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in pleasing and agreeable motions. For this reason Sir Francis Bacon, in his Essay upon Health, has not thought it improper to prescribe to his reader a poem or a prospect, where he particularly dissuades him from knotty and subtle disquisitions, and advises him to pursue studies that fill the mind with splendid and illustrious objects, as histories, fables, and contemplations of nature. I have in this paper, by way of introduction, settled the motion of those pleasures of the imagination which are the subject of my present undertaking, and endeavoured, by several considerations, to recommend to my reader the pursuit of those pleasures. I shall, in my next paper, examine the several sources from whence these pleasures are derived. ADDISON.
ON THE PLEASURES OF THE IMAGINATION. PAPER II. (No. 412).
I SHALL first consider those pleasures of the imagination which arise from the actual view and survey of outward objects: and these, I think, all proceed from the sight of what is great, uncommon, or beautiful. There may, indeed, be something so terrible or offensive, that the horror or loathsomeness of an object may overbear the pleasure which results from its greatness, novelty, or beauty; but still there will be such a mixture of delight in the very disgust it gives us, as any of these three qualifications are most conspicuous and prevailing.
By greatness, I do not only mean the bulk of any single object, but the largeness of a whole view, considered as one entire piece. Such are the prospects of an open champain country, a vast uncultivated desert, of huge heaps of mountains, high rocks and precipices, or a wide expanse of water, where we are not struck with the novelty or beauty of the sight, but with that rude kind of magnificence which appears in many of these stupendous works of nature. Our imagination loves to be filled with an object, or to grasp at anything that is too big for its capacity. We are flung into
a pleasing astonishment at such unbounded views, and feel a delightful stillness and amazement in the soul at the apprehensions of them. The mind of man naturally hates everything that looks like a restraint upon it, and is apt to fancy itself under a sort of confinement, when the sight is pent up in a narrow compass, and shortened on every side by the neighbourhood of walls or mountains. On the contrary, a spacious horizon is an image of liberty, where the eye has room to range abroad, to expatiate at large on the immensity of its views, and to lose itself amidst the variety of objects that offer themselves to its observation. Such wide and undetermined prospects are as pleasing to the fancy as the speculations of eternity or infinitude are to the understanding. But if there be a beauty or uncommonness joined with this grandeur, as in a troubled ocean, a heaven adorned with stars and meteors, or a spacious landscape cut out into rivers, woods, rocks, and meadows, the pleasure still grows upon us, as it arises from more than a single principle. Everything that is new or uncommon raises a pleasure in the imagination, because it fills the soul with an agreeable surprise, gratifies its curiosity, and gives it an idea of which it was not before possessed. We are indeed so often conversant with one set of objects, and tired out with so many repeated shows of the same things, that whatever is new or uncommon contributes a little to vary human life, and to divert our minds, for a while, with the strangeness of its appearance. It serves us for a kind of refreshment, and takes off from that satiety we are apt to complain of, in our usual and ordinary entertainments. It is this that bestows charms on a monster, and makes even the imperfections of nature please us. It is this that recommends variety, where the mind is every instant called off to something new, and the attention not suffered to dwell too long, and waste itself on any particular object. It is this, likewise, that improves what is great or beautiful, and makes it afford the mind a double entertainment. Groves, fields, and meadows, are at any season of the year pleasant to look upon, but never so much as in the opening of the spring, when they are all new and fresh, with their first gloss upon them, and not yet too much accustomed and familiar to the eye. For this reason, there is nothing that more enlivens a prospect than rivers, jetteaus, or falls of water, where the scene is perpetually shifting, and entertaining the sight every moment with something that is new. We are quickly tired with looking upon hills and valleys, where everything continues fixed and settled in the same place and posture, but find our thoughts a little agitated and relieved at the sight of such objects as are ever in motion, and sliding away from beneath the eye of the beholder. But there is nothing that makes its way more directly to the soul than beauty, which immediately diffuses a secret satisfaction and complacency through the imagination, and gives a finishing to anything that is great or uncommon. The very first discovery of it strikes the mind with an inward joy, and spreads a cheerfulness and delight through all its faculties. There is not perhaps any real beauty or deformity more in one piece of matter than another, because we might have been so made, that whatsoever now appears loathsome to us, might have shown itself agreeable; but we find by experience that there are several modifications of matter which the mind, without any previous consideration, pronounces at first sight beautiful or deformed. Thus we see that every different species of sensible creatures has its different notions of beauty, and that each of them is most affected with the beauties of its own kind. This is nowhere more remarkable than in birds of the same shape and proportion, where we often see the mate determined in his courtship by the single grain or tincture of a feather, and never discovering any charms but in the colour of its species. “Scit thalamo servare fidem, sanctasque veretur Connubii leges: non illum in pectore candor Solicitat niveus; neque pravum accendit amorem Splendida lanugo, vel honesta in vertice crista, Purpureusve nitor pennarum; ast agmina late Foeminea explorat cautus, maculasque requirit
Confusam aspiceres vulgó, partusque biformes,
“The feather'd husband, to his partner true,
There is a second kind of beauty that we find in the several products of art and nature, which does not work in the imagination with that warmth and violence as the beauty that appears in our proper species, but is apt however to raise in us a secret delight, and a kind of fondness for the places or objects in which we discover it. This consists either in the gaiety or variety of colours, in the symmetry and proportion of parts, in the arrangement and disposition of bodies, or in a just mixture and concurrence of all together. Among these several kinds of beauty the eye takes most delight in colours. We nowhere meet with a more glorious or pleasing show in nature, than what appears in the heavens at the rising and setting of the sun, which is wholly made up of those different stains of light that show themselves in clouds of a different situation. For this reason we find the poets, who are always addressing themselves to the imagination, borrowing more of their epithets from colours than from any other topic. As the fancy delights in everything that is great, strange, or beautiful, and is still more pleased the more it finds of these perfections in the same object, so it is capable of receiving a new satisfaction by the assistance of another sense. Thus any continued sound, as the music of birds, or a fall of water, awakens every moment the mind of the beholder, and makes him more attentive—to the several beauties of the place that lie before him. Thus, if there arises a fragrancy of smells or perfumes, they heighten the pleasures of the imagination, and make even the colour and verdure of the landscape appear more agreeable; for the ideas of both senses recommend each other, and are pleasanter together than when they enter the mind separately: as the different colours of a picture, when they are well disposed, set off one another, and receive an additional beauty from the advantage of their situation. ADDISON.
ON THE PLEASURES OF THE IMAGINATION. PAPER III. (No. 413).
THOUGH in yesterday's paper we considered how everything that is great, new, or beautiful, is apt to affect the imagination with pleasure, we must own that it is impossible for us to assign the necessary cause of this pleasure, because we know neither the mature of an idea, nor the substance of a human soul, which might help us to discover the conformity or disagreeableness of the one to the other; and therefore, for want of such a light, all that we can do in speculations of this kind, is to reflect on those operations of the soul that are most agreeable, and to range, under their proper heads, what is pleasing or displeasing to the mind, without being able to trace out the several necessary and efficient causes from whence the pleasure or displeasure arlS6S.