I £$rc UNIVERSITY OF CALIFORNIA AT LOS ANGELES A N ESSAY O N ORIGINAL GENIUS} A N D I T S VARIOUS MODES of EXERTION I N PHILOSOPHY AND THE FINE ARTS, PARTICULARLY IN POETRY. ■ ■ . I ■ , , , — . ■ Nullius addiclut jurare in verba magijlr'i. Ho rat. LONDON: Printed for Edward and Charles Dilly in the Poultry, near the Man/ton Houfe. M DCC LXVII. • •8* 6 Hit Ds?3 e $ ADVERTISEMENT. X) CD l — ■ CD C/7 x ? I ^ O explain the nature of G e- JL n i u s, to point out its effen- OB -" tial ingredients, to fhew the refpeclive and the combined efficacy of thofe ingredients in composition, as well as in the refearches of Science and the inventions or improvements of Art, is the principal defign of the follow- < ing EiTay. 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 CD % to the Public in its prefent form. " Thus far however it may not be im- A 2 proper 301^24 iv ADVERTISE MEN T. proper to acquaint him, that though the Author had at firft refolved to confine his views to the confideration of the ingredients, exertions, and ef- fects of original Poetic Ge- nius alone, he was, upon maturer deliberation, inclined to extend his profpe&s •> and, by taking a more ex- tenfive furvey of his fubject, was de- iirous to render the defign of the Effay more complete. He acknow- ledges likewife, that he was partly led on to this method of profecuting his plan by gradual and almoft imper- ceptible fteps ; finding his fubjeel: growing upon him while he contem- plated it nearly, and new profpects opening themfelves to the imagination, in proportion to the progrefs he had made. As he had not therefore fixed his ADVERTISEMENT. v his attention wholly on any particu- lar fpccies of Genius, fo as to exclude altogether the confideration of any other fpecies ; and as he hath taken occaflon 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 defign, and include under it the feveral kinds of Genius treated of in the courfe of the fol- lowing Differtation. At the fame time it cannot but be obferved, that the Author hath kept the main object of his attention principally in his eye ; that he hath more particularly explain- A 3 ed 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 profpect. It will like wife be obferved, that in this view the Firft Book may very properly be considered as an Intro- duction to the Second, in which the fubject is branched out into its va- rious parts, and more particularly dif- cuffed. In the firft fection of the former, the objects and ingredients of Genius are inquired into, as well as the efficacy of thofe ingredients in composition , ADVERTISEMENT. vii compofition ; and if, in explaining the nature or enumerating the ingre- dients of Genius, the Author hath, diflented either from the general opi- nion, or from the opinion of a few individuals, who may poflibly think Genius properly conftituted by Ima- gination alone, he hath produced the reafons on which his fentiments are founded. In the fecond feclion, 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 fubject nearly connected with it, that of Wit and Humour. The fourth feclion is appropriated to an inquiry into the mutual influence of Imagina- tion on Tafte, and of Tafte on Ima- gination, confidered as ingredients in A 4 the viii ADVERTISEMENT. the compofition of Genius ; and the laft fedtion of the firft 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 which is pro- perly denominated original ; after which he proceeds to confider its different exertions in Philofophy, in Poetry, and in the other fine Arts ; more 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 afiign the reafons. Such is the general plan of the EfTay now fubmitted, with the utmoft deference, to the judgment and can- dor of the Public. The Author might avail himfelf of the ordinary practice of foliciting an indulgence to the faults of his performance, and he is fenfible that in many inftances he Hands in need of it ; but as he does not think it reafonable to expect an indulgence to faults, which either a more accurate examination of his Work would have qualified him to correct ; or which, if incorrigible, a proper fenfe of his own abilities would have enabled him to difcern *, he is under a neceffity of ap- pealing x ADVERTISEMENT. pealing to the impartial judgment of his Readers, however difadvantageous that appeal may be to himfelf ; con- scious as he is, that the utmoft an Author can hope for, is a candid exa- mination of his compofitions, 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 expected ; and that where this is altogether want- ing, no other excellence can fupply the defect. 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. xi the iffue of a ftridt 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 defects in the execution. The far greater number even of thofe who pretend to be poffeffed of learning and intellectual accompli»liments,being neither capable nor willing to think for themfelves on any fubjedt, are contented to adopt the fentiments 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 diftinguim the fenti- ments that are derived from the fources above-mentioned, from thofe that xii ADVERTISEMENT. that are properly original, and are the refult of invention and reflection 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 compositions it is found, may as juftly affert his claim to Originality, as if no fuch coinci- dence had ever exifted. T o thefe considerations, which will in feveral inftances at leaft account for an accidental similarity, and even sameness of fentiments with thofe of others, fuppofing them to have happened in fome parts of the follow- ing Effay, the Author of it begs leave to fubjoin a caution to his Readers : It is, that they would not expect to meet ADVERTISEMENT, xiii meet with original fentiments in thofe parts of this Effay, where it is fcarcs poflible they mould be difcovered. Thus, for inftance, in enumerating the ingredients, pointing out the objects, or illuftrating the efforts of Genius, there is very little fcope afforded for any new track of thought ; and thofe who would form juft opinions of the above-mentioned articles, muft think as the beft Authors who havie gone before them have done upon the fame fubjects. Other parts of the follow- ing Treatiie 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 considered 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- vered on the above-mentioned fub- jefts, ADVERTISEMENT. xv je£s, mult 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 confcious of having borrowed his obfervations on thefe fubje&s 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 farther 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 fhould 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 produ&ions. 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 perufal. T II E THE CONTENTS, o BOOK I. F the Nature, Properties, and Indica- tions of Genius ; and of the various Modes of Exertion, Page i SECTION! Of the Objects and Ingredients of Genius ; and of the Efficacy of thofe Ingredients united in Composition, - - 3 Imagination necefsary to a Genius, 6 An accurate Judgment alfo necefsary, 8 Of Taste, that internal power of percep- tion, - - - 16 Of Imagination, Judgment andTASTE,io. The Iliad and Odyjfey, works of Genius, 24 a SEC- xviii CONTENTS. SECTION II. Of the ufual Indications of Genius, Page 27 Of Philofophical and Poetical Genius, 33 Of Tasso, Pope, and Milton, 37 Of Quintilian, a great Mafter of Elo- quence, - - - 38 Of a Genius for Architecture, - 42 Of a Genius for Eloquence, • 44^ SECTION III. Of the Connection betwixt Genius, Wit, and Humour, 46 Pope's Rape of the Lock, a refined piece of Humour, - - 51, 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 in Shakespear, 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, 63 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, js Genius difcoveredin mechanical Arts, 77 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 II. 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 Si* *x CONTENT S. Sir Isaac Newton," an original Genius in Philofophy, - - Page 119 His ftupendous difcoveries of the revolu- tions of the heavenly bodies, &c. 119 Dr Berkeley, Bifhop of Cloyne, an original Genius in Philofophy, - 120 • DrBuRNET, author of the'fheory of theEarth y an original Genius in Philofophy, . . 121 An admirable performance in feveral re- fpects, - - - 122 SECTION III. Of Original Genius in Poetry, - 124 Invention, the vital fpirit of it, - 125 Of the inventionof Incidents, - 127 Of the invention of Characters, - 130 Shakespear, his great Genius, '- 141 Of the invention of Imagery, - 1 43 Of the invention of Sentiment, - 149 Longinus, an admirable Critic, - 151 Aristotle, his obfervation on the methods of raising the pafsions, - 154 Vivacity of defcription characteriftical of a great Genius, - - l Sl Three other ingredients of Original Genius, 162 Irregular greatnefs of Imagination, charadter- iftical of original Genius, ' - 163 Wildnefs CONTENTS. xxi Wildnefs of Imagination difcovers an Original Genius, - - Page 168 Enthusiafm of Imagination mews an Original Genius, - - - 169 Plato's opinion of the Enthusiafm of Poetry, 169 Ardor of Imagination the foul of Poetry, 171 Efsays of Original Genius in Allegories, 171 Two forts of Allegory, - 173 Spenser's Fairy Queen, a fpecies of Allegory, 1 74 Original Genius difcovered in Visions, 176 Fiction or ideal figures difcover Original Ge- nius, - 179 Poets and Pricfts, authors of all the Theologi- cal Syftems of the Gentile world, 181 The Greek Theology the moft ingenious, 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, j8S Poetry affords a difplay of Original Genius, 188 A degree of Original Genius in other Arts, 1 8 8 Of Original Genius in the art of Painting, 1 89 Imagination xxii CONTENTS. Imagination necefsaiy to form an Hiftory- Painter, - - Page 191 Original Genius difeovers itfelf in the Painter, 195 An example of Genius in Painting, on the fubject 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 Athenian 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 Punimment 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 Ogilvie, 2 37 Wherein the Englifh Preachers are diftinguifh- ed, - - « 238 CONTENTS. xxiii An inftance of eminent Eloquence from Mr Seed's Sermons, - Page 239 Another inftance from the Sermons of DrAT- terbury, •' '»-'■'* V 242 An example of Oratorial Eloquence from a Speech in the Britijh Senate, - 244 Original Genius difcovers itfelf in Music, 247 Originality of Genius difcovered in Archi- tecture, - 253 Genius diftinguifhed by a powerful bias to In- vention, - - - 257 Of ftupenddus Gothic Structures, 257 The elegance of the Grecian and Roman Edi- fices, - - - 259 SECTION 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 imperfect Hate, afford fcope for the exertions of Ge- nius, - - - 261 Efforts of Imagination in Poetry impetuous, 262 Painters, xxiv CONTENTS. Painters, Orators, Musicians, Architects and Philofophers, indebted to their predecefsors, Page 163 Of Homer writing the Iliad and OayJey y 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 Virgil, Tasso and Milton, imitated Homer, 278,279 Original Genius feldom appears in cultivated life, - - - 286 Of the Genius of Shakespear and Milton, 287 Some exalted Geniufes in our own age, 288 Catties of Originality of Genius not being often found in cultivated life, - 289 Original Genius not flourifhing in luxury or po- verty, - 291,292 True Genius profpers in rural tranquillity, 293 Original Genius abforbed in the gulf of fenlual indulgence, - - - 294 A remark on the advantages of learning, though it doth not promote Original Genius, 295,296 A N A N ESSAY O N GENIUS. BOOK I. OF THE Nature, Properties, and Indications O F GENIUS; AND OF ITS VARIOUS MODES of EXERTION. - . ? & u . .. ■ SECTION I. O F T H E OBJECTS and INGREDIENTS O F GENIUS; AND OF THE EFFICACY of thofe INGREDIENTS UNITED IN COMPOSITION. <&^*^<& T muft have occurred to every 5 i / one who has furveyed, -with an *^*J*S 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 poffeffed in very different proportions by different per- fons. This variety both in the kind and B 2 degree 4 AN ESSAY degree of mental accomplifhments, while it indicates that man was formed for fociety, doth likewife clearly point out the refpeclive (rations in life which every individual is beft calculated to fill and to adorn. Education, as it is well or ill directed, 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 mifapplied, by the folly and ig- norance of men, it cannot be denied, that the variety with which they are bellowed, is both a wife and beneficent contrivance of the Author of nature ; fince a diverfity and a fubordination of intellectual 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 moft fuccefsfully carried on j men become mu- tually dependent upon, and fubfervient to, the neceiTities of each other : fome apply themfelves to agriculture and commerces while ON GENIUS. 5 while others, of a more contemplative difpo- fition, or of a more lively imagination, de- dicate their time to philofophy and the li- beral arts. Of thofe who have applied themfelves to the cultivation of either, a fmall number only are qualified to extend their empire, and advance their improvement in any con- fiderable degree. To explore unbeaten tracks, and make new difcoveries in the regions of Science ; to invent the defigns, and perfect the productions of Art, is the province of Genius alone. Thefe ends are' the objects 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 6 A N E S S A Y Having fuggefted the obje&s 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 lin- gular accompli fhment. Thefe are imagi- nation, judgment, and taste. We fhall confider therefore the peculiar nature of thefe different qualities, and point out the parti- cular efficacy of each, and the combined ef- fe&s of all, in accomplishing the purpofes of Genius. That Imagination is the quality of all others mod efTentially requifite to the exift- ence of Genius, will univerfally be acknow- ledged. Imagination is that faculty whereby the mind not only reflects on its own opera- tions, but which afTembles the various ideas conveyed to the understanding by the canal of fenfation, and. treafured up in the repo- fitory of the memory, compounding or dis- joining ON GENIUS. 