffion. The attempt of the latter 
 (if the fentirnents and diction are not bor- 
 rowed,
 
 398 Philofophica! and Critical 
 
 rowed, with little or no alteration, from 
 the firft book he can meet with on the 
 fubjed) will be fliff, affecled, and the 
 vifible refult of application and labour. 
 It might perhaps be deemed chimerical 
 to affirm, that it could be poffible to dis- 
 cover in any art but that of poetry, the 
 particular branch of Compofition to which 
 the mind hath received a bias. The men- 
 tal powers muft be allowed to open at lei 
 fure in ordinary cafes, before we can pro- 
 nounce with certainty upon the courfe 
 which thefe may be prefumed moft proba- 
 bly to purfue. It ought however to be 
 obferved, that we fhall find ourfelves much 
 miftaken if we fuppofe a genius for Com- 
 pofition to be indicated at this time of 
 life merely by an inclination to reading 
 and fludy. This difpofition, though it is 
 indeed an infeparable concomitant of the 
 talent we have mentioned, is by no means 
 an indication that it actually fubfifts. 
 Though no man ever pofleffed the former 
 of thefe without the latter, yet we meet 
 with innumerable inftances of men who 
 can perufe with pleafure the writings of 
 
 others,
 
 Obfervations on Compojitiou 399 
 
 others, and are yet unable to execute with 
 grace and maftery themfelves. It is there- 
 fore, only by an attempt to execute that 
 the exiftence of this uncommon qualifica- 
 tion can be properly afcertained *. 
 
 Perhaps in very early life, when a young 
 perfon begins to difcover fome degree of 
 genius, but in fuch a manner as that it 
 may be impoffible to eftimate the compa- 
 rative ftrength and proportion of his fa- 
 culties, nothing can produce an happier 
 effecT: on the mind, than little talcs incul- 
 cating an obvious moral, conducted in the 
 
 * Ao xxi tw Ojunpov Turoiww (fays an ancient mo- 
 ralift with great propriety on the fubjedt of fable) xxi 
 tou? stjjcotou, tvpovrxg tpxyuSixv afyov B'xvfj.x^iiu' crt 
 xccTtSovTig rnv (pv<nv ruv v0pw7rcou, a/A^orEpat; rxig 
 rfixig raurai? xaTS^pna-avTO Tzpog rw VOWm O y.iv 
 yxa rug ayuvxg xt rag uoXefxo'jg ruv %fukivit tp.\)o- 
 Xoywtv' oi 3t rug pvbxg ug ayuvxg xca urpafcig xxri" 
 S"K<rxv' ugs y.n fAQvov ay.ovfovg vpiv, xXXx xxt SeaTcug 
 yiytvwQxi. From thefe remarks he draws very juftly 
 the following conclufion (which mows his knowledge 
 of human nature,) Toixtuv ovv zrxpx$uy[j.xTM vnxp- 
 
 J^OVTWV 3t$liXTXk TOig 7Ti9u ( Ot.8<Ft TOUJ axpoayxSKBf i^vyx- 
 
 yuyuv or* to y.tv vovbiTtiv kca ctv^QouXbvuv utyiKriov. 
 "Exeivx $t ypxTTTtov xau Xoirtsv ag upxori touj oyA&uj 
 yxipovrxg. I20K. zrpog Ntxox. 
 
 fimplefl
 
 400 Pliilofophical and Critical 
 
 fimpleft method, and exprefled with the 
 utmoft concifenefs and perfpicuity. Be- 
 fides the tendency which thefe naturally 
 have to form the heart to the love of vir- 
 tue, the young reader will find his ideas 
 clear and unembarrafled in the purfuit of 
 fo fimple and eafy a detail, at the fame 
 time that his defire to imitate will be 
 greatly encouraged by having a pattern fet 
 before him which he can copy without 
 difficulty. By thefe means likewife an 
 early relifh is acquired for genuine and 
 natural beauty : the mind, before it has 
 obtained a fufficient degree of difcernment 
 to feparate falfe from real excellence, will 
 infenfibly imbibe a prepoffeffion in favour 
 of the laft ; and its powers will gradually 
 be called out into exercife as it contemp- 
 lates pictures of human life approved upon 
 reflection, and fuited to thofe ideas which 
 on the firft view of things are fo naturally 
 and unavoidably fuggeiled. 
 
 As we have already (ecn that fancy 
 makes its appearance fooner, and moots 
 into more vigorous exertion than the fa- 
 culty of underftanding, it will no doubt 
 
 be
 
 Obfer<uations on Compojtion. 401 
 
 be proper, that in thofe compofitiorts 
 which are firft perufed by young perfons 
 there fhould be fomething calculated 'to 
 amufe and foothe imagination. This end 
 may be gained by a very fimple train of 
 incidents. In a fliort and plain allegory 
 the moral appears fo obvioufly as to make 
 an impreffion on the judgment and the 
 memory even though this is almoft im- 
 perceptible and involuntary. When the 
 fable becomes more various and compli- 
 cated, imagination is either bewildered in 
 the labyrinth of conjecture, and its firft 
 conceptions are obfcure and intricate; or 
 it is apt to dwell upon fuch circumftances 
 as are mo ft wonderful and remote from its 
 original ideas: In either of thefe cafes the 
 work of inftru&ion is at an end. He 
 therefore, who would form the mind to 
 excellence in the fphere of Compofition, 
 and would preferve as nearly as poflible 
 the balance of its principal powers, ought 
 to take particular care that its earlieft no- 
 tions be clear, appropriated, and fully 
 comprehended. That compafs of ideas 
 which it is fitted to take in ought to be 
 Vol. I. D d marked
 
 402 Phihfophical and Critical 
 
 marked with the utmoft accuracy; and 
 every fucceflive object to be illuflrated in 
 fuch a manner as that it may be accuftomed 
 to canvafs fubjects with attention, and to 
 exprefs its fentiments with eafe and per- 
 fpicuity. This ftrain of gradual and pro- 
 greffive education refembles, methinks, 
 rural life in places diftant from the noife 
 of cities. All is feemingly calm and flill. 
 To the eye in the early feafon of fpring, 
 but few traces of induflry and labour are 
 confpicuous. But in the mean time the 
 buds are infenfibly expanding with their 
 fruit; the fun is exerting more powerful 
 influence; the herbage is imperceptibly 
 advancing to maturity, and the bufmefs of 
 the field is going on. 
 
 When we follow the mind in its pro- 
 greffive ftate, as a more improved and open 
 organization gives it a larger fphere of 
 exertion, we are no longer at a lofs to dis- 
 cover its prevailing bias, and to determine 
 the particular fphere of its exercife. In 
 this fituation, a man of difcernment will 
 endeavour to follow the lead of nature as 
 clofely as pofhble, without attempting to 
 
 effectuate
 
 Obfervatwns on Compofitioh. 403 
 
 effectuate too much at once. It muft be 
 obvious for inftance, that to engage a 
 young perfon of lively imagination at once 
 in abftracted and metaphyfical refearches ; 
 or to confine another, whofe coolnefs and 
 fagacity might fit him for thefe laft, wholly 
 to the reading of novels and poetry, would 
 be a method totally irrational, from which 
 no good confequence could refult. In- 
 ftead of flrengthening the faculty of rea- 
 fon in one cafe, or that of invention in 
 the other, fuch conduct could anfwer no 
 other purpofe than that of producing lan- 
 guor and inattention, if not difguft and 
 fatiety in both. Reflection will therefore 
 fuggeft to us that by continuing to grant 
 the power that is prevalent fome degree of 
 indulgence, while at the fame time we en- 
 gage the perfon in whom an inequality is 
 perceived in purfuits whofe principal ten- 
 dency is to cultivate that which is weaker, 
 we mall moft probably obtain the end at 
 which we propofe to arrive by a well- 
 conducted procefs of education. In order 
 to exemplify this general theory, let us 
 D d 2 con-
 
 404 T hilofophical and Critical 
 
 confider each of thcfe cafes a little more 
 particularly. 
 
