Essay on Original Genius  

From The Art and Popular Culture Encyclopedia

Jump to: navigation, search

Related e

Wikipedia
Wiktionary
Shop


Featured:

An Essay on Original Genius and its Various Modes of Exertion in Philosophy and the Fine Arts, particularly in Poetry (1767) is a text by William Duff.

It is frequently cited in the history of genius and creativity.

Duff was primarily interested in establishing the cognitive traits that explained variance in people's accomplishments. He postulated three aspects: imagination, judgement and taste. Notably, he emphasised imagination as making the most important contribution to genius.

Full text

A N

ESSAY

O N

ORIGINAL GENIUS}

A N D I T S

VARIOUS MODES of EXERTION

I N

PHILOSOPHY

A N D T H E

FINE ARTS,

PARTICULARLY IN

POETRY.

f/

Nullim addiSiui jurare in verba magijiri, Horat.


LONDON:

Printed for Edward and Charles Dilly in the Poultry, near the ManJion-Hou/e,


M DCC LXVII,


9 I S^ ^


BF

I>S73e


.'J

,^ ADVERTISEMENT.

Ui-'


<r^


^ ^ fl ^ O explain the nature of G e-

1 JL N I u s, to point out its effen* -^ tial ingredients, to flievv the refpedive

and the combined efficacy of thofe

ingredients in compofition, as well as

^ in the refearches of Science and the

^ inventions or improvements of Art,

2 is the principal defign of the foUow- ^ ing Effay. It is of little importance

for the Reader to know what were the Author's motives for its publica- tion, or how it comes to be offered

Q to the Public in its prefent form.

^ Thus far however it may not be im-

A 2 proper

301^84


IV ADVERTISE M E N T.

proper to acquaint him, that though the Author had at firfl: refolved to confine his views to the confideration of the ingredients, exertions, and ef- fects of ORIGINAL Poetic Ge- l^ius alone, he was, upon maturer deliberation, inclined to extend his profpeds ; and, by taking a more ex- tenfive furvey of his fubjecl, was de- firous to render the defign of the ElTay more complete. He acknow- ledges likewife, that he was partly led on to this method of profecuting his plan by gradual and almofi: imper- ceptible fteps ; finding his ful:je<n: growing upon him while he contem- plated it nearly, and new profpeds opening themfelves to the imagination, in proportion to the progrefs he had made. As.hc had not therefore fixed

his


ADVERTISEMENT. v

his attention wholly on any particu- lar fpecies of Genius, fo as to exclude altogether the conjfideration of any other fpecies ; and as he hath taken occafion to explain both the general nature and the peculiar modifications of this quality, as exerted in the va- rious provinces of Imagination, with various degrees of energy ; he refolved tointitle his performance An ESSAY ON ORIGINAL GENIUS; which title he thought would be moft ex- preffive of its defigri, and include under it the feveral kinds of Genius treated of in the courfe of the fol- lowing Diflertation. At the fame time it cannot but be obferved, that the Author hath kept the main objedt of his attention principally in his eye ; that he hath more particularly explain- A 3 cd


vi ADVERTISEMENT.

ed the nature, as well as marked the indications and efforts of original POETIC Genius, than thofe of any other mode of this quality ; and that the remarks which he hath made upon its other modes and degrees, are like fo many lines meeting in one central point, to which the eye is directed as the termination of its profped.

It will like wife be obferved, that in this view the Firft Book may very properly be confidered as an Intro- du6lion to the Second, in which the fubjed is branched out into its va- rious parts, and more particularly dif- cuffed. In the firft fedlion of the former, the objeds and ingredients of Genius are inquired into, as well as the efficacy of thofe ingredients in

compofition j


ADVERTISEMENT. vii

compoiitiort ; aficJ if, in explaining the nature or enumerating the Ingres- dients of Genius, the Author hath diffented either from the general opi- nion, or from the opinion of a few individuals, who may poflibly think Genius properly conftitutcd by ImSr- gination alone, he hath produced thfe reafons on which his fentiments are founded. In the fecond fed:ion, he hath pointed out the ufual indications of the above-mentioned quality, con- fidered in a general view ; and, in the third, hath entered into a difquifition on a fubjedl nearly connected with iti that of Wit and Humour. The fourth fedion is appropriated to an inquiry into the mutual influence of Imagina- tion on Tafle, and of Tafte on Ima- gination, confidered as ingredients iri A 4 the


viii ADVERTISEMENT.

thfc compofition of Genius ; and the laft fedion of the firfl: book is em- ployed in inquiring into its different degrees and modes of exertion.

Having thus laid the foundation, the Author rifes a ftep higher, and endeavours to explain the nature of that degree of Genius v^^hich is pro- perly denominated original ; after which he proceeds to confider its different exertions in Philolbphy, in Poetry, and in the other fine Arts ; piore particularly pointing out its in- dications and its efforts in Poetry. Laft of all, he endeavours to fhevv, that the early and uncultivated pe- riods of fociety are peculiarly favour- able to the difplay of original Poetic Genius, and that this quality will

feldom


ADVERTISEMENT. ix

feldom appear in a very high degree in cultivated life ; of which he hath likewife attempted to affign the reafons.

Such is the general plan of the Eflay now fubmitted, with the utmoft deference, to the judgment and can- dor of the Public. The Author might avail himfelf of the ordinary pradice of foliciting an indulgence to the faults of his performance, and he is fenfible that in many inftances he flands in need of it ; but as he does not think it reafonable to exped an indulgence to faults, which either a more accurate examination of his Work would have qualified him to corre<fl ; or which, if incorrigible, a proper fenfe of his own abilities would have enabled him to difcern ; he is under a necefTity of ap~

pealing


X ADVERTISEMENT.

pealing to the impartial judgment of his Readers, however difadvantageous that appeal may be to himfelf ; con- iirious as he is, that the utmoft an Author can hope for, is a candid exa- mination of his compofitionsj and an equitable decifion concerning their genuine merit.

He is at the fame time well aware^ that in an Essay on Original Genius, Originality of Sentiment will naturally, and may, no doubt, juftly be expelled ; and that where this is altogether want- ing, no other excellence can fupply the defeat. This obfervation, it muft be confeffed, furnifhes a very fevere teft for determining the merit of the fol- lowing production ; and indeed the Author is not a little apprehenfive of

the


ADVERTISEMENT. jri

the iffue of a ftrid: examination. In the mean time, though he has already pre- cluded himfelf from the ufual pleas to indulgence, he may at leaft be allowed to fuggeft the difficulty of the attempt, as fome kind of apology for the defeds in the execution. The far greater number even of thofe who pretend to be poffeffed of learning and intelledual accomplifhments,being neither capable nor willing to think for themfelves on any fubjedl, are contented to adopt the Sentiments of perfons of fuperior abi- lities, that are circulated in books or in converfation, and echoed from mouth to mouth. It may likewife be remarked, that it is frequently no eafy matter to diftinguifli the fenti- ments that are derived from the fources above-njentioned, from thofe

that


xii ADVERTISEMENT.

that are properly original, and are the refult of invention and reflexion united together. A cafual coincidence of fentiment will fometimes happen, where not the leaft imitation was in- tended ; and when this is the cafe, the Author, in whofe compofitions it is found, may as juftly affert his claim to Originality, as if no fuch coinci- dence had ever exifted.

T o thefe confiderations, which will in feveral inftances at leaft account for an accidental similarity, and even SAMENESS of fcntimcnts with thofe of others, fuppofing them to have happened in fome parts of the follow- ing Eflay, the Author of it begs leave to fubjoin a caution to his Readers: It is, that they would not exped to

meet


ADVERTISEMENT, xiii

meet with original fentiments in thofe parts of this Effay, where it is fcarc«  poflible they fhould be difcovered. Thus, for inftance, in enumerating the ingredients, pointing out the objedls, or illuftrating the efforts of Genius, there is very httle fcope afforded for any new track of thought ; and thofe who would form juft opinions of the above-mentioned articles, muft think as the bed Authors who ha\^ gone before them have done upon the fame fubjeds. Other parts of the follow- ing Treatife certainly afford fufficient fcope for original fentiments ; and if the Author has not been fo happy as to ftrike out fome of thefe, he hath indeed laboured in vain, and very much failed in the attainment of his propofed end.

If


xiv ADVERTISEMENT.

If he hath difcovered a vein of original fentiment in any part of the following Work, it will probably ap- pear in thofe fedions wherein he has confidered the connections betwixt Genius, Wit, and Humour; traced the mutual influence of Imagination on Taste, and of Taste on Imagi- nation ; explained the different mo- difications, degrees, and exertions of Original Genius, as appearing in Philosophy, Poetry, and the other fine Arts ; pointed out the Period of Society moft favourable to the Dif- play of ORIGINAL Poetic Genius in particular, and produced various ar- guments in fupport of the pofition he hath advanced. In what degree Ori- ginality of Sentiment is really difco- yered on the above-mentioned fub-

jefts,


ADVERTISEMENT. xv

jeds, muft be left to the determina- tion of the intelligent and impartial Reader. The Author, for his own part, can at leaft declare, that he is not confcioiis of having borrowed his obfervations on thefe fubjeds from the Writings of any other perfon what- ever.

Should the volume now offered to the Public, be fo happy as to obtain its approbation, another will foon fuc^ ceed ; in which the principal defign of the prefent volume will be farthe^r purfued, wherein the obfervations on ORIGINAL Poetic Genius contained in it, will be exemplified by quota- tions from the Works of the greateft original Geniufes in Poetry, whether ancient or modern.

On


xvi ADVERTISEMENT.

On the other hand, if the prefent volume fliould unhappily fall under the public cenfure, the Author will not be fo unreafonable as to remon- ftrate or complain ; for though the public judgment is not infallible, it will for the moft part be found to be more juft, as it certainly will be more impartial, than the opinion of any Writer concerning the merit of his own productions. That judgment, therefore, even though it fhould al- together difcourage him from the pub- lication of a fecond volume, he is de- termined to refped; for he will not obftinately perfift in an ill-fated at- tempt to write, adverfis numimbus\ nor will he difcredit himfelf by pub- lifliingwhat maybe thought unwor- thy of a perulal.

THE


THE

CONTENTS.


o


B O O K I.

F the Nature, Properties, and Indica- tions of Genius ; and of the various Modes of Exertion, Page i


SECTION I.

Of the Objefts and Ingredients of Genius ; and of the EfHcacy of thofe Ingredients united in Composition, - . ^

Imagination necefsary to a Genius, 6

An accurate Judgment alfo necefsary, 8

Of Taste, that internal power of percep- tion, - - - 1 6 Of Imagination, Judgment and Taste, 19 The Iliad and Odyjfey, works of Genius, 24

a SEC-


xviii CONTENTS:

S E C T I O N II.

Of the ufual Indications of Genius, Page 27 Of Philofophical and Poetical Genius, 3 3 Of Tasso, Pope, and Milton, 37

Of QyiNTiLiAN, a great Mafter of Elo- quence, - - - 38

Of a Genius for Architecture, - 42 Of a Genius for Eloquence, - 4^

SECTION III.

Of the Connexion betwixt Genius, Wit, and Humour, - - - 46

Pope's Rape of the Lock, a refined piece of . . Humour, - - 5^y 55

Swift, not an exalted Genius, nor Ossian a Wit, - - ' 53

Of Swift's Gulliver and his Tale of a Tub, 53 Genius and Wit united inSHAKESPEAR, 54

SECTION IV.

Of the mutual Influence of Imagination on Taste, and of Taste on Imagination, con- sidered as Ingredients in the Composition of Genius, _ - - (^'^

A Definition of Taste, - 64

SECTION


CONTENTS. xix

SECTION V.

Of the different degrees of Genius, and its various Modes of Exertion, Page 73

Maclaurin and Strange, men of Ge- nius, . _ . 75

Genius difcovercd. in mechanical Arts, 7/


BOOK II.

SECTION I.

Of that Degree of Genius, which is pro* perly denominated Original, - 8^

Two general Sources of Ideas, Sensation and Reflection, - - 87

SECTION IL

Of Original Philofophic Genius, - 91'

The kind of Imagination adapted to original

Philofophic Genius, - 96

The kind peculiar to original Genius in

Poetry, - • - 96

Plato of a moft copious imagination, 104

Of his Philofophy, - 105

Lord Bacon, the reftorer of Learning, 115

An original Philofophic Genius, 1 19

a 2 SA


iX CONTENTS?

Sir Isaac NeWtSk," dTri original Genius in Philofophy, - - Page ii^

•"-Mi;,

, His ftupendous difcoveries of the revolu- tions of the heavenly bodies, £5f<r. 119 Dr Berkeley, Bifhop ofCloyne, an original Genius in Philofophy, - 120

• Dr Burnet, author ofiheTheory of the Earthy ^ an original Genius in Philofophy, .121

An admirable performance in feveral re- fpefts, - - - 122

SECTION III.

Of Original Genius in Foe try, - ti\ Invention, the vital fpirit of it, - \^ 125

Of the invention'of Incidents, - 127

Of the invention of Charadiers, - 1 30

Shakespear, his great Genius, '- 141

Of the invention of Imagery, - 1 43

Of the invention of Sentiment, - 149

X^ONGiNus, an admirable CritiCy . - 151 Aristotle, his obfervation on the methods

of raising the pafsions, - 1 54

Vivacity of defcription charaderillical of a

&reat Genius, - - 1^:7

Three other ingredients of Original Genius, 162

Irregular greatnefs of Imagination, charadler-

iftical of original Genius, - 1 63

Wildnefs


).


CONTENTS. xxi

Wildnefs of Imagihation difcovers an Oricinal Genius, - - Page i68

Enthusialm of Imagination Iliews an Original Genius, - - - 169

r Plato's opinion of the Enthusiafm of Poetry^,

Ardor of Imagination the foul of Poetry, 171 Efsays of Original Genius in Allegories, 171 Two forts of Allegory, - 17 j

Spenser's Fairy ^een, a fpecies of Allegory, 1 74 Original Genius difcovered in Visions, 176

Fiction or ideal figures difcover Original Ge- nius, - - - 179 Poets and Pricfls, authors of all the Theologi- cal Syftems of the Gentile world, 181 The Greek Theology the moft ingenioiis, 181 A fhort view of the Greek Mythology, 182 The Eaftern manner of Writing abounds with Allegories, - - - 187 Admirable examples thereof in the facred Writings, - - - 187

SECTION IV.

Of Original Genius in the other fine Arts, 1 8S

  • - Poetry affords a difplay of Original Genius, 188

A degree of Original Genius in other Arts, 188

Of Original Gtnius- in the art of Painting, 1 89

Imagination


xxii CONTENTS.

Imagination necefsarjr to form an Hiftory-

Painter, - - Page 191

Original Genius difeovers itfelf in the Painter,

An example of Genius in Painting, on the fubjeft of Paul's preaching at Athens, 198

Original Genius fometimes difcovered in de-

fcriptive pieces, - - 202

Original Genius difcovered in Eloquence, 203

Inftances of Original Genius in Eloquence, from Demosthenes the celebrated ^/^f«/^» Orator, - - - 206

Inftances from the great Roman Orator Cice- ro, in his Orations concerning Catiline and MiLO, - - 217,221

Inftances of modern Eloquence from French Orators, - - - 229

An inftance from Bourdaloue, defcribing the Puniftiment of the Wicked, 230

An inftance of Eloquence from Massillon, the Prince of modern Orators, 231

Inftances of Genius in modern Orators in our own Island, - - 235

An inftance from a Sermon by Dr Fordyce,

235 Another inftance in a Sermon by Dr Ocilvie,

237 Wherein the EngUJh Preachers are diftinguifh-

ed, 1 '. 1 238


CONTENTS. xxiii

An inftance of eminent Eloquence from Mr

Seed's Sermons, - Page 239

Another inftance from the Sermons of DrAx-

TERBURY, - - - 242

An example of Oratorial Eloquence from a Speech in the Britijh Senate, - 244 Original Genius difcovers itfelf in Music, 247 Originality of Genius difcovercd in Archi- tecture, . _ _ 253 Genius diftinguifhed by a powerful bias to In- vention, - - - 257 Of ftupendous Gothic Stru6lures, 257 The elegance of the Grecian and Roman Edi- fices, - - - 259

S E C T I O N V.

That original Poetic Genius will in general be difplayed in its utmoft vigour in the early and uncultivated periods of Society, which are pe- culiarly favourable to it •, and that it will fel- dom appear in a very high degree in cultivated life, - - - _ 260

Arts and Sciences in their firft imperfe<5l ftate, afford fcope for the exertions of Ge- nius, - - - 261

Efforts of Imagination in Poetry impetuous,

262

Painters,


xxiv C O N T E T^ f S..

.jPaintcrs, Orators, Musicians, Architects and , Philofophers, indebted to their predecefsors.

Page 263

Of Homer writing the Iliad and Odyffejy and Os-

siAN composing Fingal and Temora^ 264

Original Poetic Genius difplayed in an early and

uncultivated period of fociety, - 265

Several reafons afsigned for it, 265,269,271,273

An obfervation on Terence's Comedies, 269

Original Genius in Poetry not derived from books

and learning, - - 275,281

Different degrees of Originality in Poetry, 277

YtBLGiL^ Tassq and Milton, imitated Homer,

278,279

Original Genius feldom appears in cultivated life, - - - - 285

Of the Genius of Shakespear and Milton, 2 87 Some exalted Geniufes in our own age, 288 Caufes of Originality of Genius not being often found in cultivated life, - 289

Original Genius not flourilhing in luxury or po- verty, _ - _ 291,-292

True Genius profpers in rural tranquillity, 293

Original Genius abforbed in the gulf of fenfual indulgence, - - - 294

A remark on tlie advantages of learning, though it doth not promote Original Genius, 295,296

A N


AN

ESSAY

O N

GENIUS.

BOOK I.

OF THE

Nature, Properties, and Indications

O F

GENIUS}

A N D O F I T S

VARIOUS MODES of EXERTION.


u


  • (.


a.


SECTION I.

O F T H E OBJECTS AND INGREDIENTS

O F

GENIUS;

AND OF THE

EFFICACY of thofe INGREDIENTS

UNITED IN

COMPOSITION.


•^^4^^ T muft have occurred to every .; I f oi^e who has furveyed, with an ^,^^^2 ordinary degree of attention, the unequal diftribution of natural talents among mankind ; that as there is a great diverfity of thefe obfervable among them, fo the fame talents are poffefTed in very different proportions by different per- (ons. This variety both in the kind and B 2 degree


4 ANESSAY

degree of mental accomplifhments, while it indicates that man was formed for fociety, doth likewife clearly point out the refpeflive ftations in Hfe which every individual is beft calculated to fill and to adorn. Education, as it is well or ill direded, may invigorate or weaken the natural powers of the mind, but it cannot produce or annihilate them.

How much foever thefe powers may be perverted or mifappUed, by the folly and ig- norance of men, it cannot be denied, that the variety with which they are beftowed, is both a wife and beneficent contrivance of the Author of nature ; fince a diverfity and a fubordination of intelle6lual accomplifh- ments are no lefs neceffary to the order and good government of fociety, than a fubor- dination of rank and fortune. By thefe means the general bufinefs of life is mofl fuccefsfully carried on j men become mu- tually dependent upon, and fubfervient to, the necefllties of each other : fome apply themfelves to agriculture and commerce 3

while


ON GENIUS. 5

while others, of a more contemplative difpo- fition, or of a more lively imagination, de- dicate their time to philofopby and the li- beral arts.

Of thofe who have applied themfelves to the cultivation of either, a fmall num.ber only are quahfied to extend their empire, "and advance their improvement in any con- fide rable degree. To explore unbeaten tracks, and make new difcoveries in the regions of Science; to invent the defigns, and perfe6l the productions of Art, is the province of Genius alone. Thefe ends are the obje61s to which it conflantly afpires -, and the attain- ment of thefe ends can only fall within the compafs of the few enlightened; penetrating, and capacious minds, that feem deftined by Providence for enlarging the fphere of hu- man knowledge and human happinefs. The bulk of the literary part of mankind muft be contented to follow the path marked out by fuch illuftrious leaders.

B 3 Having


h A N E S S AY

Having fuggefted the objeds to which Genius naturally afpires, it will be more eafy to difcover the means by which it at- tains them ; or, in other words, the prin- cipal ingredients which conftitute this fin- gular accomplifhment. Thefe are imagi- nation, JUDGMENT, and TASTE. We fliall confider therefore the peculiar nature of thefe different quahties, and point out the parti- cular efficacy of each, and the combined ef- feds of all, in accomplifhing the purpofes of Genius.

That Imagination is the quality of all others moft eflentially requifite to the exift- ence of Genius, will univerfally be acknow- ledged. '

Imagination is that faculty whereby the mind not only refle6ls on its own opera- tions, but which aflembles the various ideas conveyed to the underftanding by the canal of fenfation, and. treafured up in the repo- fitory of the memory, compounding or dis- joining


ON GEfJIUS. 7

joining them at pleafure j and which, by its plaftic power of inventing new aflbciations of ideas, and of combining them with in- finite variety, is enabled to prefent a crea- tion of its own, and to exhibit fcenes and objects which never exifted in nature. So indifpenfibly neceflary is this faculty in the compofition of Genius, that all the difcove- ries in fcience, and all the inventions and improvements in art, if we except fuch as have arifen from mere accident, derive their origin from its vigorous exertion *. At the fame time it muft be confefTed, that all the falfe and fallacious fyftems of the former, and all the irregular and illegitimate per- formances in the latter, which have ever

  • It would be talking with great impropriety, ,t^

afcribe either the one or the other to the force of an acute and penetrating Judgment ; fince it is the chief province of this faculty, as will immediately be fhewn, to employ its difcerning power in demonftrating, by juft reafoning and indudlion, the truth and importance of thofe difcoveries, and the utility of thofe inventions j while the inventions and difcoveries themfelves muft be efFeiluated by the power of a plaftic or warm imagination.

B 4 been


8 AN ESSAY

been obtruded upon mankind, may be juftly imputed to the unbounded extravagance of the fame faculty : fuch effe6ls are the natu- ral confequences of an exuberant imagina- tion, without any proportionable fhare of the reafoning talent. It is evidently necef- fary therefore, in order to render the pro- du6lions of Genius regular and juft, as v^^ell as elegant and ingenious, that the difcern- ing and coercive power of judgment fliould mark and reflrain the excurfions of a wan- ton imagination ; in other words, that the aufterity of reafon fhould blend itfelf with the gaiety of the graces. Here then we have another ingredient of Genius j an in- gredient eflential to its conftitution, and without which it cannot pofTibly be exhi- bited to full advantage, even an accurate and penetrating judgment.

The proper office of judgmknt in com- pofition, is to compare the ideas which imagi- nation collefls ; to obferve their agreement or difagreement, their relations and refcm-

blances ;


ON G E N I US. 9

blances j to point out fuch as are of a ho- mogeneous nature j to mark and rejedt fuch as are difcordant j and finally, to determine the truth and utility of the inventions or dif- coveries which are produced by the power of imagination -f . This faculty is, in all its operations, cool, attentive, and confiderate. It canvaffes the dengn, ponders the fenti- ments, examines their piopriety and con- nexion, and reviews the whole compofition with fevere impartiality. Thus it appears to be in every reipe6l a proper counterbalance to the RAMBLING and volatile power of IMAGINATION. The ouc, perpetually at- tempting to foar, is apt to deviate into the mazes of error ; while the other arrefts the wanderer in its vagrant courfe, and compels


t QuiNTiLiAN, who poflefled all the ingredients of Genius in a high and almoft equal degree, feems to confider Judgment as fo elTential a one in its compo- fition, that he will not allow the name of Invention to any difcovery of imagination which has not paffed the teft of reafon : Nee invenljfc qwdem credo eum qui non judicavit.

it


J^o AN ESSAY

it to follow the path of nature and of

truth.

Indeed the principal ufe and the proper fphere of judgment, in works of Genius and Art, is to guard an author or an artift againft the faults he may be apt to commit, either in the defign or execution of his work, rather than to aflift him in the attainment of any uncommon beauty, a tafk which this faculty is by no means quahfied to accom- plifh. We may alfo obferve, that it is chiefly employed in pointing out the moft obvious blemiflies in any performance, and efpecially fuch as are contrary to the rules of art. There are other blemifhes, perhaps no lefs confiderable, that utterly efcape its notice j as there are certain peculiar and delicate beauties of which it can take no cognifance. Both thefe are the objects of that faculty which we diflinguiflied by the name of taste, and confidered as the laft ingredient in the compofition of Genius.


We


ON GENIUS. II

" We may define taste to be that inter- nal fenfe, which, by its own exquifitely nice fenfibility, without the afliftance of the reafoning faculty, diftinguifties and deter- mines the various qualities of the obje(^ fubmitted to its cognlfance ; pronouncing, by its own arbitrary verdicl, that they are grand or mean, beautiful or ugly, decent or ridiculous *." From this definition it ap- pears, that Tafte is defigned as a fupplement to the defeats of the power of judgment, at leaft in canvafling the merit of the perform- ances of art. Thefe indeed are the fubje^ls on which it exercifes its difcerning talent with the greateft propriety, as well as with the greateft probability of fuccefs : its domi- nion, however, is in fome degree univerfal, both in the Arts and Sciences ; though that dominion is much more abfolute, and more legitimate in the former than it is in the


  • Omnes enim, tacito quodafm fenfu, fine ulla arte

aut ratione, quse fint in artibus ac rationibus refta ac prava dijudicant. Cicero de Oral, lib, iii, cap. 50.


latter.


12 AN ESSAY

latter. The truth is, to bring philofophical fubjedts to the tribunal of Tafte, or to em- ploy this faculty principally in their exami- nation, is extremely dangerous, and natu- rally produdlive of abfurdity and error. The order of things is thereby reverfed ; reafon is dethroned, and fenfe ufurps the place of judgment. Tafte therefore muft be contented to adl an inferior and fubordinate part in the refearches of fcience : it muft not pretend to take the lead of reafon, but hum- bly follow the path marked out by it. In the defigns and works of art, the cafe is quite otherwife. Inftead of being diredled by judgment, it claims the direftion in its turn; its authority is uncontrolable, and there lies no appeal from its decifions. In- deed it is well qualified to decide with pre- cifion and certainty on fubjedls of this kind ; for it pofleffes a perfpicacity of difcernment with regard to them,which reafon can by no means pretend to, even on thofe fubje6ls that are the moft adapted to its nature. So much more perfedt are the fenfes than the under-

ftanding.


ON GENIUS. 13

(landing". We fliall illuftrate thefe remarks by an example.

Let us fuppofe two perfons, the one pos- sefled of a comprehenfive and penetrating judgment, without any refinement or deli- cacy of tafte ; the other endued with the moft exquifite fenfibility of talle, without any extraordinary proportion of the reafon- ing talent, both fet to work in examining the merit of feme mafterly production of art, that admired piece of hillory-painting, for inftance, of the Crucifixion, by Michael Angelo, and obferve their different proce- dure, and the very different remarks they will make. The former meafures with his eye the exa6t proportion of every figure in the piece j he confiders how far the rules of art are obferved in the defign and ordon- nance; whether the group of fubordinate figures naturally lead the eye to the capital one, and fix the attention principally upon it} and whether the artift has given a pro- per variety of exprelTion to the countenances

of


J4 .AN E S S AY

of the feveral fpe6tatbrs. Upon diKovering that the painter had exa6lly conformed to the rules of his art in all thefe particulars, he would not only applaud his judgment, but would alfo give teftimony to his mafle- ry and fkill ; without, however, having any true feeling of thofe uncommon beauties which conftitute real merit in the art of painting. Such would be the procedure and remarks of the man of mere judgment. Confider now, on the other hand, in what a different manner the man of tafle will pro- ceed, and in what manner he will be affefl- ed. Inftead of attending, in the firfl place, to the juft proportions of the various figures exhibited in the draught, however neceflary to be obferved ; inftead of remarking, with approbation, the judgment and ingenuity difplayed by the artift in the uniformity of defign, and in the regularity and juftnefs that appear in the difpofition of the feveral figures of the piece j he fixes his eye upon the principal one, in which he obferves the various contorfions of the countenance, the - > natural


ON GENIUS. 15

natural expreflions of agonifing pain, mixed however with an air of divine benignity and compaffion. Then he pafTes on to the contemplation of the inferior and fubordi- nate figures, in which he perceives a varie- ty of oppofite paffions, of rage and terror, of admiration and pity, ilrongly marked in their different countenances j and feels the correfponding emotions in their utmoft ftrength which thofe feveral paffions are calculated to infpire. In a word, the man of judgment approves of and admires what is merely mechanical in the piece -, the man of tafte is ftruck with what could only be efFe6led by the power of Genius. Where- ever nature is juftly reprefented, wherever the features of any one paffion are forcibly exprefled, to thofe features his attention is attracted, and he dwells on the contemplar tion of them with intenfe and exquifite pleafure. The fenfations of the former are cool, weak, and unafFe<5ling throughout ; thofe of the latter are warm, vivid, and deeply interefting ; or, to fpeak more pro- perly,


i6 AN ESSAY

perly, the one reafohs, the other feels -j-. But as no reafoning can enable a man to form an idea of what is really an obje^l of fenfation, the moft penetrating judgment can never fupply the want of an exquifite fenfibility of tafte. In order therefore to re- lifh and to judge of the produ6lions of Ge- nius and of Art, there muft be an internal perceptive power, exqulfitely fenfible to all the imprefiions which fuch produ6lions are ca- pable of making on a fufceptible mind.

This internal power of perception, which we diftinguifh by the name of taste, and which we have (hewn to be fo neceflary for enabling us to judge properly concerning works of imagination, does not appear to be requifite, in the fame degree, in the refearches of Science. In this department, reafon reaffumes the reins, points out and prefcribes


t Non ratione aliqua, fed motu nefcio an inenarra- bilr judicatur. Neque hoc ab ullo fatis explicaii puto, Ircet multi tentaverint. Quint. Injllt, lib. vi.

the


ON GENIUS. 17

the flight of fancy, afiigns the office, and determines the authojity of tafte, which, as we have aheady obferved, muft here be contented to a6l a fecondary part. In phi- lofophical fpeculations a conftant appeal is made to the faculty of Reafon, not to that of Imagination ; principles are laid down, arguments are adduced, phenomena are ex- plained, and their confequences inveftigated. Hence it follows, that in the whole procefs judgment is much more exercifed than tafte. Yet fome fcope is alfo afforded for the exer- cife of the latter faculty ; for as all difcove- ries in fcience are the work of imagination, which will be afterwards particularly fliewn ; fo tafte may be very properly exerted in the illuftration of thofe difcoveries which have obtained the fan6lion of reafon; provided that, in this cafe, tafte and imagination a<5l under the diredlion, and fubmit to the con- troling power of judgment.

On the other hand, judgment has a par- ticular province affigned to it, in examining

C the


i8 AN ESSAY

the works of Genius and Art ; though, with regard to thefe, it a6ls an inferior part, as tafte does in the former cafe. Judgment muft not prefume to take cognifance of thofe exquifite and deUcate beauties, which are properly the obje6ls of the laft mention- ed faculty ; but it may determine concerning regularity, juftnefs, and uniformity of de- fign, and concerning propriety of fentiment and exprefllon. All thefe fall within its fphere; and its decifions in thefe refpe6ts command our alTent.

Upon the whole ; as judgment and taste may be alternately exercifed in the fphere of each other, and ought to a6l with combined influence, though with different power, and with different degrees of exertion , fo both thefe faculties muft be united with a high degree of imagination, in order to conftitute improved and confummate Genius.

From the obfervations that have been made on thofe diftinguifliing faculties of the human

mind,


ON GENIUS. 19

mind, IMAGINATION, ju D G MEN T, and TASTE, it is evident, that not any one of thefe talents, in whatever degree we may fuppofe it to exift, can of itfelf attain the obje6ls of Genius. Even imagination, the moft ef- fential and predominant ingredient in the compofition of this chara6ler, if we fup- pofe it to exift in a man without any confi- derable proportion of the other faculties, will be miferably inadequate to the objev51s juft mentioned; for though it may, by its own native vigour, fometimes flrike out an important difcovery, either in fcience or in art, yet this will no way avail, if there is not a fufEcient ftrength of reafon bellowed to prove its truth and utility. Such a dif- covery will often, however undefervedly, ex- pofe the author to ridicule ; and the utmoft reward he can hope for of his labour, is to gain the chara6ler of a romantic vifionary, or an adventurous, but vain, proje^lor -, though the fame difcovery more clearly re- vealed, and more fully demonftratcd, by an- other perfon, poflefled perhaps of no higher

C 2 degree


20 AN ESSAY

degree of imagination, but endued with a more penetrating judgment, will procure him that reputation and honour, of which the greateft part was due to the firft au- thor.

Having confidered the nature of the dif- ferent faculties of IMAGINATION, JUDGMENT

and TASTE, and pointed out their refpedtive exertions j having alfo fliewn that imagina- tion, the moft diflinguiiliing of thefe faculties, is of itfelf infufficient to attain the obje6ls of Genius ; v/e (hall now take a view of Ima- gination, Judgment, and Tafte, as forming by their union the full perfe6lion of Genius, and fhall obferve their combined effe6ls in compofition.

If we fuppofe a plastic and comprehen- sive IMAGINATION, an ACUTE INTELLECT,

and an exquifite sensibility and refine- ment of TASTE, to be all combined in one per- fon, and employed in the arts or fciences,we may eafily conceive, that the effe<5l of fuch an

union


ON GENIUS. 21

union will be very extraordinary. In fiich a cafe, thefe faculties going hand in hand toge- ther, mutually enlighten and afiift each other. Imagination takes a long and adven- turous, but fecure flight, under the guid- ing rein of judgment; which, though na- turally cool and deliberate, catches fome- what of the ardor of the former in its rapid courfe. To drop the allufion, ima- gination imparts vivacity to judgment, and receives from it folidity and juftnefs : taste beftows ELEGANCE OH botli, and derives from them PRECISION and sensibility. The efFed: of the union of thefe qualities in compofition, will be obferved and felt by every reader. It will appear in new and furprifing fenti- ments, in fplendid imagery, in juft and nervous reafoning, and in eloquent, grace- ful, and animated expreflion. Hence, in the writings of an author who polTeires the qualities above mentioned in a high de- gree, we are convinced, pleafed, or af- fe<51ed, according to the various ftrain of his compofition, as it is adapted to the

C 3 under-


22 AN ESSAY

underflanding, the imagination, or the heart.

We fhall not pretend to afcertain the exa6l proportion of the feveral ingredients which enter into the formation of Genius 5 it is fufficient to have fhewn, that they muft all fubfift in a coniiderable degree, a truth which we have deduced from the objects of Genius themfelves. We (hall only remark, that as among the faculties of which Ge- nius is compofed, imagination bears the' principal and moft dialling u idling part, fo of courfe it will and ought to be the predomi- nant one. An exadt equilibrium of the rea- foning and inventive powers of the mind, is perhaps utterly incompatible with their very different natures j but though a perfe6l equipoife cannot fubfift, yet they may be diftributed in fuch a proportion, as to pre- ferve nearly an equality of weight; and, notwithftanding the opinion which is gene- rally and abfurdly entertained to the con- trary, the powers of imagination and rea-

fon


ON GENIUS. 23

fon may be united in a very high degree, though this is not always the cafe, in the fame perfon.

Should any one be inclined to controvert the account we have given of the nature and ingredients of Genius, and, inftead of allowing it to be a compound quality, be of opinion that it is conftituted and charac- terifed by Imagination alone ; or, in other words, that Genius and Imagination are one and the fame thing ; we fliall not dif- pute with him about words ; for the ingre- dients of Genius depend intirely upon the acceptation in which we take it, and upon the extent and offices we affign to it. It is evident, from the idea we have given of its obje6b, that the ingredients above enume- rated and explained, are necefTary to the at- tainment of them J and therefore we admit thofe ingredients into its compofition. If, after all, any perfon fliould ftill continue to think that Genius and Imagination are fyn- i>nymous terms, and that the powers of the C 4 former


24 AN ESSAY

former are moft properly exprefled by thofe of the latter ; let him refle6t, that if the former is characfterifed by fancy alone, with- out any proportion of judgment, there is fcarce any means left us of diflinguifhing betwixt the flights of Genius and the reveries of a Lunatic.

