Ideas that before slept in the Imagination; such a particular Smell or Colour is able to fill the Mind, on a sudden, with the Picture of the Fields or Gardens, where we first met with it, and to bring up into View all the Variety of Images that once attended it. Our Imagination takes the Hint, and leads us unexpectedly into Cities or Theatres, Plains or Meadows. We may further observe, when the Fancy thus reflects on the Scenes that have past in it formerly, those which were at first pleasant to behold, appear more so upon Reflection, and that the Memory heightens the Delightfulness of the Original. A

Cartesian

would account for both these Instances in the following Manner.

The Sett of Ideas, which we received from such a Prospect or Garden, having entered the Mind at the same time, have a Sett of Traces belonging to them in the Brain, bordering very near upon one another; when, therefore, any one of these Ideas arises in the Imagination, and consequently dispatches a flow of Animal Spirits to its proper Trace, these Spirits, in the Violence of their Motion, run not only into the Trace, to which they were more particularly directed, but into several of those that lie about it: By this means they awaken other Ideas of the same Sett, which immediately determine a new Dispatch of Spirits, that in the same manner open other Neighbouring Traces, till at last the whole Sett of them is blown up, and the whole Prospect or Garden flourishes in the Imagination. But because the Pleasure we received from these Places far surmounted, and overcame the little Disagreeableness we found in them; for this Reason there was at first a wider Passage worn in the Pleasure Traces, and, on the contrary, so narrow a one in those which belonged to the disagreeable Ideas, that they were quickly stopt up, and rendered incapable of receiving any Animal Spirits, and consequently of exciting any unpleasant Ideas in the Memory.

It would be in vain to enquire, whether the Power of Imagining Things strongly proceeds from any greater Perfection in the Soul, or from any nicer Texture in the Brain of one Man than of another. But this is certain, that a noble Writer should be born with this Faculty in its full Strength and Vigour, so as to be able to receive lively Ideas from outward Objects, to retain them long, and to range them together, upon Occasion, in such Figures and Representations as are most likely to hit the Fancy of the Reader. A Poet should take as much Pains in forming his Imagination, as a Philosopher in cultivating his Understanding. He must gain a due Relish of the Works of Nature, and be thoroughly conversant in the various Scenary of a Country Life.

When he is stored with Country Images, if he would go beyond Pastoral, and the lower kinds of Poetry, he ought to acquaint himself with the Pomp and Magnificence of Courts. He should be very

well

versed in every thing that is noble and stately in the Productions of Art, whether it appear in Painting or Statuary, in the great Works of Architecture which are in their present Glory, or in the Ruins of those

which

flourished in former Ages.

Such Advantages as these help to open a Man's Thoughts, and to enlarge his Imagination, and will therefore have their Influence on all kinds of Writing, if the Author knows how to make right use of them. And among those of the learned Languages who excel in this Talent, the most perfect in their several kinds, are perhaps

Homer

Virgil

, and

Ovid

. The first strikes the Imagination wonderfully with what is Great, the second with what is Beautiful, and the last with what is Strange. Reading the

Iliad

is like travelling through a Country uninhabited, where the Fancy is entertained with a thousand Savage Prospects of vast Desarts, wide uncultivated Marshes, huge Forests, mis-shapen Rocks and Precipices. On the contrary, the

Æneid

is like a well ordered Garden, where it is impossible to find out any Part unadorned, or to cast our Eyes upon a single Spot, that does not produce some beautiful Plant or Flower. But when we are in the

Metamorphoses

, we are walking on enchanted Ground, and see nothing but Scenes of Magick lying round us.

Homer

is in his Province, when he is describing a Battel or a Multitude, a Heroe or a God.

Virgil

is never better pleased, than when he is in his

Elysium

, or copying out an entertaining Picture.