 In a preceding part of this work * we 
 have endeavoured to point out the mark& 
 by which we may afcertain the predomi- 
 nance of imagination. Suppofing then 
 thefe indications to obtain fo fenfibly in 
 any one inftance as that the mind may be 
 apt to be too much influenced by this irre- 
 gular faculty, perhaps no method can 
 more effectually conduce to improve the 
 underftanding, than engaging the young 
 perfon infenfibly in the ftudy of thofe 
 branches of moral philofophy which are 
 molt eafily comprehended, and by being 
 naturally fufceptible of elegant illuftration, 
 are calculated more happily than any other 
 fubjects to convey inftruction and enter- 
 tainment by the fame canal. Our own 
 language abounds with fo many excellent 
 performances of this character, that the 
 objection of being compelled to wart until 
 we have acquired another for this end is 
 happily fuperfeded. The philofophy of 
 
 * Sei iii. 
 
 Addifou
 
 Obfervathns on Compofition. 405 
 
 Addifon in his Spectators and other peri- 
 odical effays, is adapted in a particular 
 manner to accomplish this end. The 
 many natural and elegant graces that are 
 thrown into the profe compofitions of this 
 amiable writer, the harmonious ftructure 
 of his periods, the variety and importance 
 of his fubje&s, his unaffected fimplicity, 
 and that vein of inimitable humour which 
 is difplayed in his principal characters; 
 thefe circumstances, united with juftnefs ^ 
 and propriety of fentiment, render the phi- 
 lofophy of this author fitted peculiarly to 
 form the tafte, and improve the under- 
 ftanding of him, whom if left to his own 
 direction, fancy and inexperience might 
 feduce into error. 
 
 By the ftudy of the belt writers on fub- 
 je&s relating to life and manners, the 
 mind is not only prepared by the moft 
 gradual progreffion for entering into fe- 
 verer philofophical difquifition, but its 
 thoughts will run in that channel of ob- 
 fervation which is favourable to the exer- 
 cife and to the culture of reafon. It -will 
 by thefe means be habituated to reflecl: 
 D d 3 on
 
 4c6 JPhilofophical and Critical 
 
 on its, own operations, and by attending 
 to fuch fentiments as relate immediately 
 to itfelf, will learn to correct propensities, 
 or to avoid prepoffeffions, whole confe- 
 quences on the character and conduct of 
 others it may find particularly detailed and 
 exemplified. As foon as he on whom 
 nature hath conferred a talent for the 
 higher branches of Compofkion, enters 
 thoroughly into this feries of moral obfer- 
 vation, his natural defire of imitating the 
 models that are fubmitted to his cogni- 
 fance, will lead him to attempt fomething 
 himfelf in a ftrain iimilar to that which 
 he perceives to have obtained univerfal ap- 
 probation *. By every effort of this kind 
 (di&ated perhaps originally by an am- 
 bition of excelling) the understanding will 
 
 * This method thebefl and mod intelligent writers 
 recommend, as at the fame time a teft of genius in 
 the art, and the beft means of its improvement, 
 " On nes'exerce prefque jamais a l'eloquence par la 
 voye la plus ordinaire & la plus feure qu'il y a pour y 
 parvenir qui eft l'exercife frequent de la Compofition : 
 a quoy il faut s'appliquer avec quelque forte d'afTiduite 
 pour en acquerir l'habitude : car rien n'eft egal a 
 1'avantage qu'on en recoit." Rap. Reflex, fur l'Eloq, 
 
 p. vi. 
 
 acquire
 
 Obfervatlons on Compojition. 407 
 
 acquire an acceffion of ftrength ; and rea- 
 fon will learn to judge of its objects with 
 fuperior accuracy, compafs, and precifion. 
 There is a very great difference betwixt 
 that improvement which may be obtained- 
 by taking a remote and diflant view of 
 inftrucYive fubje&s, though perhaps as 
 particular as the diftance will permit, and 
 the benefit acquired by bringing a certain 
 trairr of ideas near as it were to the mind, 
 and by endeavouring as much as poffible 
 to transfufe their fpirit into a copy. In 
 the firft cafe whatever advantage is gained 
 mull be the refult of leifure and applica- 
 tion. But in the laft, the mind, like the 
 eye furveying attentively a variegated pro- 
 fpect, will follow out openings that are 
 imperceptible at a diftance, until it dis- 
 covers the objects for which thefe were 
 contrived : imperfections in the general 
 dellgn, as well as beauties that efcape com- 
 mon obfervation, will become confpicu- 
 ous : in fhort, new avenues of Sentiment 
 will be gradually difclofed : and the man 
 accuftomed to purfue a thought through 
 all its confequences will proceed to form 
 D d 4 a theory
 
 40 8 Philofophical and Critical 
 
 a theory for himfelf in one cafe, as he lays 
 out an original draught of cultivation and 
 policy in the other; indebted only to his 
 inflruetors for the firft general principles 
 upon which the work is conducted. 
 
 To the perufal of works of this nature 
 by perfons of the character we have de- 
 lineated, we may add the ufe of fuch cri- 
 tical performances as tend to form a cor- 
 rect and elegant tafte in the different 
 branches of the fine arts*; as well as to 
 give exercife to the underftanding by ac- 
 cuftoming it to accurate and particular in- 
 veftigation. The felection of various ex- 
 amples by which a theory is illuftrated in 
 thefe productions, will agreeably amufe 
 the imagination of a young genius, and 
 emulation will be excited in favour of fuch 
 beauties as the writer finds it moll eafy 
 
 * I mean here that kind of criticifm (to adopt the 
 language of an eminent writer) " quse audlores cum 
 cseteris fcriptoribus qui eadem tratant comparat ; ut 
 per hujufmodi cenfuram ftudiofi & de librorum deleclu 
 moneantur, & ad ipfam lectionem eorum inftrucliores 
 accedant. Atque hoc ultimum, eft criticorum tan- 
 quam cathedra, &c." De Augment. Scientiar. lib. vi. 
 P- 422. 
 
 to
 
 Obfervations on Compofition. 409 
 
 to imitate *. The blemifhes likewife that 
 are to be met with even in the moft ap- 
 proved ftandards of Composition, appear 
 in a much more ftriking light when fet in 
 oppofition to their excellencies in a critical 
 examination, than when we furvey the 
 work as a whole, and are inattentive to 
 the fource from which inaccuracies pro- 
 ceedj even fuppofing that we have obferved 
 thefe fuperficially. Care however ought 
 to be taken that the performances of this 
 call that are put into the hands of inex- 
 perienced readers may neither be too phi- 
 lofophical, nor fuch as dwell upon minute 
 and trifling imperfections. A man pof- 
 feffed of exuberant imagination will pro- 
 bably in early life be too lively and vola- 
 tile to enter with attention into the dif- 
 quifition of the former ; and the latter will 
 either cramp his genius too much by ren- 
 dering him timid and diffident, or will 
 difcourage him altogether by producing 
 
 * *.' Nam crefcit cum amplitudine rerum vis in- 
 genii (fays an author of difcernment) nee quifquam 
 illuftrem orationem facere poteft nifi qui caufam parem 
 invenit." Dial, de Caufa Corrup. Eloq. 
 
 abfolute
 
 410 Philofophical and Critical 
 
 abfolute defpair of obtaining perfection in 
 the art. Mere philofophers&and men of 
 mere fancy, are commonly the worft critics 
 imaginable. The one writing wholly 
 from the head is only able to execute the 
 mechanifm of his work, an4 is difqualified 
 to apply his own rules with propriety; 
 while the other throws out the reveries of 
 a heated imagination without coherence, 
 meaning, or proportion. 
 