7 joining them at pleafure -, 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 necefiary is this faculty in the composition 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, to 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 induction, the truth and importance of thofe difcoveries, and the utility of thofe inventions j while the inventions and difcoveries themfelves muft be effectuated 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 effects 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- ductions of Genius regular and jufl, as well as elegant and ingenious, that the difcern- ing and coercive power of judgment mould mark and reftrain 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 effential to its conftitution, and without which it cannot poflibly be exhi- bited to full advantage, even an accurate and penetrating judgment. The proper office of judgment in com- pofnion, is to compare the ideas which imagi- nation collects ; to obferve their agreement or difagreement, their relations and refcm- blances ; ON GENIUS. 9 blances j to point out fuch as are of a ho- mogeneous nature j to mark and reject fuch as are difcordant ; 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 canvafles the dengn, ponders the fenti- ments, examines their piopriety and con- nection, and reviews the whole compofition with fevere impartiality. Thus it appears to be in every refpect. a proper counterbalance to the rambling and volatile power of imagination. The one, 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 f Quintilian, who poflefled all the ingredients of Genius in a high and almoft equal degree, feems to confider Judgment as fo efiential a one in its compo- fition, that he will not allow the name of Invention to any difcovery of imagination which has not patted the teft of reafon : Nee invenijp quidem credo eum qui non jitdicavit. it io 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 affift him in the attainment of any uncommon beauty, a tafk which this faculty is by no means qualified to accom- plifh. We may alfo obferve, that it is chiefly employed in pointing out the moll obvious blemifhes 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 ; 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 diflinguifhed by the name of taste, and confidered as the laft ingredient in the compofition of Genius. We ON GENIUS. n " We may define taste to be that inter- nal fenfe, which, by its own exquifitely nice fenfibility, without the affiftance of the reafoning faculty, diftinguifhes and deter- mines the various qualities of the objects fubmitted to its cognifance ; pronouncing, by its own arbitrary verdict, that they are grand or mean, beautiful or ugly, decent or ridiculous *." From this definition it ap- pears, that Tafle is defigned as a fupplement to the defects of the power of judgment, at lead in canvafling the merit of the perform- ances of art. Thefe indeed are the fubjecls on which it exercifes its difcerning talent with the greatest propriety, as well as with the greater!: 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 quodam fenfu, fine ulla arte aut ratione, quae fint in artibus ac rationibus re&a ac prava dijudicant. Cicero de Oral, lib, iii, cap. 50. latter. 12 AN ESSAY latter. The truth is, to bring philofophical fubjects to the tribunal of Tafte, or to em- ploy this faculty principally in their exami- nation, is extremely dangerous, and natu- rally productive 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 act 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 directed by judgment, it claims the direction 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 fubjects of this kind ; for it poffefles a perfpicacity of difcernment with regard to them,which reafon can by no means pretend to, even on thofe fubjects that are the moft adapted to its nature. So much more perfect are the fenfes than the under- ftanding. ON GENIUS. 13 ftanding. We mall illuflrate thefe remarks by an example. Let us fuppofe two perfons, the one pos- sefTed of a comprehenfive and penetrating judgment, without any refinement or deli- cacy of tafte ; the other endued with the mod exquifite fenfibility of tafle, without any extraordinary proportion of the reafon- ing talent, both fet to work in examining the merit of fome mafterly production of art, that admired piece of hiftory-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 exact proportion of every figure in the piece ; 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 artifl has given a pro- per variety of expreflion to the countenances of i 4 .AN ESSAY of the feveral fpeclatbrs. Upon diKovering that the painter had exactly 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 matte- 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 tafte will pro- ceed, and in what manner he will be affect- ed. Inftead of attending, in the firft place, to the juft proportions of the various figures exhibited in the draught, however neceffary 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 contortions of the countenance, the natural ON GENIUS. i 5 natural expreflions of agonifing pain, mixed however with an air of divine benignity and companion. Then he pafTes on to the contemplation of the inferior and fubordi- nate figures, in which he perceives a varie- ty of oppofite pafilons, of rage and terror, of admiration and pity, ftrongly marked in their different countenances -, and feels the correfponding emotions in their utmoft ftrength which thofe feveral paflions are calculated to infpire. In a word, the man of judgment approves of and admires what is merely mechanical in the piece j the man of tafte is ftruck with what could only be effected by the power of Genius. Where- ever nature is juftly reprefented, wherever the features of any one paffion are forcibly expreffed, to thofe features his attention is attracted, and he dwells on the contempla- tion of them with intenfe and exquifite pleafure. The fenfations of the former are cool, weak, and unaffecting throughout ; thofe of the latter are warm, vivid, and deeply interefting ; or, to fpeak more pro- perly, 16 AN ESSAY perly, the one reafons, the other feels -\-. But as no reafoning can enable a man to form an idea of what is really an object 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 productions of Ge- nius and of Art, there muft be an internal perceptive power, exquifitely fenfible to all the imprefiions which fuch productions 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 fhewn to be fo neceflary for enabling us to judge properly concerning works of imagination, does not appear to be requisite, in the fame degree, in the refearches of Science. In this department, reafon realm mes the reins, points out and prefcribes f Non ratione aliqua, fed motu nefcio an inenarra- bili judicature Neque hoc ab ullo fatis explicari puto, licet rnulti tentaverint. Quint. Injlit, lib. vi. the ON GENIUS. 17 the flight of fancy, afligns the office, and determines the authority of tafte, which, as we have already obferved, muft here be contented to a<5t 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 tafle. 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 fanction of reafon; provided that, in this cafe, tafte and imagination act under the direction, and fubmit to the con- troling power of judgment. On the other hand, judgment has a par- ticular province afiigned to it, in examining C the i8 A N E S S A Y the works of Genius and Art ; though, with regard to thefe, it acts an inferior part, as tafte does in the former cafe. Judgment muft not prefume to take cognifance of thofe exquifite and delicate beauties, which are properly the objects of the laft mention- ed faculty j but it may determine concerning regularity, juftnefs, and uniformity of de- fign, and concerning propriety of fentiment and expreffion. All thefe fall within its fphere; and its decifions in thefe refpects command our afTent. Upon the whole ; as judgment and taste may be alternately exercifed in the fphere of each other, and ought to act. 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 diftinguifhing faculties of the human mind, ON GENIUS. 19 mind, imagination, judgment, 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 objects of Genius. Even imagination, the mofl ef- fential and predominant ingredient in the compofition of this character, if we fup- pofe it to exift in a man without any conli- derable proportion of the other faculties, will be miferably inadequate to the objects juft mentioned; for though it may, by its own native vigour, fometimes ftrike out an important difcovery, either in fcience or in art, yet this will no way avail, if there is not a fufficient ftrength of reafon beftowed to prove its truth and utility. Such a dif- covery will often, however undefervedly, ex- pofe the author to ridicule j and the utmoft reward he can hope for of his labour, is to gain the character of a romantic vifionary, or an adventurous, but vain, projector > though the fame difcovery more clearly re- vealed, and more fully demonstrated, by an- other perfon, poherled 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 greater! part was due to the firjft au- thor. Having confidered the nature of the dif- ferent faculties Of IMAGINATION, JUDGMENT and taste, and pointed out their refpective exertions j having alfo fliewn that imagina- tion, the mod diftinguiihing of thefe faculties, is of itfelf infufficient to attain the objects of Genius j v/e (hall now take a view of Ima- gination, Judgment, and Tafte, as forming by their union the full perfection of Genius, and fhall obferve their combined effects in composition. 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 effect of fuch an union ON GENIUS. 21 union will be very extraordinary. In fuch a cafe, thefe faculties going hand in hand toge- ther, mutually enlighten and aflift 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 on both, and derives from them precision and sensibility. The effect, 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 jure and nervous reafoning, and in eloquent, grace- ful, and animated expreffion. Hence, in the writings of an author who poflefles the qualities above mentioned in a high de- gree, we are convinced, pleafed, or af- fected, according to the various drain of his compofition, as it is adapted to the C 3 under- 22 AN ESSAY underftanding, the imagination, or the heart. We fhall not pretend to afcertain the exact 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 confiderable 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 diftinguifhing part, fo of courfe it will and ought to be the predomi- nant one. An exact equilibrium of the rea- foning and inventive powers of the mind, is perhaps utterly incompatible with their very different natures ; but though a perfect equipoife cannot fubfift, yet they may be diftributed in fuch a proportion, as to pre- ferve nearly an equality of weight; and, notwithstanding 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 mall not dis- pute with him about words j for the ingre- dients of Genius depend intirely upon the acceptation in which we take it, and upon the extent and offices we afiign to it. It is evident, from the idea we have given of its obje&s, 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 fhould ftill continue to think that Genius and Imagination are fyn- onymous terms, and that the powers of the C 4 former 24 A N E S S A Y former are mod properly expreffed by thofe of the latter ; let him reflect, that if the former is characterifed by fancy alone, with- out any proportion of judgment, there is fcarce any means left us of diftinguifhing 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 characters and incidents in thofe admired productions -, but alfo, be- caufe that Imagination is regulated by the nicelt judgment j becaufe the characters are juftly drawn, as well as uniformly fupport- ed ; 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: deftitute 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 ftrain 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 mod elaborate performance? without it, are no other than a lifelefs mafs of matter, frigid and uninterefting, equally deftitute of paflion, 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 2.6 A N E S S A Y ance irradiated with the beams of this di- vine quality, is like an object rendered pellucid and tranfparent by the fplendor of the fun. SECTION ON GENIUS. 27 SECTION IL O F T H E USUAL INDICATIONS O F GENIUS. HAVING endeavoured, in the pre- ceding feclion, to explain the nature, and determine the ingredients of Genius; and having likewife pointed out the effe&s of thofe ingredients in compofition, we fhall now proceed to confider the moft ufual in- dications of the above mentioned quality. It may be obferved in general, 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 t$ 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- ject, 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- ffcrvefcence of mind (if we may thus exprefs it) by which it burfts forth with irrefiftible 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 firfl of thefe points : though Genius difcovers itfelf in a vaft va- riety of forms, we have already obferved, that thofe forms are diftinguifhed and cha- racterifed by one quality common to them all, poifeffed 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 exact proportion to our neceflities and occafions for exercifing them. Imagination therefore being that faculty which lays the foundation of all our knowledge, by collect- 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 youth, appears in thofe early periods in all its puerile bril- liance and fimplicity, long before the rea- foning faculty difcovers itfelf in any confi- derable degree. Imagination however, in general, exercifes itfelf for fome time indis- criminately on the various objects 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 3 o AN ESSAY fentation it receives of outward objects by the miniftry of the fenfes, views fuch a re- prefentation with the curiofity of a ftranger, who is prefented with the profpedt of an agreeable and uncommon fcene. The no- velty of the objects at firfl only affects 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- lects 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 Architect:. The ON GENIUS. 