Homer's

Epithets generally mark out what is Great,

Virgil's

what is Agreeable. Nothing can be more Magnificent than the Figure

Jupiter

makes in the first

Iliad

, no more Charming than that of Venus in the first

Æneid

Greek: Ae, kaì kyanéaesin ep' ophrysi neuse Kroníôn, Ambrósiai d' ára chaitai eperrhôsanto ánaktos Kratòs ap' athanátoio mégan d' élélixen lympos.

Dixit et avertens roseâ cervice refulsit:Ambrosiæque comæ; divinum vertice odoremSpiravere: Pedes vestis defluxit ad imos:Et vera incessu patuit Dea—

Homer's

Persons are most of them God-like and Terrible;

Virgil

has scarce admitted any into his Poem, who are not Beautiful, and has taken particular Care to make his Heroe so.

—lumenque juventæPurpureum, et lætos oculis afflavit honores.

In a Word,

Homer

fills his Readers with Sublime Ideas, and, I believe, has raised the Imagination of all the good Poets that have come after him. I shall only instance

Horace

, who immediately takes Fire at the first Hint of any Passage in the

Iliad

Odyssey

, and always rises above himself, when he has

Homer

in his View.

Virgil

has drawn together, into his

Æneid

, all the pleasing Scenes his Subject is capable of admitting, and in his

Georgics

has given us a Collection of the most delightful Landskips that can be made out of Fields and Woods, Herds of Cattle, and Swarms of Bees.

Ovid

, in his

Metamorphoses

, has shewn us how the Imagination may be affected by what is Strange. He describes a Miracle in every Story, and always gives us the Sight of some new Creature at the end of it. His Art consists chiefly in well-timing his Description, before the first Shape is quite worn off, and the new one perfectly finished; so that he every where entertains us with something we never saw before, and shews Monster after Monster, to the end of the

Metamorphoses

If I were to name a Poet that is a perfect Master in all these Arts of working on the Imagination, I think

Milton

may pass for one: And if his

Paradise Lost

falls short of the

Æneid

Iliad

in this respect, it proceeds rather from the Fault of the Language in which it is written, than from any Defect of Genius in the Author. So Divine a Poem in

English

, is like a stately Palace built of Brick, where one may see Architecture in as great a Perfection as in one of Marble, tho' the Materials are of a coarser Nature. But to consider it only as it regards our present Subject: What can be conceived greater than the Battel of Angels, the Majesty of Messiah, the Stature and Behaviour of Satan and his Peers? What more beautiful than

Pandæmonium

, Paradise, Heaven, Angels,

Adam

and

Eve

? What more strange, than the Creation of the World, the several Metamorphoses of the fallen Angels, and the surprising Adventures their Leader meets with in his Search after Paradise? No other Subject could have furnished a Poet with Scenes so proper to strike the Imagination, as no other Poet could have painted those Scenes in more strong and lively Colours.

Footnote 1:

a Thousand

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Footnote 2:

that

return

Contents

AdvertisementWhereas the Proposal called the Multiplication Tableis under an Information from the Attorney General,in Humble Submission and Duty to her Majestythe said Undertaking is laid down, and Attendance is this Day given ...in order to repay such Sumsas have been paid into the said Table without Deduction.

Contents

—ferat et rubus asper amomum.translationVirg.

The Pleasures of these Secondary Views of the Imagination, are of a wider and more Universal Nature than those it has when joined with Sight; for not only what is Great, Strange or Beautiful, but any Thing that is Disagreeable when looked upon, pleases us in an apt Description. Here, therefore, we must enquire after a new Principle of Pleasure, which is nothing else but the Action of the Mind, which

compares

the Ideas that arise from Words, with the Ideas that arise from the Objects themselves; and why this Operation of the Mind is attended with so much Pleasure, we have before considered. For this Reason therefore, the Description of a Dunghill is pleasing to the Imagination, if the Image be represented to our Minds by suitable Expressions; tho' perhaps, this may be more properly called the Pleasure of the Understanding than of the Fancy, because we are not so much delighted with the Image that is contained in the Description, as with the Aptness of the Description to excite the Image.