It is likewife to be obferved, that we re- gard the Iliad and the Odyjfey as works of Genius, not only becaufe there appears an aftonifhing difplay of Imagination in the invention of chara6lers and incidents in thofe admired produ(fl:ions -, but alfo, be- caufe that Imagination is regulated by the nicell judgment j becaufe the characters are juftly drawn, as well as uniformly fupport- ed J and the incidents as judicioufly dif- pofed, as they are happily invented : and, laftly, becaufe regularity and beauty of de- fign, as well as maftery of execution, are confpicuous throughout the whole. Take away the excellencies now mentioned, and you deprive, thofe divine poems of half their

merit ;


ON GENIUS. 25

merit: deftitiite of thefe excellencies, they could only he confidered as the rapfodies of an extravagant and lawlefs fancy, not as the productions of well regulated and confum- mate Genius.

From all that has been faid, one ob- vious remark naturally arifes, that induf- try and application, though they may im- prove the powers of Genius, can never fu- perfede the neceffity, or fupply the want of them. The truth of this obfervation is abundantly confirmed by the different ilrain and fuccefs of the writings of dif- ferent authors ; which writings ferve to fhew, that as Genius is the vital princi- ple which animates every fpecies of com- pofition, the moil elaborate performances without it, are no other than a lifelefs mafs of matter, frigid and uninterefling, equally deftitute of paffion, fentiment and fpirit. To conclude : A performance void of Genius, is like an opake body viewed in a dark and cloudy day -, but a perform- ance


J#


_^<>»*->


r-J*^,.


26 A N E S S A Y

ance irradiated with the beams of this di- vine quality, is like an objedl rendered pellucid and tranfparent by the fplendor of the fun.


SECTION


ON GENIUS. 27


SECTION IL


O F T H E

/

USUAL INDICATIONS

OF

GENIUS,


HAVING endeavoured, in the pre- ceding fedlion, to explain the nature, and determine the ingredients of Genius; and having likewife pointed out the efFedls of thofe ingredients in compofition, we fhall now proceed to confider the moft ufual in- dications of the above mentioned quahty.

It may be obferved in genera], that Ge- nius is neither uniform in the manner, nor periodical with regard to the time of its ap- pearance. The manner depends upon the original conftitution and peculiar modifica- tion


«S AN ESSAY

tion of the mental powers, together with the correfponding organifation of the corpo- real ones, and upon that mutual influence of both, in confequence of which the mind receives a particular bias to one certain ob- je6l, and acquires a talent for one art or fcience rather than another. The period depends fometimes upon a fortunate accident encouraging its exertion, fometimes upon a variety of concurring caufes ftimulating its ardor, and fometimes upon that natural ef- ffervefcence of mind (if we may thus exprefs it) by which it burfts forth with irrefiflible energy, at different ages, in different per- fons, not only without any foreign aid, but in oppofition to every obftacle that arifes in its way.

With regard to the firft of thefe points : though Genius difcovers itfelf in a vafl va- riety of forms, we have already obferved, that thofe forms are diflinguifhed and cha- ra6lerifed by one quality common to them all, polTefTed indeed in very different degrees,

. . ' and


ON GENIUS. 29 ,

and exerted in very different capacities ; this quality, it will be underftood, is Imagina- tion. The mental powers unfold themfelves in exafl proportion to our neceflities and occafions for exercifmg them. Imagination therefore being that faculty which lays the foundation of all our knowledge, by colle6l- ing and treafuring up in the repofitory of the memory thofe materials on which Judg- ment is afterwards to work, and being pe- culiarly adapted to the gay, delightful, va- cant feafon of childhood and youths appear^ in thofe early periods in ail its puerile bril- liance and fimplicity, long before the rea- foning faculty difcpvers itfelf in any confi- derable degree. Imagination however, in general, exercifes itfelf for fome time indif- criminately on the various objefts prefented to it by the fenfes, without taking any par- ticular or determinate direction ; and fome- times the peculiar bent and conformation of Genius is difcernible only in the advanced period of youth. The mind, as foon as it becomes capable of attending to the repre-

fentation


30 A N E S S A Y

fentation it receives of outward obje<!^s by the miniftry of the fenfes, views fuch a re- prefentation with the curiofity of a ftranger, who is prefented with the profpeft of an agreeable and uncommon fcene. The no- velty of the obje61:s at firft only afFe6ls it with pleafure and furprife. It afterwards furveys, revolves, and reviews them fuccef- fively one after another ; and, at laft, after having been long converfant with them, fe- le6ls one diftinguifhed and favourite object from the reft, which it purfues with its whole bent and vigour. There are fome perfons, it is true, in whom a certain bias or talent for one particular art or fcience, rather than another, appears in very early life ; and in fo great a degree as would in- cline us to imagine, that fuch a difpofition and talent muft have been congenial and in- nate. While perfons are yet children, we difcover in their infantile purfuits the open- ing buds of Genius; we difcern the rudi- ■'ments of the Philofopher, the Poet, the Painter, and the Archite(5l.

The


ON GENIUS. 31

The produ6lions indeed of youthful ge- niufes will be naturally marked with thofe improprieties and defefts, both in defign, fentiment and expreflion, which refult from the florid, exuberant, and undifciplined ima- gination, that is peculiar to an age wherein Judgment hath not yet exerted its chaften- ing power. When the cafe is otherwife, and this faculty hath attained confiderable maturity in early youth, it affords no fa- vourable prefage of future grandeur and ex- tent of Genius ; for we rarely find fruit on the tree which puts forth its leaves and blofFoms on the firil return of fpring *.

Nature


  • QyiNTiLiAN confiders thefe forward geniufes as

hafty and untimely growths, like thofe ears of corn, which fuddenly fpring up in a fhallow foil, without ftriking their roots deep into the earth, and acquire the colour, but not the fubftance of full and ripe grain, before the natural time.

Illud ingeniorum velut praecox genus, non temere un- quam pervenit ad frugem. Hi funt qui parva facile fa- ciunt; & audacia provecSli, quicquid illic pofllint, ftatim oftendunt. PofTunt autem id demum quod in proximo

eft:


32 ANESSAY

Nature requires time to mature her pro- dudions ; the powers of the mind and body- grow up together, and both acquire their proper confiftence and vigour by juft de- grees; this at lead is the ordinary courfe of nature, from which there are few ex- ceptions.

But though Genius cannot be faid to at- tain its full perfe6lion till the reafoning fa- culty, one of its efiential ingredients, ac- quires its utmoft extent and improvement 5 yet there are certain indications of its exift- ence and powers, even in early life, which an attentive obferver may eafily difcover, and which are as various as the forms wherein it appears.


eft: verba continuant; hzec vultu interrito, nulla tar- dati verecundia proferunt : non multum praeftant, fed cito ; non fubeft vera vis, ncc penitus immiffis radici- bus nititur : ut qua; fummo folo fparfa funt femina, celerius fe efFundunt & imitatae fpicas herbulas inani- bus ariftis ante meflem flavefcunt. Qjjint. /«/?//. lib. i. cap. 3.

We


ON G E N I US. 33

We fhall confider the mofl diftinguifliing of thefe forms, and the peculiar indications which chara^lerife them. Let us firft ob- ferve the effential indications of philofophic Genius.

Imagination receives a very different mo- dification or form in the mind of a Philo- fopher, from what it takes in that of a Poet. In the one it extends to all the pof- fible relations of things j in the other it ad- mits only thofe that are probable, in order to determine fuch as are real. Hence it fhould feem, that in the firft inftance it ought to poffefs greater compafs, and in the laft, greater accuracy. Here then we have one chara6leriftical indication of a Genius for philofophical Science ; and that is, accu- I jracy of imagination. Its aflbciations of ideas will be perfedly juft and ex ad, no extrii- neous ones will be admitted ; it will aflemble all that are necefiary to a diftin6l conception and illuftration of the fubjecl it contem- plates, and difcard fuch as are no way con-

D ducive


34 ANESSAY

ducive to thofe purpofes. This precifion and accuracy in feledling and combining its ideas, appears to proceed from a native regularity, clearnefs, and even ftrength of Imagina- tion, united with a certain acumen ingenii^ z fharpnefs of difcernment, the true criterions of philofophic Genius.

We may farther obferve, that though Reafon, by flow and gradual fteps attains its utmoft extent of comprehenfion, yet being a very diftinguifhing faculty in the mind of the Philofopher, it appears to advance fafter to maturity in him than in any other per- fonj and fome prefages of the future ex- tent of his underftanding may be derived from his firft argumentative efTays. He will likewife difcover an acutenefs of per- ception, a fhrewdnefs and fagacity in' his obfervations, remarkable for his years 3 and will begin early to inftitute cpmparifons, to connedl his ideas, and to judge of the re- lations in which he ftands to the perfons and obje6ls with which he is furrounded.

This


ON GENIUS. 35

This feems to be the natural progrefs, and firft exertion of Reafon, in ufeful Science.

Let it be remarked in the laft place, that philofophical Genius is peculiarly diftin- guifhed by a certain moral and contempla- tive turn of mind. It feels a powerful ten- dency to fpeculation, and derives its chief pleafure from it. Not fatisfied with explor- ing the phenomena of nature, it delights to inveftigate their unknown caufes. Such are the ufual indications of philofophic Genius. We (hall next confider the mofl remarkable indications of this charafler in Poetry.

As Imagination is the predominant in- gredient in the compofition of poetic Ge- nius, it will there difcover itfelf in its utmoft exuberance and fecundity. This faculty will naturally difplay its creative power on thofe fubje<5ls which afford fulleft fcope for its exercife; for which reafon it will run into the more pleafiiig fpecies of fisSlion, and D 2 will


36 ANESSAY

will be particularly diftinguiflied by a happy fertility of invention. But though fable be the ftrain of compofition of all others moft fuitable and appropriated to the higheft cJafs of poetic Genius, neither its choice nor its abilities are reftri6led to this alone. It freely indulges itfelf on a variety of fub- Jedlsj in the feledion of which a Poet is in a great meafure influenced by his age, temper, and ruling paffion. Thus poems defcribing the beauties of nature, the ten- der tranfports of love, the flattering pro- fpe(5ls of ambition, the affeflionate and ar- dent reciprocations of friendfhip, and the peaceful pleafures of rural tranquillity, are often among the firft eflays of a young Bard. We purpofely avoid being fo parti- cular on this branch of our fubje6l, as we would otherwife choofe to be, left we fliould anticipate feme of the obfervations that will be made on the diftinguiOiing chiira6lers of original poetic Genius, in another part of our EiTay.


It


O ISr G E N I U S. 37

It may not however be improper farther to obferve in this place, that one who is born with a Genius for Poetry, will difco- ver a peculiar relifh and love for it in his earlieft years ; and that he will be naturally led to imitate the prod unions he admires. Imagination, which in every man difplays itfelf before any of the other faculties, will be difcernible in him in a ftate of childhood, and will ftrongly prompt him to Poetry: Tasso, we are told, compofed poems when he was only five years of agej Pope, we know, wrote fome accurate little pieces, when he was fcarce twelve; and he him- felf acquaints us, by a beautiful, but doubt- lefs figurative expreflion, that he began to write almoft as foon as he began to fpeak :

, /is yet a child, nor yec a fool to fame, I lifp'd in numbers, for the numbers came.

Milton dedicated his Genius to the Mufes in his earlieft youth: he has prefented us with a few poems written in his thirteenth or fourteenth year, inaccurate indeed, as D 3 was

8011324 •


38 ANESSAY

was natural at fuch an age, efpeclally in one who was afterwards to become fo great a Poet, but full of the ardor and infpiration of genuine Poetry. Indeed moft of his ju- venile piece?, which are very unequal in their merit, afford the happieft prefages of that amazing grandeur and extent of Ima- gination, of which he long after exhi- bited fo glorious a monument in his Para- difi Lifl.

We fliall only add, that the performances of a youthful Poet, pofi'efTed of true Genius, will always abound with that luxuriance of imagination, and with that vivacity and fpirit which are fuitable to his years j but at the fame time they will generally be de- fiitute of that chaftity and mafculine vigour of exprefiion, as well as juftnefs and pro- priety of fentiment, which are only compa- tible with maturer age -f .

The


f That great Mafter of Reafon and Eloquence, whom we laft quoted, and whom we fhall have fre- quent


ON GENIUS. 39

The fame vivacity and ardor of Ima- gination which indicates the Poet, charac-

terifes


quent occafion to quote in the courfe of this EfTay, lince his fentiments on the fubjefts of which he treats, are as juft as they are elegantly and happily exprefied, obferves, that luxuriance of Imagination is to be re- garded as a favourable indication of future fertility and copioufnefs of Genius j advifes that it fhould by all means be encouraged ; and fuggefts the proper method of encouraging it, without apprehending any danger from its excefs.

Nee unquam me in his difcentis annis oiFendat fi quid fuperfuerit. Quin ipfis dodloribus hoc efle curae velim, ut teneras adhuc mentes more nutricum mollius alant, & fatiari velut quodam jucundioris difciplinas lacte patiantur. Erit illud plenius interim corpus, quod mox adulta aetas aftringat. Hinc fpes roboris. Maciem namque & infirmitatem in poftcrum minari fo- let protinus omnibus membris exprefTus infans. Au- deat ha^c zetas plura, & inveniat, & inventis gaudeat, lint licet ilia non fatis interim ficca & fevera. Facile eft remedium ubertatis, fterilia nullo labore vincuntur. Ilia mihi in pueris natura minimum fpei dabit, in qua ingenium judicio praefumitur. Materiam efle primam volo vel abundantiorem, atque ultra quam oporteat fu- fam. Multum inde decoquent anni, multum ratio li- mabit, aliquid velut ufu ipfo deteretur, fit modo unde r D 4 excldi


40 AN ESSAY

terifes likewife and diftinguifhes the Painter •, the figns only being different by which it is exprefled. The former endeavours to im- part his fentiments and ideas to us by verbal defcription ; the latter fets before our eyes a flriking refemblance of the obje6ls of which he intends to convey an idea, by the inge- nious contrivance of various colours deli- cately blended, and by the proper union of light and fhade. In order to effe6l his pur- pofe, he muft have his imagination poifeffed with very vivid conceptions of the obje6ls he


excidi poffit & quod exculpi. Erit autcm, fi non ab kiitio tenuem nimium laminam duxerimus, & quam caelatura altior rumpat. Quintil. Inftit. lib.ii. cap. 4.

Cicero's fentiments on this fubjcift coincide exadly with tbofe of QyiNTiLiAN quoted above:

Volo enim, fe efFerat in adolefcente foecunditas : nam facilius, ficut in vitibus revocantur ea, quae k{t. nimium profuderunt, quam, fi nihil valet materies, nova far- menta cultura excitantur : ita volo efie in adolefcente unde aliquid amputem. Non enim poteft in eo efle fuccus diuturnus, quod nimis celeriter eft maturitatem affecutum. De Orat. lib.ii, cap. 21.

would


ON GENIUS. 41

would thus exhibit -, otherwife it is impos- fible he fhould delineate the tranfcript of them upon canvas. The Imagination mufl guide the hand in the defign and execution of the whole. A Painter therefore of true Genius, having his fancy ftrongly impreffed and wholly occupied by the moft lively con- ceptions of the objeds of which he intends to exprefs the refemblance, has immediate recourfe to his pencil, and attempts, by the dexterous ufe of colours, to Ik etch out thofe perfe6l and living figures which ex- ift in his own mind. He will.be fre- quently obferved to employ his talents in this manner ; and the eminence and extent of his Genius is indicated by the degree of his fuccefs.

Imagination, in a conliderable degree, is alfo requifrte to the Mufician, who would become excellent in his profeffion. He muft be thoroughly acquainted with the power of founds in all their variety of com- Wnation. Hts imagination muft aiGlft him

in


42 AN ESSAY

in combining founds, in order to conftitute different fpecies of harmony ; and his expe- rience of the effe6ls of various modulations, firft on the ear, and, by the inftru mentality of this organ on the paflions, muft aid his fancy in fetting his compofitions to the notes of mufic. By fuch exercifes a mufical Ge- nius is indicated.

^ A Talent or Genius for Archite6lure Is difcovered by a proper union of Imagina- tion and Tafle, dire6led to the accomplifh- ment of the ends of this art. The degree of Imagination necefTary to a maftery in Ar- chite6lure, depends upon the bounds we as- fign to it, and the improvements we fup- pofe practicable in it. Human ingenuity hath as yet difcovered only five orders in this art, which contain all the various forms of grandeur and beauty, confident with regularity, that have ever been in- vented j and our modern artifts have con- fined their ambition to the fludy and imi- tation of thofe illuftrious monuments of

Genius


ON GENIUS. 43

Genius left them by their predecefTors, as if it were impofllble to invent any other fuperior or equal models. To invent new models of Archite6lure, would, we confefs, require great compafs of Imagi- nation. In fuch inventions however true Genius delights, and by fuch it is indi- cated in a very high degree. To unhe in one confummate plan the various orders of ancient Architecture, requires indeed a confiderable fhare of Imagination ; but it may be obferved, that a refined and well formed Tafte is the principal requifite in a modern Architefl ; for though Fancy may be employed in combining the dif- ferent] orders of Architecture in one ge- neral delign, it is the province of Tafte alone to review the parts thus combined, and to determine the beauty and graceful- nefs of the whole. Setting afide, there- fore, new inventions in this art, which can only be efFe6led by an uncommon ex- tent of Imagination, we may venture to affirm, that the employment of Fancy

and


4i AN ESSAY

and Tafte, in the manner above men- tioned, is a proper indication of a Ge- nius for Archite6lurc, as well as neces- fary to the accomplifhment of fuch a Ge- nius.

With refpefl to a Genius for Eloquence, its charadleriftical indications are elTen- tially the fame with thofe which denote a talent for Poetry *. The fame creative power, the fame extent and force, the fame impetuofity, and fire of Imagination, diftinguifh both almoft in an equal de- gree; with this difference only, that the latter is permitted to range with a looser rein than is indulged to the former, which.


  • Eft enim finitimus Oratori Poeta, numeris adftric-

tior paulo, verborum autetn licentia ]iberior, multis vero ornandi generibus focius ac pene par j in hoc qui- dem certe prope idem, nullis ut terminis circumfcribat, aut definiat jus fuum, quo minus ei liceat eadem ilia facultate, & copia, vagari qua velit. Cicero de Orat, lib. i. cap. i6.


though


ON GENIUS. 45

though It may dare to emulate the bold- nefs and fublimity of poetic infpiration, is not allowed to sport and wanton with fuch wiLDNESs and luxuriance.


SECTION


-f


46 AN ESSAY

SECTION III.

OF THE

CONNECTION

BETWIXT

GENIUS,

W I T,

AND

HUMOUR.

GENIUS, Wit, and Humour, have been confidered by many as words of equivalent fignification ; and have therefore been often injudicioufly confounded toge- ther. Some do not perceive the difference betwixt them j and others, not attending to it, ufe thefe expreflions alternately and in- difcriminately. There is however a real difference between thefe accomplifhments 5

and


ON GENIUS. 47

and as the fubjedl of this Seclion is neither incurious nor unimportant, and is, to us at leafl-, new, we fliall endeavour in the pro- grefs of it to explain the nature, and to mark the efiential and pecuUar characters of the above-mentioned quahties : we fhall point out their diftinguifhing difference, and Ihew their mutual connexion.

The talents we are treating of are all the offspring of Imagination, of which quality however they participate in very different degrees ; as a much greater fhare of it is requifite to conftitute true Genius, than is neceflary to conftitute either of the other endowments. Our prefent inquiry obliges us to anticipate a little what will after- wards be more fully difcufTed, by remark- ing, that Genius is charaflerifed by a co- pious and plaflic, as well as a vivid and ex- tenfive Imagination j by which means it is equally qualified to invent and create, or to conceive and defcribe in the moft lively manner the objects it contemplates.

Such


48 ANESSAY

Such is the nature, and Tuch are the effen- tial chara6ters of Genius. On the other hand, Wit and Humour neither invent por create ; they neither poffefs the vigour, the compafs, nor the plaftic power of the other quahty. Their proper province is to airemble with alertnefs thofe fentiments and images, which may excite pleafantry or ri- dicule. Hence vivacity and quick nefs of Imagination form their peculiar chara6ters. In fa6l, the accomplifhments of Wit and Humour, which are fo much the objeds of applaufe and envy, are derived from this vi- vacity of Fancy, united with an exquifite fenfe of Ridicule. As a proof of this, we need only to obferve, that they are generally employed in painting the ridiculous in cha- jra(5lers and in manners ; and thofe flafhes of wit, and ftrokes of humour, we fo much admire, are by no means the effedls of a creative Imagination, the diftinguifhing cha- rafteriftic of true Genius ; but of a quick- nefs and readinefs of fancy in aflembhng fuch ideas as lie latent in the mind, till the

combining


ON GENIUS. 49

combining power of affbciation, with the affiftance of the retentive faculty, calls them forth, by the fuggeftion of fome diftant, perhaps but correfponding circumftance. This feems to be no improbable theory of Wit and Humour -, which, though akin to each other, and produced by the fame caufes, are however diftind: qualities, and may exift feparately.

^ The former is the moft (hining, the lat- ter the moft pleafing and the moft ufeful quality. Wit difcovers itfelf in fmart re- partees, in ingenious conceits, in fanciful allufions, and in brilliant fentiments. Hu- mour, on the other hand, manifefts itfelf in ludicrous reprefentations, in mafterly ftrokcs of manners and chara6ler, in fhrewd obfer- vations, and in facetious argumentation and narrative. This quality may be divided in- to two kinds ; into that which is difplayed in the reprefentation of chara6ters, and may be denominated humour of chara6ler ; and into that which is difplayed in compofition,

E and


50 A N E S S A Y:>

and may be called humour in writing. The firft confifts in the art of marking the fol- lies, the foibles, or the oddities of the cha- ra6ler exhibited fo flrongly, and-expofing them in fuch a ludicrous light, as to excite pleafantry and laughter. Sometimes the character may be fo amiable, that its little peculiarities, inftead of lefiening our efteem or afFe6lion, increafe the former, and con- cihate the latter; provided however, thofe peculiarities are innocent in themfelves, and indicate or imply genuine excellence. Of this kind is the character of Sir Roger de CovERLEY, drawn with the mod exquifite humour, and by the happieft effort of Ad- dison's delicate pencil.

Humour in writing confifts either of random ftrokes of ridicule and face- TiousNESs, occafionally thrown out, as fub- je6ls of drollery and pleasantry happen to occur 3 or of a vein of irony and deli- cate satire, purpofely difplayed on a particular fubjeft. Perhaps Pope's Rape of

the


ON GENIUS, 51

the Lock is the moft refined piece of humour in this kind, which any age can boaft. There remains indeed another fpecies of Wit and Humour (for it participates of, or at leaft pretends to both) of the lowed fort however, but deferving fome attention; that which confifts of puns, quibbles, and the petulant fallies of a rambling and un- difciplined fancy ; and which is fometimes difplayed in converfation. This fpecies of it is not only generally oftentatious, but fuperficial. It flafhes for a little while, and then expires. It rufhes on with precipitation, and, like a fhallow ftream, makes a great noife; but the rivulet foon dries up, and betrays the penurioufnefs of the fource from v/hich it flowed. The converfation-wits refemble thofe perfons, whofe ideas pafs through their minds in too quick fucceflion to be diflincl ; but who, neverthelefs, being endued with a natural volubility of expreffion, acquit them- felves to admiration in company ; while one is at a lofs to find either fenfe or gram- mar in their compofitions. To become a

E 2 man


52 AN ESSAY

man of true Wit and Humour, it is necelTary to think', a. piece of drudgery which the Gentlemen we are fpeaking of are too lively to undergo.

But to return : it appears that Wit and Humour, though nearly allied to true Genius, being the offspring of the fame pa- rent, are however of a dill:in6l nature j fmce the former are produced by the efforts of a RAMBLING and SPORTIVE Fancy, the latter proceeds from the copious effufions of a plaflic Imagination. Hence it will follow, that every man of great Wit will not be a great Genius, nor will every man of great Genius be a great Wit. Thefe qualities do not always exift together. Thus Swift was not a Genius, at lead of a very exalted kind *, in the fenfe in

which


  • Perhaps fome of the Dean's moft zealous admi-

rers may be offended with a declaration which excludes his pretenHons to any extraordinary degree of Genius.

But


ON GENIUS. 53

which we have confidered it, nor Ossian a Wit. To this perhaps it will be replied, that the Mufe of the latter had caught the complexion of his own temper, which was a melancholy one, partly derived from his natural conftitution, and partly occafioned by the misfortunes of his family ; and that his fubje(5ls, being of the mournful kind, could not admit of the fprightly graces of Wit and Humour. But let it be obferved, that


But let them reflect on what fuch pretenfions arefound-

• ed. I can recolleft no performance of the Doctor's,

which can juftly denominate him a man of great Ge- nius, excepting his Gulliver and his Tale of a Tub ; in which, it muft be confeiled, he hath united both In- vention and Humour: and therefore we allow him to have poflefled a degree of Genius, proportionable to the degree of Invention difcovered in the above mentioned performances. In that kind of wit and humour which he attempted, though not the moft delicate, he unquef- tlonably excelled all mankind. In the fcale of Genius, however, we muft aflign him an inferior ftation ; fince his Mufe fcarcc ever lifts to the region of the Sublime, which is the proper fphere of a great Genius ; buf, on the contrary, delights to wallow in the offal and naftl- nefs of a ftv or a kennel.


E 3 the


54 AN ESSAY

the melancholy turn of his mind, which ir- refiftibly determined him to the choice of mournful fubje61:s, is a fufficient proof that thefe were not only moft fuited to his Ge- nius; but that thofe of a folemn, awful, and pathetic nature, if we include the wild and pi6lurefque. as fubfervient to the others, were the only fubje6ls in which he was qua- lified to excel. The lighter ornaments of Wit would have been unfuitable to the fublimity of his Genius, and the penfive turn of his mind. We do not intend to infi- nuate, that Genius and Wit in the higheft degree are in general incompatible. They were united in Shakespear almofl: in an equal meafure j and Young hath given a fpecimen of the former in his Night ThoughtSy and of the latter in his Univerfal PaJ/ion ; and in him they were both united together in a degree of perfection that has not been equal- ed, fmce the era of the great Poet laft men- tioned. We only mean to affert, that the one may exift without the other, which we tJiipk hath been proved in the cafe of Os-

SIAN


O N G E N I U S. S5

SI AN in particular; though we fhall readily allow, that the fimplicity of manners which prevailed in the times of the Caledonian Bard, a fimplicity that was very unfavoura- ble to the difplay of Wit and Humour, joined to the melancholy turn of his own temper, heightened by his affliclions, might have greatly contributed to fupprefs the ta- lents of which we are fpeaking, fuppofing him to have been poflefTed of them. We ftiall only add, that there is one cafe in which Wit and Humour may claim the de- nomination of Genius; and that is, when they are accompanied with a rich fund of invention, as in the R^pe of the Lock ; in which, though the machinery of the Sylphs is not the mere creation of the Poet's fancy, yet the particular nature and employment of thofe wonderful aerial beings is altoge- ther his own fi6lion. In this incomparable heroicomical poem, P6pe has iiiconteftibly eftablifhed his character both as a man of Genius and Wit. It ought however to be remembered, that we allow his title to the •^ E 4 firfl:


S6 AN ESSAY

firfl of thefe denominations, not at all upon account of the vein of delicate and refined fatire which runs through the whole poem, for Wit and Humour could have produced thiSi but upon account of that ingenious INVENTION, and that picturesque de- scription, fo remarkable in it, which thofe qualities of themfelves could never have produced.

Upon the whole : from the view we have taken of the nature and chara6lers of Ge- nius, Wit, and Humour, it appears evi- dent, that as thefe qualities are in their na- ture different from each other, and are marked by certain peculiar and diflinguifh- ing characters j fo they have different fpheres of exercife afTigned them, in which alone they can jdifplay their proper powers to ad- vantage. We may therefore with fome ap- pearance of reafon infer, that the connec- tion of the above-mentioned talents is only partial and cafual, not univerfal and necef- fary. This hath in part been already evinced

and


ON GENIUS. S7

and exemplified by particular inflances; from which it appears, that thofe talents have been fometimes united, and fome- times disjoined in different perfons. As we do not remember to have feen this acciden- tal conneftion, where a neceflary one at firft view might be expe6led, accounted for, we (hall conclude the prefent Se6lion with endeavouring to allign the reafons of it.

That Genius, Wit, and Humour, do in common participate of Imagination, we have already acknowledged. This partici- pation indeed forms a natural, but not a NECESSARY conne6lion betwixt thofe qua- lities. The MODES (if we may fo exprefs it) and DEGREES of this Imagination are fo different, and the tempers of men, on which the exertion of the above mentioned quali- ties greatly depends, are likewife fo various, that a real union becomes merely fortui- tous. In order to make this ftill more evi- dent, as well as farther to account for it, let us recoiled the peculiar office of Genius,

com-


58 A N E S S A Y

compared with that of Wit and Humour. The proper office of the former is to in- vent incidents or characters, to create new and uncommon fcenery, and to de- fcribe every objed it contemplates, in the moft {triking manner, and with the mod pidnrefque circumftances : that of the latter is to reprefent men, manners and things, in fuch a ludicrous light, as to excite plea- santry, and provoke risibility. Hence we conclude, that a vigorous, extenfive, and plastic Imagination, is the principal qua- lification of the one, and a quick and lively Fancy the diftinguifhing charadleriftic of the other. Thefe qualities do not appear to be connected in any great degree j for what confiderable connection is there be- twixt a celerity in aliembling similar ideas, together with a lively perception of that si- milarity, and the power of inventing a variety of furprifing scenes and incidents^ conceived with the utmoft ftrength and compafs of Imagination ? It fhould even feem that on fome occalions an extraordi*

nary


ON GENIUS. 59

nary vivacity of Fancy, which includes a certain degree of volatility, occafioning the mind to ftart as it were from one objedl to another, without allowing it time to con- ceive any of them diflindly, might be pre- judicial to that vivid conception, and that extenfive combination of ideas which in- dicate and chara6lerife true Genius. In this cafe, the mind, hurried with precipi- tancy from one theme to another, though it may catch a glimpfe, yet rarely obtains a full view of the obje6l it deiires to contem- plate. This feems to be the principal rea- fon why Genius, whofe ideas are vivid and COMPREHENSIVE, is not always united with Wit, whofe conceptions are quick and LIVELY, but frequently superficial.

After all, I am fenfible that the pofition laid down above, will to many perfons ap- pear extremely problematical ; and that fe- veral of thofe who can perceive the differ- ence betwixt Genius and Wit, will ftill be of opinion, that thefe qualities, however

diflina:


6o AN ESSAY

diftincl from each other, are neverthelefs in- dilFolubly connefted. After having refle6led a good deal upon the fubjed:, the fentiments I have now dehvered are the refult of that refledlion ; which fenthnents I have endea- voured to confirm by examples, more of which 1 could have added, had it appeared to be necefTary. The truth is, the obferving t4iat Genius and Wit have to all appear- ance been feparately poIfelTed by different perfons, led me firft to fufpecl that their union was cafuah Proceeding upon this principle, I have attempted to affign the rea- fons of it, which I have deduced from the different natures of thofe qualities themfelves. Perhaps indeed the examples may appear more convincing than the arguments. I can conceive indeed but one other objeflion to the former, befides what has been already fug- gefted, which is, that men of Genius, con- fcious of polTeffing fuperior talents, are not very ambitious of acquiring the reputation which arifes from Wit. But I cannot think that this anfwer intirely folves the difficulty,

fup-


ON GENIUS. 6i

fuppofing the union of the above-mentioned qualities really neceflary; for the reputa- tion acquired by the difplay of Wit, how- ever inferior this talent may in fa6l be, is often fuperior to that which is acquired by the difplay of Genius ; and we may conclude in general, that moft of thofe who are pof- feiTed of it, will be defirous of being diftin- guiilied upon that account j and confequent- ly, where it does not difplay itfelf, that it does not probably in any great degree exift. It is neceflary to remark, in order to pre- vent' any miftake of my meaning, that while I endeavoured to prove that Genius and Wit are not necelTarily conne6ted, I had chiefly in my eye that fpecies of Wit which is the fudden effulion of a lively fancy, and which is poured forth in converfation with a fur- prifmg readinefs and exuberance. That real Genius frequently exifts without this kind of it, I am fully convinced by many examples, which, as the Reader may eafily recolledl them, I fliall not here enumerate. That kind of Wit and Humour however,which is dif-

covered


62 AN ESSAY

covered in compofition, and which being more the efFefl of thought, is commonly more juft and folid, though often lefs bril- liant, Genius will not fo eafily relign its claim to. Indeed, to declare my own opi- nion upon a doubtful point, where examples contradi6l each other, it appears to me moft probable, that true Genius is, we do not fay, univerfally and neceffarily, connected with it; but that it rarely exifts without this kind of Wit ; though its exertion may, by various caufes, in a great meafure be fup- preflfed. When thefe qualities are united together, they mutually aflift and improve each other j Genius derives vivacity from Wit, and Wit derives justness and ex- tent of COMPREHENSION from Genius.


SECTION


ON GENIUS. 63

SECTION IV.

,1

O F T H E MUTUAL INFLUENCE

O F

IMAGINATION on TASTE,

A N D O F

TASTE ON IMAGINATION;

CONSIDERED AS

INGREDIENTS in the COMPOSITION OF

GENIUS.


WE have already confidered Imagi- nation and Taste as two mate- rial ingredients in the compofition of Ge- Nxu?. The former we have proved to be the moft eflential ingredient, without which

Genius


64 .AN ESSAY

Genius cannot exift ; and that the latter is indifpenfibly necellary to render its produc- tions ELEGANT and CORRECT.

We are now to fliew the influence of thefe qualities on each other, and how they contribute by their mutual influence to the improvement and confummation of Genius. Before we proceed to this difquifition, it will be proper to recur to the definition of Taste, given in a preceding feftion, which, for the fake of precifion, we (hall here re- peat. " Taste is that internal fenfe, which, by its own exquifitely nice perception, with- out the afliftance of the reafoning faculty, diftinguiflies and determines the various qualities of the obje6ls fubmitted to its cog- nifaiice, pronouncing them, by its own ar- bitrary verdi£l, to be grand or mean, beau- tiful or ugly, decent or ridiculous." The fimple principles of Tafte are found in every man, but the degrees in which they exift, are as various as can well be imagined : in fome perfons they are weak and rudej in

others.


ON GENIUS. 6$

others, they are vigorous and refined. The external organs of fenfe, which are the ori- ginal and fundamental principles of Tafte, are indeed nearly the fame in every one who poiTefTes in the moft ordinary degree the ef- fential and conftituent parts of the human frame J but the ideas which are excited in the minds of fome perfons by the influence of outward obje£ls on the fenfes, or by the power of refleflion, are very different from thofe excited in the minds of others. Thus two perfons, the one endued with a jufl and elegant tafte, the other almoft defti- tute of this quality, contemplating a mag- nificent and well-proportioned building, that of St Peter Si for inftance, at Rome^ will be affe<5led in the moft different manner and degree imaginable. The latter, looking a- round him with ignorant and infipid cu- riofity, cafts his eye on the altar and de* corations of the church, which captivate his attention, and pleafe his rude fancy, merely by their novelty and fplendor ; while he ftares at the magnificence of the

F edifice


66 AN ESSAY

edifice with a foolifli face of wonder. The former, furveying all the fabric together, is ftruck with admiration of the exa6l fym- metry, and majeflic grandeur of the whoje. Or if we fhould fuppofe both to be pre- fented, at the fame time, with the profpeiO: of a rich, beautiful, and diverfified land- fcape, confifting of woods and vallies, of rocks and mountains, of cafcades and ri- vers, of groves and gardens, blended toge- ther in fweet rural confufion j this inchant- ing fcene would be contemplated by the one with indifference, or at leaft with very little emotion of pleafure, his thoughts be- ing chiefly employed in computing the produce of fo fertile a fpot ; while the view of fuch a group of delightful ob- jeds would throw the other into rapture. It is natural to afk, whence aiifes this amazing difference in their fenfations ? The outward organ, by which thefe fenfations are conveyed, is fuppofed to be equally perfect in both ; but the internal feeling is extremely different. This difference

mufl


ON GENIUS. ej

muft certainly proceed from the transfornv^ | ing power of Imagination, whofe rays illu- minate the obje^ls we contemplate ; and which, without the luftre fhed on them by this faculty, would appear unornamented and undiftinguifhed.