31 The productions indeed of youthful ge- niufes will be naturally marked with thofe improprieties and defects, 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 blofToms on the firit return of fpring *. Nature * Quintilian confiders thefe forward geniufes as hafty and untimely growths, like thofe ears of corn, which fuddenly fpring up in a (hallow 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 provec*ti, quicquid ill io poflunt, ftatim oftendunt. Poflunt autem id demum quod in proximo eft: 32 AN ESSAY Nature requires time to mature her pro- ductions ; the powers of the mind and body grow up together, and both acquire their proper confidence and vigour by juft de- grees; this at leaft is the ordinary courfe of nature, from which there are few ex- ceptions. But though Genius cannot be faid to at- tain its full perfection till the reafoning fa- culty, one of its efTential 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; haec vultu interrito, nulla tar- dati verecundia proferunt : non multum praeftant, fed cito ; non fubeft vera vis, nee penitus immiffis radici- bus nititur : ut quae fummo folo fparfa funt femina, celerius fe effundunt & imitatae fpicas herbulas inani- bus ariftis ante meflem flavefcunt. Quint. Injiit, lib. i. cap. 3. We ON GENIUS. 33 We fliall confider the moft diftinguifhing of thefe forms, and the peculiar indications which characterise them. Let us firft ob- ferve the efTential 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 -, 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 poflefs greater compafs, and in the laft, greater accuracy. Here then we have one characteriftical indication of a Genius for philofophical Science ; and that is, accu- racy of imagination. Its aflbciations of ideas will be perfectly juft and exact, no extra- neous ones will be admitted ; it will afiemble all that are necefiary to a diftinct conception and illultration of the fubject it contem- plates, and difcard fuch as are no way con- D ducive 34 AN ESSAY ducive to thofe purpofes. This precifion and accuracy in felecling and combining its ideas, appears to proceed from a native regularity, clearnefs, and even ftrength of Imagina- tion, united with a certain acumen ingenii* a 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 fader to maturity in him than in any other per- fon; and ibme prefages of the future ex- tent of his underftanding may be derived from his firft argumentative effays. He will likevvife difcover an acutenefs of per- ception, a fhrewdnefs and fagacity in' his obfervations, remarkable for his years j and will begin early to inftitute comparifons, to connect his ideas, and to judge of the re- lations in which he flands to the perfons and objects 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 moft remarkable indications of this character 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 fubjecls which afford fulleft fcope for its exercife; for which reafon it will run into the more pleafing fpecies of fiction, and D 2 will 36 AN ESSAY will be particularly diftinguifhed by a happy fertility of invention. But though fable be the ftrain of compofition of all others moft fuitable and appropriated to the highefl cjafs of poetic Genius, neither its choice nor its abilities are restricted to this alone. It freely indulges itfelf on a variety of fub- jecls; in the ielection 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- fpecls of ambition, the affectionate and ar- dent reciprocations of friendship, 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 fubjecl, as we would otherwife choofe to be, left we fliould anticipate fome of the obfervations that will be made on the diftinguiftiing characters of original poetic Genius, in another part of our EfTay. It O N 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 productions he admires. Imagination, which in every man difplays itfelf before any of the other faculties, will be difcernible in him in a date of childhood, and will ftrongly prompt him to Poetry: Tasso, we are told, compofed poems when he was only five years of age$ 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 : As yet a child, nor yet 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 301324- 38 AN ESSAY was natural at fuch an age, efpecially 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 pieces, 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 Loft. We fhall only add, that the performances of a youthful Poet, pofTefTed of true Genius, will always abound with that luxuriance of imagination, and with that vivacity and fpirit which are fuitable to his years -, but at the fame time they will generally be de- ftitute of that chaftity and mafculine vigour of expreffion, as well as juftnefs and pro- priety of fentiment, which are only compa- tible with maturer age -f . The •f- That great Matter of Reafon and Eloquence, whom we laft quoted, and whom we fliall 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 Eflay, ftnce his fentiments on the fubje&s of which he treats, are as juft as they are elegantly and happily expreffed, obferves, that luxuriance of Imagination is to be re- garded as a favourable indication of future fertility and copioufnefs of Genius ; 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 offendat fi quid fuperfuerit. Quin ipfis do&oribus 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 pofterum minari fo- let protinus omnibus membris expreflus infans. Au- deat haec aetas plura, & inveniat, &: inventis gaudeat, fint licet ilia non fatis interim ficca & fevera. Facile eft remedium ubertatis, fterilia nullo labore vincuntur. Ilia mihi in pueris natura minimum fpei dabir, in qua ingenium judicio praefumitur. Materiarn efle primam volo vel abundantiorem, atque ultra quam oporteat fu- fam. Multum inde decoquent anni, multum ratio li- mabit, aliquid velut ufu ipfo deteretur, lit modo unde D 4 excidi 40 AN ESSAY terifes likewife and diftinguifhes the Painter •, the figns only being different by which it is expreffed. The former endeavours to im- part his fentiments and ideas to us by verbal defcription ; the latter fets before our eyes a ftriking refemblance of the objects 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 effect his pur- pofe, he muff have his imagination poffeffed with very vivid conceptions of the objects he excidi poflit & quod exculpi. Erit autcm, fi non ab initio tenuem nimium laminam duxerimus, & quam caelatura altior rumpat. Quintil. In/tit. lib.ii. cap. 4. Cicero's fentiments on this fubjecl: coincide exactly with thofe of Quintilian quoted above: Volo enim, fe efferat in adolefcente fcecunditas : nam faciiius, ficut in vitibus revocantur ea, quae k(e nimium profuderunt, quam, fi nihil valet materies, nova far- menta cultura excitantur : ita volo effe in adolefcente unde aliquid amputem. Non enim poteft in eo efle fuccus diuturnus, quod nimis celeriter eft maturitatem affecutum. De Qrat. lib.ii, cap. 21. would ON GENIUS. 41 would thus exhibit 3 otherwife it is impos- fible he fhould delineate the tranfcript of them upon canvas. The Imagination muft guide the hand in the defign and execution of the whole. A Painter therefore of true Genius, having his fancy ftrongly imprefled and wholly occupied by the mod lively con- ceptions of the objects of which he intends to exprefs the refemblance, has immediate recourfe to his pencil, and attempts, by the dexterous ufe of colours, to fketch out thofe perfect 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 requifite to the Mufician, who would become excellent in his profeflion. He muft be thoroughly acquainted with the power of founds in all their variety of com- bination. His imagination muft affift him in 42 AN ESSAY in combining founds, in order to conftitute different fpecies of harmony ; and his expe- rience of the effects of various modulations, fir ft 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 Architecture is difcovered by a proper union of Imagina- tion and Tafle, directed to the accomplifh- ment of the ends of this art. The degree of Imagination necefTary to a maftery in Ar- chitecture, 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; and our modern artifts have con- fined their ambition to the ftudy and imi- tation of thofe illuftrious monuments of Genius ON GENIUS. 43 Genius left them by their predeceflbrs, as if it were impoflible to invent any other fuperior or equal models. To invent new models of Architecture, 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 unite 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 Architect ; for though Fancy may be employed in combining the dif- ferent] orders of Architecture in one ge- neral defign, 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 effected by an uncommon ex- tent of Imagination, we may venture to affirm, that the employment of Fancy and 44 AN ESSAY and Tafte, in the manner above men- tioned, is a proper indication of a Ge- nius for Architecture, as well as neces- fary to the accomplifhment of fuch a Ge- nius. With refpect to a Genius for Eloquence, its chara6leriftical indications are effen- 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 autem licentia liberior, multis vero ornandi generibus focius ac pene par j in hoc qui- dern certe prope idem, nullis ut termini's circumfcribar, aut definiat jus fuum, quo minus ei liceat eadem ilia facultate, & copia, vagari qua velit. Cicero de Orat. lib. i. cap. 16. 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. i SECTION 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 j and ON GENIUS. 47 and as the fubject of this Section is neither incurious nor unimportant, and is, to us at leaft, new, we (hall endeavour in the pro- grefs of it to explain the nature, and to mark the efiential and peculiar characters of the above-mentioned qualities : we fhall point out their diftinguifhing difference, and mew their mutual connection. 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 charafterifed by a co- pious and plaftic, 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 defciibe in the moft lively manner the objects it contemplates. Such 48 ANESSAY Such is the nature, and fuch are the eflfen- tial characters of Genius. On the other hand, Wit and Humour neither invent nor create ; they neither poffefs the vigour, the compafs, nor the plaftic power of the other quality. Their proper province is to affemble with alertnefs thofe fentiments and images, which may excite pleafantry or ri- dicule. Hence vivacity and quicknefs of Imagination form their peculiar characters. In fact, the accomplifhments of Wit and Humour, which are fo much the objects 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- racters and in manners ; and thofe flafhes of wit, and ftrokes of humour, we fo much admire, are by no means the effects of a creative Imagination, the diftingui filing cha- racteristic of true Genius ; but of a quick- nefs and readinefs of fancy in aflembling fuch ideas as lie latent in the mind, till the combining ON GENIUS. 49 combining power of aflbciation, with the afliftance of the retentive faculty, calls them forth, by the fuggeftion of fome diftanr, 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 diftinct qualities, and may exift feparately. The former is the moft fhining, 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 character, 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 characters, and may be denominated humour of character j and into that which is difplayed in composition, E and 50 AN ESSAY 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- racter exhibited fo ftrongly, 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 affection, increafe the former, and con- ciliate 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- jects of drollery and pleasantry happen to occur 3 or of a vein of irony and deli- cate satire, purpofely difplayed on a particular fubject. 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 j 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 flames for a little while, and then expires. It rufhes on with precipitation, and, like a {hallow ftream, makes a great noife; but the rivulet foon dries up, and betrays the penurioufnefs of the fource from which it flowed. The converfation-wits refemble thofe perfons, whofe ideas pafs through their minds in too quick fucceflion to be diflincl j 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 neceiTary to think-, a piece of drudgery which the Gentlemen we are fpeaking of are too lively to undergo. 