But if the Description of what is Little, Common, or Deformed, be acceptable to the Imagination, the Description of what is Great, Surprising or Beautiful, is much more so; because here we are not only delighted with

comparing

the Representation with the Original, but are highly pleased with the Original itself. Most Readers, I believe, are more charmed with

Milton's

Description of Paradise, than of Hell; they are both, perhaps, equally perfect in their Kind, but in the one the Brimstone and Sulphur are not so refreshing to the Imagination, as the Beds of Flowers and the Wilderness of Sweets in the other.

There is yet another Circumstance which recommends a Description more than all the rest, and that is if it represents to us such Objects as are apt to raise a secret Ferment in the Mind of the Reader, and to work, with Violence, upon his Passions. For, in this Case, we are at once warmed and enlightened, so that the Pleasure becomes more Universal, and is several ways qualified to entertain us. Thus in Painting, it is pleasant to look on the Picture of any Face, where the Resemblance is hit, but the Pleasure increases, if it be the Picture of a Face that is Beautiful, and is still greater, if the Beauty be softened with an Air of Melancholy or Sorrow. The two leading Passions which the more serious Parts of Poetry endeavour to stir up in us, are Terror and Pity. And here, by the way, one would wonder how it comes to pass, that such Passions as are very unpleasant at all other times, are very agreeable when excited by proper Descriptions. It is not strange, that we should take Delight in such Passions as are apt to produce Hope, Joy, Admiration, Love, or the like Emotions in us, because they never rise in the Mind without an inward Pleasure which attends them. But how comes it to pass,

that

we should take delight in being terrified or dejected by a Description, when we find so much Uneasiness in the Fear or Grief

which

we receive from any other Occasion?

If we consider, therefore, the Nature of this Pleasure, we shall find that it does not arise so properly from the Description of what is terrible, as from the Reflection we make on our selves at the time of reading it. When we look on such hideous Objects, we are not a little pleased to think we are in no Danger of them. We consider them at the same time, as Dreadful and Harmless; so that the more frightful Appearance they make, the greater is the Pleasure we receive from the Sense of our own Safety. In short, we look upon the Terrors of a Description, with the same Curiosity and Satisfaction that we survey a dead Monster.

—Informe cadaverProtrahitur, nequeunt expleri corda tuendoTerribiles oculos: vultum, villosaque satisPectora semiferi, atque extinctos faucibus ignes.Virg.

It is for the same Reason that we are delighted with the reflecting upon Dangers that are past, or in looking on a Precipice at a distance, which would fill us with a different kind of Horror, if we saw it hanging over our Heads.

In the like manner, when we read of Torments, Wounds, Deaths, and the like dismal Accidents, our Pleasure does not flow so properly from the Grief which

such

melancholy Descriptions give us, as from the secret Comparison which we make between our selves and the Person

who

suffers. Such Representations teach us to set a just Value upon our own Condition, and make us prize our good Fortune, which exempts us from the like Calamities. This is, however, such a kind of Pleasure as we are not capable of receiving, when we see a Person actually lying under the Tortures that we meet with in a Description; because in this case, the Object presses too close upon our Senses, and bears so hard upon us, that it does not give us Time or Leisure to reflect on our selves. Our Thoughts are so intent upon the Miseries of the Sufferer, that we cannot turn them upon our own Happiness. Whereas, on the contrary, we consider the Misfortunes we read in History or Poetry, either as past, or as fictitious, so that the Reflection upon our selves rises in us insensibly, and over-bears the Sorrow we conceive for the Sufferings of the Afflicted.

But because the Mind of Man requires something more perfect in Matter, than what it finds there, and can never meet with any Sight in Nature which sufficiently answers its highest Ideas of Pleasantness; or, in other Words, because the Imagination can fancy to it self Things more Great, Strange, or Beautiful, than the Eye ever saw, and is still sensible of some Defect in what it has seen; on this account it is the part of a Poet to humour the Imagination in its own Notions, by mending and perfecting Nature where he describes a Reality, and by adding greater Beauties than are put together in Nature, where he describes a Fiction.

