no inventive talents-no powers to execute-have perceptions sensitive and quick, to enjoy the productions of others, and a discernment nice and discriminating in comparing those productions with that prototype of which they are copies that common prototype, the volume of universal nature, In what Taste consists, or rather, on what it depends, may not, perhaps, be easy of definition; as on this point there has been a diversity of opinion-I had almost said from Longinus to Alison; though indeed neither Longinus, nor Quintilian, nor any one of the critics of antiquity, ever entered into the abstract question. Modern writers seem to concur in their acceptation of Taste, as not a simple but a compound idea: and it may, I think, be concisely defined, as consisting of sensibility and judgment. According to Burke, "it is "made up of a perception of the primary pleasures of "sense, of the secondary pleasures of the imagination, "and of the conclusions of the reasoning faculty con"cerning the various relations of these, and concerning "the human passions, manners, and actions." In considering "THE PLEASURES of Taste," I should first look to its field of action-the Sublime and the Beautiful of Nature and of Art. " Secondly, I should describe its energies in the mind of its possessor. And, thirdly, I should descend to its exemplification in peculiar scenery, or view it as illustrated in sensible creations. I possess a Poem in MS. formed on this plan, in three parts-the subjects of which are thus distinctly treated. It is a mere sketch. But its author would not be averse from a partial communication of it to the present audience: nor would he be displeased at any criticisms on particular passages, provided that they are not anonymous. As a specimen, I shall beg your candid attention to the more descriptive places. THE PLEASURES OF TASTE. FIRST PART. AT the opening of the first part, we are presented with a sketch of the first created man, as he is affected, through the medium of the senses, by external objects. It is asserted, that all have taste, in a certain degree. ↑ But, involved in a variety of meaner cares, most men have little leisure for contemplation; and acting from mercenary motives, become indifferent to what in more ingenuous minds excite the purest pleasure. If they are attracted at all to nature or its imitations; the sublime, not the beautiful-the wild-the wonderful-occasions strong and transitory, rather than delightful emotions. The more sublime scenery in nature is then described-and next, the beautiful; and, (in descending to an analysis of the landscape) colour and sound-simple and in assemblage. In the transition from nature to art, bowers and grottoes arise, and expand into temples and pyramids: And from the rude stupendous monument, we pass to the productions of more cultivated taste, in architecture, sculpture and painting; and from picture, to poetry and music. The pleasure we derive from these exhibitions, depends, in a great measure, on association or reflexion. After an observation or two on unity of expression, this first part concludes with an invocation to the Genius of Taste. A few selections may not, perhaps, be unacceptable. "Say, dawning into life, through depths of night, The sense of pleasure thro the soul of man ? His mystic self, amidst the vast unknown, And all he saw around him, seem'd as one! And hark! what sounds from wave on wave impell'd, Far off and wide, wl:at rising murinurs swell'd? Hark-'twas the dashing of the distant spray That roll'd in liquid lapse, and died away. He starts, and listens wondering; till more near But midst the palmy shade, the cedarn grove, Were audible in each spontaneous tone- Nor shrub of spicy bloom, nor odorous flower, Soft o'er his turfy couch the vine-leaves play'd, Danc'd to young airs, and wove their light and shade, On auburn tresses bade a radiance break, And in cool whispers fann'd his glowing cheek; And into action brought one pleasure more. Yet, thus to his excited senses sweet, |