 We muft again have recourfe to the 
 laft mentioned amiable writer, as one of 
 the fitteft in every fenfe to form the mind 
 in the earlieft ftages of human life. There 
 is not perhaps in the works of any critic 
 whatever, an happier mixture of found 
 judgment, and of temperate imagination, 
 than in the eiTays which Addifon has left 
 us on the fubject of Criticifm. His Cri- 
 tique on the Paradife Loft (however a few 
 fuperficial readers, incapable to think for 
 themfelves, and floating like feathers upon 
 the current of opinion, may affecT: to def- 
 pife it) difcovers true tafle, warm fenfi- 
 bility, and an exquifite difcernment of 
 poetic beauty and defect. Deeper and 
 
 more
 
 Obfervations on Compofition. 411 
 
 more philofophlcal difquifition may per- 
 haps be fcyind than the critical works of 
 this author prefent to us ; but thefe laft, 
 in confequence of their temperature in this 
 refpect, are particularly adapted to the pe- 
 riod we are at prefent contemplating. I 
 can never take up any of this admirable 
 writer's more ferious pieces without ap- 
 plying to his manner the character which 
 Cicero gives us of the ftyle of philofophy. 
 *' Mollis eft enim oratio philofophorum & 
 umbratilis. Nihil iratum habet, nihil in- 
 vidum, nihil atrox, nihil aftutum, caua, 
 verecunda, virgo incorrupta quomodo *." 
 Perhaps Mr. Hurd's ingenious eflays on 
 this fubjecT:, thofe of Johnfon, and a few 
 of the bed French critics may be here re- 
 commended with propriety, as calculated 
 in a particular manner to improve the 
 judgment of a young genius, and to form 
 his tafte to correct nefs and perfpicacity. 
 He will be taught by thefe means to think 
 with precifion, to decide upon fure prin- 
 ciples ; and having once learned to diflin- 
 
 De Orat. lib. 
 
 guifh
 
 412, 'Philofophkal and Critical 
 
 guifti betwixt genuine beauty and that 
 which hath only its appearance, he will 
 acquire an early habit of imitating the one 
 of thefe, and of avoiding the other. 
 
 Should any other courfe of reading be 
 thought neceifary to complete the fyftem 
 of education that is proper at this period 
 for the improvement of the understanding, 
 we would venture for this purpofe the 
 ftudy of natural hi (lory. A judicious per- 
 formance oh this copious and interefting 
 fubject, hath indeed an obvious tendency 
 to call out all the powers of the mind into 
 fucceffive exertion, and is calculated be- 
 yond all others to excite and to gratify 
 that curiofity which is ftirred up in a re- 
 flecting mind by objects conveyed to it by 
 the canal of fenfation. As no theme of 
 whatever kind, contains a more diversified 
 feries of objects than that of natural 
 hiftory, fo there is not perhaps any in the 
 profecution of which more various degrees 
 of merit have been rendered confpicuous. 
 That part of it which relates to the gene- 
 ration, the fpecies, and the organization 
 of infects, like many other fubjects excel- 
 lent
 
 Obfervations on Compojition* 4 1 3 
 
 lent in themfelves, and tending to produce 
 emolument to the reader, yet hath been 
 followed out by authors whofe hearts per- 
 haps were better than their understand- 
 ings, with fo much minutenefs as hath 
 expofed both themfelves and their fubjecl: 
 to ridicule. The theme however in itfelf 
 is undoubtedly noble, as it tends to enlarge 
 our ideas of the power and wifdom of that 
 Being who has not only peopled the world 
 with fuch inexhauftible variety, but has 
 with wonderful attention adapted the or- 
 gans of the fmalleft infect to its peculiar 
 neceffities, and has directed the objects 
 around to afford it a fucceflion of fuitable 
 fupplies. 
 
 But the circumftances after all which 
 a man of great imagination will princi- 
 pally take pleafure to contemplate, are 
 thofe parts of this fcience which lay open 
 the grandeur, the magnificence, and the 
 utility of the works of nature. Accord- 
 ingly, we find that the birth and genera- 
 tion of things, the formation of the earth 
 from chaos, the original and the employ- 
 ments of its firft inhabitants, the produc- 
 tions
 
 414 Philofophical and Critical 
 
 tions of feas, rivers, mountains, &c. were 
 the themes both of the earlieft poets and 
 philofophers *, infpired as it were by the 
 
 powerful 
 
 * This truth will be acknowledged by all who have 
 any knowledge of antiquity. The bards of thefe early 
 days united in their own profeflion the character of 
 poets and philofophers, but thefe laft attempted not to 
 occupy the fphere of the firft. Yet their fubjects were 
 the fame riporfpow jouy tv IIOIHMASI t's(ptpov 01 
 4>lAOZO<K)I t Soyixara xfci rvq Xoyag utnrep Op- 
 (piv; xaiHa-jo<5o?, fays Plutarch on this fubject. Linus, 
 Orpheus, Melampus, Thamyras, Paliephatus, Prona- 
 pides, Timceus Locris, and Hefiod, authors (the two 
 laft excepted) fome of whofe writings are wholly loft, 
 and the others preferved in broken fragments, all of 
 them began their fongs at that period. " Cum non- 
 dum divinae religionis, non humani officii ratio cole- 
 batur : nemo legitimas nuptias viderat : non certos 
 quifquam infpexerat liberos, &c." Cicer. de Inven. 
 but upx st.zvt' nretpvw M all things were jumbled 
 together:" and the formation of the univerfe from 
 this chaos was the fubjecT: of their fongs. 
 
 Principio caelum ac terras campofque liquentes 
 Lucentcmque globum Lunae, Titaniaque aftra 
 Spiritus intus alit : totamque infufa per artus 
 Mens agitat molem. ViRG. 
 
 To this inveftigation they gave the name of Theo- 
 CONY, which (as a learned modern writer obferves) 
 ' is a fyftem of the Univerfe digefted and wrought 
 * f into an allegory : a compofition made up of in- 
 *' finite parts, each of which has been a difcovery of 
 
 itfelf,
 
 Obfervations on Compojition. 415 
 
 powerful voice of nature, and led to fur- 
 vey divine wifdom in the workmanfhip 
 of the Deity. 
 
 ** itfelf, and is delivered as a myjiery to the initated." 
 Enq. into the Life of Homer, p 99. The philofo- 
 phers treated thisfubjecl: more fyftematically, without 
 the images and licence of poetry. The ^Egyptians 
 afcribed the origin of things to matter or earth * ; 
 Thales the Milefian, to water f ; Plato, to the four prin- 
 ciples, fire, water, earth, and air, put together and fup- 
 ported by an invifible and infinite mind % ; Lucian 
 humoroufly, but in a fpirit truly philofophical, afcribea 
 the mixture of thefe elements to Venus, or the prin- 
 ciple of love ; and Phornutus has explained in a very 
 diftint manner the offices of every deity in the gene- 
 ration and confervation of things', difcovering by thefe 
 means the important truths that are fhrouded fo effec- 
 tually beneath the veil of poetic allegory jj. As it ap- 
 pears, therefore, that thefe fathers of fcience who 
 hung out the firjl lights to mankind dwelt fucccffively 
 upon the fubje&s here recommended, moft of them at 
 periods when the human mind with regard to know- 
 ledge was in its infancy, and fufceptible of any im- 
 preffions whatever ; no fubjels more appofite and in-' 
 itru&ive can be propofed to the young and inexpe- 
 rienced, than thofe which were originally judged fo 
 important, and which are productive offuch obvious 
 emoluments. 
 
 * AIOTEN. AAEPT. isrfooifA,. p. 7. 
 
 f Id. 0X. p. 18. 
 
