reference to the sensible world) is conveyed by the definitions of Mr. Addison and of Dr. Reid. But the sensible world, it must be remembered, is not the only field where Imagination exerts her powers. All the objects of human knowledge supply materials to her forming hand, diversifying infinitely the works she produces, while the mode of her operation remains essentially uniform. As it is the same power of reasoning which enables us to carry on our investigations with respect to individual objects, and with respect to classes or genera; so it was by the same processes of Analysis and Combination, that the genius of Milton produced the Garden of Eden; that of Harrington, the Commonwealth of Oceana; and that of Shakespeare, the characters of Hamlet and Falstaff. The difference between these several efforts of invention, consists only in the manner in which the original materials were acquired; as far as the power of Imagination is concerned, the processes are perfectly analogous.

The attempts of Mr. Addison and of Dr. Reid to limit the province of Imagination to objects of sight, have plainly proceeded from a very important fact, which it may be worth while to illustrate more particularly:-That the mind has a greater facility, and, of consequence, a greater delight in recalling the perceptions of this sense than those of any of the others, while, at the same time, the variety of qualities perceived by it is incomparably greater. It is this sense, accordingly, which supplies the painter and the statuary with all the subjects on which their genius is exercised, and which furnishes to the descriptive poet the largest and the most valuable portion of the materials which he combines. In that absurd species of prose composition, too, which borders on poetry, nothing is more remarkable than the predominance of phrases that recall to the memory, glaring colours, and those splendid appearances of nature, which make a strong impression on the eye. It has been mentioned by different writers, as a characteristical cir

vent éprouver à la fois de sensations délicieuses: celles de tendresse et de la volupté, de la fraicheur et du silence, du

VOL. II.

secret et de la durée.-Hic gelidi fontes, &c. &c., Quelle peinture!"- Encyc. Art. Fraicheur.]

2 E

cumstance in the Oriental or Asiatic style, that the greater part of the metaphors are taken from the celestial luminaries. "The works of the Persians," says M. de Voltaire, "are like the titles of their kings, in which we are perpetually dazzled with the sun and the moon." Sir William Jones, in a short Essay on the Poetry of Eastern Nations, has endeavoured to shew that this is not owing to the bad taste of the Asiatics, but to the old language and popular religion of their country. But the truth is, that the very same criticism will be found to apply to the juvenile productions of every author possessed of a warm imagination, and to the compositions of every people among whom a cultivated and philosophical taste has not established a sufficiently marked distinction between the appropriate styles of poetry and of prose. The account given by the Abbé Girard of the meaning of the word Phébus, as employed by the French critics, confirms strongly this observation. "Le Phébus a un brillant qui signifie, ou semble signifier quelque chose : le soleil y entre d'ordinaire; et c'est peut-être ce qui, en notre langue, a donné lieu au nom de Phébus." "1

Agreeably to these principles, Gray, in describing the infantine reveries of poetical genius, has fixed with exquisite judgment on this class of our conceptions:

"Yet oft before his infant eye would run

Such Forms as glitter in the Muse's ray
With Orient hues".

From these remarks it may be easily understood why the word Imagination, in its most ordinary acceptation, should be applied to cases where our conceptions are derived from the sense of sight; although the province of this power be, in fact, as unlimited as the sphere of human enjoyment and of human thought. Hence, the origin of those partial definitions which I have been attempting to correct; and hence, too, the origin of the word Imagination, the etymology of which implies manifestly a reference to visible objects.

To all the various modes in which imagination may display itself, the greater part of the remarks contained in this Chapter 1 Synonymes François.

will be found to apply, under proper limitations; but, in order to render the subject more obvious to the reader's examination, I shall, in the farther prosecution of it, endeavour to convey my ideas rather by means of particular examples than in the form of general principles, leaving it to his own judgment to determine with what modifications the conclusions to which we are led, may be extended to other combinations of circumstances.