The REFINEMENT and sensibility of Tafte likewife, as well as the pleafures it is calculated to afford, are all derived from the influence of Imagination over this in- ternal fenfe. By the magical power of Fancy communicated to it, it is qualified to difcern the beauties of nature, and the ingenious produflions of art, and to feel an exquifitely pleafing fenfation from the furvey of them. Imagination dwells upon an agreeable objefl with delight, arrays it in the moft beautiful colours, and attri- butes to it a thoufand charms j every re- peated view of it increafes thefe charms 5 and the Imagination, enraptured with the contemplation of them, becomes enamoured of its own creation. Tafte, catching the - .; F 2 con-


6^ A N E S S A y

contagion from Fancy, contemplates the favourite obje6l with equal tranfport, by which means it acquires and improves its fenfibility : it becomes more fufceptible of pleafure, and more cxquifitely acute in its fenfations. Such is the influence of Imagi- nation on Tafte, and fuch are the advan- tages which the latter derives from the former.

'As true Tafle is founded on Imagina- tion, to which it owes all its refinement and elegance ; fo a falfe and depraved Tafte is often derived from the fame caufe. Fancy, if not regulated by the dictates of impartial Judgment, is apt to miflead the mind, and to throw glaring colours on obje6ls that poflefs no intrin- fie excellence. By this means it happens, that though the principles of a juft Tafte are implanted in the mind of every man of Genius, yet, by a neglecSl of proper cultivation, or too great an indulgence of the extravagant ramblings of Fancy, thofe

principles


ON GENIUS. 69

principles are vitiated, and Tafte becomes fometimes incorrect, and fometimes in- delicate -f. The only method left in fuch a cafe, is to compare the fenfations of Tafle with the obje6ls that produced them, and to corre6l the errors of this fenfe by an appeal to the didates of Reafon, in the points where its authority is legitimate j by which means Tafte may attain justness and ACCURACY, as by the former exercife it may acquire sensibility and refine- ment, in thofe minds where its princi- ples are implanted in any confiderable de- gree.


•f- Let it not be imputed to faftidious, much lefs to malevolent criticifm, if, in order to exemplify the above remarks, we prefume to obferve, that in a v/orlc of real Genius, and in which the moft fublime fpirit of Poetry predominates, we mean the Nighi Thoughts of Dr Young, we meet with feveral inftances of falfe tafte, in his antithefes and conceits, which, in a great mea- fure, debafe the grandeur of fome very noble fenti- ments.


F 3 Having


7© AN ESSAY

Having thus pointed out the influence of Imagination on Tafte, let us now con«  fider the influence of Tafle on Imagina» tion.

As Taste derives all its sensisilitv and REFINEMENT from the prevalence of Ima- tJiNATioN, (o Imagination owe«, in ^ great meafure, its justness and accuracy to the CORRECT PRECISION of a well regu- lated Taste. The excurfions of Fancy, ^andiredted by Judgment or Taftc, are al» ways extravagant ; and if we fhould fuppofe a compofition to be conceived and executed by the firft mentioned faculty alone, it would be an unintelligible rhapfody, a mere mafs of confufion, compounded of a num- ber of heterogeneous and difcordant parts. Though Imagination has by far the greateft fliare of merit in the produiStions of Genius, yet, in one view, it may be confidered as acting a fubordlnate part, as exerting its energy under the prudent reftriftions of Judgment, and the chaflening animadver-

fions


O N G E N I U S. 71

fions of Tafte. In fadt, the proper office of Fancy is only to colle6l the materials of compofition 5 but, as a heap of (lones, thrown together without art or defign, carl never make a regular and well proportioned building j fo the eifulions of Fancy, without the fu per intending and direiSling powers above-mentioned, can never produce a mas- terly compofition in Science or in Art. Judg- ment therefore muft arrange in their pro- per order the materials which Imagination has coUefted 5 and it is the officp of Tafte to beftow thofe diftinguifhing graces, which may give dignity and elegance to the feveral parts, as well as excellence and ACCURACY to the whole. Such is the pro- vince of Tafte, and fuch its influence on works of imagination.

■ A From the furvey we have taken of the MUTUAL INFLUENCE of thcfc different fa- culties, it appears, that they are equally in- debted to each other ; and that if, on the one hand, Imagination beftows sensibility

F 4 and


7a AN ESSAY

and REFINEMENT Oil Taftc, fo on the other, Tafte imparts justness and precision to Imagination 5 while Genius is confiimmated by the proper union of both thefe faculties with that of Judgment, and derives from their combined efficacy all its energy, accu- racy, and elegance.


SECTION


ON GENIUS. 73

SECTION V.

O F T H E DIFFERENT DEGREES

O F

GENIUS,

AND ITS

VARIOUS MODES of EXERTION.


G


E N I U S is a word of extenfive and various fignification. The fpheres of

its cxercife, and the degrees of its exertion,

are very different.

Some perfbns pofTefs fuch force and com- pafs of Imagination, as to be able by the power of this faculty to conceive and pre- fent to their own minds, in one diftinft view, all the numerous and mod diftant re- lations of the objects on which they employ


74 A N . ^E S S A Y

it 5 by which means they are qualified to make great improvements and difcoveries in the arts and fciences. The mind in this cafe has recourfe to and reUes on its own fund. Confcious of its native energy, it de- lights to expand its faculties by the moft vi- gorous exertion, Ranging through the un- bounded regions of nature and of art, it explores unbeaten tracks of thought, batches a glimpfe of fome objedls which lie far be- yond the fphere of ordinary obfervation,

' and obtains a full and dillincl view of

^ others.

We may farther obferve, that Genius may, in a very confiderable though much lefs proportion, be difplayed in the illuftra- tion of thofe truths, or the imitation of thofe 4iiodels, which it was incapable originally to difcover oi* invent. To comprehend and ex- plain the one, or to exprefs a juft refem- blance of the other, fuppofes and requires no conterpptible degree of Genius in the Au- thor or Artift who fucceeds in the attempt.

Thus


ON GENIUS, 75

Thus we allow Maclaurin, who has ex- plained the Principles of Newton's Philofo- phy, and Strange, who has copied the Cartoons of Raphael, to have been both of them men of Genius in their rerpe6live profefiions, though not men of original Ge- nius; for the former did not polTefs that

COMPASS of IMAGINATION, and that DEPTH

of DISCERNMENT, which Were neceflary to difcover the do<5lrines of the Newtonian Syf- tera J nor the latter that fertility and FORCE of Imagination, that were requifite to invent the defign, and exprefs the dignity, grace and energy, difplayed in the originals of the Italian Painter.

A certain degree of Genius is likevvife ma- nifefted in the more exquifitc produftions of the mechanical arts. To conftitute an excellent Watchmaker, or even Cai'pentcr, fome (hare of this quality is ixquilite. In molt of the Arts indeed, of which we are fpeaking, Induftry, it muft be granted, will in a great mcafiire fupply the place of Ge» -i... nius;


76 A N E S S AY

nius J and dexterity of performance may be acquired by habit and fedulous application : yet in others of a more elegant kind, thefe will by no means altogether fuperfede its ufe and exercife ; fince it can alone beftow thofe finifhing touches that bring credit and repu- tation to the workman. Every ingenious artifl, who would execute his piece with uncommon nicety and neatnefs, muft really work from his imagination. The model of the piece muft exift in his own mind. There- fore the more vivid and perfect his ideas are of this, the more exquilite and completd will be the copy.

In fome of the mechanical, and in all the liberal Arts, it is not only neceflary that ar- tifts (hould pofTefs a certain fhare of Imagi- nation, in order to attain excellence in their different profellions j but that fhare of which they are pofTeffed, muft principally turn upon one particular objedl. It is this bias of the mind to one individual art rather than another, which both indicates and

con-


O N G E N I U S. yj

conftitutes what we commonly call a Ge- nius for it. This bias appears in fome perfons very early, and very remarkably; and when it does To, it ought doubtlefs to be regarded as the fovereign decree of Na- ture, marking out the ftation and deftiny of her children.-

It cannot be denied, that a great degree of Genius is difcovered in the invention of mechanical arts, efpecially if they are by the firfi; efforts advanced to any confiderable perfedion ; for invention of every kind is a fignal proof of Genius. The firft inventer of a Watch, an Orrery, or even a common Mill, hotvever fimple it may now appear in its machinery and flru6lure, was unquef- tionably a man of an extraordinary mecha- nical Genius. The improvement of thele inventions is likewife a certain criterion of a Genius for them ; the degree of which tal6nt is always juftly rated in proportion to the improvements made by it, confidered in con- nexion with the art in which they are made.

We


^8 A N E S S A Y

We Ihall not here inquire into the com- parative utility and importance of the feve- ral Arts, whether hberal or mechanical, in order to determine the particular degree of Genius requifite to an excellence in each of them. Let it fuffice to obferve in general, that as in the former Imagination hath a wider range, fo a greater degree of Genius may be difplayed in thefe than in the other. Hence we infer their fuperior dignity, tho' perhaps not their fuperior utility. In the latter indeed, Imagination is very intenfely cxercifed; but it is more confined in its ope- ration : inftead of rambling from one theme to another, it dwells on a fingle obje6l, till it has contemplated it fully and at leifurc ; whereas in the others, it forms a lefs parti- cular, but more comprehenfive view of the obje6ls fubmitted to its cognifance : it takes tliem in at one glance, though it does not mark their features fo minutely. A larger compafs of Imagination therefore is requi- fite to conftitute excellence in the one, and a greater comprefiion of this faculty (if we - • may


ON GENIUS. 79

may ufe the term) to produce eminence m the other.

Genius likewife, when left to follow its own fpontaneous impulfe, appears in a great variety of forms as well as of degrees. Its modes of exertion are very different. Some- times it leads to philofophical fpeculations, and animates the ardor of the Philofopher in his experiments and refearches, in his in- veftigation of caufes and efFecls, of the order of Providence/ and the conftitution of the human mind } and while it points out the objeels to which he fhould direct his ftudies, it adapts the mental powers to the purfuit, and qualifies them for the attainment of thofe obje6ts ; by communicating that force of imagination, and that depth of difcern- ment which are neceflary to his fuccefs : at other times, indulging its own native bent, it ftrikes out a path for itfelf through the wild romantic regions of Poetry and Fable ; and from the infinite variety of ob^ je6ls prefented to it in thofe fields of fiction,

feleas


8o A N E S S A Y

felefis fuch as arc moft adapted to its nature and powers. Sometimes Genius, ftill fol- lowing its own peculiar bias, fketches out, with a happy fertility of invention, the de- figns of the Painter, and imparts dignity, elegance and expreflion to the feveral figures of his piece. Sometimes it appears to great advantage in the graceful elocution, the im- petuous ardor, and the impaffioned fenti- ments of the Orator. Sometimes it difplays its power in the combination of mufical founds. Sometimes it difcovers itfelf in uniting, by the power of a lively imagina- tion and exquifite tafte, the various forms of elegance and magnificence in one con- fummate model of Archite6lure. Or, lafl- ly, taking an humbler aim, it fometimes un- folds itfelf, not indeed with fo much power and extent, but ftill with very confidera- ble energy, in the ingenious inventions and exquifite improvements of the mechanical Arts. So diverfified are the forms of Ge- nius, and fo various its modes of exer- tion.

There


ON GENIUS. 8i

There are many indeed, in whom there are no flriking fignatures of this quality dif- cernible in any of its forms, who neverthe- lefs pofTefs a confiderable fliare of that faculty by which it is chiefly conftituted. Thefe perfons, polTefling the fundamental qualifi- cation of Genius, may, by the force of ap- plication, in fome meafure fupply the want of that appropriated Imagination, which confers a talent for one particular art j but can never reach that degree of excellence in their refpe6tive profeflions, which a natural impulfe of Genius to its correfponding ob- ject, diredled with prudence, and aided by proper culture, is calculated to attain. In others, however, the particular indications . and EVOLUTIONS of Genius (to ufe a mili- tary phraie) are very remarkable. By at- tending carefully to thefe symptoms (if we may alfo adopt a phyfical term) by marking and encouraging their progrefs. Arts and Sciences may be carried to the higheft de- gree of perfe6lion, to which human Genius ^ is capable of advancing them.

G AN


A N


ESSAY


O N


GENIUS.


BOOK II.


O F


ORIGINAL

GENIUS,


ITS


INDICATIONS, EXERTION, AND EFFECTS.


ON GENIUS. 85

SECTION L

O F THAT DEGREE OF

GENIUS,

WHICH IS PROPERLY DENOMINATED

original:

WE have in the preceding part of this EfTay treated of Genius in general, and have pointed out its objects, ingredients and effefls, as well as fuggefted its various modes of exertion. We fhall now proceed a ftep higher, and confider that degree of Genius, which, upon account of its fupe- rior excellence, deferves the name of Origi- nal. The obfervations we have hitherto made on Genius indifcriminately, were only intended as an Introdu6lion to the remarks G 3 wc


86 AN ESSAY

we propofe to make in this book on the fubje6l of original Genius ; to explain the nature, properties, and efFe6ls of which, is the principal defign of this EfTay.

It may be proper to obferve, that by the word Original, when applied to Genius, we mean that native and radical power which the mind pofTeffes, of difcovering fomething new and uncommon in every fubje6l on which it employs its faculties. This power appears in various forms, and operates with various energy, according to its peculiar modification, and the particular degree in which it is bellowed. Thus it as- sumes, as we have feen, a different form, and appears likewife in a different degree in the mind of the Philofopher, from what it doth in that of the Poet or Painter. It is not our prefent bufinefs to inquire what are the proportions and modifications of fancy necefTary to conftitute a Genius for particular arts or fciences, as diHinguiflied from each other, fince this would be an an- ticipation


ON GENIUS. 87

ticlpation of what is intended to be the fub- jedt of fome following Sedlions. In this we confider original Genius as a general talent, which may be exerted in any pro- feffion, in order to obferve how happily it is calculated to attain the objeds it has in view. We fhall only farther previoufly re- mark, that the word Original, confidered in connexion with Genius, indicates the degree, not the kind of this accomplifh- ment, and that it always denotes its highell' degree.

Philofophers have diftinguifhed two ge- neral fources of our ideas, from which we draw all our knowledge, sensation and reflection. Very different ideas however are excited in the minds of fome, from thofe excited in the minds of others, even by the firft of thefe, which may be faid to be the original fountain of our knowledge, though the ideas produced by it are conveyed by organs common to human nature ; and flill more different ideas are excited in the minds

G4 of


SS A N E S S A Y •

of different perfons by the other faculty, that of REFLECTION. Somc perfons indeed have few ideas except fuch as are derived from fenfation ; they feldom ruminate upon, revolve, and compare the impreffions made upon their minds, unlefs at the time they are made, or while they are recent in their remembrance : hence they become incapa- ble of tracing thofe relations and analo- gies which exift in nature, but which can only be traced by men of a comprehenfive Imagination and penetrating Judgment. Others, endued with thefe qualities, are rendered thereby capable of affociating and disjoining, of comparing and transforming their ideas in fuch a manner, as to per- ceive almoft all their pofTible relations j by which means they are qualified to difco- ver the latent truths of fcience, and to produce the nobleft monuments of human ingenuity in the feveral arts. In other words, they by thefe means become origi- nal Geniufes in that particular art or fcience, to which they have received the

mod


ON GENIUS. 89

moft remarkable bias from the hand of Nature.

Original Genius is diftinguifhed from every other degree of this quality, by a more vivid and a more comprehenfive Imagina- tion, which enables it both to take in a greater number of objedls, and to conceive them more diftindlly ; at the fame time that it can exprefs its ideas in the ftrongefl: co- lours, and reprefent them in the moft ftrik- ing light. It is likewife diftinguifhed by the fuperior quicknefs, as well as juftnefs and extent, of the aflbciating faculty; fo that with furprifing readinefs it combines at once every homogeneous and correfponding idea, in fuch a manner as to prefent a com- plete portrait of the objedl it attempts to de- fcribe. But, above all, it is diftinguiftied by an inventive and plaftic Imagination, by which it (ketches out a creation of its own, difclofes truths that were formerly unknown, and exhibits a fucceflion of fcenes and events which were never before contemplated or

con-


g0 A N E S S A Y

conceived. In a word, it is the peculiar , charadler of original Genius to ftrike out a path for itfelf whatever fphere it attempts to occupy; to ftart new fentinlents, and throw out new lights on every fubjefl it treats. It delights in every fpecies of fiction, and fometimes difcovers itfelf in the more fevere inveftigations of caufes and efFe6ls. It is diftinguifhed by the moft uncommon, as well as the moft furprifing combinations of ■ ideas ; by the novelty, and not unfrequently by the fublimity and boldnefs of its imagery in compofition.

Thus much with regard to the nature and chara6leriftics of original Genius in general. What we are next to confider, is its particu- lar and lingular efficacy in inriching Science with new difcoveries, and the Arts with new inventions and improvements.


SECTION


ON GENIUS. 91


SECTION 11.

OF ORIGINAL PHILOSOPHIC

GENIUS,

TH E empire of Genius is unbounded. All the Sciences and Arts prefent a fphere for its exercife, and afford fcope for its exertion. But though it may be exerted indifcriminately in all, it will not be exerted equally in each. It will fometimes appear more, fometimes lefs remarkably. Our pre- fent inquiry leads us to confider how and in what degree original Genius will difplay itfelf in philofophical Science. In order to perceive this, it may not be improper to confider the peculiar province of the Philofopher, and the- objeiSts he has in view. His province is to furvey with at- tention


92 AN ESSAY

tention the various phenomena of the na- tural and moral world, and, with perfpica- city of difcernment, to explore their caufes -, proceeding in his inquiry from the know- ledge of effects to the inveftigation of the caufes by which they were produced. The obje6ls he has, or ought to have in view, are, to bring into open light thofe truths that are wrapped in the (hades of obfcurity, or involved in the mazes of error, and to ap- ply them to the purpofe of promoting the happinefs of mankind *.

From


  • Cicero reprefents it as the peculiar excellence of

the Socratic Philofophy, that it had a ftridl connection with life and manners ; and that it was employed on objedls of the utmoft importance to human felicity, on good and evil, on virtue and vice :

Socrates primus Philofophiam devocavlt e coelo, & in urbibus collocavit, & in domos etiam introduxit, & coegit de vita & moribus, rcbusque bonis & malis quae- rcre. Tufc. ^ajl. lib. v. n. lo.

He obferves, in another part of his Works, that Socrates had difincangled Philofophy from abftrufe

fpe-


ON GENIUS. 93

From this idea of the objedls and pro- vince of the Philofopher, the intelligent Reader will, upon a little refleftion, clearly perceive that vigorous and extenfive powers of Imagination are indifpenfibly neceflary to enable him to proceed fuccefsfully in the re- fearches of Science. In order however to make this flill more evident, let it be ob- ferved, that as it is the proper office of this faculty to alTemble thofe ideas, whofe rela- tions to the fubjedl it contemplates, and to each other, can alone be determined by the faculty of Judgment ; fo there are feme of thefe fo obvious, that they occur to common


fpeculations, and applied it to the purpofes of com- mon life :

Socrates niihi videtur, id quod conftat inter omnes, primus a rebus occultis, & ab ipfa natura involutis, in quibus omnes ante cum philofophi occupati fuerunt, avocaviffe philofophiam, & ad vitam communem ad- duxiflb ; ut de virtutibus & vitiis omninoque de bonis rebus & malis quaereret ; cceleftia autem, vel procul effe a noftra cognitione cenferet, vel fi maxime cognita eflent, nihil tamen ad bene vivehdum conferre. Acad, ^<sji. lib. i. n. 15.

reflec-


94 AN ESSAY

refleftion, and arife from the general laws of aiTociation, while others are fo far re- moved beyond the fphere of the common ta- lents allotted to mankind, that they can nei- ther be aflembled nor compared, without fuch an extraordinary proportion of the powers of Imagination and Reafon, as is rarely united in one perfon. The power of affembling and comparing fuch ideas, in order to determine their relations and refemblances, is the diftinguiihmg charac- teriftic of an Original Philofophic Genius.

We have formerly obferved, that the fa- culty of the mind, which we diftinguifh by the name of Imagination, difcovers itfelf in a furprifmg variety of forms. To create uncommon fcenery, to invent new inci- dents and chara6lers in Poetry, and new theories in Philofophy j to aflbciate and compound, to divide and transform the ideas of the mind, is the work of one and the fame power; but is not in all thefe cafes executed with equal eafe, or with equal

fuccefs.


O^N GENIUS. 95'

fuccefs. To invent and create, mufl un- doubtedly require the higheft exertion of the faculty we are fpeaking of ; becaufe the ob- jefls on which the mind employs itfelf in this exercife, are very remote from common m fervation, and cannot be brought into lancw without a ftrenuous effort of imagina- CENTR Hence it happens, that as invention as the province of original Genius, both in Tiliilofophy and in Poetry, a very great. Poet they ai^ precifely equal or fimilar fhare iof Imagination, is neceffary in each of them. It will be no incurious employment to ob- jferve the various exertions of the fame fa- culty in thefe different departments, as it will open to us an agreeable profpe6l of the furprifmg verfatility, extent, and vigour of the human mind ; and will alfo enable us to form a comparative idea of the degree of Imagination neceffary to confummate origi- nal Philofophic Genius.

The inventive faculty difplays itfelf in Philofophy with great force and extent. It

enables


/

t

I

96 A N E S S A T

enables the Philofopher, by its a6Hv.e, vigo- rous, and exploring power, to conje6lure fhrewdly, if not to comprehend fully, the various fprings which a6luate the vifible fyflem of Nature and Providence j to frame, the mod ingenious theories for the.folP^ihe of natural Phenomena ; to invent Syf^^s is and to new- model the natural and power World to his own mind. It is intenfely ex^, ercifed in all this procefs, as it exerts boP%d creative and combining power ;ing charac- inventing new hypothefes, by conne6ling every intermediate and correfponding idea, and by uniting the feveral detached parts, of one theorem, rears a fabric of its own, whofe fymmetry, juflnefs and folidity, it is the bufmefs of the reafoning faculty to de- termine.

The kind of Imagination moft properly adapted to Original Philofophic Genius, is that which is diftinguifhed by regularity, CLEARNESS, and ACCURACY. The kind pe- culiar to Original Genius in Poetry, is that

whofe


ON GENIUS. 97'

whofe effential properties are a noble irre- gularity, VEHEMENCE, and ENTHUSIASM.

Or, to fet the difference betwixt philofophic and poetic Imagination in another light by the ufe of an image, we may obferve, that in the mind of the Philofopher the rays of fancy are more collected, and more con- centrated in one point j and confequently are more favourable to accurate and dis- tinct VISION : that in the mind of the Poet they are more diffused -, and there- fore their luftre is lefs piercing, though more universal. The former perceives the objefls he contemplates more clearly; the latter comprehends a greater number of them at one glance. Such are the re- fpe6live chara6lers of Imagination in Philo- fophy and in Poetry, as diflinguifhed from each other.

As we have already obferved, that an exa6l equilibrium of the reafoning and in- ventive powers of the mind feems to be, in a great meafure, incompatible with their

H very


9^ AN ESSAY

very oppofite natures, and perhaps was never bellowed on any individual ; the only quef- tion is, in what proportion thofe powers fhould be diftributed, in order to the in- tire confummation of original philofophic Genius.

If the pofition we have laid down, and endeavoured to fupport in a preceding fec- tion, fhall be found to be juft, That Imagi- nation is the dillinguiQiing ingredient in every kind and degree of Genius, it will ob- vioufly follow, that this quality mufl predo- minate in the accomphiliment of original Philofophic, as well as Poetic Genius. In- deed, with regard to its predominance in the latter, there will be no difpute. Imagina- tion has by far the greatefl fhare of merit in poetical productions. It at once deligns and executes them, calling in only the afTifl:- ance of Judgment and Tafte, in order to de- termine whether it has bellowed on the fe- veral figures their true proportions, and juft degrees of light and (hade. Were we to in- vert


ON GENIUS. 99

vert the cafe, and to fuppofe Judgment the diftinguifhing faculty of the Poet, his pro- ductions, it is true, might be more regular and corre6l j but it is evident, they would be defeftive in their moft eflential excellen- cies, in FICTION and in fire.

With regard to original Philosophic Genius, it feems to be generally imagined, that Judgment is its principal ingredient. As this opinion ftrikes at the foundation of our theory, it will be neceffary to examine it with fome attention.

Let it be obferved therefore, that as In- vention is the peculiar and diftinguifhing province of every fpecies of Genius, Imagi- nation claims an undivided empire over this province. It is this faculty alone, which, without the aid or participation of Judg- ment, fupplies all the incidents, chara6lers, imagery, fentiments, and defcriptions of Poetry, and moft of the theories, at leaft, in Philofophy ; as well as the arguments (a H 2 cir-


too AN ESSAY

circumftance not commonly attended to) far fupporting thofe theories. Judgment only claims the right of determining their propriety and truth. Since therefore, to fupply thefe, conftitutes the higheft effort of Genius ; that faculty which fupplies them, mufl certainly predominate in its full ac- compliihment ; and this, we have feen,- is Imagination. There are at the fame time inferior degrees of Philofophic Genius, in which Judgment has the principal afcend- ant. Thofe perfons in whom this diftribu- tion takes place, are in general qualified for making improvements in Philofophy, in exa6l proportion to the degree in which they pofiefs the talent of Imagination j^and will, upon account of the fuperior Hrength of their reafoning talents, be found better qua- lified for canvalfing the difcoveries of others, poilefTed of more extenfive powers of Imagi- nation, though perhaps of a lefs penetrating Judgment, than for making thofe difcoveries themfelves. It is true indeed, that befides thofe philofophical truths, which, to the

mor-


ON GENIUS. loi

mortification of the pride of human under- ftanding, accident hath brought to light, and thofe others which have been hit upon by certain happy random thoughts of per- fons of very moderate abilities, difcoveries in Science have fometimes been made by thofe, who, enjoying a very fmall fliare of imagi- nation, were however endued with a clear apprehenfion, united with a patient and careful obfervation of the various objefls they contemplated. It mufl likewife be con- fefTed, that this method, accompanied with proper experiments, and juft reafoning found- ed on thofe experiments, though not the moft expeditious, is however the only certain one of attaining the knowledge of the truths of natural Philofophy in particular. But then, on the other hand, it muft be acknowledged, that where an extenfive Imagination is fu-. peradded to the qualifications above-men- tioned, the mind, being thereby enabled to comprehend a greater variety of obje6ls, and to combine its ideas in a greater variety of forms, becomes qualified to pufli its inqui- H 3 ries


102 AN ESSAY

ries much farther, as well as with more ad-


vantage.


After all, though Imagination muft ever be the predominating ingredient in the in- TiRE accomplifhment of original Philo- sophic Genius, yet the powers of Reason muft likewife exift very nearly in an equal degree, in order to its complete confum^ mation, and the attainment of the obje(fts it has in view ; for if we fhould fuppofe Ima- gination to predominate in a high degree over the other mental faculties, the confer quence would be, that the Philofopher in whom it thus predominated, would be per- petually employed in forming ingenious in- deed, but extravagant theories, of which his compofitions would take a deep tin6lure; and we ftiould be amufed with the dreams of a romantic vifionary, inftead of being inftruded in the truths of sound Philo- fophy.


Upon


ON GENIUS. 103

Upon the whole : as both tliefe facuhies, united in a high degree, muft concur in forming the truly original Philosophic Genius, they muft always go hand in hand together in philofophical inquiries, as well as exift almoft, though not altogether, in an equal proportion.

Thus we have fliewn how and by what particular exertions original Genius difco- vers itfelf in Philofophy ; and have pointed out its fingular efficacy in extending the em- pire of Science. We have alfo confidered the kind and degree of Imagination pecu- liarly adapted to original Philosophic Genius, compared with the kind and de- gree of the fame quality requifite to origi- nal Genius in Poetry ; at the fame time that we have fliewn, that Imagination ought to predominate in the former as well as the latter. We fliall now con- clude this fedion with a few flight ftric- tures on the charaflers of fome of the moft diftinguiflied original Authors in phi- H 4 lofophical


I04 AN ESSAY

lofophical Science, by way of illuftrating the above remarks.

Of all the Philofophers of antiquity, Plato poflefTed the moil copious and exu- berant imagination, which, joined to a cer- tain contemplative turn of mind, qualified him for the fuccefsful purfuit of philofophi- cal fludies, and enabled him to acquire an extraordinary eminence in thofe various branches of Science, to which he applied his divine Genius. He is the only profe writer, who in Philofophy has dared to emulate the fublime majefty of the Mceonian Bard -f. He was indeed animated with all that ardor and enthufiafm of Imagination which diftinguiflies the Poet j and it is im- poffible for a perfon, pofTelTed of any degree of fenfibility, to read liis Writings withou| catching fornewhat of the enthufiafm. The


tKiita y»ixMroi £1? auTov [x,vfnzi; oaaq 7r a p xTf 07: ct^ UTToxtTevirx' fAstoi. IjO'&g. de Sub. cap. 13.

Philofophy


ON GENIUS. 105

Philofophy of Plato, more than that of any other, is calculated to elevate and to ex- pand the foul ', to fettle, to footh, to refine the pafTions ; and to warm the heart with the love of virtue. Such were the objects of this amiable Philofopheri and fuch is the tendency of his dodlrine. At prefent we confider his do6lrine merely as a proof of his Genius. With this view we may ob- ferve, that his fublime contemplations con- cerning the TO t¥ and the to ly *, the exift-

ence


  • Thofe who are defirous to know Plato's fentl-

ments on the exiftence and unity of the Divine Nature, may confult his Ph'ilebusy the fifth and fixth books of his Republic^ and his Parmenides ', in all which they will find the reafoning very fubtile ; and in fome places, particularly through moft of the laft mentioned dia- logue, it muft be confefled, very intricate. For this reafon, we choofe rather to refer the Reader to thofe parts of Plato's Works, where his fentiments on the above-mentioned fubjefts are contained, than to pre- fent him with a few detached paflages, which could convey no diftindl idea of his meaning, where the chain of argumentation is fo ftridily connected. We fliall only obferve, that though Plato fometimes

fpeaks


io6 AN ESSAY

ence and unity of the fupreme Being, as weU as the -f- perfe6lions and providence

Qf


fpeaks. agreeably to the eilablifhed mythology of his country, yet when he intends to deliver his genuine fentiments, he maintains the abfolute Sovereignty and

-{- Plato, in his Politicusy after delivering an inge- nious, how^ever unphilofophical a theory, concerning the various transformations and revolutions the world had undergone ; and after having reprefented it as de- cayed and worn out in the courfe of fo many tranfmu- tations, as well as in danger of immediate diflblution, upon account of the diforder into which its different parts had been thrown, defcribes the Deity, with great fublimity, as rifing from his feat of contemplation, rc- fuming the reins of government, prefiding at the helm, arranging the diejointed parts of the vaft machine of the world, reftoring them to their primitive order and beauty, and beftowing upon the whole renewed vigour and immortality. As this paflage gives a noble idea of the omnipotence of the Deity, we fhall prefent the Reader with it.

Ato o*J Jt^* foT ^jai) Bto^ S xocr^Jica; at/Ton, xoc^oeuv tv aTTCciuii; •»Ta, r-igJo/XEVo? Ivct (Ati p^Ej/xat&t;, vtto rotfuxv; ^iccXv^ck;, cig rot T»t ayoftoioTJjTo? avupov ovtu towok ^vn TretXiv i(pe^of aura fan irn^othuv yiytoiLitoi;, to, vir.a-xvrx xat 7\vr,iivTa. tp m xafl*

«HTO>


O N G EN I U S. 107

of the Deity; that his theory concerning the caufes, firft principles, and generation

of


(»vvMi irpoTep«( ifsfto^u rpttj/a^t x-oaftn tb Ken tvavopOwv, aOa* roror avro¥ xxt ayrifu avf^yu^trat. Edit. Mars, Ficin, p. 538.

Our Philofopher, expreffing his own opinion, by the mouth of the /Elian Gueft, attributes the crea- tion of all things, even of the materials of which he fuppofes the animal world to be framed, to one fu- preme Being :

H^ci; fjbtt iTQV itx% t' ftXXae ^axt xxi t| oiv ret. n'c^t/xoT trti ifv^ ««i vtu^ text ra rovruv aoi7>,px, Sttr ytnyiy-x ret vxtrei, ic^uv avrei aTti^yxa-fiifx sKx^xi Soph, p. 185.

At the end of his Tlmausy he reprefents the world as the intelligent, moft perfedl image of the Deity :

©»>)T« y«5 M-Xi X Bxvxrx ^ux >.xQuf, xxi 5t;/xirX>jg&)0£t5 cJi • xoa-fAo^, ot/lw ^wo» o^xroy, r» oexrx •Ki^nx,°t £»'««■'» t« rorjTW i&itf, aK&i)To?, jt*Eyiro5 xxi agiro? x(jfAX»ro? Ti Kx^ TEXewraTOj yiyofW, ii( owgaroj o^c, poroyivjjj «y. T/fflf. p. 1089.

And in the fame dialogue he lays it down as an indif- putable maxim, that God made all things pcrfedl in their kind :

To li n ^vmrcf J? xeeXXtra T£ x«i agira tf ov^ "vrui £^ovtw» ran Sioy uvrx ^vntravxt TTigi fr«i>T« qf«i» w; ecu T«To Aiyofii'ura trBrap;i5iT4>. p. Io6a.

In


loS AN ESSAY

of things, and the foul which animates and aftuates the whole frame of Na- ture * s his fentiments concerning vir- tue.


In other paflages, Plato celebrates the moral as well as natural perfecSlIons of the Deity. Thus he re- prefents him as the complete model of juftice.

Gf^ ov^»fi7i pv^ctfjiMi ct^iy.^, «^^ J; o(o» ri ^tKxioretl^. xxi reel®: Theat. p. 129.

He makes Socrates likewife flrongly afTert the doc- trine of a particular Providence, exercifed in favour of good men. This laft, addreffing himfelf to fuch of his judges as had vindicated his innocence, makes the fol- lowing declaration :

myuQu KocKay «Js» ouTt ^uv n, outs T£^et)T>Jo•fl6l'T». jipoll, Socrat. p. 31.

  • Plato's doflrines concerning the Anhna Mundly

the Soul of the World, the caufes, original principles, and formation of things, the revolutions of matter, and tranfmigration of fouls, are among the profound myfteries of his Philofophy. Speaking of the Anima Mundi^ as infufed by the Deity, he tells us ;


ON GENIUS. 109

ture * ; and the happinefs of thofe fouls who are gradually appropriated to the for


Vv^^ii ^£ ttj TO fAEcrov ayra Sei^, ^ia wa>T(^ re tTstyf, xat eri s|*» oyjanc/n £»« /xo»e» if»)fC(;v x«r£r*l0"».; .Tiin, p. IO49.

