mind upon the perusal of a noble work. Thus although in poetry it be absolutely necessary that the unities of time, place, and action, with other points of the same nature, should be thoroughly explained and understood; there is still something more essential to the art, something that elevates and astonishes the fancy, and gives a greatness of mind to the reader, which few of the critics besides Longinus have considered. Our general taste in England is for epigram, turns of wit, and forced conceits, which have no manner of influence, either for the bettering or enlarging the mind of him who reads them, and have been carefully avoided by the greatest writers, both among the ancients and moderns. I have endeavoured in several of my speculations to banish this Gothic taste, which has taken posses sion among us. I entertained the town, for a week together, with an essay upon wit, in which I endeavoured to detect several of those false kinds which have been admired in the different ages of the world; and at the same time to shew wherein the nature of true wit consists. I afterwards gave an instance of the great force which lies in a natural simplicity of thought to affect the mind of the reader, from such vulgar pieces as have little else besides this single qualification to recommend them. I have likewise examined the works of the greatest poet which our nation or perhaps any other has produced, and particularized most of those rational and manly beauties which give a value to that divine work. I shall next Saturday enter upon an essay on 'the pleasures of the imagination,' which, though it shall consider that subject at large, will perhaps suggest to the reader what it is that gives a beauty to many passages of the finest writers both in prose and verse. As an undertaking of this nature is entirely new, I question not but it will be received with candour. 0. VOL. VI.-14* No. 411. SATURDAY, JUNE 21.1 PLEASURES OF THE IMAGINATION. "The perfection of our sight above our other senses. The pleasures of the imagination arise originally from sight. The pleasures of the imagination divided under two heads. The pleasures of the imagination in some respects equal to those of the understanding. The extent of the pleasures of the imagination. The advantages a man receives from a relish of these pleasures. In what respect they are preferable to those of the understanding.' Avia Pieridum peragro loca, nullius ante LUCR. i. 925. -Inspir'd I trace the muses' seats, Untrodden yet; 'tis sweet to visit first senses. Untouch'd and virgin streams, and quench my thirst. CREECH. OUR sight is the most perfect and most delightful of all our It fills the mind with the largest variety of ideas, converses with its objects at the greatest distance, and continues the longest in action without being tired or satiated with its proper enjoyments. The sense of feeling can indeed give us a notion of extension, shape, and all other ideas that enter at the eye, except colours; but at the same time it is very much straitened and confined in its operations, to the number, bulk, and distance of b These papers suggested Akenside's beautiful poem on 'The Pleasures of the Imagination,' and were selected by Blair for a minute examination of Addison's style in his Lectures on Rhetoric, &c. (lect. xx. et seq.) The reader who wishes to form a correct estimate of their philosophical merit, will do well to compare them with the seventh chapter of Stewart's Elements of the Phil. of the Human Mind, and Brown's twentieth lecture.-G. This essay on the pleasures of the imagination, is by far the most masterly of all Mr. Addison's critical works. The scheme of it, as the motto to this introductory paper intimates, is original; and the style is finished with so much ease, as to merit the best attention of the reader. Some inaccuracies of expression have, however, escaped the elegant writer, and these, as we go along, shall be pointed out.-H. He should have said, with regard to.-H. its particular objects. Our sight seems designed to supply all these defects, and may be considered as a more delicate and diffusive kind of touch, that spreads itself over an infinite multitude of bodies, comprehends the largest figures, and brings into our reach some of the most remote parts of the universe. It is this sense which furnishes the imagination with its ideas; so that by the pleasures of the imagination or fancy' (which I shall use promiscuously) I here mean such as arise from visible objects, either when we have them actually in our view, or when we call up their ideas into our minds by paintings, statues, descriptions, or any the like occasion. We cannot, indeed, have a single image in the fancy that did not make its first entrance through the sight; but we have the power of retaining, altering, and compounding those images, which we have once received, into all the varieties of picture and vision that are most agreeable to the imagination; for by this faculty a man in a dungeon