 J Id. nxa-r. 229. 
 
 ^ AYKIAN. EjftiT. Oper. vol. iv. edit. Bafil, p. 195, 
 
 || OOPNOYT. van twy Stat cfw. pall. 
 
 When
 
 4i 6 Phiiofophkal and Critical 
 
 When from contemplating in this mari- 
 ner the earth in general and the bodies 
 revolving around it, we come to confider 
 its various ftrata, the minerals hid in its 
 bowels, and that inexhauftible ftore of 
 materials which it contains for all the pur- 
 pofes of man ; the underftanding engages 
 in an enquiry at the fame time curious, 
 entertaining, and inftru&ive. It ought 
 however to be obferved, that a general. 
 Iketch of thefe fubje&s calculated rather to 
 ft imulate than to gratify curiofity, will be 
 fufficient in very early life to convey as 
 much knowledge as a judicious inftructor 
 will judge it expedient to communicate. 
 Nothing is productive of worfe confe- 
 quences, particularly upon young perfons 
 of genius, than an attempt to lay before 
 them at once the whole extent of an art, 
 and to hurry the mind as it were before it 
 is arrived at a flate of fufficient maturity 
 into intricate fpeculations, whofe evidence 
 after all may be principally conjectural 
 and prefumptive. That this is the cafe 
 with thofe who have wrote on Natural 
 Hnlory, is evident from the various hypo- 
 
 thefes
 
 Obfervationx on Compofitiorf. 417 
 
 tnefes that have been formed of the origin 
 of rivers, fountains, and volcanos ; of the 
 caufes that give rife in particular inftahceS 
 to eruptions, inundations, and hurricanes* 
 and other extraordinary phenomena of 
 the fame kind. The perufal of different 
 theories on thefe fubjed:s anfwers only the 
 purpofe of opening an inlet to fceptical 
 principles ; and by involving the mind in 
 a labyrinth of doubt and error, renders it 
 unable to range its ideas with precifion* 
 and to exprefs thefe with perfpicuity. The 
 method of proceeding from the fimplefl 
 views of a fubject to more enlarged and 
 compounded exhibitions, is exactly ana- 
 logous to the manner in which we find it 
 neceiTary to proceed when young perfons 
 are inftrudted in the knowledge of thofe 
 languages which it is judged proper to 
 teach them, (with what expediency we 
 fhall fee afterwards) almoft as foon as they 
 are capable of diftinguifhing objects. That 
 tutor* who, as foon as his pupil had learned 
 the firft elements of Greek and Latin* 
 fhould put into his hands Thucydides* 
 Pindar, Tacitus, or Perfius, would furely 
 Vol, I. E e be
 
 4i 8 Philofophical and Critical 
 
 be cenfured as having acted in a very ab- 
 furd and irrational manner. We fuppofe 
 that the man, at whatever age, who is ac- 
 quiring thefe languages can for a time take 
 in but a fmall compafs of ideas. We ex- 
 tend thefe gradually by leading him from 
 the plaineft and moll intelligible writings, 
 to fuch as by a more complicated conftruc- 
 tion of words require application and ex- 
 ercife to be thoroughly comprehended. By 
 this procefs the explication of difficult paf- 
 fages becomes at laft eafy : we grow fa- 
 miliar with particular idioms, and are 
 able to transfufe thefe into a copy: we 
 enter without perplexity into the whole 
 phrafeology, and are qualified to impart 
 our knowledge to others by that method 
 which experience hath ihown to be fuc- 
 cefsful with ourfelves. 
 
 By beginning therefore with difclofing 
 thofe works of divine wifdom that are con- 
 fpicuous in the formation and exercifes of 
 the various claffes of infects ; by defcribing 
 the manner in which thefe are fitted fo 
 admirably for the purpofes of their cre- 
 ation ; their little arts, policy, government, 
 
 fettlement,
 
 Obfer^alions oh Compqfitidn. 419 
 
 fettlement, and excurfions, a mind endowed 
 with any portion of genius will engage in 
 a moft agreeable and inftruclive refearch. 
 While imagination will dwell upon the 
 wonderful and aftonifhing in this enquiry, 
 judgment will find its inveftigation con- 
 fiderably enlarged by ftudying the man- 
 ners of thefe and the defires by which 
 they appear to be animated * ; as well as . 
 by obferving particularly the marks that 
 ferve to difcriminate either individuals of 
 the fame tribe, or the different fpecies 
 from each other f. Its ideas of infinite 
 
 wifdom 
 
 * communes natos, confortia ted~la 
 TJrbishabent, magnifque agitant fub legibus sevum j 
 Et patriam folae, & certos novere penates. 
 Venturaeque hyemis memores, asftate laborem 
 Experiuntur, & in medium quaefita reponunt, 
 Namque aliae victu invigilant, &c. 
 
 Virg. Geor. iv. I. 153. 
 
 + The divine poet, whom we have quoted above, 
 
 makes a noble ufe of the employments of thefe tribes, 
 
 by making thefe inculcate fome fublime maxims of 
 
 philofophy. 
 
 His quidam fignis, atque base exempla fecuti, 
 Effe apibus partem divina? mentis & hauftus 
 JEthereos dixere : deum namque ire per omnes 
 Terrafque, tra&ufyue maris, cselumquc profundum. 
 E e % Hinc
 
 420 Philofophical and Critical 
 
 wifdom will be inconceivably augmented, 
 and its curiofity fupplied with the higheft 
 gratification, when by advancing gradually 
 in its enquiry it finds the whole vifible 
 works of the Deity tending to produce the 
 moft beneficial purpofes ; and even thofe 
 in which a fuperficiat view might feem to 
 ' 
 
 Hinc pecudes, armenta, viros, genus omnc ferarum, 
 Quemque fibi tenues nafcentem arceflere vitas. 
 Scilicet hue reddi deinde, ac refoluta referri 
 Omnia : nee morti efle locum ; fed viva volare 
 Sideris in numerum, atque alto fuccedere ccelo. 
 
 Ibid. 1. 219. 
 The genius of Virgil fhines no where more confpi- 
 euoufly than when it is thus employed in conveying 
 the moft momentous truths to the mind from fubjects 
 apparently fimple and unimportant, in this province 
 of genius, beyond all others, it may be faid to deferve 
 the denomination of creouve^ as the author in fome 
 fenfe exhibits an imitation of the divine mind by ftrik- 
 ing the unexpected light of inftrudion from a theme 
 which at the utmoft promifes only a little tranfient 
 entertainment We obferve with admiration the com- 
 pafs and extent of that mind which could inculcate 
 from the little labours of infects the omniprefence and 
 immenfity of God, as the vital principle fpread through 
 the univerfe, and the immortality of the foul which 
 proceeds from, and mixes at death with divine eflence, 
 which could inculcate thefe doctrines with propriety 
 as growing out of its fubjedl, and naturally coalcfcing 
 with objects fo apparently incongruous and remote ! 
 
 point
 
 Obfervations on Compojition. 421 
 
 point out irregularity, contrived upon 
 clofer examination for ends of great and 
 obvious importance. Thus, by following 
 out a digefted plan, the underftanding will 
 be improved by a fure, though an almoft 
 imperceptible progreffion ; and the mind 
 will acquire an habit of tracing effects to 
 their caufes with juftnefs and accuracy, as 
 foon as it is capable of forming an eftimate 
 of the comparative value of the objects 
 that furround it. 
 