. TJxofe.who are defirous of obtaining full fatisfadion OR this and the above-mentioned fubje£ts, may confult the "Thncsus^ where they will find th'em particularly treated ; and where they will be entertained with a va- riety of notions ftrangely fanciful, indicating the iri- exhauftible fecundity of Imagination peculiar to this great Philofophcr.

' * Plato confiders virtue in feveral different lights •- fubftituting fome of its particular and eflential ingre- dients in place of the general quality which they con- ftitute. Thus he fubftitutes juftice at one time for this quality, at another, temperance, at another, forti- tude; but pofitively maintains that it cannot be taught, but muft be implanted in the mind by divine fate ; aa opinion which gives us a very fublime idea of the na- ture of virtue :

£i ^f tvi rifi-tii u iravTi ru T^oyu Tovru xxhuq t^nTij^a^iciy t> xat tMyofiUt, xftTv cc» uri ovrt tpvo'tt, ouri ataaxroy' aX^a Sito [ioi^u vxfxyiyvo^tin omu vot/, oi? »y iraox yiyyr,Txi, MenOf ?' 427-

vereign


ffd A NT £ S S A Y

Vereign good and the fupreme beauty •f';. that his refle<5lions on prayer *, and on di- vine


I In fpeaking of the fovereign good and fupreme beauty, he breaks out into a kind of divine enthu- liarm, which abforbs his mental faculties in rapturous admiration and love of that glorious Obje6l, which his ardent Imagination had reprefented as inexpreifi- bly amiable :

Tt ojjTa (e

,\ a. /*» ccvuir^icuv arccfKuv n etydcwrrt- «vTo TO ^Eioi', xaXov JwratTo yuovon^i^ xdn^ttv ; ap' om (e(pt]) (pxvhof ^tov yiyvE^a* ixskte ^Xewoi/1^ av^fuTrn, xa» ejisjvo o ^st uvru f*o»a;^8 yEvncTETat, ofuvTi u ofccrov to xat-Xoi, tjxthh mt n^u'Kx aftTMs «T« «>t nou'Ka i^x'jrrofiuaa ; aXX' aXij9»j, oirt rs •Xrrdrf? s^aTTTOfAtvu ; nxoyrt ^t apeTiji' aX»)9»j, xat ^^s-\'Xit,uvu, tKrap%5i ^lo^iXii yEKEc&ai/xa* enrep Tw aXAw av6pft;w4/, a0a»a7«  x«) txena. Sympof. p. 1 1 99.