He is not obliged to attend her in the slow Advances which she makes from one Season to another, or to observe her Conduct, in the successive Production of Plants and Flowers. He may draw into his Description all the Beauties of the Spring and Autumn, and make the whole Year contribute something to render it the more agreeable. His Rose-trees, Wood-bines, and Jessamines may flower together, and his Beds be cover'd at the same time with Lillies, Violets, and Amaranths. His Soil is not restrained to any particular Sett of Plants, but is proper either for Oaks or Mirtles, and adapts itself to the Products of every Climate. Oranges may grow wild in it; Myrrh may be met with in every Hedge, and if he thinks it proper to have a Grove of Spices, he can quickly command Sun enough to raise it. If all this will not furnish out an agreeable Scene, he can make several new Species of Flowers, with richer Scents and higher Colours than any that grow in the Gardens of Nature. His Consorts of Birds may be as full and harmonious, and his Woods as thick and gloomy as he pleases. He is at no more Expence in a long Vista, than a short one, and can as easily throw his Cascades from a Precipice of half a Mile high, as from one of twenty Yards. He has his Choice of the Winds, and can turn the Course of his Rivers in all the Variety of

Meanders

, that are most delightful to the Reader's Imagination. In a word, he has the modelling of Nature in his own Hands, and may give her what Charms he pleases, provided he does not reform her too much, and run into Absurdities, by endeavouring to excel.

Footnote 1:

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Footnote 2:

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Contents

—mentis gratissimus Error.translationHor.

There is a kind of Writing, wherein the Poet quite loses Sight of Nature, and entertains his Reader's Imagination with the Characters and Actions of such Persons as have many of them no Existence, but what he bestows on them. Such are Fairies, Witches, Magicians, Demons, and departed Spirits. This Mr.

Dryden

calls

the Fairy Way of Writing

, which is, indeed, more difficult than any other that depends on the Poet's Fancy, because he has no Pattern to follow in it, and must work altogether out of his own Invention.

There is a very odd Turn of Thought required for this sort of Writing, and it is impossible for a Poet to succeed in it, who has not a particular Cast of Fancy, and an Imagination naturally fruitful and superstitious. Besides this, he ought to be very well versed in Legends and Fables, antiquated Romances, and the Traditions of Nurses and old Women, that he may fall in with our natural Prejudices, and humour those Notions which we have imbibed in our Infancy. For otherwise he will be apt to make his Fairies talk like People of his own Species, and not like other Setts of Beings, who converse with different Objects, and think in a different Manner from that of Mankind;

Sylvis deducti caveant, me Judice, FauniNe velut innati triviis ac pœne forensesAut nimium teneris juvenentur versibusHor.

I do not say with Mr.

Bays

in the

Rehearsal

, that Spirits must not be confined to speak Sense, but it is certain their Sense ought to be a little discoloured, that it may seem particular, and proper to the Person and the Condition of the Speaker.

These Descriptions raise a pleasing kind of Horrour in the Mind of the Reader, and amuse his Imagination with the Strangeness and Novelty of the Persons who are represented in them. They bring up into our Memory the Stories we have heard in our Childhood, and favour those secret Terrors and Apprehensions to which the Mind of Man is naturally subject. We are pleased with surveying the different Habits and Behaviours of Foreign Countries, how much more must we be delighted and surprised when we are led, as it were, into a new Creation, and see the Persons and Manners of another Species? Men of cold Fancies, and Philosophical Dispositions, object to this kind of Poetry, that it has not Probability enough to affect the Imagination. But to this it may be answered, that we are sure, in general, there are many Intellectual Beings in the World besides our selves, and several Species of Spirits, who are subject to different Laws and œconomies from those of Mankind; when we see, therefore, any of these represented naturally, we cannot look upon the Representation as altogether impossible; nay, many are prepossest with such false Opinions, as dispose them to believe these particular Delusions; at least, we have all heard so many pleasing Relations in favour of them, that we do not care for seeing through the Falshood, and willingly give our selves up to so agreeable an Imposture.