 Among the many works to which this 
 copious fubject hath given rife in our own 
 country, there are few calculated to an- 
 swer all the ends which it is here propofed 
 to bring about. Derham, in his Phyfico- 
 Theology, has indeed explained fome parts 
 of Natural Hiftbry in a very clear and 
 fimple manner : but his ftyle is unhap- 
 pily fo vulgar and unanimated, that we 
 can fcarce recommend his work (though 
 otherw r ife valuable and judicious) to thofe 
 who ftudy to improve the intellectual 
 powers by ,whofe influence the mind is 
 qualified for Compofition. Ray, Welley, 
 and fome others, who have wrote on the 
 E e 3 fame
 
 422 Philafophical and Critical 
 
 fame topics lye open to fimilar exceptions. 
 The larger compilations on the other 
 hand, either collected from books, or the 
 refult of the author's own obfervation and 
 experience, are by far too abftracted and 
 philofophical either to improve or entertain 
 an inexperienced reader. Happily how- 
 ever for our prefent purpofe, the work of 
 an ingenious foreigner which is elegantly 
 tranflated into our own language, and i3 
 almoft in every body's hands, may be re- 
 commended with confidence, as having an 
 obvious tendency to excite, as its author 
 intended, the curiofity, and form the mind 
 of youth. Few readers will be at a lofs to 
 know that the w r ork referred to is that 
 entitled Spectacle de la Nature, and con- 
 tains a general view of the works of na- 
 ture carried on in that method which we 
 have recommended as molt eligible in the 
 firft ftages of life. The propriety there- 
 fore of recommending this work as a 
 means to effectuate the above-mentioned 
 purpofes, muft be fo obvious as to ftand in 
 need of no illuftration. We fhall there- 
 fore only obferve, that the familiar ftyle of 
 
 dialogue;
 
 Obfervations on Compofition. 423 
 
 dialogue which the author hath adopted in 
 the three firft volumes, the happy fele&ion 
 of his characters, and that air of philofo- 
 phical negligence which is fupported 
 through the whole, give this performance 
 advantages in point of entertainment equal, 
 if not fuperior, to moll others on the fame 
 fubjecT: * 
 
 Having thus endeavoured to lay open 
 that fyftem of education which may be 
 mofl favourable to the cultivation of reafon 
 in a mind diftinguifhed by the eminent 
 predominancy of the power of invention, 
 it will be a much eafier tafk to afcertain the 
 method by which imagination may be ex- 
 
 * Though we have here principally recommended 
 the work of a foreign writer on the fubjecl: of Natural 
 Hiftory, to the perufal of young readers^ there are fome 
 Englifh writers on this fubjecl: whofe works may be 
 read for the purpofes above fpecified with utility. Be- 
 fides a compendious and judicious treatife of this kind 
 publiihed in the Preceptor, many of Dr. Hill's pieces 
 are curious and edifying in this branch of literature; 
 and even Wefley, though he appears not to have 
 ftudied elegance of expreflion in his furvey of the works 
 of nature, yet has taken fuch a view of thefe as may 
 in a great meafure be fubfervient to the purpofes for 
 %vhich this (ludy is here recommended. 
 
 E e 4 tended
 
 Philofophkal and Critical 
 
 tended when it is difcovered to be weak 
 and inferior in a ftriking degree to the 
 former. We may lay it down as a rule 
 from which there is no exception, that 
 where in the fpring of human life a young 
 perfon difcovers no very ftrong inclination 
 to perufe writings whofe principal end is, 
 entertainment, and in which fancy appears 
 upon the whole. to be predominant, that 
 fuch a man pofTefleth a very moderate 
 fhare of the power of invention. This 
 laft, whenever it is conferred in any con- 
 fiderable meafure, will dwell upon fuch 
 performances with the utmoft fatisfaction, 
 and will fingle out from a whole not 
 merely the mod: ftriking incidents, but 
 fuch as certain little circumftances imper- 
 ceptible perhaps to a common obferver, 
 render particularly adapted to make a 
 ftrong, if not a lading impreffion upon the 
 mind. 
 
 This propeniity, however, to perufe 
 books of entertainment, is fo univerfal 
 among mankind in the feafon of early life, 
 that it may be thought too general a cri- 
 terion to afcertain the extent, or even the 
 
 pre-
 
 Obfervations on Compofition, 42$ 
 
 prevalence of an intellectual faculty in an 
 individual. In order therefore, to judge 
 of this matter properly a man of penetra- 
 tion will attend to the remarks, which, 
 after reading an ingenious and entertain- 
 ing work, will occur to the mind of his 
 inexperienced fcholar. The power of in- 
 vention when obvioufly prevalent, will 
 ftrongly indicate its predominance by mak- 
 ing the mind felecl:, as capital beauties or 
 faults of a work, circumftances that relate 
 to incidents, colouring, machinery. The 
 man of this caft will dwell upon the fce- 
 nery rather than the characters of fuch a 
 performance, and palling over the conn- 
 deration of a whole as formed of members 
 proportioned to each other, will either be 
 inchanted with the wild and luxuriant, or 
 will felect thofe ftrokes, however feemingly 
 infignificant, whofe difcovery indicates ex- 
 quifite fenfibility. When thefe marks are 
 obferved to take place, the man may with 
 propriety be ranked among thofe in whofe 
 mind it is principally requifite to improve 
 the underftanding. The prevalence of this 
 laft, on the contrary, will render the gene- 
 ral
 
 426 Thilofophical and Critical 
 
 ral difpofition of fuch a work the object 
 of his attention ; thoughts in whatever ex- 
 preffion thefe are clothed which fhow 
 either acutenefs or comprehenfion, will 
 imprefs the memory when the moft figni- 
 ficant illuftrations are no longer recol- 
 lected ; an impropriety in fome train of 
 fentiment, or in fome particular occurrence, 
 will in fuch a mind cancel a part of the 
 improvement or pleafure which might 
 otherwife be derived from either ; and the 
 fitnefs of a particular part as juftly fuited 
 to thofe which make up a whole will be 
 obferved, when its beauty as an ornament 
 will be wholly overlooked. In this laft 
 cafe, therefore, the feafon of youth fhould 
 not be permitted to pafs over, without 
 every method being taken to extend and 
 invigorate the powers of invention. It re-* 
 quires no great fhare of attention to dif-* 
 cover that thefe laft reflections are not fuch 
 as will occur upon the firft perufal of a 
 work to a young perfon of genius, if we 
 fuppofe. it to be principally characterifed 
 by imagination. In very early life fuch a 
 man will be apt to feel a perpetual fluctua- 
 tion
 
 Obferyations on Competition. 427 
 
 tton of thought, (if we may exprefs it in 
 this manner) a rapid fucceflion of new 
 ideas crouding into the mind as his atten- 
 tion is called off from one object to an- 
 other ; and in the midft of this internal 
 commotion, if his thoughts are fixed by 
 any feries of incidents whatever, that par-* 
 ticular circumftance will make the ftrongeft 
 impreffion which a glance of reflection, 
 imperceptible perhaps at the time, recom- 
 mends as that which he himfelf would 
 have felecled in the fame fituation. 
 
 So indelible however are the impreffions 
 which nature ftamps upon the mind, that 
 with regard to the prefent fubject, in what 
 degree foever we fuppofe a man to polfefs 
 a talent for Composition, he will be eafily 
 diftinguifhed, even by a fuperficial obferver, 
 from one who reads merely for amufe- 
 ment, or even from a native propenfity to 
 ftudy and obfervation. The laft of thefe 
 as he is directed by no other motive in the 
 reading of a work than either the enter- 
 tainment he may receive from it at a va- 
 cant hour, the reputation of learning he 
 may acquire by retailing various opinions 
 
 on
 
 428 Thilofophlcal and Critical 
 
 on difficult and controverted fubje&s, or 
 by the neceffity he finds of fupplying his 
 own want of original fentiment by gaining 
 it from others, will be fatisfied with being 
 qualified to mark out the capital beauties 
 of a performance, perhaps with great judg~ 
 ment and accuracy, but without making 
 fuch remarks as difcover any delire of imi~ 
 tation. The opinions therefore which 
 thefe men form with regard to propriety 
 of fentiment, ftrength of reafoning, or the 
 proportion fubfifting betwixt the inferior 
 members of a work, may be the refult of 
 their own experience and attention ; but 
 their remarks on the Compofition (partis 
 cularly of a performance in which tafte 
 and genius are difplayed) are ufually either 
 retailed implicitly from the converfation 
 of thofe who are e (teemed the beft judges ; 
 or will fhow fuch little accuracy and dif- 
 cernment in this matter as will leave a 
 man even of moderate penetration at no 
 lofs to pronounce that they are out of their 
 fphere. We now return to the principal 
 fubjecl:. 
 