  • It is pretty generally known, that the nature and
qualifications of the duty of prayer, compofe the fub- jeft of the fecond Alcijbiades. Socrates, having convinced this young hero of the abfurdity, as well a* irhpiety of addrcffing the Gods rafhly, recommenxls that form of prayer ufed by a certain Poet : ^la ON GENIUS. Ill vine love and friend (liip -f-, are finking in- ftances of the fertility of oUr Philofopher's imaginatiort,v Zee ^xtTihiv, T« ftev ewXa >£«» iv^ou^sfon; xai anvuroii; P-454' Having imprefled upon the mihd of Alcibiades a deep fenfe of the importance of the duty of prayer, ia which he was going to engage, and at the fame time fhewn bim how apt moft men were, from their igno^ ranee of what was really good for them, to afk from the Gods, what, if granted, might prove highly de- ftrudlive to themfelves j he obferves, that it becomes us to confider well, before we addrefs thofe fuperiotfi Beings, what we ought, and what we ought not to( fay : *■: A^^« Soxn ji*o» o-oXX?); ^t;Xa*i}f oit^xi koii' fKi-^suq, o, t» Trora' ^■nriov £r» ««» /*«• P. 458. ' And a little afte^j from the confideration of our own ignorance, he infers the neceflity of waiting for divine Illumination, in order to enable us to perform the duty of prayer properly : Atayneno* 8» ir* wsptftiyejv eui a» tk /»«9'J *'? |?E^ 7rfo< BtHi xav I In the dialogue, intitled Lyfts, Plato gives us the opinion of his Mafter concerning the nature of friend- ihip. 112 A N E S S A Y imagination, as well as of that moral and fpeculative difpolltion, which we have elfe- where obferved to diftinguifh Philofophic Genius *. It will perhaps be alledged, that the moft fublime notions in Plato's Philofophy were originally derived from divine revelation, and that he had little elfe than the merit of coUeding and forming them into a fyftem. This point Gale, in his Court of the GentileSy £hip. Socrates, intending to reclaim the unhappy youth from whom the dialogue takes its name, from thofe criminal indulgences into which he was in hazard of being betrayed, leads him, ftep by ftcp, from the means to the end, from the confideration of inferior enjoyments to the contemplation of the sovereign, ULTIMATE, and UNCREATED GooD, in which all fubordinate gratifications ought to center, and on which our moft ardent affeftions ought to be fixed ; Ap a» a« avayy.tj xTrnvnv viyia.^ ofTw; joi/ra;, xccv a<piXi^xi cijrt Tt»« apX" ^ **" i'foi,)>o\<Tn ew aXXo ^«Xoy, aXX' ilti iw* rxsmo 5 «r» "TTpurov ^»>.o». ov svixa xxi t* «?,Xa <pccfuv Truvrct, (jiXa !»«*». L}Jts, p. 507.
  • Book I. Sea. 2.
hath ON GENIUS. 113 hath laboured to prove. It muft indeed be confefTed, that Plato enjoyed great ad- vantages, and was favoured with peculiar means and opportunities of acquiring know- ledge, which he did not fail to improve. Having travelled into Egypt and Italy, he made himfelf acquainted with the myfteries . of the Egyptian Priefts, as well as with the more fecret and profound do6lrines of the Pythagorean School ; and no doubt by tra- dition, however corrupted and interpolated, he mjght obtain fome very imperfect know- ledge of the fundamental principles of the Jewifh religion. Indeed the flrong refem- blance betwixt the do6lrines of Plato, and thofe contained in the Old Teflament, ren- I ders this conje^lure highly probable. At the fame time it appears equally probable, that as others are very different both from the Sacred and Pythagorean dodrines, they I are properly derived from neither, but are the produ£tion of his own inventive Ge- nius. I . I . Des 114 A N fi S S A Y D^s Cartes, the French Philofopher, had the honour of firfl reforming the Philofophy of his country. He ftruck out a path for himfelf, through the gloom which the ob- fcure and unintelligible jargon of the Schools had thrown on Science ; and though he could not purfue it through its feveral wind- ings, he pointed out the track which has been followed by others, and has led to the moft important difcoveries. He inherited from nature a ftrong and vivid Imagina- tion ; but the too great predominance and indulgence of this very faculty,was the caufc of all thofe errors in Philofophy into which he was betrayed. His theories of the dif- ferent vortices of the heavenly bodies, and of that immenfe whirlpool of fluid matter, through which, in confequence of an ori- ginal impulfe, they are fuppofed to re- volve, have, by our celebrated Newton, been fliewn to be falfe > though thofe theories are a proof of the creative Ima- gination of their Author ; but of an imagi- nation too freely indulged, and too little fub- ON GENIUS. 115 fubjeded to the prudent reftraints of Judg* rtitht What Des Cartes was to the French^ Lord Bacon was to the Efiglijh nation. He was indeed not only the reformer, but the reviver and reftorer of Learning. As his penetrating and comprehenfive Genius * enabled
  • Perhaps no age or nation can boaft of having pro-
duced a more comprehenfive and univerfal Genius, than that which Lord Bacon feems to have poflelTed. He applied his Genius to almoft every department of Literature and Science, and fucceeded in every fphere which he attempted. Human knowlcd^^e was divided by him into three diftinft branches, Hirtory, Poetry, and Philofophy (vid. de Aug. Sclent, feft.i.) the firfl: re- lating to the Memory, the fecond to the Imagination, and the laft to Reafon or the Judgment. With refpcdl to Philofophy, inftead of employing his imagination in framing air-built theories, he began his inquiries into the works of nature, with laying it down as a funda- mental maxim, that man knows juft as much only of the courfe of nature, as he has learned from obfcrvation and experience : *' Homo naturae minifter & interpres, " tantum facit & intelligit, quantum de naturae ordine, <* re vel mcnte obfervaverit, nee amplius fcit aut poteft," I 2 (Nov, ii6 AN ESSAY enabled him to difcern and expofe the errors of the Scholaflic Philofophy ; fo it qualified him not only for extending the empire of Science far beyond the limits within which it had been formerly confined, but alfo for difcovering thofe immenfe tra6ls of uncul- tivated ground, which fince his time, by tracing his footfteps, have been occupied and improved. He had the honour of intro- ducing experimental Philofophy *, and fuc- ceeded {Nov. Org. lib. i. aph. i.) and upon this juft axiom, the relult of mature reflection and good fenfe, he founded all his philofophical difcoveries.
  • When we affirm that Lord Bacon introduced
experimental Philofophy into his country, we do not mean to affert, that its ufe was wholly unknown before his time ; but that he was the firft who taught and re- gularly pradlifed the method of inveftigating the caufes of the phenomena of nature by certain experiments. The excellence and advantage of this method of invef- tigation he celebrates very juftly : " Sed demonftratio
    • .longe optima eft experientia '^ modo hasreat in ipfo
" experiment/). Nam fi traducatur ad alia quae ftmilia
  • ' exiftimantur, nifi rite h ordine fiat ilia tradu<Slio res
^^ fallax eft." (Ibid, fc-a, 70.) After which he cen- fures ON GENIUS. 117 ceeded in many of the experiments which he made. Thofe particularly, in which, by the help of a pneumatic engine he had himfelf contrived, he endeavoured to difcover the weight and elafticity of the air, "in wliich he was to a great degree fuccefsful, though the above-mentioned properties were more mi- nutely calculated afterwards, do abundance of credit to his philofophical fagacity. His mo- ral Effays, his book de AugmenfisScientiaru?n *, his fures the partial^ inaccurate^ and cafual ratihod^ of mak- ing experiments in his own time j in oppofiiion to whicli he points out the true procefs to be obferved by the Philofopher, who afpires to the honour of extending the limits of human knowledge : " At contra verus
  • ' experientiae ordo primum lumen accendit, deinde
  • ' per lumen iter demonftrat, incipiendo ab experien-
  • ' tia ordinata & digefta, & minimc praepoftera aut er-
  • ' ratica, atque ex ea educendo axiomata, atque ex
" axiomatibus conftitutis rurfus experimcnta nova." (Ibid.)
  • The defign of the book de Augmeniis Scieniiarum,
is to take a general furvey of human knowledge, di- vide it into its feveral branches, obferve the dcfic^ien- cjcs in thofe branches, and fuggeft the methods by I 3 which ii8 AN ESSAY his Novum Organum -f, and his treatifcs of Phyfics and Natural Hiftory J, have gained him great reputation ^ as indeed all his works are a proof of his having pofieiTed that nice which they may be fupplied ; an undertaking executed in a great meafure by the Author himfelf in fome fol- lowing trads. \ In the Novum Organum Scieut'iarumy the Author points out the caufes of ignorance and error in the Sciences, at the fame time that he lays down certain aphorifms, founded on perception and confcioufnefs, or deduced from obfervation and experience, as fo many fteps in the intelle6lual fcale, by which we may rife to the knowledge of univerfal truths. I'hofe leading dif- quifitions and experiments are likewife pointed out, which open to us the moft comprehenfive views of the works of nature, as well as facilitate the inventions and improvements of the arts. % The Author, in his Sylva Sylvarumy attempts a kind of hiftory of nature and art ; enumerates many of the phenomena of the univerfe for this purpofe, which he calls the third part of his Inftauration ; and in the fourth part of this Work, denominated Scala Intelle^usy he fhews the method of employing the materials of the Sylva Syharum^ by a variety of examples, fuch as his Hiftory of Life and Death, his Hiftory of the Winds, and his Condenfation and Rarefa6lion of natural Bo- <Jies. tern- ON GENIUS. 119 temperature of Imagination and Judgrneht, which conftitute truly original Philofophic Genius. In adducing examples of this quality, it would be inexcufable to omit mentioning Sir Isaac Newton, a name fo revered by Mathematicians and Philofophers of every degree. This great man was doubtlefs in Philofophy an original Genius of the firft rank. His various and ftupendous difcove- ries of the revolutions of the heavenly bo- dies, as well as of the laws by which thofe revolutions are regulated 3 of their feveral magnitudes, orbits, and diflances -, and of that great and fundamental law of attrac- tion, by which all nature is fupported and actuated ; his theoiy of light, as an emana- tion from the fun ; his calculation of its ra- pidity, and of the refledlion and refrangibi- lity of its rays ; his fubtil and curious ana- tomy of thofe rays, and the divifion and arrangement of the elementary ones which compofe them, together with their union I 4 in 120 A N E S 8 AY in the. formation of colours, are the mofl: aflonifliing efforts of the human mind i and while they fhew the prodigious compafs of that imagination, which could frame and comprehend fuch fublime conceptions, they at the fame time clearly evince the profound depth of penetration and ftrength of rea- fon, which, by a kind of divine intuition, could difcern and demonftrate their truth. Do6lor Berkeley, Bidiop olCloyne, was another original philofophic Genius of dis- tinguiflied eminence. While Hobbes and Spinoza maintained the dodrine of abfo- lute materialifm, admitting nothing but matter, in one form or another, in the uni- verfe, Berkeley excluded it altogether from his fyflem, and denied its exiflence out of a mind perceiving it. A dodrine fo new and uncommon, and feemingly fo contrary to the evidence of our fenfes, could not fail at firft to raife aftonifliment, and to meet with oppofition : yet this ingenious Author has Supported his theory by fuch plaufible argu-. ments, ON G E N I U S. 121 ments, that many perfons appear to be con- / vinced by them, and to have adopted his fentiments. The truth is, though, relying on the teflimony of our fenfes, we allow the real exiilence of matter, and are fufH- ciently acquainted with its efTential proper- ties, folidity, extenfion, and divifibility ; yet its genuine elTence, or the fubftratum in which thofe properties exift, is ftill a myftery to Philofophers, and will probably continue to be fo. Whether the above-mentioned tenet of this Author fliould be generally re- ceived as an eftabliflied article in the Philo- fopher's Creed, or not, it mufl:, fupported as it is with fuch ftrength of reafon and in- vention, undoubtedly be confidered as a fig- nal proof of his having pofTeiTed a very high degree of original Phiiofophic Genius. The laft original Genius in Philofophy, we fliall take notice of, is Burnet, the Au- thor of the Theory of the Earth ; a fyftem fo new, fo confident, and conceived with fuch Hrength of fancy, that one is almoft tempted to 122 AN ESSAY to be of the fame opinion with the Author of the Effizy on the Writings and Genius of Pope, who hath ventured to declare, that in this admirable performance, there appears a degree of Imagination little inferior to what is difcovered in Paradife Loft, His hypo- thefes of the pofition and form of the ante- diluvian earth, of the caufes which produced the univerfal deluge, occafioned by the open- ing of the floodgates of Heaven, aided hy the burfting afunder of the frame of the earth, and its falling into the great abyfs, with which it was furrounded, and on which it as it were floated j his opinions of the paradi- fiacal ftate, of the agreeable temperature of its feafons, and of the peculiar beauties of this primeval conftitution of nature ; his theory of the general conflagration, its caufes and progrefs, and of the univerfal judgment confequent upon it, together with his idea of the nature, happinefs, and time of the Mil- lenium, form altogether fuch a furprifing, ingenious, and at the fame time, not im* probable fyftem, that we cannot help ad- miring ON GENIUS. 123 miring the whole as the produ6lion of an inventive and truly creative Genius. Thefe examples, we hope, will be fufficient to fhew the importance, the ufe, and the fphere of Imagination in philofophical dis- quifitions ; and to point out thofe particular degrees, and that happy temperature of Ima- gination and Judgment, which conftitute and accomplifh original Philofophic Genius. Many other diftinguifhed names in Philofo- phy might have been added to thofe above- mentioned ; but as the narrow limits of our plan, on this branch of the fubjecl, do not allow our running out to greater length in the way of illuflration, fo the adducing more examples, in order to confirm the pre- ceding remarks, will, we imagine, after thofe already adduced, be altogether unneccfTary, SE C T I G^N 124 AN E-S S AY SECTION III. O F ORIGINAL G E N I U S IN POET R Y P OETRY *, of all the liberal Arts, affords the moft extenfive fcope for the
  • Aristotle, inquiring into the origin of Poetry,
affigns two principal caufes of it, a natural desire of Imitation, and the pleafure arifing from the fuccefs of that Imitation : neti otvra.1 (pvviKUt. To, xs yx^ /xt/xeK&«i, <rt;/*^j;Toy tok a»- O N G E N I U S. 125 the dlfplay of a Genius truly Original. In Philofophy, the empire of Imagination, and confequently of Genius, is in fome degree neceffarily reftridled ; in Poetry, it is altoge- ther abfolute and unconfined. To accom- plifh the Philofopher, who would make new difcoveries in Science, a large proportion of Imagination is (as we have already fhewn) undoubtedly requifite ; but to conftitute the true Poet, the higheft degree of this quality is indifpenfibly neceflary. Smooth verfifica- tion and harmonious numbers will no more make genuine Poetry, than the atoms of a ikeleton put together can make an animated and living figure. To produce either, a certain vital fpirit muft be infufed ; and in Poetry, this vital fpirit is Invention -[-. By this Poet. cap. 4. t The fame great Critic obferves, that as it is the office of the Hiftorian to relate fuch things as are really done, it is the proper office of the Poet to relate the ^ i kind 126 A N E S S AY this quality it is principally chara6Verifed ; which, being the very foul of all poetical compofition, is likewife the fource of that inchanting delight, which the mind receives from its perufal. Invention may be conli- dered as confiding of incidents, of cha- racters, of IMAGERY, of SENTIMENT; in all which, original poetic Genius will dis- play itfelf in an uncommon degree. We Ihall confider its efforts in each of thefe fe- parately. kind of things that fhould be done, according to what is required by neceflity, or the rules of probability : <l>a»s§o)r ^i tK Tut tt^Ji/iAEWf, KXi oTt « T» Ta yutfMtet J^Byar THTo TcroiYira e^yov erf*. aXA cia at yivoiro, xat ra ^vrurcc ti.x\ce, TO eixof, ») TO ouixTxa,ioi. 'O ya,^ iVo^m©- xat o -nrojsjTj;?. « ru jj £/Xf(.£T§a ^£7llv » aftsTga Jta^Eftfo-*!-' ctt) ya§ an Ta'H^o^oT» 5»s ft£Tga T»6i»a4, xa» a^if »)t1o» m £»♦) Wo^io, T»f /X£Ta p,{Tp« »» avew fjiiT^at' aAAa tstw tf»a^£§£i tw tou /iiEr rx ymofiirx ^tynt^ Toy cc Ota ccv 7£»otTo. Z7/V. cap. 9. In order however to relate the kind of things that Ihould be done, the Poet muft pofiefs the power of In- vention. Firft, ON GENIUS. 127 Firll, in the invention of incidents. Some incidents ate fo obvious, that by a natural affociation of ideas, they inftantly occur to the mind of every one pofTelTed of ordinary abilities, and ai'c very eafily con- ceived. Others however are more remote, and lie far beyond the reach of ordinary fa- culties * } coming only within the verge of thofe
  • A perfon who is dellitute of Imagination, muft ne-
ceflarily regard a feries of ii<5\itious incidents, which are at the fame time furprifing and important, with great aftonifhmqnt ; and he will feel it extremely diffi- cult to conceive them to have been invented by the mere fertility, of the Poet's fancy. The reafon of both feems to be this : Such a perfon, having fcarce any other ideas than what arlfe from fenfation, and the moft common laws of aflbciation, will be apt to fup- pofe that all mankind receive their ideas by the fame modes of conveyance ; being ignorant of thofe exqui- (Itely nice relations of ideas refulting from certain laws of combination that do not operate upon his own mind, but which, operating upon minds of a finer frame, are the fource of that rich fund of Invention which he ad- mires, but can fcarce comprehend. Senfation and re- fie£l;ion are indeed the common fountains of all our ideas and all our knowledge ; but when once thofe ideas are conveyed into the mind by means of the fenfes. 128 A N E S S AY thofe few perfons,whofe minds are capacious enough to contain that prodigious croud of ideas, which an extenfive obfervation and experience fupply ; whofe underftandings are penetrating enough to difcover the mod diftant connections of thofe ideas, and whofe imaginations are fufficiently quick, in com- bining them at pleafure. It is this kind of incidents which original Genius delights to invent ; incidents which are in themfeh'es great as well as uncommon. Let it not however be fuppofed, that the invention even of thefe is a laborious employment to a Writer of this ftamp j for it is the prero- gative of a great Genius to think and to write with eafe, very rarely, if ever, expe- fsnfes, they undergo an infinite variety of modification in the mind of a man of Genius, in comparifon of what they admit of in one who is deftitute of this qua- lity. In the former cafe, Imagination, iike a grand alembic, gradually refines, and (if I may ufe the expres- fion) fublimates thofe conceptions that heretofore parti- cipated of the grofTnefs of fenfe, from v.'hich they were ultimately derived, riencing ON GENIUS. 129 riendng a barrennefs of Imagination. He has nothing to do but to give fcope to the excurfions of this faculty, which, by its ac- tive and creative power, exploring every recefs of thought, will fupply an inexhaufti- ble variety of ftriking incidents. A facility, therefore, of inventing and combining fuch incidents in compofition, may be regarded as one chara6leri{lical indication of a Ge- nius truly Original *. The
  • It is, we believe, commonly fuppofed, at leaft it
feems to be the opinion of fome, that the invention of a variety of new and interefting incidents, is the moft fignal proof and exertion of Genius. This opinion, however, though, upon the firft reflection it has an air of probability, will appear, upon a ftrider inquiry, to be without any foundation. The invention of cha- radters, which will be afterwards particularly confute - ed, is unqueftionably the greateft effort of original Ge- nius. In fupport of this pofition, let it be obferved, that in this fpecies of Invention, the mind has a greater diverfity of objects to employ it ; and mufl: therefore, in order to comprehend them, exert its faculties with vigour, as well as keep them on the ftretch. Thus, in the exhibition of an uncommon character, the Ima- gination muft invent the sentiments, language, K MANNERS, 130 AN ESSAY The fecond fpecies of invention we men- tioned was that of characters. Ordi- nary MANNERS, and OFFICES peculiar to ir, and Judgment muft determine concerning the propriety of each; in the execution of which it is evident, both thefe fa- culties muft be very intensely exercifed, particularly the firft ; fmce to conceive and reprefent characters which never exifted, but are the pure creation of the mind (for of fuch only we are fpealcing at prefent) muft indicate the utmoft fertility and Force of Imagination. On the other hand, though we readily allow the invention of various, important, and fur- prifing events, to be a proof of the exiftence of origi- nal Genius in a high degree, yet we cannot regard it as fo remarkable an exertion of this talent, as the in- vention of uncommon charafters ; becaufe the imagi-» nation of an original Author in Poetry, feeling a na- tive bent to fiftion, will, even in its paftime, naturally run into the firft, as incidents are lefs complicated, and therefore more eafily invented than characters ; but it cannot accomplifti the laft without the moft ftrenuous efforts. Were we to admit the invention of furprifing incidents, as the moft diftinguiftiing crite- rion of originality, we fhould be under a neces- fity of afligning the fuperiority in this refpCift to Ariosto, over Homer and Shakespeare fince we find that a much greater variety of events have been feigned rn the Orlando Furiofo of the former, than in all ON GENIUS. J31 nary Writers, and even thofe who are pos- sefTed of no inconfiderable talents, commonly fatisfy themfelves, in this branch of com- pofition, with copying the charaders which have been drawn by Authors of fuperior merit, and think they acquit themfelves fufficiently, when they produce a jufl: re- femblance of the originals they profefs to imitate. A moderate degree of praife is no doubt due to fuccefsful imitators ; but an Author of original Genius will not content himfelf with a mediocrity of reputation ; confcious of the flrength of his own ta* lents, he difdains to imitate what perhaps he- is qualified to excel. Imitation indeed, of every kind, except that of nature, has a tendency to cramp the inventive powers of the mind, which, if indulged in their excur- fions, might difcover new mines of intelleftual all the Works of the two laft mentioned Poets put to- gether; a preference furely, which neither the dilates of impartial Reafon, nor the laws of found Criticifm, could ever juftify. K 2 ore. 132 AN ESSAY ore, that lie hid only from thofe who are in- capable or unwillhig to dive into the receffes in which it lies buried. A Writer however, of the kind lafl mentioned, inftead of tracing the footfteps of his predecefibrs, will allow his imagination to range over the field of Invention, in quell of its materials ; and, from the group of figures collected by it, will ftrike out a charadler like his own Ge- nius, perfe6lly Original. It may be obferved, that there are three different kinds of chara6lers, in the inven- tion and reprefentation of which, originality of Genius may be difcovered with great, though not with equal advantage. The firft of thefe are real human charad:ers, fuch as are found in every country and age. The fecond are Ukewife human, but of the mofl dignified kind ; raifed far above the level of common life, and peculiar to the purefl and moft heroic times. The laft fort of charac- ters is that of beings wholly different in their natures from mankind ; fuch as Ghofts, Witches, ON GENIUS. 133 Witches, Fairies, and tht like, which may be termed fupernatural. Perhaps it may be thought, that in the firft of thefe cafes, Invention has nothing to • do, and cannot with any propriety be exer- cifed J fince to conceive juftly, and to ex- prefs naturally, are the principal rcquifites in an Author, who would exhibit a faithful portrait of real characters. It muft be con- feffed, that in this inftance there is not fo much (cope afforded for invention as in the others -, nay farther, that it is neceflarily much rellrided. But let it be obferved, that though juft and lively conceptions of the charaflers to be reprefented, together with the power of defcribing thofe conceptions, are the qualifications mod effentially requi- (ite to the faithful exhibition of fuch charac- ters, both thefe qualities depend upon the Imagination; for though impartial Judg- me»r muft determine how far the intire re- femblance is juft, yet to dictate the fentiments and language, and to furnifli the a6lions K 3 peculiar 134 A N E S S A Y peculiar to the different perfons exhibited, is the work of Invention alone. It will be readily underftood, that we are at prefent fpeaking of charaflers reprefented on the ftage, and taken from real life, in the de- fcribing of which we fuppofe an original Author to employ his Genius -f*. The t It cannot be doubted but that Original Genius may be difcovered in Comedy and works of Humour, as well as in the higher fpecies of Poetry, thofe of Tra- gedy and t\\Q Epoposa \ though the originality difcovered in the firft will be very different, both in kind and de- gree, from that which is difcovered in the two laft. Thus the Author of Hud'tbras was in his peculiar way an Original, as well as the Author of the Iliad -^ and Hogarth, in drawing fcenes and characters in low life, with fuch uncommon propriety, juftnefs and humour, difcovers a certain originality, though far inferior in its kind to what appears in thofe illuftrious monuments of Genius left us by Raphael Urbin and Michael Angelo. There can be no queftion which of the Poets, or which of the Painters, was the greateft Genius ; for the comparative merit of illuftrious or in- genious Artifls is eftimated, not merely from the exe- cution, but from the design, and from the subject which employed their pens and pencils. Thus there is a fub- ON GENIUS. 135 The fecond fort of chara6lers, in the in- vention and proper reprefentation of which we a fubUmity in the works of the Epic Bard, and in the pieces of the Hiftory Painters above-mentioned, which gives them a vaft fuperiority oyer thofe of the humorous Poet and ludicrous Artift already named. We obferved likewife, that the degree of or'igi- NALITY which may be difcovered in the higher fpe- cies of Poetry, is different from that which Comedy ad- mits of. The DEGREE of ORIGINALITY in any per- formance whatever, depends upon the degree of inven- tion appearing in it; and as there is in general at leaft occafion for a greater proportion of this quality in Tra- gedy and the Epopoea^ than in Comedy, we may infer, that a greater degree of original Genius is requi- fite to an excellence in the two firft, than is necelfary to an excellence in the laft. In the former, both the charafters and incidents are in a great meafure ficti- tious ; in the latter, they are for the moft part taken from real life; the one fetting before our eyes an il- luftrious model of virtue, teaches us what we should be ; the other prefenting to our view a faithful portrait of our vices and follies, drawn from obfervation, teaches us what we are. Hence it fhould feem, that a sublime and creative Imagination is necef- fary to conftitute a talent for Epic Poetry, or for Tragedy; ancj that a quick and lively one, ac- K 4 companied 136 A N E S S AY we obferved an original Genius would excel, is that of the mod elevated kind, fuch as is raifed far above the ordinary ftandard of hun^an excellence, yet not altogether above the fphere of humanity j fuch as is not ab- folutely unattainable by man, but is rarely found in common life, and is peculiar to the moft heroic ages of the vi'orld. It is this kind of charafters which is mofl fuitable to the dignity of the epic and the tragic Mufe : the latter indeed hath greatly extended her prerogative, by afTuming the privilege of reprefenting every kind of diftrefs, and mak- ing vicious chara61:ers frequently the principal perfonages of the drama. We fliall only by the way obferve on this rubje6l, that though one end of Tragedy, the exciting of terror, may be anfwered mofl effeftually by this method, the other ends, namely, the raifing of our admiration and pity, can by no means cnmpanied with an extcnfive knowledge of man- kind, is the principal rcquifite to a mastery in Co- rned v. be ON GENIUS. 137 be accomplifhed by it -, lince to efFe6luate thefe, virtue muft appear great and venera- ble in diftrefs. Though virtuous characters labouring under calamities, do at leaft: in general afford the mod proper fubje6ls for Tragedy, as appears from the reafbn already • given, yet we are far from laying it down as an efTential rule, that fuch chara6lers muft always be exhibited in this branch of Poetry j for we are fenfible, that as Tragedy admits of great latitude with regard to the choice of its fubje£ls, it is a rule which may fome- times with propriety be tranfgreffed j yet we will lay it down as an inviolable law in the condu6l of an Epic Poem, that the charac- ters of the principal perfons muft be virtuous and illuilrious. In reprefenting chara6lers of this kind, whether in Tragedy or the Epopcea, an original Genius will difcover the fertility and richnefs of his invention. Find- ing no characters in real life every way fuited to his purpofe, his Imagination amply fup- plies the defe6l, and enables him to form thofe complete models of excellence, which neither 138 A N E S S AY neither obfervation nor experience could furnifh. By the creative and combining power of this faculty, he affembles thofe ihining qualities which conftitute the Hero, and exhibits them, united together with per- fe6t fymmetry, in one flriking and graceful figure. Inftead of copying the' Heroes of Homer, or of any other Author ancient or modern, he will prefent us with Heroes which are properly his own j being the tranfcripts of thofe models of genuine ex- cellence, which he has formed in his own mind. We do not affirm that fuch charac- ters will be altogether imaginary. The groundwork may be taken from hiflory or tradition, though it is the province of the Poet to finifh the piece ; and the Poet that is truly original, will do this with admirable art and invention. The ^hird and lad fort of characters, in which, above all others, an original Genius will moft remarkably difplay his invention, is of tliat kind which we called preterna- tural, O N G E N I U S. 139 TURAL, and is altogether different from mere human charafters. Witches, Ghofts, Fairies, and fuch other unknown vifionary beings, are included in the fpecies of which we are fpeaking. Of the manner of exift- ence, nature and employment of thefe v/on- derful beings, we have no certain or deter- minate ideas. It fhould feem that our no- tions of them, vague and indifHn6l as they are, are derived from tradition and popular opinion ; or are the children of Fancy, Su- perftition, and Fear. Thefe caufes concur- ing with, as well as operating upon, the natural credulity of mankind, have given birth to prodigies and fables concerning " Gorgons, and Hydras, and chimeras dire j" which have been always eagerly f wallowed by the vulgar, though they may have been juftly rejefled by the wife. However averfe the latter may be to think with the former on fubjeds of this kind, it is certain, that their ideas of Ghofts, Witches, Daemons, and fuch like appari- tions, muft be very much the fame with theirs. I40 A N E S S A Y theirs, fince they draw them from the fame fource, that of traditionary relation j and, how reludtant foever the Judgment may be to yield its aflent, the Imagination catches and retains the imprellion, whether we will or not. It is true, the ideas of thofe be- ings, which are common to all, are very general and obfcure j there is therefore great fcope afforded for the flights of Fancy in this boundlefs region. Much may be invented, and many new ideas of their nature and of- fices may be acquired. The wildeft and mod exuberant imagination will fuccced beft in excurfions of this kind, " beyond the vi- fible diurnal fphere," and will make the moft ftupendous difcoveries in its aerial tour. In this region of fiction and fable, original Genius will indulge its adventurous flight without reftraint : it will dart a beam upon the dark fcenes of futurity, draw the veil from the invifible world, and expofe to our aftonifhed view ** that undifcovered country, from whofe bourne no traveller returns." Shakespear, O N G E N I U S. 141 Shakespear, with whofe words we con- cluded the lafl fentence, is the only EngliJJj writer, who with amazing boldnefs has ven- tured to burft the barriers of a feparate ftate, and difclofe the land of Apparitions, Shadows, and Dreams j and he has nobly fucceeded in his daring attempt. His very peculiar ex- cellence in this refpefl will be more properly illuftrated in another part of our Eflay. In the mean time we may obferve, that it will be hazardous for any one to purfue the track which he has marked out ; and that none but a Genius uncommonly original, can hope for fuccefs in the purfuit. Should fuch a Genius arife, he could not defire a nobler field for the difplay of an ex- uberant Imagination, than what the fplritual world, with its ftrange inhabitants, will prefent to him. In defcribing the nature and employment of thofe vifionary beings, whofe exiftence is fixed in a future ftate, or of thofe who exift in the prefent, or may be fuppofed to inhabit the " midway air," but 142 A N E S S A Y but are poflelTed of certain powers and fa- culties, very different from what are pos- scfled by mankind, he is not, as in defcrib- ing human characters, reftri6led to exa6l probability, much lefs to truth : for we are in moft inftances utterly ignorant of the powers of different or fuperior beings ; and, confequently, are very incompetent judges of the probability or improbability of the particular influence, or a(5lions attributed to them. All that we require of a Poet there- fore, who pretends to exhibit charaders of this kind, is, that the incidents, in effecSluat- ing which they are fuppofed to be concern- ed, be poffible, and confonant to the general analogy of their nature j an analogy, founded not upon truth or ftrift probability, but upon common tradition or popular opinion. It is evident therefore that the Poet, who would give us a glimpfe of the other world, and an idea of the nature, employment, and manner of exiftence of thofe who inhabit it, or of thofe other imaginary beings, who are in fome refpeds fimilar to, but in others totally ON GENIUS. 143 totally different fiom mankind, and are fup- pofed to dwell on or about this earth, has abundant fcope for the exercife of the mod fertile Invention. This ideal region is in- deed the proper fphere of Fancy, in which file may range with a loofe rein, without fuffering reftraint from the fevere checks of Judgment j for Judgment has very little jurifdi6lion in this province of Fable. The invention of the fupernatural chara6lers above-mentioned, and the exhibition of them, with their proper attributes and of- fices, are the highefl efforts and the mofl pregnant proofs of truly original Genius. The third fpecies of Invention, by which we obferved original Genius will be diftin- guifhed, is that of imagery. The ftile of an original Author in Poetry is for the moft part FIGURATIVE and metaphorical. The ordinary modes of fpeech being unable to exprefs the grandeur or the flrength of his conceptions, appear flat and languid to his ardent Imagination. In order therefore to 144 AN ESSAY to fupply the poverty of common language, he has recourfe to metaphors and images * j which.
  • LoNGiNUS is of opinion, that the ufe of meta-
phors and figures has an admirable efFe(Sl in compofi- tion, both by heightening the fubh'me, and giving greater force to the pathetic ; and likewife obferves, that while figures give a particular efficacy to the fub- lime, they receive equal benefit from it in turn : Era» ^E "Oraiy J^ Jc, fiM'K'Koy y xov txl'^ ri xxri^xixrxci^' i^vfx ^s 7] fjuifj[d,ii, xtu ov^e^xTiHTrl©'. OX«f at xahx vofjui^t V'^'ft xxt aXij^tja, rx Ji» jravl^ xfiffKinx kx\ irxa-ni. Ihid. cap. 7. 'lT3HTA« ^^ '^^* 152 AN ESSAY amazement, which occupies and fills the mind, and at the fame time infpires that folemn dread, that religious awe, which na- turally refults from the contemplation of the vaft and wonderful. By dwelling on fuch fubjeds, the foul is elevated to a fenfe of its own dignity and greatnefs. We obferved likewife, that an Author poflefled of that kind and degree of origi- nal Genius which is adapted to Epic Poetry, will admirably fucceed in the invention of The Roman Cr'mc judicioufly obferves, that in form- ing our opinion of fublimity in compofition, we ought to confider the nature of the fubjeft on which it is em- ployed, and how far it Is fuitable to the kind of or- nament made ufe of; becaufe, where the fubjedl itfclf is mean, fublimity degenerates into bombaft :
    • Clara ilia atque fublimia, plerunque materiae modo
    • cernenda funt. Qiiod enim alibi magnificum, rumi-
  • ' dum alibi. Et quae humilia circa res magnas, apta
" circa minorcs videntur. Et ficut in oratione nitida '* notabile eft humilius verbum, & velut macula : ita
    • .a fermone tenui fublime nitidumque difcordat, fitque
" corruptum, quia in piano tumet." Quint. /«////. lib. viii. cap. 3. PATHETIC ON GENIUS. 153 PATHETIC* as well as sublime ftntiments; if an Author can be faid to invent fenti- ments which rife to the imagination, in a manner by a fimple volition, without any labour, and almoft without any effort. Such a perfon being endued with a vivacity and vigour of Imagination, as well as an exquifite fenfibility of every emotion, whe- ther pleafant or painful, which can afFe<5t the human heart, has nothing elfe to do, in order to move the paflions of others, but to reprefent his own feelings in a ftrong and lively manner j and to exhibit the obje6l, event or a6lion he propofes to defcribe, in that particular attitude or view, which has moft powerfully interefted his own afFec-
  • This talent of raifing the paflions by fuitable re-
prefentations, feems to depend upon an extreme fenfi- bility both of pain and pleafure, joined to the power of defcribing in a lively manner thofe exquifite fenfations which we ourfelves feel. Both the one and the other are the infeparable concomitants of true Genius ; tho' there are many pofiefTed of the former, who are not endued with the latter. tions. 154 AN ESSAY tions, for that will moll certainly intereft ours : we (hall feel the fame concern, and fhare in the fame diftrefs *, Having by this means gained an afcendant over our hearts, he will at pleafure melt them into tendernefs and pity, or fire them with in- dignation and rage : every paffion will be obedient to his impulfe, as well as fubje6l to his controql ; like the Poet defcribed by Horace, he will raife in our fouls
  • Aristotle obferves, in his book on Poetry, that
there are various methods of raifing the paflions ; that pity and terror may be excited by external action, par- ticularly by the fymptoms of diftrefs ftrongly imprefled upon the countenance ; but that a good Poet will never have recourfe to this method as his only expedient for moving the paffions, but vv^ill accomplifh his end by the very conftitution of his fable, and the aiFedling nature of the relation itfelf : Eyt utv 8v TO ^otos^oy y.xt eXssuok sk rvji o^/ewj yifs^xh. E'r» ^£ xai e| afTJj? Tij? a-vraa-itoq tui -Br^uyiAxTun, otts^ iri tffeon- p«v x«t OTomTov ajXEivov®'. Ae( yaf xat uviv ra o^u» otu crvtio"- Tctvctt tov /xu9o» wfH Tov axaovTa roe. wgay^ara ytvo^Eya, x«» ^pitIeij nxi eXeejit ex ruv a-vff^QxnovTur, cap. 1 4. every O N G E N I U S. 155 every emotion of which they are fufcep->. tible f : Irritate mulcet, falfts terrorihus implet Ut magus, et modo me Thebis, modo ponit Athenis. 'Tis he who gives my breaft a thoiifand pains. Can make me feel each pafsion that he feigns ; Enrage, compofe with more than magic art ; With pity and with terror tear my heart ; And fnatch-me o'er the earth, or thro' the air. To Thebes, to Athens, when he will, and where. Pope. The f QuiNTiLiAN confiders the raifing the paffions of the hearers, and carrying them along by the force of rapid eloquence, as the higheft effort of rhetorical Ge- nius ; and obferves, that though many of his predecef- fors and cotemporaries in the rhetorical art excelled in the argumentative part of eloquence, few had excelled in the pathetic :
  • ' Qui vero judicem rapere, & in quern vellet habi-
    • turn animi poffet perducere, quo di^o flendum &
" irafcendum elTet rarius fuit. Atque hoc eft quod <* dominatur in judiciis j haec eloquentiam regunt." Lib. vi. cap. 3. With 156 AN ESSAY The fentiments of an Author of this kind * are the natural didtates of the heart, not fi6litious or copied, but original 5 and it is impoflible they fhould fail in producing their proper efFe6l upon the mind of the "Reader. Thefe obfervations, by which we have endeavoured to fhew how originality of Genius in the higher fpecies of Poetry will difcover itfelf in the invention of fen- With refpe£l to the higher fpecies of Poetry, Tra- gedy and the Epopcea, it is needlefs to fay how much the pathetic ought to predominate in them ; and that to the attainment of it in an extraordinary degree, an emi- nent exertion of poetic Genius is eflentially requifite.
  • In order to intereft our afFedtions deeply in any
caufe, and raife our pafTions to the higheft degree. Long IN us requires that the emotion and agitation of the Orator who addrefles us, (hould appear not to be mechanical or premeditated, but to rife immediately from the fubjedt and the occafion ; in which cafe he obferves, we Ihall always feel our minds moft power- fully affeaed : <-.. ,Ay£i ycc^ tx lea^ijTUta tot£ fAotXXo*, arav a-vra, ^a«»»jT«l fdjj tvirri^ivnv avl®* 5 htyut, a.'KKx yenat o xaif ^. De Sublim. cap. 1 8. timent. ON GENIUS. 157 timent, are equally applicable to its infe- rior fpecies j fince, as we have obferved, original Genius will diftinguifh itfelf by the invention of new fentiments on every fub- ject to which it applies itfelf. Having confidered the different fpecies of Invention, which appear to be chara6ler- iflical of original Genius, we fhall point out fome other properties which indicate and diftinguifli it. Vivid and piclurefque defcription, there- fore, we confider as one of thefe. In the fphere of Poetry, there is an infinite variety of objects and fcenes, adapted to the differ- ent taftes of thofe who contemplate thera. A Writer however, of the kind above- men- tioned, difregarding the beauties of a com- mon landfcape, fixes his eye on thofe de- lightful and unfrequented retreats, which are impervious to common view : to drop the metaphor, out of the multiplicity of fub- je6ls which his imagination prefents to him, he T^e AN ESSAY he fele6ls fuch as are mofl fufceptible of the graces of poetic defcription, and adorns thefe with all the luxuriance of an exuberant Imagination. We fhall readily confefs, that a talent for defcription is by no means fo RADICAL and DISTINGUISHING a quality in the conftitution of original Genius, as any of the fpecies of Invention above- men- Yioned j yet this talent, when pofTefied in a high degree, bears alfo the ftarap of origi- nality, however the impreflion may be fome- what fainter ; and in the defcriptive pieces of an original Author, we can trace the vi- -vacity, the wildnefs, and the ftrength of his Imagination. Such pieces will always be eafily diflinguiflied from thofe of an infe- rior Author, which, in comparifon with the former, will be languid, trivial, and common. A perfon who is deftitute of Genius, dif-
  • tovers nothing new or difcriminating in the
objeds which he furveys. He takes only a
  • 'general and fuperficial view of them, and