The Ancients have not much of this Poetry among them, for, indeed, almost the whole Substance of it owes its Original to the Darkness and Superstition of later Ages, when pious Frauds were made use of to amuse Mankind, and frighten them into a Sense of their Duty. Our Forefathers look'd upon Nature with more Reverence and Horrour, before the World was enlightened by Learning and Philosophy, and lov'd to astonish themselves with the Apprehensions of Witchcraft, Prodigies, Charms and Enchantments. There was not a Village in

England

, that had not a Ghost in it, the Church-yards were all haunted, every large Common had a Circle of Fairies belonging to it, and there was scarce a Shepherd to be met with who had not seen a Spirit.

Among all the Poets of this Kind our

English

are much the best, by what I have yet seen; whether it be that we abound with more Stories of this Nature, or that the Genius of our Country is fitter for this sort of Poetry. For the

English

are naturally fanciful, and very often disposed by that Gloominess and Melancholy of Temper, which is so frequent in our Nation, to many wild Notions and Visions, to which others are not so liable.

Among the

English

Shakespear

has incomparably excelled all others. That noble Extravagance of Fancy which he had in so great Perfection, thoroughly qualified him to touch this weak superstitious Part of his Reader's Imagination; and made him capable of succeeding, where he had nothing to support him besides the Strength of his own Genius. There is something so wild and yet so solemn in the Speeches of his Ghosts, Fairies, Witches and the like Imaginary Persons, that we cannot forbear thinking them natural, tho' we have no rule by which to judge of them, and must confess, if there are such Beings in the World, it looks highly probable that they should talk and act as he has represented them.

There is another sort of imaginary Beings, that we sometimes meet with among the Poets, when the Author represents any Passion, Appetite, Virtue or Vice, under a visible Shape, and makes it a Person or an Actor in his Poem. Of this Nature are the Descriptions of Hunger and Envy in

Ovid

, of Fame in

Virgil

, and of Sin and Death in

Milton

. We find a whole Creation of the like Shadowy Persons in

Spencer

, who had an admirable Talent in Representations of this kind. I have discoursed of these Emblematical Persons in former Papers, and shall therefore only mention them in this Place. Thus we see how many Ways Poetry addresses it self to the Imagination, as it has not only the whole Circle of Nature for its Province, but makes new Worlds of its own, shews us Persons who are not to be found in Being, and represents even the Faculties of the Soul, with her several Virtues and Vices, in a sensible Shape and Character.

I shall, in my two following Papers, consider in general, how other kinds of Writing are qualified to please the Imagination, with which I intend to conclude this Essay.

Contents

Quocunque volunt mentem Auditoris agunto.translationHor.

As the Writers in Poetry and Fiction borrow their several Materials from outward Objects, and join them together at their own Pleasure, there are others who are obliged to follow Nature more closely, and to take entire Scenes out of her. Such are Historians, natural Philosophers, Travellers, Geographers, and in a Word, all who describe visible Objects of a real Existence.

It is the most agreeable Talent of an Historian, to be able to draw up his Armies and fight his Battels in proper Expressions, to set before our Eyes the Divisions, Cabals, and Jealousies of great Men, and to lead us Step by Step into the several Actions and Events of his History. We love to see the Subject unfolding it self by just Degrees, and breaking upon us insensibly, that so we may be kept in a pleasing Suspense, and have time given us to raise our Expectations, and to side with one of the Parties concerned in the Relation. I confess this shews more the Art than the Veracity of the Historian, but I am only to speak of him as he is qualified to please the Imagination. And in this respect

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