 When
 
 Obfervations on Compofition. 429 
 
 When, in confequence of fome fuch nro* 
 cefs of obfervation as we have attempted 
 to fuggeft, it hath been difcovered that a 
 young perfon is poficffed of a good under- 
 handing, but a very inferior mare of ima- 
 gination ; in order to extend this laft fa- 
 culty to fome equality with the other, a 
 tutor will feldom err in granting a liberal 
 indulgence to the defire which every man 
 of genius feels in his earlieft years, to pe- 
 rufe works of fancy and invention ; unlefs 
 only when thefe (as is too often the cafe) 
 have any tendency to corrupt the heart. 
 A little reflection will thoroughly convince 
 us, that this method of proceeding can be 
 productive of no fuch bad confequences as 
 might at firft view be fuppofed to arife 
 from it. The underftanding participating 
 in no degree of the giddinefs and volatility 
 of fancy, arrives at maturity by a progref- 
 fion not lefs fure, becaufe it is commonly 
 imperceptible; and, unlefs in fome very 
 extraordinary inftances, acts not with full 
 force until the edge and vivacity of ima- 
 gination begins to fubfide. By ftrength- 
 ening therefore this laft when it is very 
 
 deficient
 
 43 Philofophical and Critical 
 
 deficient, the other it is obvious can be in 
 no degree impaired, becaufe in every work 
 we fhall not only find fomething of which 
 reafon is required to take cognifance, but 
 when this power predominates remark- 
 ably, the mind will be naturally difpofed 
 to dwell upon every object that is favour- 
 able to the improvement of its ruling fa- 
 culty, rather than to take in thofe fublime 
 effufions of genius, which are calculated 
 almoft wholly for the meridian of tafte 
 and fenfibility. Thus reafon will continue 
 to improve in the prefent inftance, in 
 whatever exercifes the mind is engaged, 
 becaufe it will always meet with fome- 
 thing adapted to this' purpofe; whereas 
 imagination may be crufhed when a man 
 is engaged in certain purfuits which af- 
 ford nothing calculated to flrengthen or 
 extend it. 
 
 In order therefore to bring the leading 
 powers to a balance as nearly as pofhble, 
 when the latter is found to be weak and 
 dilproportioned, the perfon diitinguifhed 
 by this inequality ought not only to be 
 early accuflomed to the perufal of works 
 
 of
 
 Obferiiations on Compojition 431 
 
 of invention, but his preceptor will per- 
 haps find it expedient to point out to him 
 thofe purely poetic beauties which, deriving 
 their origin almoft wholly from imagina- 
 tion, are not of fuch a kind as he who has 
 received from nature a very moderate pro- 
 portion of this faculty might felect for 
 himfelf. By thefe means as fancy begins 
 to extend by being kept in perpetual ex- 
 ercife, the mind will conceive fuch ideas of 
 the fublime, the elegant, the picturefque, 
 as well as of the correct and harmonious, 
 in Composition, as it will be a vain attempt 
 to infufe when the judgment is arrived at 
 full maturity, and when tafte is no longer 
 fufceptible of improvement. 
 
 We may obferve further on this branch 
 of our fubjecl:, that as the prevalence of 
 underftanding never fails to be indicated 
 by a certain cool and fedate manner which 
 is in"fome meafure incompatible with the 
 impetuofity of imagination, fo the pajjions 
 that obtain in a remarkable degree in this 
 laft inftance are either wholly abforbed in 
 the other cafe, or at leaft fubfift in a mea- 
 fure much lefs perceptible. It will there- 
 fore
 
 432 Thilofophical and Critical 
 
 fore be expedient to wake the embers of 
 thofe paffions, and to call each fucceffively 
 into a&ion, as a ftep indifpenfably requi- 
 flte to promote any ftrenuous exertion of 
 the intellectual powers. That we may 
 fully effe&uate this purpofe, fuch models 
 of Compofition as are at once approved as 
 the beft flandards of the kind, and may be 
 imitated with comparative facility^ ought 
 to be laid before the mind when its facul- 
 ties are come nearer to their full growth, 
 and when the man is able to determine the 
 fphere in which he is particularly qualified 
 to excel. Thus the writings of Homer 
 or Shakefpeare will no doubt contribute to 
 invigorate the power of invention, in the 
 fame manner as the genius of Milton is 
 faid to have been raifed to that wonderful 
 pitch of fublimity at which it afterwards 
 arrived by his being addicted to the read- 
 ing of romance. But where no great por- 
 tion of fancy is conferred by nature, a man 
 may be brought to admire the beauties of 
 poetic Compofition, and even to feel their 
 influence, while his own confcious infe- 
 riority produceth a defpair of imitation. 
 
 As
 
 Obfervafiohs on CompofitioH. 433 
 
 As foon therefore as his imagination is 
 inflamed, and of confequence his ambition 
 excited in very early life by having ftudied 
 the works of a great genius, and by hav- 
 ing his principal excellencies explainedj 
 illuftVated, and rendered familiar j thefe 
 works, as having anfwered their purpofe, 
 may be laid afide ; and the moft approved 
 ftandards of philofophical, eloquent, or 
 hiftorical Compofition will ferve, by being 
 fubmitted to his enquiry, to gratify that 
 afpiring emulation which we fuppofe to 
 have been flimulated by his attention to 
 the former. By this method his mind 
 will receive that improvement which is 
 beft fuited to the bias and ftrength of its 
 faculties *, and with his reafon exerting 
 
 the 
 
 # u A principio caveamus (fays a great genius for- 
 merly referred to, writing on a fubjecr, fimilar to the 
 prefent) a penfisj vel magis arduis, vel magis pufillia 
 quam res poftulat : nam fi oneris nim'ium imponatur, apud 
 ingenium mediocre bene fperandi alacritatem obtundes j 
 apud ingenium fiducise plenum opinionem concitabis, 
 qua plus fibi polliceatur quam prsftare poflit j quod 
 fecum trahit focordiam. In utroque autem ingenii 
 temperamento experimentum expetlationi non fatif- 
 faciat, id quod animum femper dejicit & confundit." 
 