'D 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 diftinct nature j fince the former are produced by the efforts of a rambling and sportive Fancy, the latter proceeds from the copious efFufions of a plaftic 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 pretentions 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 fubjecls, being of the mournful kind, could not admit of the iprightly graces of Wit and Humour. But let it be obferved, that But let them reflect on what fuch pretentions arefound- • ed. I can recollect 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 confefled, he hath united both In- vention and Humour: and therefore we allow him to have pofleffed 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 mod delicate, he unques- tionably excelled all mankind. In the fcale of Genius, however, we muft aflign him an inferior ftation ; fince his Mufe fcarce ever rifes to the region of the Sublime, which is the proper fphere of a great Genius ; but, on the contrary, delights to wallow in the offal and nafti- nefs of a fty 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 fubjecb, is a fufficient proof that thefe were not only mod fuited to his Ge- nius; but that thofe of a folemn, awful, and pathetic nature, if we include the wild and picturefque. as fubfervient to the others, were the only fubjects 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 almoft in an equal meafure j and Young hath given a fpecimen of the former in his Night Thoughts^ and of the latter in his Univerfal PaJJion ; 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 aflert, that the one may exift without the other, which we think hath been proved in the cafe of Os- SIAN ON GENIUS. ss 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 afflictions, might have greatly contributed to fupprefs the ta- lents of which we are fpeaking, fuppofing him to have been pofleiTed of them. We fhall only add, that there is one cafe in which Wit and Humour may claim the de- nomination of Genius j and that is, when they are accompanied with a rich fund of invention, as in the Rape 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 fiction. In this incomparable heroicomical poem, Pope has ihconteftibly 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 firft 56 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 this; 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 characters 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 diftinguifh- ing characters j fo they have different fpheres of exercife afligned them, in which alone they can difplay 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. 5 j and exemplified by particular inftances ; 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 connection, where a neceffary one at firft view might be expected, accounted for, we fhall conclude the prefent Section with endeavouring to affign 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 connection 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 recollect the peculiar office of Genius, com- 5> 8 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 object it contemplates, in the moft {hiking manner, and with the raoft picturefque circumftances : that of the latter is to repreient 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 diftinguiming characteriftic 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 aflembling 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 occafions 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 object to another, without allowing it time to con- ceive any of them diflinclly, might be pre- judicial to that vivid conception, and that extenfive combination of ideas which in- dicate and characterife true Genius. In this cafe, the mind, hurried with precipi- tancy from one theme to another, though it may catch a glimpfe, yet rarely ohtains a full view of the object it defires 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 difiincl; 6o AN ESSAY diftinct from each other, are neverthelefs in- diilblubly connected. After having reflected a good deal upon the fubject, the fentiments I have now delivered are the refult of that reflection ; which fentiments I have endea- voured to confirm by examples, more of which 1 could have added, had it appeared to be neceflary. The truth is, the obferving that Genius and Wit have to all appear- ance been feparately poffeffed by different perfons, led me firft to fufpecf. that their union was cafual* Proceeding upon this principle, I have attempted to afTign 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 objection to the former, befides what has been already fug- gefted, which is, that men of Genius, con- fcious of pofTeffing 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. 61 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 fact be, is often fuperior to that which is acquired by the difplay of Genius j and we may conclude in general, that moft of thofe who are pof- fefled of it, will be defirous of being diflin- guiihed upon that account ; and confequent- ly, where it does not difplay itfelf, that it does not probably in any great degree exift. It is necefTary 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 connected, I had chiefly in my eye that fpecies of Wit which is the fudden effufion 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 recollect them, I (hall not here enumerate. That kind of Wit and Humour however,which is dis- covered 62 A N E S S A Y covered in compofition, and which being more the effect, of thought, is commonly more juft and folid, though often lefs bril- liant, Genius will not fo eafily refign its claim to. Indeed, to declare my own opi- nion upon a doubtful point, where examples contradict each other, it appears to me mod probable, that true Genius is, we do not fay, univerfally and neceflarily, 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- prefTed. 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. OF THE MUTUAL INFLUENCE O F IMAGINATION on TASTE, AND OF 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- nius. The former we have proved to be the moil effential ingredient, without which Genius 64 , AN ESSAY Genius cannot exift ; and that the latter is indifpenfibly necefTary 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 fection, which, for the fake of precifion, we mall here re- peat. "Taste is that internal fenfe, which, by its own exquifitely nice perception, with- out the affiftance of the reafoning faculty, diftinguifhes and determines the various qualities of the objects fubmitted to its cog- nifance, pronouncing them, by its own ar- bitrary verdict, 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 rude; in others, ON GENIUS. 6g 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 poffeffes in the mod 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 objects on the fenfes, or by the power of reflection, 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 Peters, for inftance, at Rome, will be affected in the mod different manner and degree imaginable. The latter, looking a- round him with ignorant and infipid cu- riofity, caffs 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 flares at the magnificence of the F edifice 66 AN ESSAY edifice with a foolifh face of wonder. The former, furveying all the fabric together, is ftruck with admiration of the exact fym- metry, and majeftic grandeur of the whole. Or if we fhould fuppofe both to be pre- fented, at the fame time, with the profpect 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 leaff. 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- jects would throw the other into rapture. It is natural to afk, whence arifes 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 muff ON GENIUS. 6 7 mull certainly proceed from the transform- ing power of Imagination, whofe rays illu- minate the objects 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 productions of art, and to feel an exquifitely pleafing fenfation from the furvey of them. Imagination dwells upon an agreeable object 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- 63 AN ESSAY contagion from Fancy, contemplates the favourite object with equal tranfport, by which means it acquires and improves its fenfibility : it becomes more fufceptible of pleafure, and more exquifitely 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 Tafte 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 objects that pofTefs no intrin- fic 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 neglect 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 Tafte with the objects that produced them, and to correct the errors of this fenfe by an appeal to the dictates 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. + 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 work of real Genius, and in which the mod fublime fpirit ofPoetry predominates, we mean the Night 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 70 AN ESSAY Having thus pointed out the influence of Imagination on Tafte, let us now con- sider the influence of Tafle on Imagina- tion. As Taste derives all its sensibility and refinement from the prevalence of Ima- gination, fo Imagination owes, in a great meafure, its justness and accuracy to the correct precision of a well regu- lated Taste. The excurnons of Fancy, undirected by Judgment or Tafte, are al- ways extravagant ; and if we mould 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 ihare of merit in the productions of Genius, yet, in one view, it may be confidered as acting a fubordlnate part, as exerting its energy under the prudent restrictions of Judgment, and the chaftening animadver- fions ON GENIUS. 71 fions of Tafte. In fact, the proper office of Fancy is only to collect the materials oi compofition j but, as a heap of ftones, thrown together without art or defign, can never make a regular and well proportioned building ; fo the effunons of Fancy, without the fu per intending and directing 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 collected j and it is the office of Tafte to beftow thofe diftinguifhing graces, which may give dignity and elegance to the ieveral 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. From the furvey we have taken of the mutual influence of thefe 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 72 AN ESSAY and refinement on Tafte, fo on the other, Tafte imparts justness and precision to Imagination $ while Genius is consummated 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 polTefs 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 diftincl view, all the numerous and mod diftant re- lations of the objects on which they employ it j 74 AN, ( ESSAY it 3 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 relies on its own fund. Conlcious 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, catches a glimpfe of fome objects which lie far be- yond the fphere of ordinary obfervation, and obtains a full and diftmcl: view of others. We may farther obferve, that Genius xnay, in a very confiderable though much lefs proportion, be difplayed in the illustra- tion of thofe truths, or the imitation of thofe models, which it was incapable originally to difcover or invent. To comprehend and ex- plain the one, or to exprefs a juft refem- blance of the other, fuppofes and requires no contemptible 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 refpective profeffions, though not men of original Ge- nius; for the former did not pofTefs that compass of imagination, and that DEPTH of discernment, which were neceflary to difcover the doctrines of the Newtonian Syf- tem 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 likewife ma- nifefted in the more exquifite productions of the mechanical arts. To constitute an excellent Watchmaker, or even Carpenter, fome (hare of this quality is requifite. In nioft of the Arts indeed, of which we are fpeaking, Induftry, it muft be granted, will in a great roeafiire fupply the place of Ge- nius; 7 6 A N E S S AY nius ; 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 5 fince it can alone beftow thofe finifhing touches that bring credit and repu- tation to the workman. Every ingenious artift, 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 exquifite and complete* will be the copy. In fome of the mechanical, and in all the liberal Arts, it is not only neceflary that ar- tifts fhould pofTefs a certain fhare of Imagi- nation, in order to attain excellence in their different profeflions j but that fhare of which they are pofTerTed, muft principally turn upon one particular object. It is this bias of the mind to one individual art rather than another, which both indicates and con- ON. GENIUS. jj 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 fo, 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 firft efforts advanced to any confiderable perfection ; for invention of every kind is a fignal proof of Genius. The firft inventer of a Watch, an Orrery, or even a common Mill, however fimple it may now appear in its machinery and ftruc~lure, was unquef- tionably a man of an extraordinary mecha- nical Genius. The improvement of thefe inventions is likewife a certain criterion of a Genius for them ; the degree of which talent •is always juftly rated in proportion to the improvements made by it, confidered in con- nection with the art in which they are made. We 78 A N E S S A Y Wc fhalt not here inquire into the com- parative utility and importance of the feve- ral Arts, whether liberal 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 object, till it has contemplated it fully and at leifure -, whereas in the others, it forms a lefs parti- cular, but more comprehenfive view of the objects fubmitted to its cognifance : it takes them 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 compreffion of this faculty (if we may ON GENIUS. 79 may ufe the term) to produce eminence in 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 effects, of the order of Providence/ and the constitution of the human mind >, and while it points out the objects to which he mould direct his ftudies, it adapts the mental powers to the purfuit, and qualifies them for the attainment of thofe objects ; 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- jects prefented to it in thofe fields of fiction, felects 80 AN ESSAY fele&s fuch as arc moft adapted to its nature and powers. Sometimes Genius, ftill fol- lowing its own peculiar bias, {ketches 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 impaflioned 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 Architecture. Or, laft- 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. 81 There are many indeed, in whom there are no ftriking fignatures of this quality dis- cernible in any of its forms, who neverthe- lefs pofTefs a confiderable fhare of that faculty by which it is chiefly conftituted. Thefe perfons, pofTefling 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 refpective profeflions, which a natural impulfe of Genius to its correfponding ob- ject, directed 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 perfection, 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 EF FECTS. ON GENIUS. $$ SECTION I. 