Among the innumerable phenomena which this part of our constitution presents to our examination, the combinations which the mind forms out of materials supplied by the power of Conception recommend themselves strongly, both by their simplicity, and by the interesting nature of the discussions to which they lead. I shall avail myself, therefore, as much as possible, in the following inquiries, of whatever illustrations I am able to borrow from the arts of poetry and of painting; the operations of imagination in these arts furnishing the most intelligible and pleasing exemplifications of the intellectual processes, by which, in those analogous but less palpable instances that fall under the consideration of the moralist, the mind deviates from the models presented to it by experience, and forms to itself new and untried objects of pursuit. It is in consequence of such processes, (which, how little soever they may be attended to, are habitually passing in the thoughts of all men,) that human affairs exhibit so busy and so various a scene; tending in one case to improvement, and in another to decline, according as our notions of excellence and of happiness are just or erroneous.

It was observed in a former part of this work, that Imagination is a complex power.1 It includes Conception or simple Apprehension, which enables us to form a notion of those former objects of perception or of knowledge out of which we are to make a selection; Abstraction, which separates the selected materials from the qualities and circumstances which are connected with them in nature; and Judgment or Taste, which selects the materials, and directs their combination. To

these powers, we may add that particular habit of association to which I formerly gave the name of Fancy; as it is this which presents to our choice all the different materials which are subservient to the efforts of imagination, and which may therefore be considered as forming the ground-work of poetical genius.

To illustrate these observations, let us consider the steps by which Milton must have proceeded in creating his imaginary garden of Eden. When he first proposed to himself that subject of description, it is reasonable to suppose that a variety of the most striking scenes which he had seen crowded into his mind. The association of ideas suggested them, and the power of Conception placed each of them before him with all its beauties and imperfections. In every natural scene, if we destine it for any particular purpose, there are defects and redundancies which art may sometimes but cannot always correct. But the power of Imagination is unlimited. She can create and annihilate, and dispose at pleasure her woods, her rocks, and her rivers. Milton, accordingly, would not copy his Eden from any one scene, but would select from each the features which were most eminently beautiful. The power of Abstraction enabled him to make the separation, and taste directed him in the selection. Thus he was furnished with his materials, by a skilful combination of which he has created a landscape, more perfect probably in all its parts than was ever realized in nature, and certainly very different from anything which this country exhibited at the period when he wrote. It is a curious remark of Mr. Walpole, that Milton's Eden is free from the defects of the old English garden, and is imagined on the same principles which it was reserved for the present age to carry into execution.

From what has been said, it is sufficiently evident that Imagination is not a simple power of the mind, like Attention, Conception, or Abstraction, but that it is formed by a combination of various faculties. It is farther evident, that it must appear under very different forms in the case of different individuals, as some of its component parts are liable to be greatly

The

influenced by habit, and other accidental circumstances. variety, for example, of the materials out of which the combinations of the poet or the painter are formed, will depend much on the tendency of external situation, to store the mind. with a multiplicity of conceptions, and the beauty of these combinations will depend entirely on the success with which the power of taste has been cultivated. What we call, therefore, the power of Imagination, is not the gift of nature, but the result of acquired habits, aided by favourable circumstances. It is not an original endowment of the mind, but an accomplishment formed by experience and situation; and which in its different gradations, fills up all the interval between the first efforts of untutored genius, and the sublime creations of Raphael or of Milton.

An uncommon degree of Imagination constitutes poetical genius, a talent which, although chiefly displayed in poetical composition, is also the foundation (though not precisely in the same manner) of various other Arts. A few remarks on the relation which Imagination bears to some of the most interesting of these, will throw additional light on its nature and office.

SECT. II.-OF IMAGINATION CONSIDERED IN ITS RELATION TO SOME OF THE FINE ARTS.

Among the Arts connected with Imagination, some not only take their rise from this power, but produce objects which are addressed to it. Others take their rise from Imagination, but produce objects which are addressed to the power of Perception.

To the latter of these two classes of Arts, belongs that of Gardening; or, as it has been lately called, the Art of creating Landscape. In this Art the designer is limited in his creation by nature; and his only province is to correct, to improve, and to adorn. As he cannot repeat his experiments, in order to observe the effect, he must call up, in his imagination, the scene which he means to produce, and apply to this imaginary scene his taste and his judgment; or, in other words,