 Vol. I. Ff De
 
 434 Thuofophical and Critical 
 
 the fame force it might have done upon a 
 plan of education adapted wholly to cul- 
 tivate the underftanding ; his imagination 
 will acquire extent and compafs greatly 
 fuperior to that which a plan of this kind 
 could ever have produced. If he cannot 
 therefore at any future period foar into 
 the region of the fublime and the wonder- 
 ful, he will learn at leaft to exprefs his 
 
 De Augmen. Scient. lib. viii. p. 464. It is with 
 much fatisfac~lion that the author finds in a work of 
 this great man, a rule laid down correfponding fo 
 happily to that which is prefcribed in this branch of 
 his work. It is undoubtedly true, that a man in the 
 middle rank of genius with a moderate mare of good 
 fenfe will be apt, in confequence of that juft way of 
 thinking which accompanies this qualification, to have 
 his hope of fuccefs wholly deprefied by contemplating 
 a ftandard greatly beyond his reach ; as he, on the 
 other hand, with the fame qualities, who has confidence 
 enough to attempt an imitation, will be ready to fink 
 into indolence when he finds his execution lb difpro* 
 portioned to the excellence of his' model. Emulation, 
 as we formerly ob'ferved, may be excited by a ftudy of 
 this kind more powerfully perhaps than by any other -, 
 but n order to direct it properly when once ftimu- 
 lated, authors of merit, whofe beauties may be more 
 eafily imitated, ought to be laid before a man of this 
 character ; whofe mind being then unbended and eafy 
 will proceed in its courfe with alacrity and per- 
 severance. 
 
 thoughts
 
 Obfervatwns on Compojition. 435 
 
 thoughts with vigour and energy ; if his 
 diction is feldom coloured with the glow 
 of imagery, he will however avoid the 
 extreme of tedious and infipid uniformity : 
 in fhortj by having the fphere of his in- 
 ventive power enlarged by a train of ideas 
 paffing conftantly before it, in the fame 
 manner as a feeble conftitution is rendered 
 healthy by exercife; he may obtain the 
 graces, though not the majefty of Com- 
 pofition ; and may become a correct and 
 mafterly writer, though never a great and 
 elevated genius. 
 
 III. As we have now attempted, in 
 compliance with the defign of this fection, 
 to investigate the caufes that obftruct the 
 equipoife of the mental powers as far as 
 thefe arife from a defective plan of edu- 
 cation, and to fugged fuch expedients as 
 may contribute moil effectually to prevent 
 their confequences ; it is only further ne- 
 ceffary that we obviate an objection which 
 fome readers may make with regard to the 
 difficulty of carrying the fcheme we have 
 laid down into execution ; and the real or 
 F f 2 chimerical
 
 43 6 Philofophical and Critical 
 
 chimerical value of its effects ftippolirig- 
 the plan to be fteadily purfued. 
 
 i . As to the firft, it will no doubt occur 
 to every man who reflects on this fubject, 
 that the difficulty of carrying on a procefs 
 of this kind, where an end of importance 
 is to be gained, can form no reafonable 
 objection (efpecially in extraordinary in- 
 ftances) againft the attempt. In the pre- 
 fent cafe, however, we fhall find upon ex- 
 amination no fuch impediments either in 
 difcovering the predominant faculty of 
 the mind, or in applying in particular 
 cafes the rules we have laid down, as may 
 at firft view be fuppofed. 
 
 The degree of attention required to find 
 out a talent for any fpecies of Compofition 
 depends partly upon that branch of the 
 art to which the mind hath received a 
 bias, and partly upon the meafure in 
 which this bias is obferved to prevail. 
 With regard to the particular kind of 
 Compofition, it muft be obvious, that in 
 whatever inftance the talents requifite to 
 form a poet or an orator take place, thefe 
 
 will,
 
 Obfervations on Compofitlon. 437 
 
 will make fo ftriking an appearance as to 
 eommand obfervation, even fuppofing the 
 parent to be remifs in his attention to a 
 circumftance of this nature from indolence, 
 or inattentive from avocation. Either of 
 thefe will fall fo early into his natural 
 courfe as to leave no queftion by what 
 fpirit he is animated. It is a matter of no 
 confequenee whether the one character is, 
 or is not miftaken for the other in the 
 feafon of fport and paftime. It is fufficient 
 that we~ know what may eafily be afcer- 
 tained, that the mind is diftinguifhed by a 
 large proportion of imagination. When 
 this difcovery therefore is once made, by 
 the firft eflays of any kind which he throws 
 out in the firft ftages of life, it cannot 
 furely be difficult (fuppofing the man to 
 whofe care fuch a perfon is entrufted, 
 difqualified for the talk of fuperintending 
 his education) to find men of tafte, and of 
 difcernment in this refpe<5t, who will lead 
 him into that courfe of fludy which may 
 be favourable to the improvement of the 
 inferior faculty. Again, when the mind 
 is obferved to have acquired from nature a 
 F f 3 more
 
 43 8 Philofophical and Critical 
 
 more didactic and philofophical character, 
 it requires not certainly either an exten- 
 five fhare of penetration to difcern in that 
 cafe that invention is not the difiinguifhing 
 character iftic, nor any uncommon degree 
 of judgment when this is known to en- 
 gage a man in fuch purfuits as tend to 
 open and enlarge his imagination. In 
 either cafe it is only requifite that the fame 
 attention which is employed to teach a 
 young perfon the fyntax of a language, a 
 circumftance of no great confequ^ce as to 
 intellectual culture, fhould be applied 
 either to the faculty of invention, or of 
 ratiocination. 
 
 2. The other part of the objection which 
 regards the utility of the method we have 
 attempted to recommend, admitting it to 
 be carried into execution, mould it be feri- 
 oufly propofed, will be found upon enquiry 
 to proceed from a very defective acquaint- 
 ance with the powers of the human mind. 
 That thefe, confidered in general, are fuf- 
 ceptible of the highelt improvement, is a 
 truth not only univerfally acknowledged 
 by the teftimony of mankind, but the 
 
 whole
 
 Obfervations on Coinpqfithn. 439 
 
 whole fyftem of education adopted among 
 every cultivated people proceeds upon it as 
 .an eitabliftied and irrefragable maxim. 
 Thus as elegant manners, and an exterior 
 polifh of the moft agreeable nature is ac- 
 quired by living in a court, and hy fre- 
 quenting what is called good -company; -fa. 
 wifdom, circumfpection, courage, bene- 
 volence, the qualities of the heart as well 
 as thefe of the head, are found to depend 
 in an eminent degree upon the firft prin- 
 ciples that are implanted in early youth ; 
 as their exertion upon particular occafions 
 is directed by experience. That the time 
 of earlieft youth likewife is necefTary in a 
 particular manner for the accomplishment 
 of thefe purpofes is evident, not merely 
 from what reafon fuggefts to us, but is 
 confirmed by our obferving univerfally 
 that when this feafon, fo peculiarly appro- 
 priated to improvement, is permitted to 
 pafs over without being properly employ- 
 ed, the mind acquires gradually a fettled 
 character, and its habits, whether good or 
 bad, become fo firmly rooted as never 
 afterwards to be thoroughly eradicated. 
 Ff4 If
 
 440 Philofophical and Critical 
 
 If then we find by experience that the 
 whole powers of the human mind taken 
 together, are not only fufceptible of cul- 
 ture, but are even moulded into a new 
 form by the infufion of fuch principles as. 
 are calculated to ripen and unfold them; 
 is it net obvious, that the fame attention 
 which is beftowed on all, directed to 
 ftrengthen that faculty which appears to 
 be weakefl, will probably be fuccefsful 
 when it is applied with judgment, and 
 when the crijis is happily fixed upon, at 
 which affiftance is indifpenfably necefiary 
 to bring the original feeds to maturity? 
 Should this reafoning be judged conclufive, 
 no objection can lie either againft the utility. 
 of the plan we have laid down in the pre- 
 fent fe&ion, or the poflibility in any in- 
 ftance of carrying it completely into exe- 
 cution. How far we have fucceeded in 
 our attempt to afcertain the particular 
 means by whofe ufe either judgment or 
 imagination may be invigorated, the judi- 
 cious reader mull: be left to determine. 
 