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 effects, 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 Introduction to the remarks G 3 wc 86 AN ESSAY we propofe to make in this book on the fubjecT: of original Genius ; to explain the nature, properties, and effects 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 porTefTes, of difcovering fomething new and uncommon in every fubjecl: 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 neceflary to conftitute a Genius for particular arts or fciences, as diftinguiihed from each other, fince this would be an an- ticipation ON GENIUS. 8; ticipation of what is intended to be the fub- ject of fome following Sections. 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 objects it has in view. We fhall only farther previoufly re- mark, that the word Original, confidered in connection with Genius, indicates the degree, not the kind of this accomplifh- ment, and that it always denotes its higher! 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 flrft 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 j and flill more different ideas are excited in the minds G 4 of 38 AN ESSAY of different perfons by the other faculty, that of reflection. Some 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 afibciating and disjoining, of comparing and transforming their ideas in fuch a manner, as to per- ceive almoft all their pofllble relations ; by which means they are qualified to difco- ver the latent truths of fcience, and to produce the noblefl 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 mod 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 objects, and to conceive them more diftinctly ; at the fame time that it can exprefs its ideas in the ftrongeft co- lours, and reprefent them in the moft fink- 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 object it attempts to de- fcribe. But, above all, it is diftinguifhed by an inventive and plaftic Imagination, by which it fketches out a creation of its own, difclofes truths that were formerly unknown, and exhibits a fucceffion of fcenes and events which were never before contemplated or con- 9 o AN ESSAY conceived. In a word, it is the peculiar , character of original Genius to ftrike out a path for itfelf whatever fphere it attempts to occupy; to ftart new fentiments, and throw out new lights on every fubject it treats. It delights in every fpecies of fiction, and fometimes difcovers itfelf in the more fevere investigations of caufes and effects. 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 characteriftics 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 II. O F ORIGINAL PHILOSOPHIC GENIUS. THE 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- objects 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 objects he has, or ought to have in view, are, to bring into open light thofe truths that are wrapped in the fhades 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 frridt connection with life and manners ; and that it was employed on objects of the utmoft importance to human felicity, on good and evil, on virtue and vice : Socrates primus Philofophiam devocavit e ccelo, & in urbibus collocavit, & in domos etiam introduxit, & coegit de vita & moribus, rebusque bonis Sc malis quae- rere. Tufc. t^uajl. lib. v. n. 10. He obferves, in another part of his Works, that Socrates had difmtangled Philofophy from abftrufe fpe- *- . ON GENIUS. 93 From this idea of the objects and pro- vince of the Philofopher, the intelligent Reader will, upon a little reflection, clearly perceive that vigorous and extenfive powers of Imagination are indifpenfibly necerTary to enable him to proceed fuccefsfully in the re- fearches of Science. In order however to make this ftill more evident, let it be ob- ferved, that as it is the proper office of this faculty to afTemble thofe ideas, whofe rela- tions to the fubject it contemplates, and to each other, can alone be determined by the faculty of Judgment ; fo there are fome of thefe fo obvious, that they occur to common fpec illations, and applied it to the purpofes of com- mon life : Socrates mihi videtur, id quod conftat inter omnes, primus a rebus occultis, & ab ipfa natura involutis, in quibus omnes ante eum philofophi occupati fuerunt, avocaviflfe philofophiam, & ad vitam communem ad- duxifle ; ut de virtutibus & vitiis omninoque de bonis rebus & malis quaereret ; cceleftia autem, vel procul efife a noftra cognttione cenferet, vel fi maxime cognfta eflent, nihil tamen ad bene viveftdum conferre. Acad, ^uaji. lib. i. n. 15. reflec- 94 AN ESSAY reflexion, and arife from the general laws of aflbciation, while others are fo far re- moved beyond the fphere of the common ta- lents allotted to mankind, that they can nei- ther be afTembled 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 diftinguifhing charac- teristic 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 furprifing variety of forms. To create uncommon fcenery, to invent new inci- dents and characters 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. r>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- jects on which the mind employs itfelf in this exercife, are very remote from common in fervation, and cannot be brought into /anew 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 aia precifely equal or fimilar fhare {of Imagination, is necefTary in each of them. It will be no incurious employment to ob- tferve the various exertions of the fame fa- culty in thefe different departments, as it will open to us an agreeable profpe£t of the furprifing verfatility, extent, and vigour of the human mind ; and will alfo enable us to form a comparative idea of the degree of Imagination necefTary to confummate origi- nal Philofophic Genius. The inventive faculty difplays itfelf in Philofophy with great force and extent. It enables / 96 A N E S S A T enables the Philofopher, by its active, vigo- rous, and exploring power, to conjecture fhrewdly, if not to comprehend fully, the various fprings which actuate the vifible fyftem of Nature and Providence j to frame, the moft ingenious theories for the.foli°"the of natural Phenomena ; to invent SyP ie 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 boJ\d creative and combining power ^ing charac- inventing new hypothefes, by connecting every intermediate and correfponding idea, and by uniting the feverai detached parts cf one theorem, rears a fabric of its own, whofe fymmetry, juftnefs 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; 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 objects he contemplates more clearly; the latter comprehends a greater number of them at one glance. Such are the re- fpective characters of Imagination in Philo- fophy and in Poetry, as diflinguifhed from each other. As we have already obferved, that an exact 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 5 the only quef- tion is, in what proportion thofe powers fhould be diflributed, 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, mall be found to be juft, That Imagi- nation is the diftinguifhing ingredient in every kind and degree of Genius, it will ob- vioufly follow, that this quality mufl predo- minate in the accompliihment 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 greateft (hare of merit in poetical productions. It at once defigns and executes them, calling in only the afiift- 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 correct -, but it is evident, they would be defective 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 necefiary 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, characters, imagery, fentiments, and defcriptions of Poetry, and mod of the theories, at leaft, in Philofophy ; as well as the arguments (a H 2 cir- t co A N E S S A Y circumftance not commonly attended to) for 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, muft certainly predominate in its full ac- compliihment j 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 exacl proportion to the degree in which they poflefs the talent of Imagination j and will, upon account of the fuperior flrength of their reafoning talents, be found better qua- lified for canvaffing the difcoveries of others, pofleffed of more extenfive powers of Imagi- nation, though perhaps of a lefs penetrating Judgment, than for making thofe difcoveries themfeives. It is true indeed, that befides thofe philofophical truths, which, to the mor- ON GENIUS. 101 mortification of the pride of human under- standing, 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 fhare of imagi- nation, were however endued with a clear apprehenfion, united with a patient and careful obfervation of the various objects they contemplated. It muft likewife be con- ferred, 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 objects, and to combine its ideas in a greater variety of forms, becomes qualified to pufh 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 accompaniment of original Philo- sophic Genius, yet the powers of Reason muft likewife exift very nearly in an equal degree, in order to its complete confunv mation, and the attainment of the objects it has in view •, for if we fhould fuppofe Ima- gination to predominate in a high degree over the other mental faculties, the confe- 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 compositions would take a deep tincture; and we fhould be amufed with the dreams of a romantic vifionary, inftead of being inftructed in the truths of sound Philo- fophy. Upon ON GENIUS. 103 Upon the whole : as both thefe faculties, united in a high degree, rauft 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 fhewn 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 fhewn, that Imagination ought to predominate in the former as well as the latter. We fhall now con- clude this fection with a few flight frric- tures on the characters of fome of the more diftinguifhed original Authors in phi- H 4 lofophical 104 A N E S S A Y lofbphical Science, by way of illustrating the above remarks. Of all the Philofophers of antiquity, Plato pofTefTed 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 ftudies, 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 Mczonian Bard -f . He was indeed animated with all that ardor and enthufiafm of Imagination which diftinguiiTies the Poet j and it is im- poffible for a perfon, pofTefTed of any degree of fenfibility, to read his Writings withouj catching fomewhat of the enthufiafm. The f IIuvtuv $t ratuv ftuXtrx o n\struv, aira ra O^^xx £jcu»b »«/a«to{ £i? avrov (tvfuzq otrccq 7rapaTpo7ra? car o^ir wax- /*(»oj. Long, 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 paffions ; and to warm the heart with the love of virtue. Such were the objects of this amiable Philofopher; and fuch is the tendency of his doctrine. At prefent we confider his doctrine merely as a proof of his Genius. With this view we may ob- serve, that his fublime contemplations con- cerning the 70 *v and the to it *, the exift- ence * Thofe who are defirous to know Plato's fenti- ments on the exiftence and unity of the Divine Nature, may confult his Philebus^ the fifth and fixth books of his Republic^ and his Parmenldes ; in all which they will find the reafoning very fubtile; and in fome places, particularly through moft of the laft mentioned dia- logue, it mull 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 fubje&s are contained, than to pre- fent him with a few detached pafTages, which could convey no diftinft idea of his meaning, where the chain of argumentation is fo ftri&ly connected. We fhall only obferve, that though Plato fometimes fpeaks io6 4 N ESSAY ence and unity of the fupreme Being, as well as the -f perfections and providence Qf (peaks, agreeably to the eilablifhed mythology of his country, yet when he intends to deliver his genuine fentiments, he maintains the abfolute Sovereignty and Unity of the Deity. f Plato, in his Politicus, after delivering an inge- nious, however 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 difiblution, 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 disjointed 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 pafTage gives a noble idea of the omnipotence of the Deity, we fhall prefent the Reader with it. Aio on xfif» tot ■noti §101; 3 xocr^cra; etvro, xaQopuv iv cnroctuiq ro» tu; avo/AojoTWTo? cnrtifov ovru tottov $wi traXw i(petyo<; »vre ccvro> ON GENIUS. 107 of the Deity ; that his theory concerning the caufes, firft principles, and generation of n'vtw Trporspa vtfuiSo) rpf4"*?> xocf^ft r$ y.cti swanopGaw, a8«- >oto» a«Tof xki ayypu avipyu^trxt. Edit. Mars, Ficin. p. 538. Our Philofopher, exprefling 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/xm; [Ait 7rov xx% r aWx £vx t xxi if uv rx itityvwt £f«» irv% xx\ vSug x«» rx rovruv x^t'Kipx, Bta yitvn^x rx ntxtrx, itrp.iv avrx ajrtt^yxa-fiitx tKxrx- Sopb. p. 185. At the end of his Timeeus y he reprefents the world as the intelligent, moft perfect image of the Deity : ©»*)T« y«£ ««« a Bxvxrx £ux XxQur, xx\ Iv/xw^gaiSsi? e^s 5 xoa-fAo?, ot/lw Quot o^xrov, rx opxrx •m%iex ) ov, tixwt rn »o*jt» Sia, aio^To?, jcteyiro? xx* x%iro<; xxfotroq ti xxi ri\curxrof ytyovtt, in; ot/ganoj oJi, /xoroyivJij uv. Tim. p. 10S9. And in the fame dialogue he lays it down as an indis- putable maxim, that God made all things perfect in their kind : To J*i n Hwxrct u\ Kxh'hiTx rt xcu a^rx cf ovx, °vrus ix ovTUr » rot $io» avrx f tmrava» Trigt vrxtrct vp>H w? xu ruro hiyopitoi xmxe^iru. p. lo6j». In 108 AN ESSAY of things, and the foul which animates and actuates the whole frame of Na- ture * s his fentiments concerning vir- tue, In other paffages, Plato celebrates the moral as well as natural perfections of the Deity. Thus he re- prefents him as the complete model of juftice. ©t^ ovSxpri ot>Ja//.a>£ u$iy.