is ON GENIUS. 159 is incapable of difcerning thofe minute pro- ' perties, oi* of relifliing thofe particular and diftinguifliing beauties, which a lively Ima- gination, united with an exquifite T^fte, can alone enable a man to conceive and ad- mire. The defcriptions of fuch a perfon (if iie attempts to defcribe) muft rreceflarily be unanimated, undiftinguifliing, and uninte- i'eftingj for as his imagination hath pre^- fented to him no diftin6l or vivid idea of the fcenes or obje6ls he has contemplated, 4t is impoffible he fhould be able to give a ■particular and pidurefque reprefentation of it to others. A Poet, oh the other hand, xi^o is poifeffed of original Genius, feels in ^fee ftrotigeft manner every imprefTion maidfe • upon ^he teind, 'by the influence of external -Gbje(5h oh the fehfes, or by tefle6lioh bti thofe ideas which are treafured up iti the re- pofitory of the memory, and is confequently qualified 'to 'expnefs the vivaicity and iftjretigth of his £>^n' feelings. If v^ fuppofe a penfoh endued With this quality to defcribe real ob- je6ls ahd fcenes, fuch as are either immedi- ately i6o A N E S S AY ately prefent to his fenfcs, or recent in his remembrance j he will paint them in fuch vivid colours, and with fo many picSturefque circumftances, as to convey the fame lively and fervid ideas to the mind of the Reader, which pofTefled and filled the imagination of the Author. If we fuppofe him to de- fciibe unreal obje6ts or fcenes, fuch as exift not in nature, but may be fuppofed to exift, he will prefent to us a fucceffion of thefe equally various and wonderful, the mere creation of his own fancy j and by the ftrength of his reprefentation, will give to an illufion aU the force and efficacy of a reality. As all his defcriptions will be, vivid, fo all his fcenery will be rich and luxuriant in the rhigheft degree, fo as to evidence the extent, the copioufnefs, and the fertility of his ima- gination. b^iuUa-jJ : ^bn^cjp^ino:^ ec baB ^^lo^n '(« 3<ii io YioiiicKj ^j o*f hat vivacity of defcription, which we ^j^^ive obferved to be chara6leriftical of a great Genius, will in the writings of an ori- giiial one be of ^kjn^ peculiar and uncom- ON' GEN i US. i6i mon. Obje(5ls or events may be viewed iti very different lights by different perfons, and admit of great variety in the reprefentation. In the defcriptions wherein fablimity is re- quired, an Author of originarGenius will fix on thofe circumftances that may raife our ideas of the obje6t he endeavours to re- prefent to the utmoft pitch. Thus the en- raptured Prophet, in defcribing the defcent of the Almighty, is not contented with re- prefenting the inhabitants of the earth as in a confternation, and- the whole mafs of matter as agitated at his approach j but rifes much higher in his defcription, and gives fenfe as well as motion to the inanimate parts of the creation : The mountains faw thee, and they trembled ; the overflowing of the water pajjed by. Then follows a bold and happy profopopoeia : The Deep uttered his voice, and lift up his hands on high. The former part of the defcription, where the Prophet makes the mountains fenfible of the approach, and tremble at the prefence of Jehovah, is truly fublime, as thefe effects give us a h^gh idea M of i62 A N E S S A Y of the majeflry and power of the Almighty 5 but the latter part of it, where he attributes voice and adion to the great Deep, is re- markably grand, and is indeed one of the moft ftriking and daring perfonifications that are to be met with either in the facred or profane writings. It is by fixing on fuch great and uncommon circumftances, that an original Author difcovers the fublimity of his Genius ; circumftances which, at the fame time that they fliew the immenfity of his conceptions, raife our admiration and aflonifhment. to the highell: degree. To the particular and eflential ingre- dients of original Genius above enumerated, we fhall fubjoin three others of a more ge- neral nature; which however are as cha- ra6leriftical of this uncommon endowment, and as much diflinguifh its produ6lions, as any of the particular properties above fpeci- fied. Thefe are an irregular great- ness, wiLDj^'Ess, and enthusiasm of Ima- gination. The qualities we have juft novy mentioned ON GENIUS. 163 mentioned are diftincl from each other ; but as they are nearly allied, and are coni- monly found together, we include them in one clafs, confidering them as unitedly forming one general indication of elevatea and original Genius ; though, for the fake of precifion, we fhall treat of them lepa- tately. Firft we obferved, that irregular GREATNESS of Imagination was chara6ler- iftical of ORIGINAL Genius. This expreH. fion is a little equivocal in its fignifica- tion, and therefore it will be neceflary to afcertaln the fenfe in which we confi- det it. An IRREGULAR GREATNESS of Imagina- tion is fometimes fuppofed to imply a mixture of great beauties and blemifhes, blended together in any work of Genius j and thus we frequently apply it to the writings of Shakespear, whole excellen- cies are as tranfcendent, as his faults are M 2 con- i64 AN E: a S A Y, confpjcuous. Without ieje6ling, this- fenfe altogether, or. denying that an- original Author will -be diftinguiihed by his imper- fetStions as well as by his excellencies, vve may obferve, that the expreflion above-mentioned IS capable of a jufter and -more determinate meaning than that juft fpecified.. It may, we think, be more properly underftood to fignify that native grandeur of fentiment which difclairns all reltraint, is lubjedt to HQ certain rule, and is therefore various and unequal. In this fenfe principally we con -i fidei- the expreflion, and are under no diffi- culty in declaring, that an irregular great- nefs of Imagination, as thus explained, is one remarkable criterion of exalted, and original Genius. A perfon who is poflefled of this quality, naturally turns his thoughts to the contemplation of the Grand and Wonderful, in nature or in human life, in the vifible creation, or in that of his own fancy. Revolving thefe awful and magni- ficent fcenes in his muling mind, he labours to exprefs in his compofitious the ideas. which , ON GENIUS. 165 which dilate ajid fwellliis Imagination ; but is often unfuccefsful in his efforts. In at- tempting to reprefent thefe, he feels himfelf embarrafled -j words are too weak to convey the ardor of his fentiments, and he fre- quently finks under the immenfity of his own conceptions. Somotimes indeed he will be happy enougli to paint his very thought, and to excite in others the very fentiments which he himfelf feels ; he will not always however fucceed fo well, but, on the contrary, will often labour in a fruit- lefs attempt; whence it fhould feem, that his compofition will upon certain occafions be diftinguiflied by an irregular and unequal greatoefe. Whether this quality is to be afcribed to the caufe above-mentioned in particular ; or whether it is the efFedt of that fiery impe- tuofity of Imagination, which, breaking through the legal reftraints of criticifm, or overleaping the -mounds of authority and cuftom, fometiraes lofes fight of the Juft M 3 and i66 A N E € S= AY and Natural, while it is in purfuit of the New and Wonderful, and, by attempting to rife above the fphere of Humanity, tumbles from its towering height ; or laftly, whether it is to he ultimately derived from the un- avoidable imperfe^lion of the human facul- ties, which adniit not of perpetual ext?n- fion,^ an^ are apt to flag in a long, though rapid flight -, whichfoever 9f thefe may be the caufe of the phenomenon above-npention- ed, or whether all of them may contribute to produce it, certain it is, that an irregular greatnefs of Imagination, implying unequal and difproportioned grandeur, is always difcernible in the compofitions of an origi- nal Genius, however elevated, and is there- fore an univerfai charafleriflic of fuch a Genius *. It
  • LoNGiNUs maintains, that a high degree of fub-
limity is utterly inconfiftent with accuracy of imagina- tion J and that Authors of the moft qlevated Genius, at the fame time that they are capable of rifing to the greateft excellencies, are likewife moft apt to commit trivial ON GENIUS. 167 It deferves however to be obferved, that the impeife6l:ion here fuggefted, is a natural effe6t and a certain proof of an exuberant Imagination. Ordinary minds feldom rife above the dull uniform tenor of common fentiments, like thofe animals that are condemned to creep on the ground all the days of their life; but the moft law- lefs excurfions of an original Genius, like the flight of an eagle, are towering, though devious ; its path, as the courfe of a co- met, is blazing, though irregular ; and its trivial faults, while they are aiming at diftinguiflied beauties. As this aflertion is pretty nearly of the fame import with that above advanced, it may not be im- proper to confirm our fentiments hy the authority of fo eminent a Critic : Eyw y o*S(* /A£», uq «i vTTB^hoXxi |n.tys9a{ ^vtrti ^Ktfet xaOa- exit To yx^ tv 'BTctitn cm^iQii, Kivov¥<^ cr/x»xfloT»i1®-" w Jt toij yajpa/^Enov. M>) wots Ci tSto kbci uixfuxiosi •», to raf (m.s> txtth-
,oi,i; KXt yLiffx<; ^y<7ei?> o'la TO fji.ri^x^n 'orx^uy.ni^vvevnv, (iri^i e^Ki^xt
Tuv ay.^u^, xtXfjM^rYiTm ui ctti to tcroXit xai xa^x^tTt^et^ ^ta/Af viiv' rx 01 fiiyx'Kx nriff(px\i) ^i avro ymt^xi to fCfysG®'. De Sublim. feft. 33. M 4 errors -'i6S / A-N '^S'S-S A-Y errors and ejic^Meuc^e-s - are equally inimi- table. . -We obferved that original Genius is like- wife diftingbiijied by a wildness of Imagi- nation. This quality, fo clofely allied to the former,' ieems alfo to proceed from the fame caufes J -and is at the fame time an in- /allible .•|)XQpf of a fertile and luxuriant ' fsLUcy. '^jLDNESS of imagery, fcenery and fentlmei^t, i3 the pastime of a playful and /portiye Imagination j it is the effed of its exuberance. This chara6^er is formed by an arbitrary afTemblage of the moft extra- vagant, iincommon, and romantic ideas^ .united 141 the moft fanciful combinations i 'and is difplayed in grotefque fig-ures, :^n furprifing fentlments, in pifturefque arid inchanting defcription. The ^'(|uality of 'which we are treating, wherever it is di(^ covered, will afford fuchii^ldelicrous- enter- tainment to the mind, '.th'at^'it- can fcarce be ever fatisfied with a" banquet {o exqui- fitely prepared J' fatiety^■ being prevented by a fuc* ON GENIUS. 169 ^0. facceflion of dainties, ever various and \ ever new. The laft quality by which we affirmed original Genius to be charaflerifed, was an ENTHUSIASM of Imagination *. It fre- quently
  • Thofe who have a curioflty to know the opinion
of Plato concerning the enthusiasm of Poetry, may confult his lo ; where he exprefly afierts, that all true Poets are divinely infpired bytheMufes; that they are incapable in their fober fenfes to compofe good verfcs ; and that therefore, in order to their becoming excellent in their profeflion, it is neceflary they fhould be hurried out of themfelves, and, like Bacchanals, be tranfported by a kind of divine fury. As his opinion, however, upon this point, will give a flrong fanftion to our fentiments on that Enthufiafm of Imagination v^^hich we have obfervcd to diftinguifti original poetic Genius, we (hall prefent the Reader with two fhort extracts /rom the above-mentioned Dialogue, very ex«  prefllve of his idea concerning poetic Infpiration : 'OvTu Si xai y) Movo'x evOcov; fAcy tironi wjrri, Six St rav iv&fftry TovTuv oyKuv it^ovo-ict^ovruv, o§/*«fl®' E^a^Txleci. lo. p. 164. Socrates (for he is the fpeaker) adds a little after: Aiyovcri f^sv Syi-^ov^iv w^©- f/xaj ot wonitai'oT* etvo x^riruii fii' i^6 A N E S S A Y quently happens, that the original meaning of a word is loft or become obfolete, and another very different one, through acci- dent, ciiftom or caprice, is ordinarily fub- ftitiited in its place. Sometimes expreflions, which have been anciently taken in a good fenfe, are, by a ftrange pefverfion of Ian- g«nge, ufed in a bad one ; and by this means they become obnoxious upon account of the ideas, which, in their common accep- tation they excite. This is the cafe with the word enthusiasm, which is almoft uni- verfally taken in a bad fenfe j and, being conceived to proceed from an overheated and diftempered imagination, is fuppofed to imply weaknefs, fuperftition, and mad- nefs. Enthusiasm, in this modern fenfe, is in no refpe6l a qualification of a Poet ; aai n^ov. K«» « iff^urs^ov o»©' re 'srcmv "zr^tii uv 6>6£©' ts ys- vrirat iuu lyj^^uv, Kon o »8? fxr,KiTi tv ctvru mv)' Iw? ^ av rovrt In ON GENIUS. 171 In the ancient fenfe, which implied a kind of divine inspiration "f*, or an ardor of Fancy wrought up to Tranfport, we not only admit, but deem it an eflential one. A glowing ardor of Imagination is indeed (if we may be permitted the exprefTion) the very foul of Poetry. It is the principal fource of inspiration j and the Poet who is poflefl'ed of it, like the Delphian Prieftefs^ is animated with a kind of divine fury. The intenfenefs and vigour of his fenfa- tions produce that enthusiasm of Imagi- nation, which as it were hurries the mind out of itfelf ', and which is vented in warm and vehement defcriptlon, exciting in every fufceptible bread the fame emotions that were felt by the Author himfelf. It is this ENTHUSIASM which givcs life and ftrengthi to poetical reprefentations, renders them ftriking imitations of nature, and thereby t The etymology of the word enthusiasm, which Is W&I&', will afcertain its original Tenfe. produces 172 AN E S S AY produces that inchanting delight which ge- nuine Poetry is calculated to infpire. With- out this animating principle, all poetical and rhetorical compofitions are fpiritlefs and languid, like thofe bodies that are drained of their vital juices : they are therefore read with indifference or infipidity j the harmony of the numbers, if harmonious, may tickle the ear, but being deftitute of nerves, that is of pafllon and fentiment, they can never affe61: the heart. Thus we have pointed out and illuftrated the moft diftinguifhing ingredients of ori- ginal Genius in Poetry j wefhall conclude the prefent fedion with inquiring into the firft and moft natural exertions of Genius in this divine art. We may venture then to lay it down as a pofition highly probable, that the firft effays of original Genius will be in alle- gories, VISIONS, or the creation of ideal beiHgs,-of one kind or another. There . is no ON GENIUS. ly^ no kind of Invention, in which there is fuller fcope afForded to the exercife of Ima- gination, than in that of allegory j which Ras this advantage over mofl other fables, that in it the Author is by no means re{lri6led to fuch an exa6l probability, as is required in thofe fables that inftru(5i: us by a reprefentation of a6lions, which, though not real, muft always however be fuch as might have happened. Let it be obferved, that we are here fpeaking of al- legory in its utmoft latitude. We are not ignorant that there is a fpecies of it, which, like the Epic fable, attempts to inftruft by the invention of a feries of incidents flriclly probable. Such are the beautiful and flrik- ing ALLEGORIES Contained in different parts of the Sacred Writings. But there is an- other kind of ALLEGORICAL fable, in which there is very little regard fhewn to probabi- lity. Its obje6l alfo is inftru6lion ; though it does not endeavour to inftru6t by real or probable actions ; but wrapt in a veil of exaggerated, yet delicate and appofite fic- .i tion. 174 AN ESSAY tion, is ftudious at once to delight the imagination, and to imprefs fome import- atit rnaxim upon the mind. Of this kind is the Fairy §ueen of Spenser. As in this fpecies of allegory, we neither expe6l what is true, nor what is like the truth ; fo we read fuch fabulous compofitions, partly for the fake of the morals they contain, but principally for the fake of gratifying that curiofity fo deeply implanted in the human mind, of becoming acquainted with new and marvellous events. We are in this cafe in a great meafure upon our giiafd againft the delufions of fancy j are highly pleafed with the narrative, though' we do not allow- it to impofe upon us {6 for as to obtain our credit. Yet fuch is t^e power of ingenious fi6lion over our minds, that we are not only captivated and interefted by a delation of furprifing incidents, though very improbable, but, during the time of the relation at leaft^ we forget that they are fiftitious, and al- moft fancy them to be real* . This deceit,-' however. ON GENIUS. 175 however, lails no longer than the perufal, in which we are too much agitated to re- fleft on the probability or improbability of the events related ^ but when that is over, the inchantment vaniflies in the cooj moment of deliberation ; and, being left at leifure to think and reafon, we never admit as true "whaj.iji iipt; ftridly proba- ble. .,S..:-..' - ., As we are treating of allegorical fables^ it may riot be amils to obferve, with re- gard to the kind laft mentioned in paFti«5 cular, that the liberties indulged to ; it^ thougli prodigioufly various and extenfive^ are not however without certain reftrie- tions. Thus, though we do not require probability in the general contexture of the fable, juftnefs of manners mud be pre^ ferved in this, as well as in the othe^ fpecies of fabulous compofition j. the iaci- dents muft be fuitable to the charadjers to which they are accommodated ; thofe inci- dents muft likewife clearly point out <ys imply 176 A N E S S A Y imply the moral they are intended to il-i luftrate i and they muft, in order to capti- vate the Imagination, be new and fur*^ prifing, at the fame time that they are to be perfedlly confiftent with each other. It is evident however, that thefe flight reftraints prove no real impediment to the natural impulfe and excurfions of Genius-, but that they ferve rather to point and re- gulate its courfe. It is Hkewife equally evident, that this laft mentioned fpecies of Allegory prefents a noble field for the difplay of a rich and luxuriant Imagina-. tion ; and that to excel in it, requires the utmofl fertility of Invention, fince every mafterly compofition of this kind muft b& the mere creation of the Poet's fancy. We obferved likewife, that original Genius will naturally difcover itfelf in vi-. sioNs. This is a fpecies of fidion, to fuc- ceed in which with applaufe, requires as much poetic Infpiration as any other fpecies of compofition whatever. That Enthu- fiafm ON GENIUS. J77 fiafm of Imagination, which we confidered as an eflential charafteridic of original Ge- nius, is indifpenfibly neceflary to the en- raptured Bard, who would make his Read- ers feel thofe impetuous tranfports of paffion which occupy and a6luate his own mind. He muft himfelf be wrought up to a high pitch of extafy, if he expe6ls to throw us into it. Indeed it is the peculiar felicity of an original Author to feel in the mofl ex- quifite degree every emotion, and to fee every fcene he defcribes. By the vigorous effort of a creative Imagination, he calls fhadowy fubftances and unreal obje(5ls into exiftence. They are prefent to his view, and glide, like fpedres, in filent, fullen ma- jefty, before his aftonilhed and intranced fight. In reading the defcription of fuch apparitions, we partake of the Author's emotion j the blood runs chill in our veins, and our hair ftifFens with horror. It would far exceed the bounds prefcribed to this Eflay, to point out all the particn- N lar 17B A N E S S x^ Y lar tracks which an original Genius will flrike out in the extenfive fphere of Ima- gination, as thofe paths are fo various and <ievious. In the mean time we may ob- ferve, that as the hai^ of Nature hath ftamped different minds with a different kind and degree of Originality, giving each a particular bent to one certain obje6l or purfuit J original Authors will purfue the track marked out by Nature, by faithfully following which they can alone hope for immortality to their writings and reputation. Thus while one Writer, obeying the impulfe of his Genius, difplays the exuberance of his Fancy in the beautiful and furprifing fictions of Allegory j another difcovers the fertility and extent of his Imagination, as well as the juflnefs of his Judgment, in the condu6l of the Epic or Dramatic Fable, in which he raifes our admiration, our terror, or our pity, as occafion may require. Upon the whole, we need not hefitate to affirm, that original Genius will probably difcover ON GENIUS. 179 difcover itfelf either in allegories, visions, or in the creation of ideal figures of one kind or another. The probability that it will do fo, is derived from that innate ten- dency to FICTION which diftinguifhes fuch a Genius, and from the natural bias of FICTION to run in this particular channel : for the Imagination of a Poet, whofe Ge- nius is truly Original, finding no obje6ls in the vifible creation fufficicntly marvellous and new, or which can give full fcope to the exercife of its powers, naturally burfts into the ideal world, in queft of more fur- prifing and wonderful fcenes, which it ex- plores with infatiable curiofity, as well as with exquifite pleafure ; and depending in its excurfion wholly on its own ftrength, its fuccefs in this province of fiction will be proportionable to the plaftic power of which it is poflefled. In cafe however the pofition juft advanced fhould appear pro- blematical to fome, we (hall confirm it by arguments drawn from experience, which will ferve to fhew, that original Poetic N 2 Genius i8q an essay Genius hath in fa6l exerted its powers in the manner above fpecified *. In proof of this afiertion, we might ad- duce the whole fyftem of heathen Mytho-
  • LoNGiNus confiders the introducmg vifions into
compofition, and the fupporting them with proprietr, as one of the boldeft efforts either of Rhetorical or Poetic Genius. He obferves, that they contribute much to the grandeur, to the fplenuor, and t© the ef- ficacy of an oration in particular : teem ai ^avraeriai 'urx^aiTKtvxrMurci'lcn' fttiuXoTotioc^ ccvrag Evtoi \iyovcri. KAhftVoti fjui yet^ xomui (pxnTctax, i^av moriux hoyov ysvui^T^of ottuxthv 'ma^ii-a^tvoy' tSiu(; ^ I'jtt tutuv kikpoi- ^»X)jj, xan vv a\|/i» i*»6»j{ rot? «*«ouo-m'. De Su6/im, fe£L 15. After having given this account of the nature and effect of a vifion introduced into an oration, he obferves, that there is a difference betwixt vifions adapted to Rhetoric, and fuch as are adapted to Poetry j but that they both concur in producing a violent commotion of mind : imocfix "oroiijTaKi «« ccv Xa6o» crt, ua' ort rnc f*i» tv 'BJotria'tt teA^ «7r»^>)Tofff» TO ffplxsxinjj/xtirov. Hid. logy. ON GENIUS. iSi logy. What are all the fabulous and alle- gorical relations of antiquity concerning the nature, generation, powers and offices of the Pagan Deities, but the inventions of men of Genius ? Poets and Priefts were unqueftionably the original Authors of all the Theological Syftems of the Gentile world. A ray, ultimately derived from di- vine Revelation, did fometimes indeed burft through the cloud of human error, but was foon obfcured, if not fmothered, by the fu- perftitions of men ; and oral Tradition, that fallacious guide, was buried under a mafs of abfurdity and folly. Though the hea- tlien Theology muft be confefled to be the difgrace and degradation of human reafon, yet it mull alfo be acknowledged to be a re- markable proof of the creative power of lauman Imagination ; and at the fame time that we condemn it as a religious Creed, we muft admire it as a fyftem of ingenious Fic- tion. The Greek Theology was of all other fyftems the moft ingenious. What a ftrange, but fanciful account, may we collect from N 3 thofe i8^ A N £ S & A'i^ thofe ancient Authors, Homer and Hesiod, of the nature and employment of the nu- merous Deities which Greece acknowledged ? We find the celeftial Divinities, Jupiter and Juno, Minerva and Venus, Mars and Apollo, fbmetimes quaffing ne6lar in their golden cups, and repofing themfelves in indolent tranquillity, ferved by Hebe, and attended by Mercury, the fwift- winged nieflenger of the Gods : at other" times we fee them mixing among the Tro-^ ^'f?w and Grecian hofts, taking part in mor- tal quarrels, as partiality or favour dic- tated ', infpiring the army whofe caufe they embraced with their counfel, and aiding it by their power j driving on or ftemming the tide of battle, and alternately haftening and retarding the decrees of fate. Ceres has the earth for her province, and is the bounteous giver of the golden grain j Nep- tune fways the ocean with his trident j and Pluto, feated on his throne in gloomy majefty, rules the dominions of the world below. Need w€ mention, as proofs of wild and ON GENIUS. 183 and exuberant Fancy, the pleafures and beauties of Ely/mm, contrafted with the tor- ments and horrors of dark Tartarus f Need we mention the black Cocytus^ the flaming Phkgethon ; the punifhment of Tantalus, the ever-rolling ftone of Sisyphus, the wheel of IxioN, and the fruitlefs perpetual labours of the Danaidi F It would be impra6licable, as well as tedious and unnecefTary to enumerate the vaft multitude of fubordinate Deities which Greece adored. Ail nature was repleniflied with them ; and each particular part had its tutelar Divinity. Thus while Diana and her train of woodland nymphs, toge- ther with her minifters the Dryads and Ha^ tnadryadSi were adored by huntfmen as the Sovereigns of the woods, Pan received the homage of the fimple fhepherds, was confi- dered as the Guardian of their flocks, and the rural God who taught them to play on the oaten pipe. To thefe we may join the Satyrs and Fawns, the Naiads of the rivers N 4 fporting ri84 AN E S S x\ Y rporting on the limpid ftream, and the nymphs of the fea rifing with Thetis from their watry beds, and lightly floating on the fiirface of the waves j the flory of Prome- theus chained to a rock, and devoured by vulturs, for ftealing fire from Heaven, to animate his workmanfliip of clay j the loves of Jupiter and Leda; the fable of Mi- nerva's iffuing from the head of Jupiter 5 the wars of the latter with the Giants, and the fidlion of Vulcan's being hurled from Heaven, with hideous ruin and combuftion, by the wrath of the Olympian King. We may farther add thofe exquifue inventions of the Mufes and Graces, of Fortune and the Fates, of Auguries and Oracles, of the fprings of Helicon^ and infpirations of Far- najfus, the dreams of Pmdus and the Aonian maids J the expedition of the Argonauts; the labours of Hercules and of Theseus; the fabulous, but pleafing relations of the golden age ; the contention of the Goddefles on mount Ida^ for the prize of beauty ; the j^dmirable allegory of Prodicus, in which Virtue ON GENIUS. 185 Virtue and Pleafure arc introduced as ad- drefling Hercules, and the excelJent alle- gorical pi6lure of human life by Cebes : all which ingenious fables confidered together, and many more of them that might be men- tioned, are ftriking indications of the plaflic power of the human mind, and undeniable proofs of true Genius in the original In- venters. From this general and imperfe6l view of the Greek Mythology, it is evident, that original Genius did in ancient Greece always difcover itfelf in allegorical Fiflion, or in the creation of ideal figures of one kind or another j in inventing and adding new fa- bles to the received fyftem of Mythology, or in altering and improving thofe that had been already invented. The immenfe and multifarious fyftem of the Greek Theology was a work of many centuries, and rofe gradually to that height in which it now appears. Some additions were daily made to it by the Poets and men of lively Imagi- nation, i86 A N E S S AY nation, till that huge pile of Superftition was compteted, which, in its ruins, exhibits fo ftriking a monument of human ingenuity and folly. If, after what has been alledged, any one fhould queftion whether the fabu- lous Theology now confidered, be an efFedt or indication of original Genius, we would only defire him to fuppofe the My- thology of Homer annihilated. What a blank would fuch annihilation make in the divine Iliad! Deftitute of its celeftial ma- chinery, would it not be in a great meafure an inanimate mafs ? It would at leafl: lofe much of that variety, dignity and gran- deur, which we admire in it at prefent, and much of that pleafmg and furpriiing fidion, which gives fuch exquifite delight to the Imagination. '^It would be eafy to confirm the pofition We have laid down, that original Genius always difcovers itfelf in Allegories, Vifions, or the invention of ideal Chara6lers, by examples drawn from the Eaftern and the Egyptian ON G fi N I U S. 187 Egyptian Mythology, which was fo full of Fable and hieroglyphical Emblems; but we fhall wave the confideration of thefe as fu- perfluous, after what hath been already urged, and conclude this part of our fub- jedt with obferving, that the Eaftern man- ner of writing is, and hath ever been cha- radterifed by a remarkable boldnefs of fen- timent and expreflion, by the moft rheto- rical and poetical figures of fpeech y and that many of the compofitions of the Eaft- ern nations abound with Allegories, Vi- fions and Dreams > of which we have fe- veral admirable examples in the facred Writings. SECTION i88 AN ESSAY SECTION IV. O F ORIGINAL GENIUS IN THE OTHER FINE ARTS. THOUGH it is Poetry that affords the ampleft fcope for the exertion of the powers of Imagination, and for the moft advantageous difplay of original Ge- nius ; yet a very high degree of this quahty may be difcovered in fome of the other fine Arts, and a greater or lefs degree of it in all of them } as they are all indebted, though not equally, to that faculty by which we have ON GENIUS. 189 have fhewn true Genius to b^ principally conftituted. Having confidered the exertions of ori- ginal Genius in Poetry at great length in the preceding fedlion, which indeed was the principal intention of this Effay, we fhall in the prefent feflion, in order to render the defign more complete, point out, though with greater brevity^ the efforts of Genius in the other Hberal Arts, and en- deavour to afcertain the degree in which it will exert itfelf in each of them. C^ thefe the art of Painting claims our firft attention. To an eminerrce in certain branches of this art, the greateft fhare of Imagination, next to what is required in Poetry, feems to be eflentially neceffary. Other branches however there are, in which a much lefs proportion of this talent is requifite, and in which indeed original Genius cannot be difplayed. We omit, as foreign to our pur- pofe. I90 AN ESSAY pofe, the confideration of thefe inferior de- partments in the art of Painting, though fuccefsful attempts in them may indicate a great deal of ingenuity and Ikill -, regard- ing only thofe higher clafles, in which ori- ginal Genius may exert itfelf to ad- vantage. We may obferve in general, that as the power of Invention is the diftinguifhing ingredient of original Genius in all the iine Arts, as well as in Science; fo, in whatever degree Invention is difplayed in either of thefe, in the fame degree origina- lity of Genius will always be difcovered.' * This diftin6\ion will exclude all portraits in Painting, however excellent, and many descriptive pieces in Poetry, though co- I pied from nature, from any pretenfions to Originality, ftridly confidered. Both may difcover great vivacity and flrength of Imagination ; but as there is no fi<aion, i nothing invented in either, they can only be regarded at bed as the firft and moil complete O N G E N I U S. 191 complete copies of the true originals. In common language indeed we talk of ORIGINAL portraits, by which we mean pi6i:ures drawn from the Hfe. The pro- priety of this epithet we (hall not difpute. Such pictures are unqueftionably in one fenfe original, as they are the fir ft draughts, of which the fucceeding ones are but COPIES. In ftriiSlnefs of fpeech how- ever, fuch draughts themfelves are only the COPIES or RESEMBLANCES of Naturc, to execute which does not require invention, and confequently does not indicate or pre- fuppofe originality of Genius. We muft therefore have recourfe to fome higher branch of the art we are treating of, where this talent may be difplayed to advantage, and that branch is History- painting. The Hiftory Painter *, as well as the Epic r * As Poetry and Painting are in moft refpe<5ls fimi- lar, it will be no incurious inquiry to examine into the 192 A N E S S A Y Epic Poet, commonly takes the fubjeca of the degree of Imagination requifite to form an eminent Painter, compared with that which is neceflary to form a great Poet. Every one who is in any meafure ac- quainted with the refpedlive natures of the above-men- tioned arts, muft obferve a very clofe affinity betwixt them, and that to excel in either of them a very high degree of Imagination is indifpenfibly required. An accurate obferver however will difcover the different proportions of this quality that are appropriated and requifite to each. Having one common end in view, the reprefentation of human chara<3:ers, paflions and events, or the reprefentation of thofe objefts which are either prefented to the fenfes, or are the creation of fancy, he will perceive that they both accomplifli this end by imitation, though by a different kind of it. The Poet reprefents the objects of which he in- tends to give us an idea, by lively and affedting de- fcription, fo as to make us in a manner fee every thing he defcribes. The Painter exhibits the reprefentation of thefe objects to us upon canvas ; and, by the happy union of light and (hade, and the ftrange illufion of colours, deceives us almoft into a belief of the reality of their exiftcnce. Both artifts mufl have their imagi- nations impreffed with a very vivid idea of the objeds they intend to reprefent, and this idea muft fill and occupy their minds ; but a greater compafs of Fancy is required in the Poet than in the Painter ; becaufe a greater variety of ideas muft necelTarily pafs in fuccef- fion ON GENIUS. 193 of his piece from an authentic or tradition- ary fion through his mind, which he muft aflbciate, com- pound and disjoin, as occafion may require. A mul- titude of fleeting objeils glide before his imagination at once, of which he muft catch the evanefcent forms : he muft at the fame time comprehend thefe in one in- ftantaneous glance of thought, and delineate them as they rife and difappear, in fuch a manner as to give them a kind of ftability in defcription. While the fertility and extent of the Poet's fancy is difcovered by the croud of ideas v^hich pour in upon his mind from all quarters, and which he raifes by a fort of magical inchantment, he has likewife occafion for the niceft Judgment in fele£ling, combining and arranging thefe ideas in their proper clafles. Being obliged to defcribe objefts and events, not only as they appear to a fuper- ficial obferver, but with all thofe concomitant clrcum-- ftances which efcape common notice, and in connec- tion with their caufes and confequences, he is under a neceffity of employing the utmoft extent of Imagina- tion in reprefenting the former, and the utmoft acute- nefs of the rcafoning faculty in tracing the latter. On the other hand, the whole attention of the Painter is ingrofled by that fmgle idea, whatever it may be, which he intends to exprefs in his pifture. It is true, a piece of hiftory-painting admits of great variety in the attitude, air, features and paflions of the different figures which compofp it ; ajud confequently, O INVEN- 194 AN ESSAY ary relation of fome important event, which forms INVENTION and design ; the former of which com- prehends the general difpofition of the work, and the whole fymmetry of it taken together, the latter the particular pofture of the feveral figures, and their dif- ferent characters as difbinguifhed from each other by their correfponding fignatures in the countenance, will require a confiderable compafs of Imagination j becaule the Painter, before he begins to work on his piece, muft include thefe circumftances in one general idea, and give proper attention to them in his progrefs : but while he is employed in a particular department of the work, in exprefling the peculiar character or paflion of any individual figure, he colleds his attention, fixes it on a fmgle point, on the image which is prefent to his mind ; and he delineates upon the cloth the very tran- fcript of his thought. Thus he proceeds gradually, in expreffing one idea after another, till he has finijfhed his piece; to execute which requires indeed a vivid and vigorous Imagination, but not fo extenfive a one as is necelTary to form an excellent Poet. With regard to the refpedive efFeds of Poetry and Painting, it muft be confefled, that the art of the Painter generally produces the greateft and moft agree- able deception j as the materials he employs contribute to the fallacy of the fenfes, and are admirably calcu- lated to afllft the Imagination in impofuig upon itfelf. Hence the pleafure we derive from the view of a fine pi*5tiire ON GENIUS. 195 forms the groundwork of the pi<5ture, as it does pl£lure is immediate ; while the fubfequent fatisfaftion which we feel, in difcovering the juftnefs of the imita- tion, and its refembUnce to the original, increafes that pleafure. To compenfate this advantage however, which Paint- ing has over her fifler art. Poetry may bcaft another, in which the former muft yield the preeminence. If the Painter has the happinefs to exhibit a ftrono-er likenefs in thofe features he endeavours to exprefs, the Poet prefents us with a more complete refemblance of the whole figure taken together ; for in many cafes, words may defcribe what colours cannot paint. We fliall illuftrate this obfervation by an example : Suppofe a Painter was defired to reprefent upon canvas the ce- lebrated Interview between Alexander and the Mo- ther and Queen of Darius, after the battle of IJfiis. In fuch a draught he would temper the fiercenefs of the Conqueror with the generous humanity of the Hero, who fympathifes with the miferies of the unfor- tunate. In the countenances of the forrowful Queens would appear that dignity of diftrefs which was fuita- ble to their fituation, and that profound refpedl which the prefence of their royal viiitant was calculated to infpire. But hiftory informs us, that after mutual compliments were over, Alexander difcovercd fo much gencrofity, mildnefs, and compaffion in his be- haviour to them, as to conciliate their eftecm and con- O 2 fidenc€. 196 AN ESSAY does of the poem. The fuperftruflure how- ever fidenc^, as well as to excite their admiration and gra- titude. T'hefe unexpected ofHces of kindnefs could not fail to difFufe that joy over the countenance, which is fhe eft'c(5t of a pleafing furprife, and which confequently ought to have been expreffed by the Artift, had it been practicable to blend the air of rcfpeCtful humility and dejected melancholy, with that of unfufpeCting confi- dence and undiffembled gratitude. That this could not be done, muft be imputed, not to the fault of the Painter, but to the imperfection of his art ; or rather, to an impofiibility in the nature of the thing, of giv^ jng difiercnt and oppofite expreflions to the counte- nances of the fame perfons in the fame picture. To do this, the Painter muft give us two diftinCt pictures ; whereas the Poet can, in one and the fame relation, give us a lively idea of all the different emotions of the human heart ; or rather can make us feel thofe emo- tions he fo pathetically defcribes. We may farther obfcrve, that in order to form a proper notion of a piece of HISTORY painting, it is necefiary wefhould not only be well acquainted with thofe hiftorical trans- actions which the ingenious Artift intends, by the moft ftriking reprefcntation, to recal to our remembrance; but we muft likevvife keep in mind the precife inftant of time when they are fuppofed to have happened ; becaufe by not knowing, or not attending to this cir- cumftance, the beauty and emphalis of the execution ii intirely loft to us. We ON GENIUS. 197 ever muft in both cafes be the work of thofe We fhall conclude this note, which we are afraid is already fwclled to too great a length, with remarking, that every poflible event, with every poflible circum- ftance, may be defcribed by language, though they cannot be delineated by colours. Let us alfo illuftrate this remark by an example : Imagine a Painter fet to work on a defcriptive piece, that, for inftance, of a Storm at Sea, In order to give us a fuitablc idea of this dreadful fcene, he paints the foming billows dafti- ing againft the fides of the vefi'el, fome of them over- whelming her, while fhe is juft ready to burft afunder with the impetuous fhock of conflidling elements. We fee her ftripped of her rigging, her mafts broken, the fliip herfelf laid almoft on her fide, by the violence of the tempeft ; and we perceive terror, amazement and defpair, imprefTed on the ghaftly countenances of the diftradled mariners. Even thus far the reprefentation is lively ; but the Poet goes farther. He introduces fome great and uncommon incidents, which heighten the horrors of the fcene, and which the ablcft Painter, from the unavoidable defedt of his art, can never ex- hibit. He makes the lightening flafli, and the thunder rore. He reprefents the tottering bark, at one time as raifed by the billows to the clouds, at another as plunged into the unfathomable depths of the ocean ; while, to complete the difinal and terrific fcene, he defcribcs the piercing fhrieks and dying mones of the dcfpairing f^ilors. If any one fhould queftion the fu- O 3 periority 198 A N E S S A Y thofe ingenious Artifts ihemfelves. In the defign and ordonnance of the one, and hi the contrivance of incidents and exhibition of chara<5}:ers in the other, great fcope is afForded for the exercife of the inventive faculty. Much is to be imagined, and much to be defcribed. In order to obtain a clear idea of the greatnefs and originality of Genius requifite to finifh a piece of his- tory-painting with reputation, it will be necelTary to recur to an example. Let us fuppofe a man of elevated Genius in this profeflion, employing his pencil on the ce- lebrated fubjedl of Paul preaching 2i\. Athens, which has immortalifed the fame of Ra- phael. Inftead of copying after this ad- ^eriority of Poetry over Painting, at leaft in defcrip- tive pieces, in which indeed its fuperiority is chiefly manifefted, let him read the del'cription of a ftorm in the firft book of the Mnc'id^ or in a poem, intitlcd. The Shipwreck^ compared with fea-pieces of this kind, drawn by the ablcft Mafters in the art of Paint- _^^ng, and he will perhaps find reafon to difmifs his doubts. mired ON GENIUS. 199 mired Artlft, we fuppofe him to fkctcli out and execute the whole piece by the mere ftrength and fertility of his own imagina- tion, taking the groundwork only from the facred Writings. The account which the infpired Writer gives, though comprehen- five, is but fhort j the Painter muft imagine the reft. He would no doubt reprcfent the eloquent Apoftle as ftanding on the fummit of Mars hill, in an ereft pofture, with his hands extended, and his countenance im-- prcfled with a folemn earneftnefs and ar- dent zeal, convincing the Atben'iam of their fuperftition, adjuring them to renounce it, and to beheve in thofe divine do6lrines, and praftife thofe excellent precepts, which, by the authority and in the name of his Mas- tei-, he delivered to them. The air and attitude of this affeding Preacher would be awful, energetic and divine : they would tie greatly venerable, yet ftrongly perfua- fiye^- . On the other hand, the audience would appear affected in the moft different ways imaginable. In the countenances of ^t.i O 4 many 200 AN ESSAY many of them,' we fliould difcover a fixed and thoughtful attention ; in thofe of a few others, notwithftanding the eloquence of the Sermon, that levity and curiofity, which were fo charafleriftical of the Athe- nian people. In the countenances of fome, we fhould difcern the fcornful fneer' of contempt, or the fupercilious frown of dis- daia ', while a confiderable number of them would exhibit in their ghaftly v'ifages ter- ror, confufion and anguilh, the evident marks of convi6led and felf-condemning guilt. We fhould diftinguifh in fome the confirmed obflinacy of infidelity •, in others, the hefitating fufpenfe of doubt j in others, the yielding compliance of affent ; in others, the fpirited ardor of hope j in others, the elevated joy of exultation. - ^p oahfjUilB From the invention of fuch a group of figures, and fuch a diverfity of chara6lers ; from the happy expreffion of fo great a va- riety of oppofite paflions ; we infer the vi- vacity, the ftrength, the originality, and the ON G E N I US. 201 the extent pf the Artift's Genius. To ex- prefs any one paffion juftly, is a certain proof that he is pofTefled of a lively Imagi^> nation j but to be able to cxprefs fuch a number of contrary ones, all of which have been conceived by the creative: power of his own fancy, is an infallible indication of a Genius truly- coMPREHjsNsivE and origi- nal. In fuch an latterrjpt, the Artiftmuft draw all; his ftores from himfelf ; he muft' invent the figures which compofe the pic- ture j defign their diiferent attitudes- and exprefs the variety of paffions difcernible in them, with juftnefs and force. By acr-: complifhing thefe purpofes, the illufion is rendered complete. Every figure in the piece is animated with nature, and fluflied with lifej and the whole painting, taken together, at once delights the imagination, and fpeaks to the heart -f. We I That excellent Critic, whom we have had fuch frequent occafion to quote, feems to think, that, in fome 2W AN E S S A t We fliall only farther obferve on this fubje6\:) that though original Genius is difplayed in the higheft degree and in the nobleft rphere in History-painting, yet it may fometimes be difeovered, in no in- confiderable meafure, in descriptive PIECES ; at lead where the ingenious Artift, inftead of copying real obje6i:s, exhibits, as in the former cafe, fuch as are the mere creation of his own fancy. Even Land- fcapes, Grotefques, and pieces of ilill Life, when they are invented by tjiis plaftic power of the mind, and not imitated from fceiies that a6lually exift^ indicate an originality ,:.i r;Oi.: .. .. ; . ; ■.. ,._^^.- ■ .^ fpme. cafes, a good pl<5lure may procfuce a flronger ef- rea" ui)6n the fnihd of the fpe'iftator, than a good ofa- tioft upon the nlind of the hearfer. Speaking of the efficacy of geilure atvd action, he obferves ;
  • ' Nee mirum fi ifta, quae tamen in aliquo funt po-
  • • fita motu, tantum in animis valent ; quum pi£tura,
" Hcens opus & habitus femper ejufdem, fie in in-
    • . tixnos penetret afFeflus, ut ipfam vim dicendi non-
«* nunquam fuperare videatur." Quintil. In/iit. lib. ii. cap. 3. .j^.^, 'of . ON GENIUS. 203 of Genius fuitable to the obje6ls on which it is employed. Thus we have feen what thofe branches in the art of Painting are, in which origi- nal Genius will difcover itfelf ; and how, and in what degree, it will exert itfelf in thofe branches. Let us next confider how far this fingular talent may be diiplayed in the art of Eloquence, and what its efforts wiliprobably bein that art. :r::!r/j:t:S Aristotle, that acute Philolbpher as well as judicious Critic, hath de£ned rhe- toric to be the power of difcovering in every fubje<5l the topics moft fuitably adapt- ed to the purpofes of perfuafion *. This definition appears to be juft in general, as it includes the principal obje6l of Elo- quence, which is doubtlefs to perfuade, by ^ciAt*o> vfiBavof. Aristot. lib. i. cap. z. convincing 204 AN ESSAY convincing the judgment, and influencing the paflions. To attain this objecl, a va- riety of qualifications, rarely united in one pcrfon, are requifite. An ex ten five and exuberant imagination, a penetrating judg- ment, an intimate acquaintance with hu- man nature, with the various tempers and paflions of mankind *, and their various operations, muft concur to form the ac- complilhed Orator -f. Befides thefe fun- damental qualifications, an exquifite fenfi- bility of paflion, an ardent, impetuous, and
  • *' Q2_iis enim nefcit maximam vim exiftere Orato-
  • ' ris in hominum mentibus, vel ad iram, aut ad odium,
    • aut doloren^ incitandis, vel ab hifce iifdem permod-
" onibus ad lenitatem, mifericoidiamque revocandis ?
  • ' quae riili qui naturas hominum, vimque omncm hu-
    • manititis, caufasque eas, quibus mentes aut incitan-
" tur, aut refieduntur, penitus perfpexerit; dicendo,
  • ' quod volet, perficere non poterit." CiCERO de
Orfl/cr^, lib. i.' cap. 12. t Thofe who are defirous to know the various qua- lifications requifite to form a complete Orator, may confult the fifth chapter of the firlt book of Cicero de Oratore, overpowering ON G E N I U S. 205 overpowering enthufiafm of imagination, are eflentially requifite to a maftery and fuccefs in the rhetorical art, and particu- larly diftinguifh an original Genius in that profeflion -f*. By pofTefllng the firfl of thefe qualities, the Orator is enabled to feel every fentiment which he utters, and parti- cipate every emotion which he defcribes. By pofleffing the laft, in conjunclion with the other, he is enabled, by a torrent of rapid eloquence, to convey to the hearts of his hearers, thofe ftrong and enthufi- aftic feelings, by which he is himfelf ac- tuated. t Cicero, confidering the caufcs why fo few emi- pent Orators have appeared in any age or countrv, accounts for the fa£t from the inconceivable difficulty of attaining diftinguifhed excellence in Eloquence :
  • ' Quis enim aliud in maxima diicentium multitu-