 We cannot conclude this important 
 branch of our fubjecl: until we have made 
 
 one
 
 Obfervatlons on Compojttion. 441 
 
 one remark, which appears naturally tQ 
 arife from the preceding obfervations. It 
 is the impropriety of the method com- 
 monly taken to improve the mind when it 
 is juft beginning to furvey and to dis- 
 criminate objects. In the ftages of infancy 
 and childhood the care of a parent is very 
 juftly employed to fupply the body with 
 proper nourifhment, and to render the 
 conftitution hardy and durable. It is chi- 
 merical to fuppofe that the mind in this 
 helplefs flate can receive improvement of 
 any confequence. As foon however as it 
 begins to diftinguifh and compare ideas, 
 the attention of thofe employed in the 
 work of education appears (ufually at leaft) 
 to be occupied by circumftances wholly fo- 
 reign to the principal end, if not in a great 
 meafure tending to obftrucT: it. The boy, 
 as foon as the natural bafhfulnefs and 
 timidity (fo peculiar to this feafon, and fo 
 charadteriftical of genius) is brufhed off 
 by reproof and example, is taught to prat- 
 tle over a few words with a certain air of 
 afTurance, which gains him the reputation 
 p.f promifmg parts j and in the ftudy of 
 
 his
 
 442 Vhllofophical and Critical 
 
 his native language, if his fpelling and 
 pronounciation is accurate, it is confidered 
 as a matter of no great confequence whe- 
 ther he underftands the fentiments, allow- 
 ing that thefe are adapted to his capacity, 
 or whether they are fuch as he cannot pof- 
 fibly comprehend. The bias given to his 
 mind by nature is fo far from being at- 
 tended to, that mould imagination happen 
 to take the lead in it, the keennefs and ex- 
 travagance that ufually characlerife it are 
 contemplated as the criteria of uncommon 
 genius, and are encouraged to exert them- 
 felves to the utmoft. When he comes for- 
 ward a little further, his intellectuals fup- 
 pofed to be in a Hate of almoft total quief- 
 cence, w T hiie his body is advancing fpee- 
 dily in its growth, fome years of the great- 
 eft importance are permitted to elapfe 
 while he is learning the grammatical part 
 of a language, which had it been deferred 
 a little longer he muft in half the time 
 have thoroughly underftood, and his mind 
 during this period receives no real im- 
 provement from his preceptors of any kind 
 whatever. The ftudy of the fciences im- 
 mediately
 
 Obfervations on Compofition. 443 
 
 mediately fucceeds ; and having got fome 
 general knowledge of the branches of phi- 
 lofophy, his literary education is judged to 
 be accomplished, and he is turned over to 
 his own direction. The amufements in 
 the mean time of his vacant hours in 
 which by the indulgence of his prevailing 
 bias he undoes whatever may be incul- 
 cated at other feafons, are paffed over 
 without notice. 
 
 By purfuing in this manner the fame 
 track indifcriminately with all, a fyflem of 
 education is adopted, by which, contrary 
 to the teftimony of univerfal experience, 
 all men whatever in point of capacity are 
 put upon a level. A man, perhaps emi- 
 nently qualified for active, but no way 
 fitted for contemplative life, is yet com- 
 pelled to embrace the latter in which his 
 talents are wholly mifapplied ; as on the 
 contrary, a man of genius (taking the 
 word in its ufual acceptation) hurried into 
 the tumult of bufmefs, finds himfelf en- 
 gaged in enterprifes which he cannot bring 
 to any conclufion ; and his abilities are loft 
 to the public and to himfelf by being di- 
 rected
 
 444 Thilofophical and Critical 
 
 reded to improper objects. Admitting, 
 however, that fuch a man may find (as 
 fometimes no doubt is the cafe) that his 
 talents have not been miftaken ; yet, from 
 the remarks already made, it muft be eafy 
 to obferve, even in this eafe, the confe- 
 quence arifmg from an early and unlimited 
 indulgence of the riding faculty acquiring 
 falfe ideas, and gaining an habit of carry- 
 ing thefe into exercife, in confequence of an 
 original neglect whofe effects cannot after- . 
 wards be corrected. 
 
 Some readers, I am aware, who may 
 admit the truth of thefe obfervations, w T ill 
 yet exclaim that there is hardly any prac- 
 ticable remedy for the evil here com- 
 plained of. " In order to rectify it (they 
 " will fay) there muft be an end of all 
 <<- public feminaries, in which the matters 
 tt would rind it an arduous tafk indeed, to 
 " diftinguifh,amidft an indifcriminate num- 
 " ber of fcholars, the peculiar character of 
 H any fmgle perfon fo exactly as to pur- 
 <c fue a particular method with him, while 
 K their attention is fucceflively employed 
 ti to gratify many wants, and to explore 
 
 " many
 
 Obfervations on Compofitiorti, 44 $ 
 
 " many characters among thofe committed 
 " to their charge." But a little recollec- 
 tion will fuggeft the anfwer to this objec- 
 tion. Though there is no individual* 
 however weak his intellectual powers, who 
 would not be benefited by fuch a fcheme 
 as we have attempted to fketch out in this 
 fection, fteadily carried into execution, and 
 judicioufly applied to the propenlity of his 
 mind ; yet in common cafes, when no 
 peculiar and difcriminating quality makes 
 its appearance, the attention here recom- 
 mended is not neceflary. A man of or- 
 dinary parts fitted perhaps to go through 
 life with approbation, but difcovering no 
 bias to any branch of the art which we 
 here treat of, might indeed receive advan- 
 tage by having the powers of his mind 
 properly balanced by an happy education, 
 to whatever objects thefe might afterwards 
 be directed -, but with regard to Compo- 
 fition, the neglect of that method which 
 we have propofed as moft eligible, could 
 produce no confiderable detriment. Art 
 may indeed polifi and improve upon the. 
 materials of nature, but cannot create thefe 
 
 where
 
 446 Philofophical and Critical 
 
 where they fubfift not originally. Thus 
 to communicate an idea of what conftitutes 
 beauty, either in painting or poetry, to a 
 man who is deprived of that internal fenfe 
 by which it is perceived, would be an at- 
 tempt as ineffectual as to make a blind 
 man a judge of colours, or to entertain 
 the deaf with a concert of mufic. In in- 
 flances, on the other hand, which fall out 
 but rarely of thofe who difcover an early 
 propenfity to fome fpecies of Compofition, 
 we have already mown that it is a matter 
 of no great difficulty either to find out 
 the weak fide of the character, or to adopt 
 a plan of education calculated to adjuft, 
 and to maintain the balance of the intel- 
 lectual powers. 
 
 But that we may fet this matter wholly 
 on a proper footing, let us only take for 
 granted what will furely be allowed, that 
 men of this clafs are qualified to make 
 quicker progrefs than others in the ufual 
 literary departments ; and it will only be 
 neceffary to defer the time when they be- 
 gin to acquire the rudiments of a language 
 till a little later than ordinary, in order to 
 
 accom-
 
 Obfervatians on Compojltion. 44.J 
 
 accbmplifh the p urpofe we have men- 
 tioned. The parent, or tutor, taking ad- 
 vantage of the crilis at which the mind 
 becomes capable of improvement, will find 
 nothing further requifite than to carry on 
 in the mean time the plan laid down in 
 this efTay, or what more adapted can be 
 fubftituted in its room, till by habituating 
 his pupil to form ideas of correct and 
 mafterly Compolition he gains fome know- 
 ledge of excellence in the art. By this 
 method, when he comes afterwards to read 
 the performances of claffical writers in a 
 foreign language, he will be able without 
 the affiftance of his mailer to judge for 
 himfelf of their peculiar characters; and 
 having the foundation once laid by others, 
 will by the flrength of his own reflection 
 and experience erect a proportioned and 
 durable fuperftru&ure; 
 
 END OF THE FIRST VOLUME,
 
 
 
 . 
 
 
 
 

 
 
 UNIVERSITY OF CALIFORNIA LIBRARY 
 
 Los Angeles 
 
 This book is DUE on the last date stamped below. 
 
 
 fcAQGfc* 
 
 4 ' 
 
 RENEWAL ] 
 
 RECD V 
 
 Is m 
 
 M JREFB LD-URL 
 
 DEC o 8 198 ) 
 
 315
 
 I II II II M II Ml II 
 
 3 1158 00779 2152 
 
 J