is capable of entertaining himself with scenes and landscapes more beautiful than any that can be found in the whole compass of na ture. There are few words in the English language which are employed in a more loose and uncircumscribed sense than those of the fancy and the imagination. I therefore thought it necessary to fix and determine the notion of these two words, as I intend to make use of them in the thread of my following speculations, that the reader may conceive rightly what is the subject which I proceed upon. I must therefore desire him to remember, that by the pleasures of the imagination, I mean only such pleasures as arise originally from sight, and that I divide these pleasures into Philosophers, since Stewart, have made a distinction between fancy and imagination, which was unknown to Addison. A brief sketch of modern opinions upon this subject is given in Mahan's Intellectual Philosophy,' ch. xi.-G. two kinds my design being first of all to discourse of those primary pleasures of the imagination, which entirely proceed from such objects as are before our eyes; and in the next place to speak of those secondary pleasures of the imagination which flow from the ideas of visible objects, when the objects are not actually before the eye, but are called up into our memories, or formed into agreeable visions of things that are either absent or fictitious.1 The pleasures of the imagination, taken in their full extent, are not so gross as those of sense, nor so refined as those of the understanding. The last are, indeed, more preferable, because they are founded on some new knowledge or improvement in the mind of man; yet it must be confest, that those of the imagination are as great and as transporting as the other. A beautiful prospect delights the soul, as much as a demonstration; and a description in Homer has charmed more readers than a chapter in Aristotle. Besides, the pleasures of the imagination have this advantage above those of the understanding, that they are more obvious, and more easy to be acquired. It is but opening the eye, and the scene enters. The colours paint themselves on the fancy, with very little attention of thought or application of mind in the beholder. We are struck, we know not how, with the symmetry 1 Stewart says that 'philosophical precision indispensably requires an exclusive limitation of that title (pleasures of the imagination) to what Mr. Addison calls secondary pleasures'—V. Philos. Essays, Part second, Essay first -Introduction. In a note he adds-'What Mr. Addison has called the Pleasures of the Imagination might be denominated, more correctly, the pleasures we receive from the objects of Taste.' Ut sup. p. 182. note. See also a note in Beattie's Essay on Truth, ch. ii. s. 4. p. 61, ed. in 4to.-G. The degree of comparison is expressed in the adjective itself. The comparative, more, is then to be struck out, as a manifest blunder of the compositor. It is impossible that such an expression should come from Mr. Addison.-H. of any thing we see, and immediately assent to the beauty of an object, without inquiring into the particular causes and occasions of it. A man of polite imagination is let into a great many pleasures, that the vulgar are not capable of receiving. He can converse with a picture, and find an agreeable companion in a statue. He meets with a secret refreshment in a description, and often feels a greater satisfaction in the prospect of fields and meadows, than another does in the possession. It gives him, indeed, a kind of property in every thing he sees, and makes the most rude uncultivated parts of nature administer to his pleasures: so that he looks upon the world, as it were in another light, and discovers in it a multitude of charms, that conceal themselves from the generality of mankind. There are, indeed, but very few who know how to be idle and innocent, or have a relish of any pleasures that are not criminal; every diversion they take is at the expence of some one virtue or another, and their very first step out of business is into vice or folly. A man should endeavour, therefore, to make the sphere of his innocent pleasures as wide as possible, that he may retire into them with safety, and find in them such a satisfaction as a wise man would not blush to take. Of this nature are those of the imagination, which do not require such a bent of thought as is necessary to our more serious employments, nor, at the same time, suffer the mind to sink into that negligence and remissness, which are apt to accompany our more sensual delights, but, like a gentle exercise to the faculties, awaken them from sloth and idleness, without putting them upon any labour or difficulty. We might here add, that the pleasures of the fancy are more f This is an instance, among many others, of that curious felicity, which directed Mr. Addison in the choice of his terms. But the whole paragraph is a master-piece of fine writing.-H. Another of his inimitable words.-H. |