    • dine, fumma magiftrorum copia, pra;iian:ifHmis
  • ' hominum ingeniis, infinita raufarum varictatc, am-
    • pliflimis Eloquentize propofitis prasmiis, effe caufse
  • ' putet, nifi rei quandam incrtdibilem rnagnitudinem,
  • « ac difEcultatcm r" De Oratore^ lib. i. cap. 5.
We ao6 AN ESSAY We may farther obferve, that . a per- son endued with an original Genius for Eloquence, will at one glance, by a kind of intuition, diftinguifh and felecl the moft proper, as well as moft power- ful topics of perfuafion on every fubjecV, and will urge them with irrefiftible ener- gy. Thefe topics will, for the moft part, be very extraordinary, and altogether un- expected ; but they will conftantly produce the intended efFe6l. They will operate up- on the mind by furprife ; they will ftrike like lightening, and penetrate the heart at once. We fhall produce a few inftances of this impallioned and perfuafive Eloquence, from thofe illuftrious ancient Orators, De- mosthenes and Cicero, in order to ex- emplify the above remarks ; and fliall tranf- late the paflages for the fake of the Eng- li/h Reader. The following paffage is taken from that celebrated oration of Demost- henes, which procured the banifhment of /ESCIIINES, ON GENIUS. 207 iEs CHINES, his enemy and nvalrj-. > GxE* SIPHON having propofed that a Crown of Gold fhould be prefented to Demosthe- nes, as a teftimony of the refped of his fellow-citizens, upon account of the emi- nent fervices he had done to his country; ^scHiNEs ftrenuoufly oppofed the motion, as contrary to the laws j and ventured to arraign his rival before the Athenian people, accufmg him of mifcondufl in the courie of his miniftry, and charging him with being the author of all the calamities brought upon the Athenians by their war with Philip. Demosthenes, having vin- dicated his character in general from the f unjufl afperftons thrown upon it by iEscHi- NEs, proceeds to juftify the particular mea- fures which he had concerted, with the approbation of other leading men in the \ ' adminiftration, notwithftanding the event of thofe meafures had been unfuccefsful. I Vide I>E,MOSTH. de Corona. Thus 2o8 AN E S S A Y ^ Thus he introduces his fpirited argumen- tation *. This --«-' vTTEe^o^rjv 9avi*ao-»», aXXa fteT tvvoieci; o Xeyu Beu^v(raru. Ei y«p ))V aivxa iygoS'>)Xa ra ^eXAovra ysn'rjfrte&at, xat tST^oriluToa iraKTE?, Kai o"o «cgo£XEy£; Ai^t»»j, xai StecfMc^ rv^u 0ouj xctt x.ixpx^ii3<; 05 owJ' tCpSiy^u, ov^ aT«i aTroraTson tjj -areXEi TotiTtj* v» nwif n ^o^»)?> 1 iB'^oyovuf, n ra ftEXXoirl©' aiw^®- «»;^t x»- yo». Ni^» /*5» ya? a7roTt;;)^6tv ^oxn rwy iir^uffjiXTut, o -rr^a-t xotyo* If* avGgwTOK, oraK to Sew rauTa ooxr). Tort o a^max ttraoto rcci'Oit ruv aXXwc, stra aTorai:ra rara, 0»XX»7r7r4> "JC-^o^E^wxEKaf araiila?! a" f'x"' "'T'*** Ei ya^ Tavra 'sr^oEiTa axcrri •nrtfl* Jv ouJif* xj»Jovoii Swe* "* «% «»'6/At »!'«)' ot "nrgoyojioi, rtf apgi *«^ rvTtlverti a» try. M») yap T»)f 'sroXiu^ ye, fxriy if/.^. Toj<r» ^' 0^-
  • wp»©' ^g«0l <I'»X»W7r<^ aTrflwToiv, To» Jt yTrtj ra f^sj yiyEj&ai recvru.
ayuva, fT£§o» %«gU r;ji*w>i ♦jcai' ^nreTroiYifjuvQi. Ka» ra.vret ^jj^i ■jrw woTi T»)? WoXtwt, «» TOK £f*7r^0(7&6it ;!<;^o»o(5 ao-^aAsjav a^o|ov
  • ' But fince my adverfary lays fo much ftrefs upon
events, I will venture to advance a paradox j and in the name of Jupiter and all the Gods, let none of you wonder at the apparent hyperbole, but let every one attend with candour to what I am going to fay. If the things which afterwards happened had been ma- nifeft ON GENIUS. 209 This great Orator having by the above> •/ *i* and nifeii to all, and all had fotefeeri them j if even you,' -ffiscHiNEs, had foretold and declared them with your bawling and thundering voice, who by the way never till now uttered a word concerning them; even iri that cafe Albens ought by rio means to have altered its mel- fures, if it had any regard to its own glory, to the glory of its anceftors, or to that of fucceeding gene- rations. . At prefent indeed it feems to have fallen from its priftine grandeur ; a misfortune commdn to all ftates and all men^ Whenever the Deity is pleafed to, order it, fo. But Athens, having once been thought worthy of the precedence of all the other Grecian Re- publics, could not relinquifh this glorious claimj noi* plead an exemption from the dangers attending itj without incurring the blame and difgrace of abandon- ing the common intereft to the rapacious ambition ot Philip. If it had relinquifhed, without a firuggle^ thofe privileges which our anceftors braved every dan- ger ta maintain, who, ^^schines, would not have defpifed your timid prudence ? for no fhare of the blame could juftly have fallen on the other members of the commonwealth, or upon me. — Great God I with what eyes fhould we in that cafe have looked upon this great multitudcj aflembled from all parts of Greece, now hearing me, if things had come, by our own faults, to the condition we fee them in at pre- fent ; and Philip had been created General iifimo and Sovereign of all the Greeks, without our having united -:•. V P our 210 AN ESSAY and many other ftriking arguments, evinced the re(5litude of his own condudt, as well as of the condudl of his partners in the adminiftration, in carrying on the war againft Philip, comes next to touch upon the battle of Charoneay which had been fo fatal to the Athenians ; and as the defeat they had there fuftained was fuppofed to be a confequence of the meafures that had been adopted, this defeat was, by his ene- mies particularly, charged upon Demost- henes, as having been the principal author of the meafures which brought on that un- happy event. The vindication of himfelf and his fellow- citizens, who had been ei- ther the advifers or fharers of that unfortu- nate, but glorious engagement, by the fol- lowing aftonifhing and fublime Oath, is our aid, with that of the other Grecian States, in order to prevent fo great an indignity ? efpecially when we confidcr, that in former 'times it hath been always the chara<Ser of \\it Athenian Republic to pirefer glorious danger to diftionourable fafety.** one ON GENIUS. 211 one of the bcldefl flights of rhetorical Genius -)* . This is one of thofe ftrokes of Elo- quence, which produce the intended ef- fe6t by an inftantaneous and irrefiftible impulfe, whirling away the fouls of the Ov ^ Tov( CK iJLetfa,6uvt tapoKiv^ufiVcritvrUi; tuy 'E^poyofuy, xxi "rsf « iirXa.TatetTi mu^a.ta.^x^ivei;, kch tk; t» (rxXccj/Xvi txvfjM- ^■/laxyTai;, text rui tir afrijjua-ta, xai moXXni trtfn^ r«f f» to»j ii^fiQcriOi^ ^n}/xa«r» xiif/^ivai; ayatQa? acJpaf. Ou? «7ra»T«j o/*o»«< ^— ** But it cannot be, Athenians^ it cannot be, that you have erred in expofing your lives for the freedom and fafety of Greece. — No, you have not erred, I (wear by your illuftrious anceftors, who hazarded their lives in fupport of the fame glorious caufe in the fields of Marathon, by thofe who made fo brave a ftand at Plataa, by thofe who fought in the fea-engagement at Salamin, by thofe who fell at Artemifium^ and laftly by thofe many other excellent foldiers and citizens, the martyrs of liberty, who lie interred in public monu- ments, which this city, regarding them as worthy of fuch an honour, hath raifed to their memory and fame." P 2 hearers 212 AN ESSAY hearers at once, without leavhig them time to weigh the motives of convi^lion or per- iuafion *. The
  • An Orator of common Genius would never have
thought of fo extraordinary a method of argumenta- tion, as Demosthenes here ufes, for vindicating the cbnduiSl of the Athenians in hazarding the battle of Chceronea^ and for reconciling them to the lofs of it. He would probably have fatisfied himfelf with pro- ducing precedents of the fame kind, and with obferv- ing that their ancellors had fought the battles of Ma- rathon, Plataa, Sulamin and Artemiftum, in defence of the liberties of Greece \ but the Athenian Orator, in- ftead of this cool reafoning, hurried away by the en- thufiafm and Impetuofity of his own Genius, fets be- fore their eyes, as it were by the moft fublime and ftriking figure, the awful fliades of their fathers, who had facrificed their lives in the caufe of Liberty. By fwearing by thofe illuftrious Heroes, he raifes them above the condition of humanity, and propofes them both as the objects of admiration and imitation. No- thing indeed could have been more happily calculated for comforting the Athenians under the defeat they had fuftained at Charonea, and raifing their deje£led fpirits, than- this folemn appeal to their anceftors, by which the Orator fcems to put that defeat on a level with the vidlories ON GENIUS. 213 The laft quotation we fhall produce, from the Orations of Demosthenes, fhall be taken from his firft Philippic. The Orator, having inveighed againft the indo- lence of the Athenians in fuffering Philip to victories which they had obtained at Marathon, Plataa^ Salamin, and Artemifiwn. Thofe who are defirous of feeing the above cele- brated paflage Hluftrated in the trueft tafte of Criti- cifm, may confiilt the fixteenth chapter of LoNGi- Nus's Treatife on the Sublime j where that excellent Judge of the beauties of Comporitfon hath obferved, that by this fingle figure, which he calls an Apoftrophe, the Orator hath enrolled thofe ancient Heroes among the Gods, and taught us that it is proper to fwear by fuch as die in the fame manner : J; ^E»; of^vxneci trx^ircunui. From this fhort fpecimen, our Readers will perceive that the Critic in his illuftration rivals the fublimity of the Orator. For farther fatisfadlion we muft _refer them to the above-mentioned chapter, the limits of our plan npt aljowing us to fwell out the page with gyQtatio^s. P 3 extend 214 A N E S S AY extend his conquefts without moleftation, addrefi'es them in the following clofe, point- ed and energetic interrogatories, To worthy of the Orator and the Patriot *. The
  • nor' av u ccvifsf cc&xvaitot, wore » p^pij •mfot^sTs. E'ru^cct
T» yivnTcci ? fTTi^xv vri ^ta. acvocfxriTu; 7) ? vvv oe n ^fv) ra, yiy\io- tutva. iiyet^en ? lyuiJUiv yap oifjuan Tot^ tXtuQspotj fAiyirtiv aveclxviy TVii viTif Tuv imfctyf/.a.rav a.i ^vvriv utai. H ^«X£(56 i»7ri fjioi rsgfovTit; ocvroiv 'mvv^a.noiai Kxtae, Tt}» tuyofctv, 7\iytrxi ti xajx yov ? yniovro yctf uv n xajvoTtpov, n i^otx-cau* avrif a,Si})>onii<; xet- TairoXcf/.av, xat rot ru» tWtivuv oioncuy ? Ts^vvixt ^tXtw^r®* ? ov 14.x ^J, a2tX «(&««. T* ^i;/x»» ^ta^Eg« ? x«t y«^ «y otT<!&' Ts ':t!x^rt 1x^(^1(111; yftjij aTipoy ^^^^'S■9^0K woiijo-ste, air artpi ou- Tft» 'BTpocrspijrTs Totj wparftao"* tok nouy not yxp ot/T^ 'arufx rii* $xvTii g«/Aij!/ TocraTov iviv^irxi oa-ov vxfo, mv ■njj.tttcxv etua- huxv.
  • ' When, Athenians^ when will you a£t as you
ought ? When fhall fome extraordinary event roufe you ? When (hall fome imminent neceffity compel you ? But what fhall we think of the prefent jundlure, and of the events which have already happened ? For my part, I look upon the difgracefulnefs of our paft conJu«£t:, to be the ftrongeft incentive, the moft urgent neceffity to free men to alter their meafures, and a6t z more fpirited part. Or tell me, Do you rather incline, according to your ufual cuftom, to fanter about idle, aflcing each other in the forum, What news ? Can there ' ^ ■ '- j,^ ON GENIUS. 215 The Athenian Orator paints the idle cu- riofity of his countrymen with great mas- tery in the above fhort queftion, Kiyirdu n Knim} " What news?" and the eloquent Apoftle of the Gentiles confirms this cha- ra6ler of the Atbemans^ by the obfervation which he made on their condufl during his abode among them. He tells us, that
    • they fpent their time wholly in hearing
    • and relating fome new thing." K^vfuut /s
^<tr7« ci< wJiip hifov ivKeufvv n Kiyitv rt xtti «Kv</r iut,iforifcv *. The interrogation of the Ora- tor, ytfiiTo yuf ttv T/ KtiipoTifov If fJMKiJicty ttytiff be any thing more nezv^ than that a man of Macedo" nia has dared to make war on the Athenians^ and go- verns the reft of Greece ? Is Philip dead ? fays one : No, replies another, but he is certainly fick. What, pray, does either fignify to you ? For whatever be his cafe, whether he be fick or dead, you will foon raife up another Philip, while you manage your affairs in fo liftlefs and indolent a manner ; for he hath attained his prefent grandeur, niore through your inadlivity than his own bravery." \ Ailsxvii. 21. P 4 A%iV*4%i, 2i6 AN ESSAY tt^ipaitiit KATarrohifiav Ktt to 7a>v i^httfup ^loiKov ?
  • ' Can there be any thing more new, than
that a man of Macedonia makes war upon the Athe7jians, and governs the reft oi Greece V is highly fpirited and poignant j fhews the difdain with which Demosthenes himfelf viewed the infolence of Philip ; and was admirably calculated to produce a fenfe of honeft flianie in the minds of his country- men, to roufe their ancient fpirit of liberty, and excite the ftrongeft jealoufy of the de- fjgns of the Macedonian Monarch. The art and addrefs of the Orator is in thefe rcr fpefls truly admirable. Every one muft perceive the keen and exquifitely fine irony of the following queftion, Teflfujce ^/x/^^of? " Is Philip dead ?" and of the anfwer, «v itd //, AKh Avhyii ', " He is not dead, but he is fick." Thefe few quotations will give the Reader fome faint idea of the originality and fpirit, of the fublimity and energy, of the elo- quence of Demqsthenes. We Ihall next produce ON GENIUS. 217 produce a few paflages from the Orations of Cicero, which will alfo ferve to illuflrate the preceding remarks on original Rhetori- cal Genius. The Roman Orator having, with the other fenators, obtained certain informa* tion of the execrable confpiracy of Cati- line, breaks forth in a torrent of abrupt, vehement, and rapid eloquence, in the fol- lowing addrefs to this chief of the confpita- tors, whom he pointed out to the whole af- fembled fenate *. So
  • ** Quoufque tandem abutere Catilina patientia
-** noftra ? Quamdiu etiam furor ifte tuus nos eludet ? " Q^iem ad finem fefe efFrjenata jaftabit audacia ?
    • Nihilne te nofturnum praefidium palatii, nihil urbis
•* vigiliae, nihil timor populi, nihil concurfus bonorum »* omnium, nihil hie munitiflimus habendi fenatus lo- •* cus, nihil horum ora vultufque moverunt ? Patere
    • tua confilia non fentis ? conftri£lam jam horum om-
" nium confcientia teneri conjurationem tuam non vi- •• des ? Quid proxima, quid fuperiore no<Se egeris,
    • ubi fueris, quos convocaveris, quid confilii ceperis
2i8 A N E S S AY So energetic, fo particular, and To pointed an accufation, could not fail to confound even
  • '.' quern noftrum ignorare arbitraris ? O tempora ! O
  • ' mores ! Senatus haec intelligit, Conful videt, hie
  • ' tamen vivit ! Vivit ? Imo etiam in fenatum venit,
  • ' fit publici confilii particeps ; notat & defignat oculis
    • ad caedem unumquemque noftrum f.
  • ' How long, Catiline, will you abufe our pa-
tience ? How long (hall your defperate fury elude our vengeance ? For what end does your unbridled auda- cioufnefs thus triumph ? PJas not the nocturnal garifon of mount Palatine^ have not the watches of the city, has not the fear of the people, has not the united con- courfe of all good men, has not this guarded fenate- houfe, have not the venerable countenances of thofe confcript Fathers, have not all thefe the power to dif- arm thy rage, and to foften thy unrelenting heart ? Do you imagine your defigns are not difcovered ? Do not you fee that your confpiracy is baffled by the time- ly knowledge of all thefe Senators ? What you did the. laft, what the preceding night, where you was, whom you called together, what refolutions you form- ed, is there any one here, think you, ignorant of? O times I O manners ! The Senate is made ac- quainted with thefe things, the Conful fees them ; yet this wretch lives. Lives ! did I fay ? Nay, he hath f Oiat. priiti. In Cht, had O ir G E N I IJ S. 219 even the audacious Catiline. Ciceiro, we may obferve in the above inftance, de- parts from a general rule, which, with great propriety, requires for the moft part, that the exordium of an oration be cool and difpaflionate. The obfervance of this rule indeed depends upon the fubjeft and the occafion j and furely the occafion of the oration to which we refer, demanded the utmoft vehemence and energy. The Orator tranfgrefles the fame rule with equal propriety in his fourth Oration againft Catiline, which is animated and interefting from the beginning. Having, in the introdudlion to his difcourfe, acknow- ledged in a very graceful manner the grate- ful fenfe he had of the Senate's concern for his fafety, he comes, by a natural tranfi- \)zd the daring infolence to enter the fenate-houfe, and to (hare in the public deliberations, while he fingles out every one of us with his eyes, and deftines us to daughter." tion. 220 A N E S S AY tion, to touch upon his own dangerous lituation, the defcriptlon of which is wrought up with the higheft art, as it recals at once to the remembrance of his hearers, the va- rious labours and hazards he had under- gone for the fake of his country, in the part he had acled in the deteftion of Ca- tiline's confpiracy *.
  • " Ego fum ille Conful, Patres confcripti, cui non
  • ' forum in quo omnis aequitas continetur : non cam-
  • ' pus, confularibus aufpiciis confecratus : non curia,
  • ' fummum auxilium omnium gentium : non domus,
  • ' commune perfugium : non leflus, ad quietem da-
" tus : non denique haec fedes honoris, fella curu-
  • ' lis, unquam vacua mortis periculo atque infidiis
«' fuit."
  • ' I, confcript Fathers, am that Conful, to whom
not the forum in which juftice is diftributed j not the martial field confecrated by confular aufpices ; not the Senate, the chief aid of all nations ; not the houfe, every one's common refuge ; not the bed, defigned for repofe ; not, finally, this feat of honour, this curule chair, have ever afforded fecurity from the dangers and the fnares of death." The ON GENIUS. 221 The Orator then proceeds to enumerate the fervices he had done to the common-' wealth in the inveftigation of the above- mentioned confpiracy, as well as to point: out the rifk with which they were per-: formed ; a relation, that great as thofe fer- vices were, would, it muft be confoSed, have come better from another mouth. One is indeed forry to find the vanity of Cicero, which was his diftinguifhing foi-' ble, difplayed. in fo glaring a manner in this, as well as- in feveral other inftances ; but let candour draw the veil over his foi- bles, in confideration of his eloquence and merit. It would be a material omiflion, while we are producing fpecimens of Cicero's orato- rical talents, to overlook his celebrated ora- tion for his friend Milo, accufed as the author of the death of Clodius ; an oration in which TuLLY hath exhibited an aftonifli- ing difplay both of his reafoning and pathe- tic talents, and in which he hath united Imagination, 222 AN ESSAY Imagination, Judgment and Art, in thtf higheft degree. After having proved by an accurate and diftin6i: detail of circum-* fiances, urged with great force of argument, that MiLO could have no defign upon the life of Clod I us, but that, on the contrary, theJatter had confpired againft the life of MiLO, in the attempt to execute v^^hich in-- tention he was himfelf flainj the Orator breaks out into a fublime apoftrophe, ad- dreffed to the altars and groves which Clo- PIUS had polluted by his impurities, im-^ puting the original caufe of his death to their juft vengeance, and that of the Gods whofe rites he had violated -f-. It " -f " Vos enim Jam Albani luci atque tumuli, vos " inquam imploro atque teftor, vofque Albanorum <« obrutae arse, facrorum populi Romani focias & a;qua-
  • ' les, quas ilie prasceps amentia, caefis, proftratisque
    • fancSliflimis lucis, fubftrudlionum infanis molibus
•' opprefferat : veftrae turn arse, veftrae religiones vi-^
    • guerunt, veftra vis valuit, quam ille omni fcelere'
  • • polluerat : tuque ex tuo edito monte, Latialis fande
  • ' Jupiter, cujus ille lacus, nemora, finesque fepe omni
..; .** " nefario O N G E N I U S. 223 -'Jit is the privilege of Eloquence, as well as Poetry, to employ thofe figures which
v. give
" nefario ftupro & fcclere macularat, aliquando ad <♦ €iim puniendum oculos aperuiftis : vobia illae, vpbis
    • veftro in confpcjSlu forse, fed juftj? tamen, & dlebitze
" poenaf fplut2^funt." . ** Ye hills and groves of JH/a^ and you /flhan altars, n^emqrials. of the l^oman rites, and coeval with t\\z Roman natne, facred groves and ahafs, rafed by his defperate raadnefs, ai>d on the ruins of which he reared thofe impious piles.; yqu I implore, and call to wi^nefs liis guilt. Your rites polluted by his crimes, your worftiip profaned, your authority infuhed, have at laft difplayed their irengeanc??; and thou, divine £tf- tian Jove, whofe lakes, woods and boundaries, he had fo often defiled' with his deteftable impurities, didft at laft open thy eyes, and look down from thy high and holy bill tq punifti this prafliga^^: wretch ; to you his blood was due, and \t[ your fight the long delayed ven- geance was at laft inflidled !" The learned Reader will obferve, that the Author hath taken cpnfiderable liberty in the tranflation of the above paflage. As the principal thing to be regarded in every verfion is to tranflate the fenfe, and, if pofli- ble, transfufe the fpirit of an Author from one lan- guage into another, which, confidering the different idioms of languages, is impoflible to execute, by ren- '.OfJ dering 224 AN ESSAY give life, motion, and fenfe to inanimate matter. Such figures, when judicioufly introduced and properly fupported, give inexpreflible dignity, vivacity, and energy to rhetorical compofition; as they always indicate not only Originality, but likewife great Sublimity and Strength of Genius. Every Reader mud perceive the difference betwixt faying that Clodius was flain by the juft vengeance of the Gods for his profanation of their groves and altars, and a folemn addrefs to thofe hills, groves, and altars, as well as the Deities who prefided over them, by a ftriking profo- popceia, as if they were real perfons, call- ing them to witnefs his guilt, and imput- ing his death to their refentment upon dering word for word ; he found himfelf obliged, in order to do fome kind of juftice to the original, to admit fome tranfpofitions and circumlocutions, which, though they have occafioned an alteration in the or- der and arrangement of the periods, have however enabled him, as he conceives, lefs imperfedly to exhi- bit the fenfe. account ON GENIUS. 225 account of their violated rites. In the firft cafe we are unmoved, in the laft we arc tranfported with aitoniftiment at the no- velty, vivacity, and grandeur of the re- prefentation. We fhall fubjoin two fliort pafTages, taken from the end of this Oration, as fpe- cimens of Cicero's talents in moving the pallions of his hearers, a qualification the mod eflential of all others in an Orator. One may- perceive him gradually warm- ' ' ing towards the conclufion of his difcourfe, till he works himfelf up to the higheft fervour and energy of paflion. We can fcarce conceive an addrefs more animated and perfuafive, or more happily adapted to roufe the afFe6lions of the Soldiers, who guarded the Aflembly, than the fol- lowing *. The • " Vos, vos appello, fortiflimi viri, qui multum
  • ' pro republica fanguinem effudiftis : vos in viri & in
Q^ ** civi» fe2g AN ESSAY The Orator concludes his difcourfe with a panegyric on the virtues of Milo, repre* fenting " civis invidi appello periculo, centuriones, vosquc
  • ' milites : vobis non modo infpeftantibus, fed etiam
  • ' armatis Sc huic judicio praefidentibus, base tanta
  • ' virtus ex hac urbe expelletur ? exterminabitur ? pro-
S'.jicietur ? O me miferum ! O infelicem ! revocare
.**• tu me in patriam, Milo, potuifti per hos : ego te in " patria per eofdem retinere noir potero ? Quid re-
  • ' fpondebo Tiberis meis, qui te parentem alterum pu-
  • ' tant? Quid tibi, Q^Frater, qui nunc abes, conforti
" mecum tempotum illorum ? me non potuiffe Milo-
    • nis falutcm tuert per eofdem, per quos noftram ille
    • fervaffet?'*
    • You, you braved of men, I call, who have fhed
ia much of your blood for the commonwealth. You centurions, aiid you foldiers I invoke, while the fate of an unconquered man and citizen h in fufpenfe. Shall fo much virtue be banifhcd, exterminated, cail out from this city, while you are not only fpc£tators of this trial, but the armed guardiai>s of it? Unhappy- arid ,miferable that I am ! Could you, Milo, recal me "from banifliment into my native country by means of thefe men ? and fhall not I be able to prcfervc you in your country by their means ? What (hall I fay to my -children, who regard you as another parent? what to thee, my abfent: brother Quintus, who didft partici- ON GENIUS. 22f lenting at the fame time, in a very animated tnanner, both the lofs and difgrace which would redound to his country from his ba* nifhment -j-. Thefe pate with me \n the dangers of thofe unhappy times ? that I could not infure the fafety of MiLO by the fame perfons by whom he fecured ours ?" t ** Hitcine vir patriae natusj ufquaih nifi in patria
    • morietur? aut, (i forte, pro patria? Hujus vos ani-
  • ' mi monumenta retinebitis : corporis in Italia nullum
    • fepulchrum efie patiemehi ? hunc fua quifquam fen-
,** tentia ex hac urbe eXpelleti qwem omnes urbes ex- , ** pulfumj a vobis ad fe vocabunt ? O terram illarrx ,** beatatiij qua: hunc virum exceperit ! banc i'ngratam, '** fi cjecerit} miferam, fi amiferit ! Sed finis fit. Ne-
    • que enim praj lacrymis jam loqui poflum : & hie fe
" lacrymis defendi vetat." " Shall this man, born for his country, die artj^ where but in his country ? or, if the Gods order it {oy For his country ? Will you retain the monuments of his genius, and allow no fepulchre to his body in Italy ? Shall any one by his vote banifh a man from this city, whom, once banished, all other cities v/Hl Invite to refide in them ? O happy land, which flialt xcccive this excellent perfon ; ungrateful that iLall ba- 0.2 t^\Qk 128 AN ESSAY ' Thefe quotations from the Orations of Demosthenes and Cicero, though they cannot give us a proper idea of the aflonifh- ing eloquence of thofe celebrated Orators, which it is impoffible to exhibit by a few unconne6led extracts, will however ferve to fhew the power of original Genius in Elo- quence, the chief purpofe for which they were produced; and that this rare talent, wherever it is found, will always difcover itfelf, as we have already feen, in employ- ing the moil fublime, the moft fplendid, and the moft ftriking figures in compofition, ■as well as in inventing the moft furprifing, and at the fame time the moft proper topics of perfuafion on every fubjeft, which it will difplay in all their force, and urge with ir- refiftible efficacy. - jiifh him ! miferable that fhall Jofc him ! But I con- clude. Nor will my tears allow me to proceed j and the perfon in whofc cauCe I (peak, confcious as he is of his own innocence, diiiJains the aid and importu- i-yty of tears." It ON G E N I US. ^2^ It is impolTible to avoid obferving on this fubjed, that there is no art in which the Moderns come fo far fliort of the Ancients as in that of Eloquence. We mud not however omit to take fome notice of mo- dern Eloquence j and here it would be in- excufable intirely to pafs over the French Orators, who, though it cannot be pre- tended that they have equaled the illuftrious Ancients above-mentioned, have however difcovered a high degree of rhetorical Ge- nius. We (hall lay before the Reader a few extra6ls from the Sermons of Bourdaloue and Massillon, paffing over at prefent BossuET and Saurin, whom we fliall have pccafion to take fome notice of in another part of this EfTay. Bourdaloue, dcTcribing the future pu- nilhment of the wicked, of which he reprc- ients their banifhment from the immediate "prefence of the Deity as an eflential part, inquires what is implied in the idea of fuch a feparation. The Reader will obferve that Q^ his i^6 AN ESSAY his reafoning upon this point is fpirited and emphatical : " Car qu' eft ce qu' d' etre
  • ' fepare de Dieu ? Ah ! Chretiens, quelle
    • parole ! la comprenez vous ? Separe de
♦* Dieu, c'eft a dire, prive abfolunient de
    • Dieu. Separe de Dieu, c'eft a dire, con-'
    • damne a n' avoir plus de Dieu, fi ce n'eft
  • ^ un Dieu ennemi, un Dieu vengeur. Se-
  • ' pare de Dieu, c'eft a dire, dechu de tout
    • droit a Teternelle pofteflion du premier de
•' tous les etres, du Souverain etrc qiii eft
    • Dieu *." After having infifted on the
certainty of the future puniftiment of the wicked, the Preacher, aftonilhed at the in- difference of mankind to this great truth, exclaims j " Eft ce ftupidite ? eft ce inad-
    • vertence ? eft ce fureur? eft ce enchante-
    • ment ? Crayons-nous ce point fondamen-
  • ' tal du Chriftianifme ; ne le croyons-nous
  • ' pas? fi nous le croyons? Ou eft notre
    • fagefie ? ft nous ne le croyons pas, ou eft
♦ Vol.y. Serm,2. ON GENIUS. 231
    • notr6 religion ? Je dis plus : Ci nous ne
    • le croyons pas ? que croyons-nous done ?
    • puisqu'il n'eft rien de plus croyable, riea
" de plus formellement revele par la parole
  • ' divine, rien de plus folidement fonde dans
" la raifon humaine, rien dont la creanee
  • ' foit plus necefTaire pour le tenir les hom-
" mes dans le devoir, rien fur quoi le doute
  • ' leur foit plus pernicieux, puisqu'il les
    • porte a to us les defordres "f-."
Massillon, whom we may Juftly re- gard as the Prince of modern Orators, dlf- plays great power over the paflions in many of his Sermons -, particularly in that " on the Death of a Sinner," where he rifes to an uncommon pitch of Eloquence. His defcription of this unhappy man in the laft agony of nature, is equally pi£lurefque and affeifling : ** Alors le pecheur mourant ne
  • ' trouvant plus dans le fouvenir du pafse
f Vol, V. Serm, 2, Qjj. « que '232 AN ESSAY que des regrets que Faccablent ; dans tout que ce pafse a fes yeux, que des images qui Taffligent j dans la pensee de I'avenir que des horreurs qui I'epouvantent : ne fachant plus a qui avoir recours -, ni aux creatures, qui lui echappent ; ni au monde, qui s'evanouit ; ni aux hommes, qui ne fauroient le delivrer de la mort ; ni au Dieu jufl-e, qu'il regarde conime un ennemi declare, dont il ne doit plus attendre d'indulgence : il fe roule dans . fes propres horreurs ; il fe tourmente, il s'agite pour fairp la mort qui le faifit, ou du moins pour fe fuir lui-meme : il fort de fes yeux mourans, je ne fai quoi djc fombre 6c de farouche, qui exprime jes fureurs de fon ame ; il poufle du fond de fa trifteffe des paroles entrecoupees de fanglots, qu'on n'entend qu'a demi ; ^ qu'on ne fai fi c'efl le defefpoir ou le re- pentir qui les a formee j il jette fur un Dieu crucifie des regards afFreux, & qui laifTent douter fi c'eft la crainte, ou I'efpe- raiice, la haine ou I'amour qu'ils expri- ^* nient| ON GENIUS. 233 " ment j il entre dans des faififTemens cu '* Ton ignore fi c'eft le corps qui fe diflbud '** ou I'ame qui fent I'approche de fon Juge : " il fopire profondement & Ton ne fait fi " c'efl le fouvenir de fes crimes, qui lui ar-
    • rache fes foiipirs ou le defefpoir de quitter
'** la vie. 'Enfin, au milieu de fes trifles " efforts, fes yeux fe fixent, fes traites
    • changent, fon vifage fe defigure ; fa
" bouche livide s'entre ouvre d'elle meme :
    • tout fon efprit fremit ; & par ce dernier
'* effort fon ame infortunie s'arrache comme '* a regret de ce corps de bouc, tombe entrc
  • • les mains de Dieu, & fe trouve feule aux
    • pieds du tribunal redoutable +." In the
fame Sermon, taking a view of the death of a good man, by way of contraft, we meet with the following eloquent exclama- tion : " Grand Dieu ! que de lumierc 1 «* que de paix ! que de tranfports heureux !
  • » que de faints mouvements d' amour ! de
t' '-1 ■ ■ \ Vol. I %QXVi\. 2. 234 A N E S S A Y " joie, de confiance, d' aftions de grace, ^' fe paffent alors dans cette ame fidele ! fa •* foi fi renouvelle ; fon amour 6c s'ejiflam-
  • ^ me ; fa ferveur s'excite 3 fa componction
^* fe reveille." It is very aftonifhing, that vv^hile our ©wn country can claim the honour of hav- ing given birth to feveral eminent Poets, and many great Philofophers, it fhould not have given birth to one accomplifli- cd Orator; and that, while it can boaft of having produced an equal to Homer m the perfon of Milton, it fhould never once have produced, either in the eloquence of the Pulpit or the Bar, a rival to Demost- henes or Cicero ! Indeed, when we con- fider the great variety of qualifications, both natural and acquired, neceffary to conftitute a complete Orator, we cannot expedl they fliould often be united in one perfon j though that this union fhould never have happened in any one inflance in modern times, mufl be confefTed to be really wonderful. What is ON G E N i tf S. 225 is fllll more furprifing, is, that in the vaft multitude of Sermons, which this age and the laft hath produced, many of which abound with fbUd reafonlng, as fome arb diftinguifhed by the elegance of their ftile, we have feen very few attempts at genuine Eloquence. The Author however takes a particular pleafure in obferving, that in fome Sermons lately publifhed, there are to be found feveral diftinguifhed fpecimens of true oratorial Genius ; and he makes no. doubt that he fliall oblige moft of his Readers, by giving a few fliort extracts from them. In a Sermon delivered before his Ma- jefty's Commidioner to the Church of ScoU landy in May 1760, by Dr Fordyce, and ■publifhed at Edinburgh^ the Preacher, after having (hewn in a very eloquent manner the folly and infamy of unlawful pleafure, pro- ceeds to take a view of the mifery attending it 5 in doing which he paints the voluptuary in a very alarming fituation, in the imme^ • - diato 236 A-Ii; ESSAY diate profpei5l of his difTolution. Let the candid Reader judge whether the following pafTage does not exhibit a very (Iriking pic- ture, of the flate of an abandoned Libertine in that awful crifis : " O the fliudderings, ,** the ftrong relu6lance, the unimaginable
  • ' convulfions that feize his nature, as he
    • flands lingering on the tremendous preci-
    • pice ! He wiflics for annihilation, which
^«* he often tried to believe in, but could " never ferioufly be convinced of. The , ," dreadful alternative intirely niiigives him. " He meditates the devouring abyfs of eter-
  • ' nity : he recoils as he eyes it." There is
a particular propriety in the (hort fentences which conclude this paflagej and they are as ftrongly expreffive of the fituation they are intended to defcribe, as any I ever re- . member to have read. After finifliing the ^defcrlption in a few more fentences, the Author very naturally and very emphatically _alks, " Is this the man that laughed the
  • «* children of wifdom and temperance to
    (corn? is- he of the fame opinion, think
' ^ ^ ' ** ye. ON GENIUS. 237
    • ye, at the laft ? " Then fdllows a reflec-
tion, as pathetic in itfelf as the language is beautiful in which it is exprefled : ** Ah, how " different his fentiments and language in " the bower of pleafure, and on the bed of " death ! " The Reader will find feveral other flrokes of true Eloquence in this Ser- mon, as well as in the other occafional Dif- courfes publifhed by the fame Author. There is a paffage much to our purpofe in a fmall colle6lion of Sermons, lately publifhed by Dr Ogilvie 5 who, though he has dedi- cated his Genius principally to Poetry, in which he has acquired a high and juft repu- tation, pofTefles at the fame time, in an un- common degree, the efiential qualifications of the Orator. In one of the Sermons above referred to, we meet with the follow- ing bold and fublime apoftrophe: " O ye
    • immortal fpirits ! who are at this moment
    • exulting in the regions of felicity, with
    • what fuperior indifference do you look
    • down on the little cares, the abfurd pre-
  • _* fumption.
^3? A N fi S S A Y '« fumption, the inconfiftent characlers of ^' mankind I You who can trace the fecret, '* the imperceptible fteps, by which Provi^ " dence hath conduced you to your eternal
  • f. inheritance, muft fometimes look with
  • ' an eye of pity on your furviving friends^
  • ' dancing the fame tirefome round of giddy
    • pleafure, and prepofleroufly afcribing to
" themfelves thofe actions, to which you fee
  • ' them gradually conducted by a fuperior
  • ' hand I " This abrupt and fublime addrefs
jbS a noble effort of elevated Genius. The Englifi Preachers are, it is certain, Jftore ,diftinguiflied by their justness of 5E.NTIMENT, aud STRENGTH of REASONING, than by their oratorial powers, or ta- lents of affecting the passions. More folicitous to CONVINCE than persuade, they (choofe to employ their abilities in endea- vouring to imprefs the mind with a fenfe of the truths they deliver by the force of argu- mentation, inftead of roufing the afFeftions ty the energy of their Eloquence. But though ON GENIUS. 630 though we meet with no examples in their writings of thofe ftrokes of paflion which PENETRATE and CLEAVE the heart at once, or of that rapid overpowering Eloquence, which carries every thing before it like a tor- rent ; yet there may be found in their Sen* mons many inftances of the moft fhining and delicate beauties of Rhetoric, fuch as indi- cate great fertility, though not equal FORCE of Imagination. Upon account of thefe beauties, Seed and Atterbury claim a particular preeminence. A dignity of sentiment, a smoothness, and easy ele- gance of diction, are remarkably confpi- cuous in the Works of both ; and the Ser- mons of the former are adorned with the richeft variety of beautiful and well-adapted imagery, that I have ever met with in a, profe writer. He excels peculiarly in the application of the metaphor. Let the fol-
lowing pafTage ftand as an example of his
dexterity in varying and appropriating this ..pleafing figure. Speaking of the advantag^es of a life uniformly good, he .adds, *' How " would 240 AN ESSAY •* would this SETTLE the ferment of our
    • youthful paffions, and sweeten the laft
" DREGS of our advanced age ! how would '* this make our lives yield the calmest fa- " tisfadion, as fome flowers flied the moil " FRAGRANT ODOURS juft at the clofc of tllC
    • day 1 And perhaps there is no better way
  • ' to prevent a deadness and flatness of
" fpirit from fucceeding,when the briskness
    • of our paffions goes off, than to acquire
•* an early tafte for thofe fpirit ual delights, •* whofe leaf withers not, and whofe ver- " dure remains in the winter of our days -f-.'* Having lliewn the infufficiency of the mere light of natufe to clear up our doubts, or re- move our fears, arifmg from the apprehen- fion of future punifliment for thofe crimes of which we are confcious, he concludes with an obfervation, in which,. by perfonify- ing Reafon, he rifes to a confiderable degree of Eloquence : " Here then Reafon was at " the end of its hue ; it flood upon the fhore. •[ Vol. I. page 296.
    • eyed
ON GENIUS. 241 " eyed the vaft ocean of Eternity which lay " before it, faw a little, imagined a great " deal ; but clouds and darknefs foon ter-
    • minated its narrow profpeft *.'* To thefe
we fhall only add one other paflage from the Sermon in which we found the preced- ing, as it will fhew what additional grace the moft noble fentiments may derive from a feries of imagery equally appofite and beau- tiful. '* Carry thy eye upwards to that
    • blefied place, where thy nature fhall be as
" it were caft anew, purified from all drofly •* mixtures and coarfe alloys of human " frailty, but brightened and refined as to
    • the fterling luftre and genuine excellen-
" cies of the foul. Here is one continued '* repetition of the fame unfatisfa6lory ob-
    • je<Els, and there is nothing new under the
" fun; but there, far perhaps above the
    • fun, new fcenes, new beings, new won-
    • ders, new joys will prefent themfelves to
  • Vol. I. page 321.
R « our 242 AN ESSAY ^' our enlarged view. Look then upon this ^' world as one wide ocean, where many are f^ fhipwrecked and irrecoverably loft, more
    • .are tofTed and flu6luating; but none can
f* fecure to themfelves for any confiderable " time a future undifturbed calm : the fhip '* however is ftill under fail, and whether
    • the weather be fair or foul, we are every
  • • minute making nearer approaches to, and
•* muft fhortly reach the fhore j and may it f* be the haven where we would be -f-! " The Bifhop of Rochejler^ defcribing the happinefs of an acquaintance with God, fums up the whole with the following beau- tiful and foothing refleftion j which is well calculated to infpire that ferenity of mind, which flows from the acquaintance he re-, commends. " O ! the fweet contentment, " the tranquillity, and profound reft of
    • mind that he enjoys, who is a friend of
    • God, and to whom God therefore is a
t Vol. I. page 345. " friend 5 ON GENIUS. 243 ^* friend J who hath gotten loofe from all " meaner purfuits, and is regardlefs of all f^ lower advantages that interfere with his " defire of knowing and loving God, and of " being known and beloved by him ; who
  • ' lives as in his fight always, looks up to
" him in every ftep of his condu6l, imitates
    • him to the bed of his power, believes him
    • without doubt, and obeys him without re-
^^ ferve *," (^c. In his Sermon on the anni- verfary of the Martyrdom of King Charles the Fir ft, he conveys to us a lively idea of the fufferings of that unhappy Prince, by a fublime metaphor : " The paffage through
    • this Red-fea was bloody, but fhort ; a di-
<* vine Hand ftrengthened him in it, and
  • ^ conduced him through it j and he foon
^» reached the fhore of blifs and immorta- " lity f."
  • Atterbury's Sermons, vol.11, p. 198.
+ Ibid. V9I. IV. p. 13. R 2 ^di 244 AN ESSAY To the examples above produced, I take the liberty to fubjoin one other pafTage of a different kind j but which, by every real judge, will be acknowledged to deferve a diftinguifhed regard, fince it is animated with all the boldnefs and enthufiafm of the Orator and the Patriot. The paffage I have in my eye, is faid to have been part of a fpeech de- livered in the Britijh Senate, by a late great Commoner, upon a very popular occafion ; and that it is conceived in an high flile of Eloquence, I will venture to affirm. " I never
  • ' feared any man, nor paid court to any fet
    • of men. I have worfliipped the Goddefs
  • ' Liberty alone, ever fmce I drew my breath.
    • I hope to do fo in a land of liberty while
" that breath remains. And when the fpirit " fhall have forfaken this crazy tabernacle, " I pray my Guardian Angel to throw my " alhes on that fpot of the globe where Free-
    • dom reigns." What the effe6l of this part
of the rpeech was in the Briti/h Senate, I have not heard ; but I am well perfuaded that it would have been applauded in the Rotmn Forum, ON G E N I US. 245 Forum, or by an Athenian AfTembly j and though perhaps it is of too elevated a kind to fuit the cold and corre6t Genius of a mo- dern Critic, it would have afforded a fub- jedt of Panegyric to Longinus or Qu^inti- LIAN. It is not our prefent bufmefs to inquire into the caufes of our deficiency in Ora- tory, as we intend, in a following fe6lion, to hazard fome refledlions on the fubje6l. In the mean time we may obferve in general, that moft of our modern pretenders to Elo- quence feem to have confidered mankind in the fame light in which Voltaire regarded the celebrated Dr Clarke, as mere reafon- ing machines : they feem to have confidered them as purely intelle6lual, void of paflion and fenfibility. This ftrange miftake may perhaps be fuppofed to be partly the effedt of the philofophical fpirit of the times, which, like all other prevailing modes, is fubje(5l to its deliriums ; certain however it is, that while man remains a compound being, con- R 3 lifting 246 A N E S S A Y fifting of reafon and paiTion, his adlions will always be prompted by the latter, in what- ever degree his opinions may be influenced by the former. So long however as meti continue ignorant of the nature, and indif- ferent to the iludy of Eloquence, there is little reafon to hope for the difplay of Ori- ginality of Genius in this noble art. Never- thelefs if we cohfider its nature, its extent, and the improvements of which it is fufcep^ tiblej We Ihall have abutidant reafon to Gon^ elude, that this talent may ftiil be difplayed to the utmoft advantage, as doubtlefs it will be in every age, when circiimftances concur to favour its exertion. There are innume- rable avenues to the human h^art, innume- rable methods of captivating the atFe<flions, of roufmg the paffions, and influencing the will ; and powerful as was the eloquence of Demosthenes and Cicero, thofe great Ora- tors, with all their admirable invention, have not exhaufted all the treafures of their art. It will indeed be extremely difficult to invent means of raifing and allaying, of foothing an4 ON GENIUS. 247 and irritating, of agitating and inflaming the paffions of mankind, different from what have been pradifed by thofe immortal Ora- tors above-mentioned ; and perhaps it will be ftill more difficult to improve the means which they have invented and fo fuccefsfuUy ufed. To accomplifti thefe purpofes how- ever is certainly not impoffible *, and there- fore ought not to be defpaired of. Let us in the next place obferve the efforts of ORIGINAL Genius in Mufic -f . The
  • '* Sed cur deficiat animus ? Natura enim perfedum
'* Oratorem efle non prohibet : turpitcrque defperatur " quicquid fieri poteft." Quint il. Injlit. lib. i. cap. 10. I Mufic appears to have been in great eftcem among the ancients. Quintilian in particular beftows the higheft encomiums on this divine art ; and tells us, that it was cultivated by the greateft and wifeft men of
sufitiquity 
R 4 " Nam , 248 AN ESSAY The talents of a performer, and ^ mas-' TER and COMPOSER of Mufic, are very dif- ferent. To conflitutc the firft, a nice mu- fical ear, and a dexterity of performance .^acquired by habit, are the fole requifites. -To conftitute the laft, not only a nice mu- fical ear, but an exquifite fenfibility of paf- fon, together with a peculiar conforma-
  • ' Nam quis ignorat Muflcen (ut de hac primum
" loquar) tantum jam illis antiquis temporibus non
'* iludii modo, vqrum etiam venerationis habuifle, ut " iidem & Mufici & vates, & fapientes judicarcntur ? " Mittam alios : Orpheus & Linus ; quorum utrum-
    • que Diis genitum, alteram vero quod rudcs quoque
" atque agreftes animos admiratione mulceret, non
  • ' feras modo, fed faxa etiam fylvasque duxi/Te, pofte-
" ritatis memoriae traditum eft. Et teftes Timagenes
  • ' au6tor eft, omnium in Uteris ftudiorum antiquifli-
<' mam Muficen extittlTe ; & teftimonio funt clariflimi
  • ' Poetae, apud quos inter regalia convivia laudes He-
    • roum ac Deorum ad citharas canebantur." Injlit»