<&', u\h «; o»ov re $WXiOTU,1&. XXi UK S$"»V CC.VTU 0|(XOtOT£gO» ijStt 7] Of CM TIjAUV XV yitliVXl T« hxxiQ- reel®-. Ibeat. p. 129. He makes Socrates likewife ftrongly afTert the doc- trine of a particular Providence, exercifed in favour of good men. This laft, addrefling himfelf to fuch of his judges as had vindicated his innocence, makes the fol- lowing declaration : KWx x.x\ vpui; xfi) a ctvoa; amxrxi, tviXiritixs wen wp©' top Sxvxrov. xai 1» te tuto oixvouoixi, u>.r,0ii; on ex. «ri a-vojn •syaOw Kxno.it x$ei ovrt £uv n, ovn TiKtvrr,axvrh. jipoll, Soerat. p. 31. * Plato's doctrines concerning the An'una Mundi y the Soul of the World, the caufes, original principles, and formation of things, the revolutions of matter, and tranfmigration of fouls, are among the profound myfteries of his Philofophy. Speaking of the Anima Mundi, as infufed by the Deity, he tells us ; O.N GENIUS. 109 ture * ; and the happinefs of thofe fouls who are gradually appropriated to the for . ¥ vy^* ^£ tn; T9 f*E(ro> aoT8 3e»?> ^»<* vra.vl®' ti inn/i, x«» eti s|k> to /XE8a, uru yevo»To ocvro to xaXoy t$uv nX»*p»- n$, *«.8apov, apucTOv, aXX a f*»} ctva-irhtw erxpxuv re avfycwTrv- iuv x«» xpvfAciTuv, xu\ aXAij? woXXiK ^Xvospiaj $v»jt»k, aXX* «vto to Ssjov, xaXov ^twaiTo ^o»e^e; xj) ^«t>Xoy /3»oi> ytyvE&a* exsio-e /SXewoi/]^ anflpwn-a, y.aj £xs»co o ^£» ^E^fAEVow xai f fvo/1©* afTW ; ») ex tvOvpr) (e^) ot» it>T<*t>6« «»tw fto»a%8 y£»ncTET«t, opwvTt u oftzroii to xaXor, t»xti»v hx no\uX« apTM? a'ri ax a^uXa ttyxiTTopaa ; aXX' uXriQr), ctn ts atX^s? e^«7tto(*£i»w ; texovt» c*f apeT*jv aX»j9»j, xa» SpsiJ/aftarw, wirctPX sl •& e0< P'' v " ywe)• P« 45^' . And a little after, from the confideration of our own ignorance, he infers the neceflity of waiting for divine Illumination, in order to enable us to perform the duty of prayer properly : TfO<; a»9f U7rU$ etaxti&al. -j- In the dialogue, intitled Lyjis, Plato gives us the opinion of his Matter concerning the nature of friend- ship* ii2 AN ESSAY imagination, as well as of that moral and fpeculative difpofition, 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 collecting and forming them into a fyftem. This point Gale, in his Court of the Gentiles, fhip. 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 ftep, 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 affections ought to be fixed : Ap a» »* avccyz*) utthttuv ypa.$ ovru% »oi/t«$, x.a.% ottpucio&su iici tu>« ctfp^rtv, h ay. tTrxvoiau sir' »Xov. ov mxa kxv to. aXXa, (pxptv Kama, OiXa. wtu. Lyjis, p. 507. * Book I. Sea 2. hath ON GENIUS. 113 hath laboured to prove. It mud: indeed be conferled, 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 doctrines of the Pythagorean School ; and no doubt by tra- dition, however corrupted and interpolated, he might obtain fome very imperfect know- ledge of the fundamental principles of the Jewifh religion. Indeed the ftrong refem- blance betwixt the doctrines of Plato, and thofe contained in the Old Teftament, ren- ders this conjecture highly probable. At the fame time it appears equally probable, that as others are very different both from the Sacred and Pythagorean doctrines, they are properly derived from neither, but are the production of his own inventive Ge- nius. I Des U4 AN ESSAY Des Cartes, the French Philofopher, had the honour of firft 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 mod 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 caufe 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 fhewn 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 fob- ON GENIUS. 115 fubjected to the prudent reftraints of Judg- ment. What Des Cartes was to the French> Lord Bacon was to the Englifi 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 pofTelTed. He applied his Genius to almoft every department of Literature and Science, and fucceeded in every fphere which he attempted. Human knowledge was divided by him into three diftindr, branches, Hiftory, Poetry, and Philofophy (vid. de Aug. Scient. fe&.i.) the firft re- lating to the Memory, the fecond to the Imagination, and the laft to Reafon or the Judgment. With refpecl: to Philofophy, inftead of employing his imagination m 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 obfervation and experience : " Homo naturae minifter & interpres, " tantum facit & intelligit, quantum de naturae ordine, *' re vel mente obfervaverit, nee amplius fcit aut poteft," I 2 (Nov, u6 A N E S S A Y 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 tracls of uncul- tivated ground, which fince his time, by tracing his footiteps, 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 refult 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 pradtifed the method of inveftigating the caufes of the phenomena of nature by certain experiments. The excellence and advantage of this method of inves- tigation he celebrates very juftly : " Sed demonftratio *■" longe optima eft experiential modo haereat in ipfo " experiment/?. Nam fi traducatur ad alia quae fimilia " exiftimantur, nifi rite & or dine fiat ilia tradudtio res " fallax eft." (Ibid. feci. 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 which 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 E flays, his book de Augmentis Set end arum *, his Aires the partial, inaccurate, and cafual method of mak- ing experiments in his own time j in oppofuion to which 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 *' experiential ordo primum lumen accendit, deinde " per lumen iter demonftrat, incipiendo ab expericn- " tia ordinata & digefta, & minime praepoftera aut er- «' ratica, atque ex ea educendo axiomata, atque ex '< axiomatibus conftitutis rurfus experimenta nova." (Ibid.) * The defign of the book de Augmentis Scientiarum y is to take a general furvey of human knowledge, di- vide it into its feveral branches, obferve the deficien- cies in thofe branches, and fuggeft the methods by I 3 which n8 AN ESSAY his Novum Organum -f-, and his treatifcs or Phyfics and Natural Hiftory % have gained him great reputation ; as indeed all his works are a proof of his having pofleiTed that nice which they may be fupplied ; an undertaking executeJ in a great meafure by the Author himfelf in fome fol- lowing tracts. \ In the Novum Organum Scientiarum, 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 confeioufnefs, or deduced from obfervation and experience, as fo many fteps in the intellectual fcale, by which we may rife to the knowledge of univerfal truths. Thofe 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. J The Author, in his Sylva Sylvarum, 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 IntelleSfus^ he {hews 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 Rarefaction of natural Bo- dies. tern- ON GENIUS. 119 temperature of Imagination and Judgment, 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 -, of their feveral magnitudes, orbits, and diftances -, and of that great and fundamental law of attrac- tion, by which all nature is fupported and actuated ; his theory of light, as an emana- tion from the fun j his calculation of its ra- pidity, and of the reflection 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 A Y in the formation of colours, are the mofl allonifhing efforts of the human mind j 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 demon (Irate their truth. Doctor Berkeley, Bifhop of Cfwne, was another original philofophic Genius of dis- tinguished eminence. While Hobbes and Spinoza maintained the doctrine of abso- lute materialifm, admitting nothing but matter, in one form or another, in the uni- verfe, Berkeley excluded it altogether from his fyftem, and denied its exiftence out of a mind perceiving it. A doctrine 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 oppoiition : yet this ingenious Author has fupported his theory by fuch plaufible argu- ments. ON GENIUS. 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 teftimony of our fenfes, we allow the real exiftence of matter, and are fufE- ciently acquainted with its effential proper- ties, folidity, extenfion, and divifibility ; yet its genuine eiTence, 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 fhould be generally re- ceived as an eftabliflied article in the Philo- fopher's Creed, or not, it muft, fupported as it is with fuch ftrength of reafon and in- vention, undoubtedly be confidered as a fig- nal proof of his having pofTerTed a very high degree of original Philofophic Genius. The laft original Genius in Philofophy, we lliall 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 almofr tempted to 122 AN ESSAY to be of the fame opinion with the Author of the Effay 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 by 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- iiacal flate, 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 production 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 fubject, do not allow our running out to greater length in the way of illuftration, fo the adducing more examples, in order to confirm the pre- ceding remarks, will, we imagine, after thofe already adduced, be altogether unneceflary. S ECTION 124 AN ESS AY SECTION III. O F ■ O R 1 [GIN A L E N I I N U P O E T R Y. P OETRY*, of all the liberal Arts, affords the mod extenfive fcope for the * Aristotle, inquiring into the origin of Poetry, afiigns two principal caufes of it, a natural desire of Imitation, and the pleafure arifing from the fuccefs of that Imitation : Eo»xac"» $t ytwnffoa piii o\ut m* 9ron}Ttx>}» utrtcti $vo rms, ncc\ at>Ta» an£o» Si ek rut ttgtifMtut, v.x\ ot» « t» rx yutfAttx Xsyzn> T8T0 [i.xyjk\ r rx% §xvpx-u<; vit' xvra. De Sublim. fe£r. 17. He obferves in another place, that the crowding figures together, is a method of exciting the more violent com- motions of the mind : AKgox; h kx\ i) ett» rxvro (TwoS®* tuv %v)/ji.xtu» e»«9s Jcmsty, o-nw $uo it Tgtx, okj» kxIx avy.pogix» xvxKi^a-y.na, aWr,\oig iexn£t rr,v i%uv t»i» «ru9. De Sublim. fedl. 2C. Quintilian admits of metaphors in an oration only, in order to fill up a vacant place, or when they have greater force than thole unornamented exprefiions in whofe place they are fubftituted : " Metaphora enim " aut vacantem occupare locum debet, aut fi in alie- " num venit, plus valere eo quod expellit." Injiit. lib. viii. cap. 6. — If however we reflect, that Poetry, whofe capital end it is to pleafe, requires more orna- ment than Profe compofition, in order to the attain- ment ON GENIUS. 145 which, though they may fometimes occafion the want of precifion, will always elevate his ftile, as well as give a peculiar dignity and energy to his fentiments *. An origi- nal Author indeed will frequently be apt to exceed in the ufe of this ornament, by pour- ing forth fuch a blaze of imagery, as to dazzle and overpower the mental fight ; the effect of which is, that his Writings become obfcure -f-, if not unintelligible to common Readers j ment of that end, we mall fee the necefiity of allow- ing to Poets greater licence in the ufe of metaphors and imagery, than to any other Authors whatever. * " Sed illud quoque, de quo in argumentis dixi- " mus, fimilitudinis genus ornat orationem, facitque «' fublimem, floridam, jucundam, mirabilem." In/lit. lib.viii. cap. 3. — The above remark, the Reader will obferve, is fall more eminently true with refpedl to the influence of Imagery in Poetry. f It is a maxim laid down by Quintilian, that in an oration the image fhould be clearer than that which it is adduced to illuftrate : '* Debet enim quod «* illuftrandae alterius rei gratia aflumitur, ipfum efle " clarius eo quod illuminat." Ibid. He obferves a L little 146 A N E S S A Y Readers; juft as the eye is for fome time rendered incapable of diftinguifhing the ob- jects that are prefented to it, after having ftedfaftly contemplated the Sun. Well chofen images, happily adapted to the pur- pofe for which they are adduced, if not too frequently employed, produce a fine effect in Poetry. They impart a pleafing gratifi- cation to the mind, arifing from the disco- very of the refemblance betwixt the fimili- tude and the object to which it is compared ; they remarkably enliven defcription, at the fame time that they embellifh it with addi- tional graces * j they give force as well as little above, that one of the efiential excellencies of Imagery confifls in its being ufeful for illuftration : *' Praeclare vero ad inferendam rebus lucem, repertae " funt fimilitudines." This likewife is one of its ufcs in Poetry. * QuintiliaN, fpeaking of metaphors, makes the following obfervation concerning them : " Turn " ita jucunda atque nitida, ut in oratione quamlibet " clara, proprio tamen lumine eluceat. Neque enim " vulgaris cfTe, nee humilis, ncc infuavis, re&e modo " adfeita poteft." In/lit. lib. viii. cap. 6. grandeur ON ,GENIUS. 147 grandeur to the ftile of Poetry, and are a principal fource of thofe exquifite fenfations, which it is calculated to infpire. On the other hand, the too liberal ufe of imagery even in Poetry (befides that obfcurity which it occafions to the ordinary clafs of Readers, as well as that fatigue which the Imagina- tion experiences from its exceffive glare) fo difgufts the mind with the perpetual labour of tracing relations and refemblances, which cannot always be immediately perceived, that the tide of paflion is by this means diverted, if it doth not fubfide, and the pleafure arifing from poetic imitation is greatly di- minifhed, if not utterly deftroyed. A Writer however, who is only pofTefTed of a moderate degree of Genius, is in very little hazard of falling into this extreme. His imagination is not extenfive enough to comprehend thofe remote analogies which fubfift betwixt dif- ferent objects in nature, nor does it pofTefs force fufHcient to throw off a bold and glow- ing image founded upon fuch analogies : the .performances of fuch an Author therefore L 2 will 24S A N E S S A Y will either be intirely deftitute of the images of Poetry, excepting fuch as arife from the mod obvious relations of ideas ; or elfe thofe which he adopts will be borrowed from Au- thors of fuperior Genius. Hence it is, that the images of Homer have been fo often copied by modern Poets, who either pos- sefled not fertility of Invention enough to ftrike out new fimilitudes for themfelves, or dared not to exert it. A Poet endued with a truly original Genius, will however be un- der no necefllty of drawing any of the ma- terials of his compofuion from the Works of preceding Bards ; fince he has an unfail- ing refource in the exuberance of his own Imagination, which will furnifh him with a redundance of all thofe materials, and par- ticularly with an inexhauftible variety of new and fplendid imagery, which muft be regarded as one diflinguifhing mark of ori- ginal poetic Genius. The fourth and laft fpecies of Invention, by which we obferved this quality to be in- dicated, ON GENIUS. 149 dicated, was that of sentiment. An ori- ginal Genius in Poetry will flrike out new SENTIMENTS, as Well as NEW IMAGES, On every fubjecr. on which he employs his ta- lents ; and he has the peculiar felicity of ftriking out fuch as are mod proper to the fubjecl and to the occafion. An univerfai Genius is a very extraordinary phenomenon. Even a talent for acquiring excellence in the various branches of any one art, is very rarely bellowed ; ib limited in general are the faculties of the human mind. Thus we feldom find a Genius for Tragedy and Co- medy, or a Genius for the more fublime fpecies of Hiftory-painting, and for pieces of Drollery and Humour in low life, united in the fame perfon. We have already ob- ferved, in a note at the beginning of this fedrion, that there are different kinds, as well as degrees of Originality ; we are not there- fore to expect, that an original Genius in Poetry fhould attain eminence in every branch of his profeflion $ it is enough if he diitinguifh himfelf in one branch, whatever L 3 it i 5 o AN ESSAY it may be. What we would be underftood to maintain is this j that original Genius will dictate the moft proper fentiments on every fubjeft, and in every fpecies of Poetry, indiscriminately ; but that it will dictate the fentiments moft proper to that particu- lar fpecies to which it is adapted, and to which it applies its inventive powers. If, for inftance, we fuppofe this quality adapted to Epic Poetry, it will difcover itfelf in the invention both of fublime and pathetic fen- timents, which will at once excite aftonifh- ment, and penetrate the heart. To a per- fon who pofTefTes a talent for this higheft fpecies of Poetry, fuch fentiments are as it were congenial j they arife naturally and fpontaneoufly to his imagination. The fublime, in particular, is the proper walk of a great Genius, in which it delights to range, and in which alone it can dif- play its powers to advantage, or put forth its ftrength. As fuch a Genius always at- tempts to grafp the moft ftupendous ob- jects, ON GENIUS. 151 je£ts *, it is much more delighted with fur- veying the rude magnificence of nature, than the elegant decorations of art -, fince the lat- ter produce only an agreeable fenfation of pleafurej but the former throws the foul into a divine tranfport of admiration -f- and amazement, * Longinus, that admirable Critic, illuftrates this obfervation very beautifully : Ev8s» $v.6», xxi lj-f o» 17 Pri'jsii, woKv a tt\ j/.x/\Xo« rev Slx.-ot.iGv. Ov £s yi ro vt; A(T»>jj xqxttipuv xZioQxvpxrorieot vo/xt^o^Ei', ij$ ai Js, p,x/\7\ov &' xov txl l &- r) xxri^xvxrxtrn;' u%vcx as rj /x»rip.t] t xxt oui!*7rl©-. '0^4;{ $1 xxXx vofAi^t J\|/»j xxt, xXyhtx, 7x $ix sravl^ xfiaKnirx xxi irxinv. Ibid. cap. 7. L 4 The 152 A N E S S A Y 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 fubjecls, the foul is elevated to a fenfe of its own dignity and greatnefs. We obferved likewife, that an Author poherTed of that kind and degree of origi- nal Genius which is adapted to Epic Poetry, will admirably fucceed in the invention of The Roman Critic judicioufly obferves, that in form- ing our opinion of fublimity in compofition, we ought to confider the nature of the fubjecl on which it is em- ployed, and how far it is fuitable to the kind of or- nament made ufe of; becaufe, where the fubjecl: itlelf is mean, fublimity degenerates into bombaft : " Clara ilia atque fublimia, plerunque materia; modo " cernenda funt. Quod enim alibi magnificum, tumi- " dum alibi. Et quae humilia circa res magnas, apta " circa minores videntur. Et ficut in oratione nitida * 4 notabile eft humilius verbum, & velut macula : ita " a fermone tenui fublime nitidumque difcordat, firque «« corruptum, quia in piano tumet." Quint, lnjiit. lib. viii. cap. 3. PATHETIC ON GENIUS. 153 pathetic * as well as sublime fentiments ; 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 affect 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 object, event or action 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 poffefTed 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, ox fire them with in- dignation and rage : every paffion will be obedient to his impulfe, as well as fubjecT: to his controul ; 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 railing the paffions ; that pity and terror may be excited by external action, par- ticularly by the fymptoms of diftrefs ftrongly imprefled upon the countenance j but that a good Poet will never have recourfe to this method as his only expedient for moving the paffions, but will accomplifh his end by the very conftitution of his fable, and the affecting nature of the relation itfelf : Eyi uiv av TO ^o£s£ov y.xt frizii/ov ex. rris o-^tux; yivsc&at. Er* £e x»i e| xv T»? T«? 0-vra.o-iuq to;» ta^xy^xTui, ke^ ej-» «TfOTt- p»v kx\ "nroi»Toi» a|*Eivov^. Ae» yx% *xi xnv t« o^ctv htu avita- ravai tov ftv9o» wrs too axaovra rx 'GrqxyyLxrx yhvopsvx, xa» 0p»t1sw n.x\ ihitw tx. tw o-uiiGxivcvTur. cap. 1 4. every ON GENIUS. 155 every emotion of which they are fufcep- tible f : Irritate mulcet, faljts terroribus imptet Ut magus, et modo me Thetis, modo ponit Athens. 'Tis he who gives my breaft a thoufand 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 ■\ Quintilian confiders the railing the paffions of the hearers, and carrying them along by the force of rapid eloquence, as the higheft effort of rhetorical Ge- nius j 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 pofTet perducere, quo difto flendum & ? v.x\ 'mx^o'Ki- yupa^iWi. M») ttot. £1 T«rs xai xixfy.xioi y, to rx<; pn txtth- ,x<; y.xi [t.i$xyii) i%a.%T%]au. Io. p. ^64. Socrates (for he is the fpeaker) adds a little after: Atyovrt p'-v )mn>*0t) &%<&• r)fnct<; ot ttroujtaioT* enro H^wm /*t- %iipvrt» t ex M«c«» x-mtuh' turn x.sa vockuv a^moptvci rx f*«>>> i 7 o AN ESSAY quently happens, that the original meaning of a word is loft or become obfolete, and another very different one, through acci- dent, cuftom or caprice, is ordinarily fub- ftituted in its place. Sometimes expreflions, which have been anciently taken in a good fenfe, are, by a ftrange pefverfion of lan- guage, 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; and, being conceived to proceed from an overheated and diftempered imagination, is fuppofed to imply weaknefs, fuperflition, and mad- nefs. Enthusiasm, in this modern fenfe, is in no refpect a qualification of a Poet ; il/Ai* (pegucriv us*rri£ a.\ fAsTuTlat, y.xi avroi ovru ^iT^o/MO/Qt. Kat aXrjQ?) \iyovtrt' xovQov ycc% ^^//.cc Qt<&- re yi- '.r,rcm h»\ iy.(p(>uv, x.ou o vx<; ft.riy.iTi tv uvtu uirt' iu<; o at touts tyj/i to h1 •/;/.'.«, aSvv%\t& <&u» crotsu' irw a.vfywir®'; *J ^g'/!<7/x&>- Ibid. 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 efTemial one. A glowing ardor of Imagination is indeed (if we may be permitted the expreffion) the very foul of Poetry. It is the principal fource of inspiration ; and the Poet who is poflefled 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 5 and which is vented in warm and vehement defcription, exciting in every fufceptible bread the fame emotions that were felt by the Author himfelf. It is this enthusiasm which gives life and frrength to poetical reprefentations, renders them (hiking imitations of nature, and thereby + The etymology of the word enthusiasm, which is wSj©^ will afcertain its original fenfe. produces lyz A>N 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 paffion and fentiment, they can never affect the heart. Thus we have pointed out and illuftrated the moft diftinguifhing ingredients of ori- ginal Genius in Poetry j we mall conclude the prefent feclion with inquiring into the firft and mod: natural exertions of Genius in this divine art. We may venture then to lay it down as a pofition highly probable, that the firft efTays of original Genius will be in alle- gories, visions, or the creation of ideal beings, -of one kind or another. There Js no ON GE NI'US, 173 no kind of Invention, in which there is fuller fcope afforded to the exercife of Ima- gination, than in that of allegory; which fias this advantage over mod other fables, that in it the Author is by no means reftricted to fuch an exact probability, as is required in thofe fables that inftruct us by a reprefentation of actions, 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 inftruct by the invention of a feries of incidents frrictly 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 object alfo is inftruction ; though it does not endeavour to inftruct by real or probable actions j but wrapt in a veil of exaggerated, yet delicate and appofite fic- tion, i 7 4 A N E S S A Y tion, is ftudious at once to delight the imagination, and to imprefs fome import- ant maxim upon the mind. Of this kind is the Fairy Queen of Spenser. As in this fpecies of allegory, we neither expect 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 guard againft the delufions of fancy -, are highly pleafed with the narrative, though we do not allow- it to impofe upon us fo far as to obtain our credit. Yet fuch is the power of ingenious fiction over our minds, that we are not only captivated and interefted by a relation of furprifing incidents, though very improbable, but, during the time of the relation at leaft, we forget that they are fictitious, and al- moft fancy them to be real. This deceit, however, ON GENIUS. i 75 however, lafts no longer than the perufal, in which we are too much agitated to re- flect on the probability or improbability of the events related; but when that is over, the inchantment vanifhes in the cool moment of deliberation j and, being left at leifure to think and reafon, we never admit as true *what is not ftri&ly proba- ble. As we are treating of allegorical fables, it may not be a mi is to obferve, with re- gard to the kind laft mentioned in parti- cular, that the liberties indulged to it, though prodigioufly various and extenlive, 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- ferred in this, as well as in the other fpecies of fabulous compofition ; the inci- dents muft be fuitable to the characters to which they are accommodated ; thole inci- dents muft likewife clearly point out op imply i 7 6 A N E S S AY imply the moral they are intended to i{-* luftrate ; and they muft, in order to capti- vate the Imagination, be new and fur- prifing, at the fame time that they are to be perfectly confident 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 likewife 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 utmoft fertility of Invention, fince every mafterly compofition of this kind muft be 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 fiction, to fuc- ceed in which with applaufe, requires as much poetic Infpiration as any other lpecies of compofition whatever. That Enthu- fiafm ON GENIUS. 177 fiafm of Imagination, which we confidered as an effential characleriftic of original Ge- nius, is indifpenfibly necefTary to the en- raptured Bard, who would make his Read- ers feel thofe impetuous tranfports of paflion which occupy and actuate his own mind. He muft himfelf be wrought up to a high pitch of extafy, if he expects to throw us into it. Indeed it is the peculiar felicity of an original Author to feel in the moll ex- quifite degree every emotion, and to fee every fcene he defcribes. By the vigorous effort of a creative Imagination, he calls lhadowy fubftances and unreal objects into exiftence. They are prefent to his view, and glide, like fpeclres, in filent, fullen ma- jefty, before his aftonifhed and intranced light. In reading the defcription of fuch apparitions, we partake of the Author's emotion ; the blood runs chill in our veins, and our hair ftiffens with horror. It would far exceed the bounds prefcribed to this EfTay, to point out all the particu- N lar i;B AN ESSAY Jar tracks which an original Genius will flrike out in the extenfive fphere of Ima- gination, as thofe paths are fo various and devious. In the mean time we may ob- ferve, that as the hand of Nature hath flamped different minds with a different kind and degree of Originality, giving each a particular bent to one certain object 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 ; another difcovers the fertility and extent of his Imagination, as well as the juftnefs of his Judgment, in the conduct 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 objects in the vifible creation fufrlcicntly 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 pofTefTed. In cafe however the pofition juft advanced mould appear pro- blematical to fome, we (hall confirm it by arguments drawn from experience, which will ferve to (hew, that original Poetic N 2 Genius 180 .AN ESSAY Genius hath in fact exerted its powers io the manner above fpecified *. In proof of this affertion, we might ad- duce the whole fyftem of heathen Mytho- * Longinus confiders the introducing vifions into compofition, and the fupporting them with propriety, 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 to the ef- ficacy of an oration in particular : Oyxu y.xi f/.sXaX»yo§ta?, xxi ayui©* tfrt thtoi-j, a Vienna, «*»• xi (puvTctcrieu nrxgxiTKtvxri'XUTxIxi' ndwAowoua; otvraq fviot Aiyovcn. KaXitrai (jur yxg xoi^uq fxyTxax, 'Sa.v tnoyux hoyov ywriTtxot ottuctuv t^x^trx^tvov' tews & tiri txtuv xixfx- ryxt TUvofjux, orav x Xsyr?, vir tvQatfao-ft,ti xxt arxQm; /3Xnrsi» Soxris, xx\ v)|i?, ti?j y ev Tuywj ivagyux' a/xpoTigai ^' c/xwj t«t' iirt^riTovat to aoFxixnri[A,t>ov. Hid. logy. ON GENIUS. 