Jib. i. cap. 10. The fame Author juftly obferves, in another part of "his excellent Work, that the pleafure which we derive from Mufic is founded in nature : *' Natura ducimur '< ad modos." Lib. ix. cap. 4. TION ON GENIUS. 249 TioN of Genius to this particular art, are indifpenfibly neceflary. Though all the li- beral Arts are indebted to Imagination in common, a talent for each of them refpe£lively depends upon the peculiar modification and ADAPTATION of this faculty to the fe- veral respective Arts. Thus the Poet, having by the force of Imagination formed lively images of the objeils he propofes to defcribe, thinks only of expreffing his ideas in fmooth and harmonious numbers -, the Painter, having the fame vivid conception of every objedl, is wholly intent on exhibiting a reprefentation of them in colours, as if he had no other method of conveying his ideas ; and the Mufician, having his head filled with crotchets and concords, airs and fonatas, employs his Imagination intirely in combin- ing a variety of founds, and trying their power, in order to conftitute harmony. A mufical Genius naturally exerts itfelf in exer- cifes of this kind, and is indicated by them. In this art likewife it muft be confefled, that confiderable fcope is afforded for the exer- tions $^ AN ESSAY tiOiis eveti of ORIGINAL Genius. Every mafterly Compofer of Mufic muft feel* in the rhoft intehfe and exquifite degree, the varioijs emotions, which, by his compofitions, he attempts to excite in the minds of others. Even before he begins to compofe a piece of mufiC, he muft work himfelf up to that tranfpOrt of paffion, which he defires to ex<* prefs and to communicate in his piece. In efFefluating this purpofe. Imagination ope- rates Very powerfully, by awakening in his 6\Vrt ftiind thofe particular affedtions, that are correfpondent to the airs he is medltat- irtg ; and by raifihg each of thefc to that tone of fenfibility, and that fervor of paffion, which is moft favourable to compofition. This fervor and enthufiafm of paffion, may be termed the ilifpiration of Mufic ; and is the principal quality which gives it fuch an ffrefiftible empire over the human heart. The maxim of Horace, Si vis mejlere, dolendum eji primum ipji tihi. Would you have me participate your pain ? 'f'irft teach yourfelf to feel the woes you feign ; is ON GENIUS. tst is a rule as necefiary to be obferved by d, Compofer of Mufic, in thofe ftrains which are intended to excite fympathy and grief, as by a Tragic Poet, who would excite the lame emotions. We may farther obferve, that as an arbi- trary combination of founds can never pro- duce the harmony, much lefs the expreffion of Mufic, any more than a random aflem- blage of words can make an elegant and conneded poem or oration 3 fo Imagination. under the direction of a tuneful ear, ttluft affift the mufical Artift in adopting and combining thofe founds only, which may af- fecl the paflions in the manner he intends. It muft be granted indeed, that the ef- foi'ts of Imagination difcovered iri Mufie, though not inconfiderable, are by no fAe^ns fo extraordinary as in any of the Arts above- mentioned. The exercife of this quality feems in Mufic to be fomewhat confined, being neeeffarily fubjefted to, and under the diredion 252 A N E S S A Y dire6lion of the ear, by which it is afTifted j whereas in Poetry and Eloquence, it is ab- folute and unbounded, as every idea of the mind may be defcribed ; and in Painting, it is very little reftrained, fince moft of them may be delineated. After all, when we confider how many ways there are of afFefling the human heart by the power of founds j how the afFe61:ions may be melted into tendernefs, or kindled into tranfport; how the paffions may be raifed and allayed, agitated and inflamed;^ how they may be elevated to the higheft pitch of fublimity, fired with heroic ardor,, or lulled in the voluptuous languor of effe^ minate luxury ; we may be fufficiently con- vinced, that there remains an extenfive field yet unoccupied for the difplay of Origina- i/iTY of Genius, in the noble art of which we are treating. It is much to be regretted, that our modern Mailers in this art have in general endeavoured to render their compo- fitions pleafmg to the ear, rather than af- fedling ON GENIUS. 253 fe<5ling to the heart -, that they have fludied the foft and delicate graces, rather than the fubhme and animated expreflion of Muficj and that by attempting to heighten its me- lody, they have in a great meafure deprived it of the energy and eloquence of paflion, and thereby rendered mufical concerts rather a delicious gratification, than an uleful and exalted entertainment. We fliall confider laftly, how far Origi- nality of Genius may be difcovered in Architecture. It muft be confeffed, that no improve- ments have been made in this art by our modern Architedts, whofe greateft ambi- tion and excellence it hath been, to under- ftand and to copy thofe venerable remains of ancient Architecture, which have efcaped the rage of Barbarians, or withftood the ravages of time. Thofe augufl monuments of antiquity, which have been the wonder and admiration of ages, have been confider- 5>54 AN ESSAY ^d, by the moft ingenious artifls themfelves, as complete Models of Archite6lure, from which nothing can be taken, and to which nothing can be added ; and are in fa6l fuch ^s few of them have ever equaled, and none of them (whether through want of ability, or want of ambition) have ever excelled, preat veneration is unqueftionably due to ancient Genius. The Ancients have indeed been our Mafters in the liberal Arts -, and their produ6lions deferve our higheft com- mendations: yet let us not ihew them a blind and fuperftitious reverence. Abfo- lute perfection is incompatible with the works of man j and while we regard the works of the Ancients as fo perfe6l, that wc defpair of excelling them, the confequence will be, that we (hall never be able to equid them : the original will always be prefer- able to the COPY. We have already ani-^ madverted on this too fervile deference to antiquity * ; and fhali only here reijiark,
  • Book I. Seaion IL
that ON GENIUS. z^S that this difpofition is highly unfavourable to the improvement of any of the Arts j ^n4 that a diffident timidity will alway;? prove a greater difcouragement, as well as obftrqc- tion to Originalityof Genius, than prefump- tuous temerity. The one, in afpiring be- yond its fphere, may indeed tumble from its towering height ; but the other, cautious and fearful, will fcarce ever rife from the ground. Where few attempts therefore are ni3d<? to excel, original Genius cannot be much difplayed. It is neverthelefs certain, that great fcope is afforded for the difplay of it in the Art we are fpeaking of, in which an un- reftrained exercife is allowed to the faculty of Imagination, becaufe the forms of ele- gance and gracefulnefs, of beauty and gran- deur, which it is its province to invent, arc innumerable. Where this faculty is re- ftrained, and the ambition and exertion of Artifts are confined to the imitation of cer- tain Models invented by others, thei^ it can*- not 256 A N E S S A Y not operate in any confiderable degree j for IMITATION will ever be found a bar to ORIGINALITY. A pretty cxtenfive Imagi- nation, we confefs, may be exerted in aflem- bling together the detached parts of one great defign ; and when thefe are united to- gether in the conftru6lion of an edifice of confummate fymmetry and beauty, we al- low the building to be an illuftrious monu» ment of the Genius and Tafte of the Artifl who defigned it : but where the whole is only ingenioufly collected, and no part in- vented, a claim to originality of Genius can by no means be admitted in his favour. A Genius for Architecture truly origi- nal, will, by the native force and plaftic power of Imagination, flrike out for itfelf new and furprifing Models in this Art j and, by its combining faculty, will felecl out of the infinite variety of ideal forms that float in the mind, thofe of the Grand and Beau- tiful, -which it will unite in one confum- mate 33 well as uncommon defign. We have ON GENIUS. 2^7 have already obferved, that every original Genius, whether in Archite6lure or in any other of the hberal Arts, is peculiarly diftin- guifhed by a powerful bias to invention. It was this bias which we may call the in- ftin6live, infuppreiTible Impulfe of Genius, whofe fpontaneous efforts defigned thofe ftu- pendous Gothic ftru6lures, that appear To magnificent in their ruins. The Architefls, who firil planned thofe edifices, though unacquainted with the polite Arts, or with the Grecian and Roman Archite6lure, were doubtlefs great Originals in their profeflioh, fince they planned them by the unaided flrength of their own Genius. Their un- tutored imaginations prompted them to af- pire to the Solemn, the Vafl, and the Won- derful J and allowing an unbounded fcope to the exercife of this faculty, they were ena- bled to give to their buildings that awful, though irregular grandeur, which elevates the mind, and produces the mofl pleafing aftonifhment. Thefe Gothic edifices fhew the inventive power of the human mind in S a flriking 2^8 AN ESSAY aftriking light, and are fufficlent to con- vince us, that excellence in Archite61:ure was not confined to the Greeks and RomanSy but may be fometimes difplayed among a people in other rerpe6ls barbarous. Though it is impoflible to point out the particular tracks which an original Ge- nius in Architefture will purfue, in endea- vouring to improve the art he profefTes, as thofe tracks are fo various, and the natural powers of Artifts are fo different; yet we may remark, that after all the improve- ments which Architedture received in the age of Pericles and of Augustus, it feems fufceptible of one important improvement, from the union of the awful Gothic gran- deur with the majeftic fimplicity and grace- ful elegance of the Grecian and Roman edi- fices; and that by fuch an union origina- lity of Genius in this art might be fignally^ difplayed. We ON G E N I US. 259 We fhall conclude this feflion with ob- ferving, that though the fimpleft and eailieft periods of fociety are favourable to original defcriptive Poetry, which we fhall immedi- ately endeavour to fhew, and Eloquence will always be exerted in its utmofl: power under a Democratical form of government, during the reign of Liberty and public Spirit ; Paint- ing and Archite(51:ure will in general attain their higheft degree of improvement, in the, mod advanced ft ate of fociety, under the ir- radiations of Monarchical fplendor, aided by the countenance and encouragement of the great and opulent. S2 SECTIOKT a6o A N E S S A Y SECTION V. THAT ORIGINAL POETIC GENIUS Will in general be difplajed in i-ts utmoft Vigour IN THE EARLY AND UNCULTIVATED PERIODS OF SOCIETY Which are peculiarly favourable to it i AND THAT It will feldom appear in a very high Degree in CULTIVATED LIFE. HAVING pointed out the exertions^ of ORIGINAL Genius in the different Arts, and particularly in Poetry, we fhall now confider the period of fociety moft fa- vourable ON GENIUS. 261 vourable to the difplay of Originality of Genius in the laft mentioned art ; and this period we affirm to be the earlieft and leaft cultivated. To aflert that this divine art, to an ex- cellence in which the higheft efforts of hu- man Genius are requifite, fliould attain its utmoft perfection in the infancy of fociety, when mankind are only emerging from a ftate of ignorance and barbarity, will appear a paradox to fome, though it is an unques- tionable truth ; and a clofer attention will convince us, that it is agreeable to reafon, as well as confirmed by experience. While Arts and Sciences are in their firfl rude and imperfe6l flate, there is great fcope afforded for the exertions of Genius. Much is to be oblerved ; much is to be dif- covered and invented. Imagination how- ever in general exerts itfelf with more fuccefs in the Arts than in the Sciences j in the for- mer of which its fuccefs is more rapid than S3 in 26z AN ESSAY in the latter. Adive as this faculty is in it? operations, its difcoveries in fcience are for the mail part attained by flow and gradual fteps. They are the effe6l of long and fe- vere inveftigation ; and receive their higheft improvenjent in the moft civilized ftate of fociety. On the other hand the efforts of Jmagination, in Poetry at leaft, are impe^ tuous, and attain their utmoft perfe6lion at once, even in tlx^ rudeft form of focial life. This art does not require long and fedulous appHcation, to confer Originality and excels lenceon its productions: its earheft unla- boured eflays generally poflefs both in the highefl: degree. The reafons why they do fo, will be afligned immediately. In the mean time we may obferve, as a circum- ilance deferving our attention, that this is by no means the cafe with the other arts, but is peculiar to Poetry alone. Painting, Eloquence, Mufic and Archite6lure, attain their higheft improvement by the repeated efforts of ingenious Artifts, as well as the feiences by the reiterated refearches and ex^ periments ON GENIUS. 263 f^rlments of Philofophers ; though, as we have already obferved, Imagination operates with greater rapidity in the improvement of the former, than in that of the latter 5 but flili it operates gradually in the im- provement of both. There never arofe an eminent Painter, Orator, Mufician, Archi- tect or Philofopher, in any age, completely felf-taught, without being indebted to his predecefTors in the art or fcience he pro- fefTed. Should it be objeded, that the art of Painting was revived, and brought to the utmoft perfection to which it ever arrived in modern times, in one fingle age, that of Leo the Tenth, we anfwer. That the Italian Mafters, though they had none of the an- cient paintings to ferve them as models, had however fome admirable remains both of the Grecian and Roman ftatuary, which, by heightening their ideas of excellence in its fifter art, and kindling their ambition, contributed greatly to the perfe6lion of their works. Arts and Sciences indeed generally -riifi and fall together; but, excepting Poetry en.; S 4 alone, 2^'4 AN ESSAY alone, they rife and fall by juft, though not always by equal degrees : fometimes ad- vancing with quicker progrefs to the fummit of ; excellence, fometimes declining from it by flower fteps ; in proportion to the differ- ent degrees of Genius, and application with which they are cultivated, confidered in connedlion with thofe external caufes, which promote or obft:ru6l their improvement. -It is very remarkable however, that in the earlieft and mod uncultivated periods of fociety. Poetry is by one great effort of na- ture, in one age, and by one individual, brought to the higheft perfeftion to which human Genius is capable of advancing it j not only when the other Arts and Sciences are in a languifhing ftate, but when they do not To much as exift. Thus Homer Wi'ote his Iliad and Oiyjfey., when there w^as not a fingle pi6lure to be feen in Greece -J and Ossian compofed Fingal and femora, when none of the Arts, whether liberal or mechanical, were known in his country. This is a curious phenome- non 5 ON GENIUS. 265 non y let us endeavour to account for It. The firfl reafon we fhall aflign of origi- nal Poetic Genius being moft remarka- bly difplayed in an early and uncultivated period of fociety, arifes from the antiquity of the period itfelf, and from the appearance of novelty in the objects which Genius con- templates. A Poet of real Genius, who lives in a diftant uncultivated age, poflefles great and peculiar advantages for original compofition, by the mere antiquity of the period in which he lives. He is perhaps the firft Poet who hath arifen in this infant flate of fociety -, by which means he enjoys the undivided empire of Imagination with- out a rival. The mines of Fancy not hav- ing been opened before his time, are left to be digged by him ; and the treafures they contain become his own, by a right derived from the firft difcovery. The whole fyftem of nature, and the whole region of fidion, yet unexplored by others, is fubjedled to his furvey, fi66 An essay fdf vey; from which he culls thofe rich fpoils, which adorn his compofitions, and render them original. It may be faid indeed, in anfwer to this, and it is true. That the flores of nature are inexhauftible by human imagination, and that her face is ever va- rious and ever new j but it may be replied, That feme of her flores are more readily fdiihd than others, being lefs hid from the eye of Fancy, and fome of her features more eafily hit, becaufe more ftrongly marked. The firft good Poet therefore, pofieffing thofe unrifled treafures, and con- templating thefe unfullied features, could not fail to prefent us with a draught fo ftriking, as to defer ve the name of a com- plete Original. We may farther obferve, that the obje6ls with which he is furround- ed,- have an appearance of novelty, which ^ in a more cultivated period, they in a great meafure lofe ; but which, in that we are ipcaking of, excites an attention, curiofity and furprife, highly favourable to the exer- tiori of Genius, and fomewhat refembling •-* that; ON GENIUS. ^67 j|hat which Milton attributes to our firft anceftor : Straight towardHeaven my wond'ringeyes I turn'd. And gaz*d a while the ample fky. Paradife Loji, Book viii. line 257. I About me round I raw- Hill, dale, and ihady woods, and funny plains, .^ndiiqvid iapfeipf m]L]rq^yirjng flf eaojs^ Such a perfon looks round him with won- der ', every objeft is new to him, and has the power to afFecl him with furprife and pleafurci and as he is not familiarifed by previous defcription to the fcenes he eon- templates, thefe flrike upon his mind with their full force j and the Imagination aflo- niflied and enraptured with the furvey of the Vaft, the Wild, and the Beautiful ip nature, conveyed through the medium of fenfe, fpontaneoufly exprefles its vivid ideas in bold and glowing metaphors, in fublime, animated and pidurefque defcription. Even a Poet 268 AN ESSAY a Poet of ordinary Genius will in fuch a ftate of fociety prefent us with feme origi- nal ideas in his compofitions 3 for nature lying open to his view in all its extent and variety, in contemplating this unboundetv field, fo fmall a part of which hath been yet occupied by others, he can hardly fail to fdedl fome diftinguifhing obje6ls which have efcaped the notice of the vulgar, and which defcribed in Poetry may ftamp upon it a de- gree of Originality. We may add, that the productions of the early ages, when they prefent to us fcenes of nature and a ftate of life we are little acquainted with, and which are very different from thofe that now fubfift, will to us appear original, though they may not be really fuch if the true originals are loft, of which the works that yet remain are only copies or imitations. Thus the Co- medies of Terence are valued, becaufe the Originals of Menander, which the Roman Poet imitated, excepting a few fragments, are ON GENIUS. 269 are lofl. Could the works of the latter be recovered, thole of the former would lofe much of their reputation. Thus far the fuperiority of Poetic Genius in thofe early ages is accidental, and therefore no way meritorious. It is the efFedt of a particu- lar fituation. It is the confequence of an- tiquity. The next reafon we (hall give, why 01 igi- nal Poetic Genius appears in its utmoft per- fe6lion in the firft periods of focial life, is the fimplicity and uniformity of manners? peculiar to fuch periods. Manners have a much greater efFe6l on the exertions of Poetic Genius, than is commonly imagined. The fimple manners which prevail among moft nations in the infancy of fociety, are peculiarly favourable to fuch exertions. In this primitive ftate of nature, when mankind begin to unite in fociety, the manners, fentiments, and paC- (ions are (if we may ufe the exprelTion) perfectly 270 A N E S S AY perfe6lly original. They are the dictates of nature, unmixed and undifguifed : they are therefore more eafily comprehended and defcribed. The Poet in defcribing his own fe^ings, defcribes alfo the feelings of others ; for in fuch a ftate of fociety, thefe are fimi- lar and uniform in all. Their taftes, dif- pofitions, and manners are thrown into the fame mould, and generally formed upon one and the fame model. Artlefs and ten- der loves, generous friendfhips, and .war- like exploits, compofe the hiftory of this uncultivated period 5 and the Poet who re- lates thefe, feeling the infpiration of his fubjeit, is himfelf animated with all the ardor of the Lover, the Friend, and the Hero. Hence as his fenfations arc warm and vivid, his fentiments will become paf- fionate or fublime, as the occafion may re- quire J his defcriptions energetic 5 his flile bold, elevated, and metaphorical ; and the whole, being the effufion of a glowing fancy and an impaflioned heart, will be perfe£lly natural and original. Thus far ON GENIUS. 271 far then an early and uncultivated ftate of fociety, in which the manners, fentiments and paffions, run in the uniform current above-mentioned (as they do in moft in- fant focieties) appears favourable to the difplay of original Poetic Genius* A third caufe of this quality's being re- markably exerted in an early period of fo- ciety, is the leifure and tranquillity of un- cultivated life, together with the innocent pleafures which generally attend it. Genius naturally flioots forth In the fimplicity and tranquillity of uncultivated life. The undifturbed peace, and the in- nocent rural pleafures of this primeval flate, are, if we may fo exprefs it, congenial to its nature. A Poet of true Genius delights to contemplate and defcribe thofe primitiv^e fcenes, which recal to our remembrance the fabulous era of the golden age. Happily tempted from that tormenting ambition, and thofe vexatious defires, which trouble the 272 A N E S S A Y the current of modern life, he wanders wi^h a ferene, contented heart, through walks and groves confecrated to the Mufes ; or, indulging a fublime, penfive, and fweetly- foothing melancholy, ftrays with a flow and folemn ftep, through the unfrequented de- fcrt, along the naked beach, or the bleak and barren heath. In fuch a fituation, every theme is a fource of infpiration, whether he defcribes the beauties of na- ture, which he furveys with tranfportj or the peaceful innocence of thofe happy times, which are fo wonderfully foothing and pleafmg to the imagination. His defcrip- tions therefore will be perfe6lly vivid and original, becaufe they are the tranfcript of his own feelings. Such a fituation as that we have above reprefented, is particularly favourable to a paftoral Poet, and is very fimilar to that enjoyed by Theocritus, which no doubt had a happy influence on his compofitionsj and it is a fituation highly propitious to the efforts of every Ipecies of Poetic Genius. Perhaps O i^ * G E N I U S. 273 I^erhaps we ihay be thought to refine too tnuch on this point j and it may be ques- tioned whether fuch tranquillity and inno- cence as we have above fuppofed have ever exifled in any ftate of fociety. To this we may anfwer, That though the traditionary or even hiftorical accounts of the early ages, are not much to be depended on; yet thofe ancient original poems which we have in our hands, give us reafon to think that a certain innocence of manners, accompanied with that tranquillity which is its confe- quence, prevailed among thofe people whom we are not a(l:iamed to call barbarous, in a much higher degree than in more modern and cultivated periods. The laft caufe we (hall affign why origi- nal Poetic Genius appears in its utmoft pcr- fedlion in the uncultivated ages of fociety, is, its exemption from the rules and re- ftraints of Criticifm, and its want of that knowledge which is acquired from books. When we confider learning and critical T knv^wledee ai74 A N E S S A Y knowledge as unfavourable to original Poe- try, we hope we fhall not be accufed of pleading the caufe of ignorance, ruflicity, and barbarifm ; any more than when we ^eak of the happy influence of the fimple tincultivated periods of fociety on the pro- du6tions of the above-mentioned art, we ihall be fuppofed to prefer thofe rude and artlefs ages to a highly civilized flate of life. The effects of Literature and Criti- cifm in the improvement of all the fciences and all the arts, excepting Poetry alone; and the advantages of a ftate of civiliza- tion in augmenting and refining the plea- fures of focial life, are too obvious to re- quire to be pointed out. We are at pre- fent only concerned to examine the effects ©f Learning and critical Knowledge on ori- ginal Poetry, the want of which we affirm to be one. of the principal eaufes of this art's being carried to its higheft perfeflion in the firft uncultivated periods of humaji &ciety. Let ON G £ N I tf S. ifs L^t us inquire into the effe6ls of thele^ Upon the mind of a Pcet poiTdfled of a high degree of original Genius. By an acquaint- ance with that Literature which is derived from books, it will be granted, he may at- tain the knowledge of a great variety of events, and fee human nature in a great variety of forms. By colle(5ling the obfer- vations and experience of paft ages, by fu- peradding his own, and by reafoning juiWy from acknowledged principles, he may, no doubt, acquire more accurate and extenfive ideas of the works of Nature and Art, and may likewife be thereby quahfied to inrich the Sciences with new difcoveries, as well as moft of the Arts v^ith new inventions and improvements. In his own art only he can never become an original Author by fuch means ; nor, ftri6lly fpeaking, fo much as acquire the materials, by the ufe of which he may juftly attain this chara6ler : for the ideas derived from books, that is, from the ideas of others, can by no procefs of poe- tical chymillry confer perfed Originality. T 2 Thofe 276 A N E S S A Y Thofe ideas which are the intire creation of the mind, or are the refult of the Poet's own obfervations, and immediately drawn from nature, are the only original ones in the proper fenfe. A Poet who adopts • images, who calls out incidents he has met \vith in the writings of other Authors, and who imitates chara(5lers which have been portrayed by other Poets, or perhaps by Hiftorians, cannot furely with any propriety be confidered as an Original, though he may at the fame time difcover confiderable powers of Imagination in adapting thofe images and incidents, as well as transforming and mold- ing thefe characters to the general defign of his poem. In order to become a Poet per- feftly original (of whom only it mufl be remembered we are here treating) he mufl, if he fliouki attempt Epic Poetry, invent images, incidents and characters : tradition may indeed fupply him with the groundwork of the poem, as it did Homer, but the fu- perftruclure mufl be altogether his own. In executing fuch a work, what aid can a ^ . . truly ON GENIUS. 277 truly original Poet receive from books ? If he borrows aid from the performances of others, he is no longer a complete Original. To maintain this charader throughout, he muft rely on his own fund : his own plaf- tic imagination muft fupply him with every thing. But fuch intire Originality very rarely happens, efpecially in a modern age. Many of the moft fplendid images of Poetry have been already exhibited, many of the mofl flriking characters in human life have been delineated, and many of the moft beautiful objecls of nature, and fuch as are moft ob- vious, have been defcribed by preceding Bards. It will be very difficult therefore for their fucceflbrs to felect objecls which the eye of Fancy hath never explored, and none but a Genius uncommonly origijial can hope to accompliOi it. There are very diftcrent degrees of Origi- nality in Poetry j and feveral eminent Ge- .j5o^ T 3 niufes «7i AN ESSAY liiufes m this art, poflefTing a very confider- ^bl0 (liarje of Originality themfelves, have jiowever been contented to imitate the great Father of Epic Poetry in one circumftance or another > partly perhaps through a con- fcioufnefs of their being unable to produce any thing of a different kind equal to his xrompofitlons, partly through a natural ten- dency to imitate the excellencies they admired in a model rendered venerable by the con- current teftiraonies of all ages in his favour, and partly through the real difficulty of at- taining complete Originality in the province of the Epopcsa after him. Thus Virgil copied rnauy of the epifodes and images of the Mceonian Bard ; Tasso imitated fome of his characlers, as well as adopted a part of his imagery ; and even the divine Milton condefcended, in a very few inftances in- deed, to imitate .this Prince of ancient Poets, in cafes where his own Genius, left to its native epejgy, and uninfluenced by an ac- quaintance with the Writings of Homer, wpuld have enabled him to equal the Greek Poet. ON GENIUS. 279 Poet. An inftance of this kind occurs in the end of the fourth book of Faradifc Lofl, where Milton informs us that Satan, while he was preparing for a dreadful combat with his antagonift, fled away, upon obferving that one of the fcales which were fufpended from Heaven, kicked the beam, thereby prefaging to him an unfortunate ifTue of the encounter. By this cool expedient, which was fuggefted by that paflage of Homer, in which Jupiter is fuppofed to weigh the fates of Hector and Achilles in his golden balance, Milton has prevented the confe- quences of this horrid fray, facrificed a real excellence to a frivolous imitation, and very much difappointed the eager expe<fi:ation6 of the Reader. The Poet's own Genius, had he been unacquainted with the Iliad, would naturally have led him to defcribe thofe mighty combatants engaged in dread- ful fight ; but a propenfity to the imitation of fo eminent an Author, reprelTed the na- tive ardor of his own imagination. This iingle inflance is fufficicnt to (hew us the T 4 effect ^9 .a 4j ¥ : ^ ^ s A Y . /effect ^f»Ifyiteratur^ 913 the mincl of a -Poet ©f priglnal Geinus, lyhofe exertioiis it pio^ l>ably will in fome inltances lupprefs, but pTinot iivan^ inll^nc^ aifift. Qn the cither Laiid, a Poet living. Jii the more early y^-^ lio'4s oi ibciety, haviug few or po preceding ^ards lor his models, is in very little hazard of being betrayed into imitation, which in a modern ^ge it i^ lb difilcult tp avoid ; but, ^iving^ full fcope to the bent of his Genius, he is enabled, if he is polTefled of a highder ^ree of this quality, to produce a Worlj Completely original. From this train of d;£afoning; it appears, that the Literature \yhich,. is squired from book§, efpepially from the Works of preceding Bards, is un^ fc^vourable. to Originality in Poetry j an4 ^hafc. Poct;^- who live iii the firft periods pf fociety,, vyho arp deftitute of the mearj^ of learning, and confequentiy are exempt- ed from- the podibiiity of Imitation, t]]- joy peculiar Otdyantages for original conir pofition* We ON GENIUS. zZi We may add, that another efFecl of learn- ing is, to ENCUMBER and overload the mind of an original Poetic Genius. Indeed it has tl;is effe6t upon the mind of every man who has not properly arranged its fcattered materials, and who by thought and reflect tion has not "digefled into fenfe the motley meal •f'." But however properly arranged thofe materials may be, and liowcver tho- roughly digefted this iutelleclual food, an original Genius will fometimes find an in- oonveniency refulting from it^ for as no man i can attend to and comprehend many differ-i ent things at once, his mental faculties will in fome cafes be neceflTarily oppreffed and over- charged with the immenfity of his own con- ceptions, when weighed down by the addi- tional load of learning. The truth is, a Poet of original Genius has very little occa- fion for the weak aid of Literature : he is (elf-taught. He comes into the world 4s it were completely accompliflied. Nature fup» t Night Thoughts. Ii P^'-es 2^2 A N E S S A Y plies the materials of his compofitions j his fenfes are the under-workmen, while Ima- gination, hke a mafterly Archite6l, fuperin- tends and dire6ts the whole. Or, to fpeak inore properly. Imagination both fupplies the materials, and executes the work, lince it calls into being *' things that are not," and creates and peoples worlds of its own. It may be eafily conceived therefore, that an ori- ginal Poetic Genius, poflefling fuch innate treafure (if we may be allowed an unphilo- fophical expreffion) has no ufe for that which is derived from books, fince he may be en- cumbered, but cannot be inriched by it j for though the chief merit of ordinary Writers may confift in arranging and prefenting us with the thoughts of others, that of an ori- ginal Writer will always confift in prefenting us with fuch thoughts as are his own. We obferved likewife, that an exemption from the rules and restraints of Criti- cism, contributed greatly to the more re- markable difplay of original Poetic Genius in the ON GENIUS. 283 the firft ages of fociety. Every fpecies of original Genius delights to range at liberty, and efpecially original Poetic Genius, which abhors the fetters of Criticifm, claims the pri- vilege of the freeborn Tons of Nature, and never relinquiflies It without the utmoft re- gret. This noble talent knows no law, and acknow^l edges none in the uncultivated ages of the world, excepting its own fpontaneous impulfe, which it obeys without control, and without any dread of the cenfure of Critics. The truth is, Criticifm was never formed into a fyftem, till Aristotle, that penetrating, and (to ufe an expreflion by which Volt aire chara6lerifes Mr Locke) " methodical Ge* nius " arofe, who deduced his Poetics, not from his own imagination, but from his ac- curate obfervations on the Works of Homer, Sophocles, iEscHYLus, and Euripides, Let us obferve the probable and natural ef- fe6ts which a ftri6l adherence to the rules of Criticifm will have on original Genius in Poetry. One obvious effe6l of it is, that it confines the attention to artificial rules, and ties fiS4 A N E S S A Y ties the mind down to the obfervance of them, perhaps at the very time that the imagination is upon the ftretch, and grafping at fome idea aftonifliingly great, which however it is obliged, though with the utmoft reki6lance, to quit, being intimidated by the apprehen- lion of incurring cenfure. By this means, the irregukr but noble boldnefs of Fancy is checked, the divine and impetuous ardor of Genius is, we do not fay extinguifhed, but in a great meafure fuppreffed, and many fhining excellencies facrificed to juftnefs of defign> and regular uniformity of execution. The candid Reader will obferve, that the f|ueftion we have been examining is not whether critical Learning be upon the whole really ufeful to an Author of Genius, fo as to render his Works more perfeJl and accurate, but what its particular efFe6t will be upon the productions of a Genius truly original. We are far from intending to difregard or cenfure thofe rules " for writing w^ell," which 'have been eflabliflied by found judgment, r ? and ON GENIUS. S85 and an exadt difcernment of the various fpe- eies of compofition ; an attempt that would be equally weak and vain. On the contrary, we profefs a reverence for thofe laws of writ- ing, which good fenfe and the correfponding voice of ages have pronounced important ; and we confider them as what ought never to be violated 3 though with refpedl to others of a more trivial nature, however bindin'^- they may be upon ordinary Authors, we can look upon them in no other light, than as the frivolous fetters of original Genius, to which it has fubmitted through fear, always improperly, and fometimes ridiculoufly, but which it may boldly fhake off at pleafure ; at leaft whenever it finds them fuppreffing its exertion, or whenever it can reach an un* common excellence by its emancipation. Upon the whole, from the reafons above afligned, it feems evident, that the early UNCULTIVATED agcs of focicty are mofl fa- vourable to the difplay of original Genius in Poetry -, whence it is natural to expert, that
 ::?ah3 in
a»6 A N E S S A Y in fuch ages the greateft Origiiials irt thiS art will always arife. Unhappily for us, this point does not admit of proof from an in- du6lion of many particulars j for very few ©riginal Poems of thofe nations among whom they might have been expefted, have defcend- ed through the viciflitudes and revolutions Of fo many ages to our times. Moft of the mo- Ruments of Genius, as wett as the works of Art, have perifhed in the general wreck of empire; and we can only conje61:ure the merit! of fach as are loft from that of the frrial! number of thofe which remain. While the Works of Homer and Ossian however are in our hands, thefe, without any other ex- amples, will be fufficient to eftablifh the truth of the firft part of our aflertion. That in the* early periods of fociety, original Poetic Genius will in general be exerted in its utmoft vi- gour. Let us now proceed to (hew the truth of the fecond part of it, which was, That this quality will ieldom appear in a very high degree in cultivated life, and let us affign the feafons of it. Shakespear ON GENIUS. 287 vpSif Akespear k the only modern Author, (whoft times by the way compared with the prcfent are not very modern) wham> in poin| of Originality, we can ventarc to compare with thofe eminent ancient Poets above-men- tioned. In fublimity of Genius; indeed, Mil4 TON is inferior to neither of them 5 but it cannot be pretended that he was fo complete an Original as the one or the other, fince he was indebted to the facred Writings for fe- veral important incidents, and for many fub» lime fentiments, to be met with in Paradijjs Loji ', not to mentioil what was formerly obferved, that in a few pafiages lie imitated the great Father of Poetry. With refpefl to Shakespear therefore, admitting, him to be a modern Author, he is at any rate but a fin-? gle exception ; though indeed his Genius was h ftrangely irregular, and (6 different from that of every other Mortal, Cui mhil simik aui fecunduTfiy that joa argument can be drawn from fuch an example to invalidate our po«» fition ; fince he would probably iiave difco-f vered the fame great and eccentric Geniusi }; which 288 A N E S S AV which we fo much admire at pitfeut, in any inge or country whatever. External caufes, though they have great influence on common minds, would have had very little on fuch a one as Shakespear's. Let it be confefled, however, in juflice to our own age, that if It hath not produced fuch perfe6l Originals as thofe above-mentioned, which perhaps may be partly imputed to the influence of caufes peculiar to the prefent period and fl:ate cf fociety, yet it hath produced feveral ele- gant, and fome exalted Geniufes in Poetry ; who are diftinguiflied alfo by a very confi- derable degree of Originality, and fuch as is rarely to be met with in a modern age. The names of Young, Gray, Ogilvie, Collins, Akenside, and Mason, as they do honour to the prefent age, will probably be tranf- mitted with reputation to pofl:erity. But fince it mufl: be univerfally allowed, that fuch intire Originality, as we have fhewn to be competent to an uncultivated period, hath never yet appeared in modern times, except- ing in the Angle infl:ance above-mentioned, 11.. u; it ON GENIUS. 289 it may be worth the while to inquire into the caufes why it fo leldom appears, or can be expeded to appear in cuhivated life. If we have fuccefsfully inveftigated the caufes why original Poetic Genius is moft re- markably difplayed in the uncultivated (late of fociety ; we fhall probably difcover that the chief caufes of its being rarely found in the fame degree in more civilized ages, are the opposiTES of the former. Thus the firft caufe we afligned of this quality's being exerted in a higher degree in the earlier periods of focial life, was deduced from the ANTIQUITY of thofc pcriods, and the small PROGRESS of CULTIVATION in them. One reafon therefore why it will fo feldom appear in a later period, muft be the difadvantage of living fo long after the field of Fancy hath been preoccupied by the more ancient Bards. We have already allowed that a truly origi- nal Poet will flrike out a path for himfelf 5 but it muft likewife be allowed, that to do fo after his illuftrious predeceflbrs, will at leaft U be 290 AN E; S;S AY be more difficult. To what hath been above advanced on this head, we fhall here only add a fingle obfervation, that fhould any mo- dern Poet with juftice claim an equality of merit with the renowned Ancients in point of Originality, he would, confidering the dif- .advantages he muft labour under, be intitled to a flill fuperior fliare of reputation. In the mean time we may reafonably infer, that the difference in the period of fociety above- mentioned, will always prove unfavourable to the Originality of a modern Poet j and may be confidered as one caufe why this qua- lity rarely appears in a very high degree in polifhed life. We confidered the simplicity and uni- -f'ORMiTY of ancient Manners, as another caufe why original Genius is exerted in its utmofl vigour in the first periods of fociety. We may remark, on the other hand, that the diversity, dissipation, and exceffive refinements of modern Manners, will na- turally prove unfavourable to its exertion, in ON GENIUS. 291 in later and more civilized ages. Where there is a great diverfity of Manners, it will be difficult to mark and to defcribe the pre- dominating colours. Where Diflipation pre- vails, Genius is in danger of being drawn within its vortex ; and the falfe refinements in Luxury and Pleafure, which are charac- teriftical of later ages, though they are con- fident enough with, and even produflive of the improvement of all the mechanical, and fome of the liberal Arts 5 yet they are un- friendly to the two mod fublime of all the liberal Arts, original Poetry and Eloquence. An excefs of Luxury is indeed almoft as un- favourable to the cultivation of Genius in thefe, as it is to the cultivation of Virtue. It enfeebles the mind, as it corrupts the heart, and gradually fupprefles that ftrenuous ex- ertion of the mental faculties, by which con- fummate excellence is to be attained. Poetic Genius in particular cannot flourifh either in uninterrupted sunshine, or in continual SHADE. It languiflies under the blazing ar- dor of a fummer noon, as its buds are blafted U 2 by 292 AN ESSAY by the damp fogs and chilling breath of a winter Iky. Poverty is fcarce more unfa- vourable to the difplay of true Poetic Genius than exceffive Affluence is. The former crufhes its early and afpiring efforts at oncej the latter more flowly, but no lefs furely, enervates its powers, and diflblves them in Luxury and Pleafure. It was a fenfible ob- fervation of a French Monarch *, though the conjundion be fomewhat fantaftical, Poeta C^ equi akndi, non faginandi. The fituation moft defirable for a Poet is the middle ftate of life. He ought neither to riot in the ful- nefs of opulence, nor to feel the pinching wants of poverty, but to pofTefs that eafe and independence, which are neceffary to unfold the bloffoms of Genius to the utraoft advan- tage. The third caufe which we afligned of original Poetic Genius being moft remarka- bly difplayed in the uncultivated ftate of fo-
  • Charles the Ninth.
ciety, ON GENIUS. 293 ciety, was the leisure and tranquillity naturally refulting from fuch a ftate. The caufe therefore why it feldom appears in a more advanced period, will be juft the re- verfe of the former, namely, the activity and ARDOR, the hurry and bustle obferv- able in modern ages, occafioned by their eager purfuits, and the clafhing interefts of mankind. As the voice of Confcience is often drowned amidft the clamours of tu- multuous paflion, fo the flame of Genius is frequently fmothered by the bufy, buftling cares of an adive life. The thorny path of Ambition, and the painful, patient purfuit of Gain, are both unfavourable, though ncA in an equal degree, to its native ardor. The former occafions a diftradtion, harafsment, and anxiety of thought -, the latter an intire depreilion of the powers of Imagination. Genius is mifled by the one, perverted by the other. Indeed it fcarce ever happens, that a high degree of this quality is allied to Avarice : it feldom ftoops to the drudgery of laborious bufinefs for the fake of wealth, of which 294 AN ESSAY which it is naturally very little folicitous, and with the ardent defire of which it is in a great meafure incompatible. Ambition however has charms capable of feducing it. Honour and Power are objefls at which it frequently afpires ; and they often prove ob- ftru£lions to its native exertions in its proper fphere, by engaging the mind in purfuits, which produce embarraffment and perplexity. True Genius, removed from the din and tu- mult of bufinefs and care, Ihoots up to the nobleft height ; it fpreads forth all its luxu- riance in the peaceful vale of rural tranquil- lity. Its fate in advanced fociety, and amidft the croud of mankind, is very different. There it meets with many obflacles to check its pro- grefs, and to difcourage its efforts. Expofed to the afTaults of malignity and envy, it falls the victim of unmerited calumny ; or, in- tangled in thofe vexatious purfuits which in- terrupt the repofe of mankind, its ardor is wafted in the tumultuous career of ambition, and its powers abforbed in the unfathomable gulf of fenfual indulgence. The ON GENIUS. 295 The lafl: caufe we took notice of as fa- vourable to original Poetry in ancient times, while fociety was yet in its rudeft form, was the WANT of Literature, and an ex- emption from the rules of Criticism. It will follow therefore by juft confequence, that the acquaintance with Literature and critical Knowledge, which is fo confiderably diffufed in modern times, muft be equally unfavourable to the exertion of original Poetic Genius in thofe times. Having confidered the efFe6l of thefe ac- complifhments upon the mind of an original Poet at great length, in the former part of this feclion,we fhall conclude with a remark, which will exhibit in one view the fubftance of what hath been more fully difculTed in the preceding pages. It is, that though the pro- grefs of Literature, Criticifm and Civiliza- tion, have contributed to unfold the powers and extend the empire of Reafon ; have taught men to think more juftly, as well as to exprefs their fentiments with more preci- fion; 296 AN ESSAY, &c. fion; have had the happieft influence on the Arts and Sciences in general (fmce by communicating the difcoveries, inventions, and obfervations of preceding ages, they have facilitated the way to future inventions and difcoveries, and have been highly conducive to their improvement) yet the art of origi- nal Poetry, to an excellence in which the wild exuberance and plaftic force of Genius are the only requifites, hath fufFered, inftead of having gained, from the influence of the above-mentioned caufes ; and will, for the mofl: part, be difplayed in its utmofl: perfec- tion in the early and uncultivated periods of fecial life. THE END.


Unless indicated otherwise, the text in this article is either based on Wikipedia article "Essay on Original Genius" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

Personal tools