1S1 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 3 and oral Tradition, that fallacious guide, was buried under a mafs of abfurdity and folly. Though the hea- then Theology muft be confefTed to be the difgrace and degradation of human reafon, yet it muft alfo be acknowledged to be a re- markable proof of the creative power of kuman 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 M AN ESSAt 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, fometimes quaffing nectar in their golden cups, and repofing themfelves in indolent tranquillity, ferved by Hebe, and attended by Mercury, the fwift- winged mefTenger of the Gods : at other times we fee them mixing among the Tro- jan 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 flemming the tide of battle, and alternately hastening 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; and Pluto, feated on his throne in gloomy majeity, rules the dominions of the world below. Need we mention, as proofs of wild and ON GENIUS. 183 and exuberant Fancy, the pleafures and beauties of Efyjium, contrafted with the tor- ments and horrors of dark Tartarus f Need we mention the black Cocytus, the flaming Pbkgethon ; the punifhment of Tantalus, the ever-rolling ftone of Sisyphus, the wheel of Ixion, and the fruitlefs perpetual labours of the Danaids f It would be impracticable, as well as tedious and unnecefTary to enumerate the vaft multitude of fubordinate Deities which Greece adored. All nature was replenifhed 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- madryads, 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 184 AN ESSAY fporting on the limpid ftream, and the nymphs of the fea riling with Thetis from their watry beds, and lightly floating on the fin face of the waves ; the ftory of Prome- theus chained to a rock, and devoured by vulturs, for ftealing fire from Heaven, to animate his workmanfhip of clay ; the loves of Jupiter and Leda; the fable of Mi- nerva's ifTuing from the head of Jupiter; the wars of the latter with the Giants, and the fiction of Vulcan's being hurled from Heaven, with hideous ruin and combuftion, by the wrath of the Olympian King. We may farther add thofe exquifite inventions of the Mufes and Graces, of Fortune and the Fates, of Auguries and Oracles, of the fprings of Helicon, and infpirations of Par- najfus, the dreams of Pindus and the Aonian maids; 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 admirable allegory of Prodicus, in which Virtue ON GENIUS. 185 Virtue and Pleafure arc introduced as ad- drefling Hercules, and the excellent alle- gorical picture 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 plaftic power of the human mind, and undeniable proofs of true Genius in the original In- venters. From this general and imperfect view of the Greek Mythology, it is evident, that original Genius did in ancient Greece always difcover itfelf in allegorical Fiction, or in the creation of ideal figures of one kind or another ; 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, 186 A N E S S AY nation, till that huge pile of Superftition was completed, which, in its ruins, exhibits (o ftriking a monument of human ingenuity and folly. Jf, after what has been alledged, any one fhould queftion whether the fabu- lous Theology now confidered, be an effect: 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 leaft lofe much of that variety, dignity and gran- deur, which we admire in it at prefent, and much of that pleafing and furpriiing fiction, which gives fuch exquifite delight to the Imagination. It would be eafy to confirm the pofitiort we have laid down, that original Genius always difcovers itfelf in Allegories, Vifions, or the invention of ideal Characters, by examples drawn from the Eaftern and the Egyptian ON GENIUS. 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- ject with obferving, that the Eaftern man- ner of writing is, and hath ever been cha- racterifed by a remarkable boldnefs of fen- timent and expreflion, by the mod rheto- rical and poetical figures of fpeech ; and that many of the compofitions of the Eafl- ern nations abound with Allegories, Vi- rions and Dreams ; of which we have fe- veral admirable examples in the facred Writings. SECTION 1 8-8 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 quality 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 ftiewn true Genius to b$ principally conftituted. Having confidered the exertions of ori- ginal Genius in Poetry at great length in the preceding fection, which indeed was the principal intention of this Effay, we fhall in the prefent feclion, in order to render the defign more complete, point out, though with greater brevity* the efforts of Genius in the other liberal Arts, and en- deavour to afcertain the degree in which it will exert itfelf in each of them. Of thefe the art of Painting claims our firft attention. To an eminence in certain branches of this art, the greateft fhare of Imagination, next to what is required in Poetry, feems to be eflentially neceflary. 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, 190 A N E S S A Y 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 fkill > 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 fine 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 diftinclion will exclude all portraits in Painting, however excellent, and many descriptive pieces in Poetry, though co- pied from nature, from any pretenfions to Originality, ftri&ly confidered. Both may difcover great vivacity and flrength of Imagination ; but as there is no fiction, nothing invented in either, they can only be regarded at beft as the firft and moll complete ON GENIUS. 191 complete copies of the true originals. In common language indeed we talk of original portraits, by which we mean pictures drawn from the life. The pro- priety of this epithet we (hall not difpute. Such pictures are unqueftionably in one fenfe original, as they are the firft draughts, of which the fucceeding ones are but copies. In ftriclnefs of fpeech how- ever, fuch draughts themfelves are only the copies or resemblances of Nature, to execute which does not require invention, and confequently does not indicate or pre- fuppofe originality of Genius. We mult 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 4- * As Poetry and Painting are in moft refpects fimi- lar, it will be no incurious inquiry to examine into the i 9 2 A N E S S A Y Epic Poet, commonly takes the fubjedt of the degree of Imagination requifite to form an eminent Painter, compared with that which is neceffary to form a great Poet. Every one who is in any meafure ac- quainted with the refpedtive 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 characters, paffions and events, or the reprefentation of thofe objects 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 affecting 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 fliade, and the ftrange illufion of colours, deceives us almoft into a belief of the reality of their exiftence. Both artifts muft 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 neceflarily pafs in fuccef- fion ON GENIUS. 193 of his piece from an authentic or tradition- ary fion through his mind, which he muft aflociate, com- pound and disjoin, as occafion may require. A mul- titude of fleeting objects 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 liability in defcription. While the fertility and extent of the Poet's fancy is difcovered by the croud of ideas which 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 feledting, combining and arranging thefe ideas in their proper clafles. Being obliged to defcribe objects and events, not only as they appear to a fuper- ficial obferver, but with all thofe concomitant circum- 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 reafoning faculty in tracing the latter. On the other hand, the whole attention of the Painter is ingrofTed by that fingle idea, whatever it may be, which he intends to exprefs in his picture. 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 ; and confequently, O INVEN- i 9 4 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 diftinguifhed from each other by their correfponding fignatures in the countenance, will require a confiderable compafs of Imagination j becauie the Painter, before he begins to work on his piece, muft include thefe circurnftances 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 collects his attention, fixes it on a Tingle 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 exprefling one idea after another, till he has finifhed his piece; to execute which requires indeed a vivid and vigorous Imagination, but not fo extenfive a one as is neceflary to form an excellent Poet, i With regard to the refpective effects of Poetry and Painting, it muft be confefled, that the art of the Painter generally produces the greateft and moft agree- able deception ; as the materials he employs contribute to the fallacy of the fenfes, and are admirably calcu- lated to aflift the Imagination in impofing upon itfelf. Hence the pleafure we derive from the view of a fine picture ON GENIUS. 195 forms the groundwork of the picture, as it does picture is immediate ; while the fubfequent fatisfaction which we feel, in difcovering the juftnefs of the imita- tion, and its refemblance to the original, increafes that pleafure. To compenfate this advantage however, which Paint- ing has over her filter art, Poetry may boaft another, in which the former muft yield the preeminence. If the Painter has the happinefs to exhibit a ftrono-er lilcenefs 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 JJJus. 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 refpecSt 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 generofity, mildnefs, and companion In his be- haviour to them, as to conciliate their efteem and con- O 2 fidence, 196 A N E S S A Y does of the poem. The fuperftru&ure how- ever fidence, as well as to excite their admiration and gra- titude. Thefe unexpected offices of kindnefs could not fail to diffufe that joy over the countenance, which is the effect of a pleafing furprife, and which confequently ought to have been expreffed by the Artift, had it been practicable to blend the air of refpectful humility and dejected melancholy, with that of unfufpe&ing confi- dence and undifTembled 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- ing difFercnt and oppofite expreffions 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 obferve, 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 reprefentation, to recal to our remembrance j 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 is intirely loft to us. We ON GENIUS. 197 ever muft in both cafes be the work of thofe We lhall conclude this note, which we are afraid is already fwelled 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 fuitable idea of this dreadful fcene, he paints the foming billows dafh- ing againft the fides of the veflel, fome of them over- whelming her, while fhe is juft ready to burft afunder with the impetuous fhock of conflicting elements. We fee her ftripped of her rigging, her mails broken, the {hip 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 diftracted 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 fcenc, and which the ablcft Painter, from the unavoidable defect of his art, can never ex- hibit. Fie makes the lightening flafh, 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 difmal and terrific fcene, he defcribes the piercing fhrieks and dying mones of the deipairing fcilors. If any one fhould queition the fu- O 3 periority 198 AN ESSAY thofe ingenious Artifts themfelves. In the defign and ordonnance of the one, and hi the contrivance of incidents and exhibition of characters 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 neceffary to recur to an example. Let us iirppofe a man of elevated Genius in this profeffion, employing his pencil on the ce- lebrated fubject of Paul preaching at Athens, which has immortalifed the fame of Ra- phael. Inftead of copying after this ad- periority of Poetry over Painting, at leaft in defcrip- tive pieces, in which indeed its fuperiority is chiefly manifefred, let him read the defcription of a ftorm in the firft book of the Mncid y or in a poem, intitlcd, The Shipwreck, compared with fea-pieces of this kind, drawn by the ablcft Matters in the art of Paint- ing, and he will perhaps find reafon to difmifs his doubts. mired ON GENIUS. 199 mired Artift, we fuppofe him to fketch 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- (ive, is but fhort j the Painter rauft imagine the reft. He would no doubt reprefent the eloquent Apoftle as (landing on the fummit of Mars hill, in an erect pofture, with his hands extended, and his countenance im- preffed with a folemn earneftnefs and ar- dent zeal, convincing the Athenians of their fuperftition, adjuring them to renounce it, and to believe in thofe divine doctrines, and practife thofe excellent precepts, which, by the authority and in the name of his Mas- ter, he delivered to them. The air and attitude of this affecting Preacher would be awful, energetic and divine : they would be greatly venerable, yet ftrongly perfua- five. On the other hand, the audience would appear affected in the mod different ways imaginable. In the countenances of O 4 many 200 AN ESSAY many of them, we mould difcover a fixed and thoughtful attention ; in thofe of a few others, notwithflanding the eloquence of the Sermon, that levity and curiofity, which were lb characleriftical of the Athe- nian people. In the countenances of fome, we mould difcern the fcornful fheer of contempt, or the fupercilious frown of dis- dain ; while a confiderable number of them would exhibit in their ghaftly vifages ter- ror, confufion and anguifh, the evident marks of convicted and felf-condemning guilt. We mould diftinguifh in fome the confirmed obftinacy of infidelity •, in others, the hefitating fufpenfe of doubt j in others, the yielding compliance of affent j in others, the fpirited ardor of hope j in others, the elevated joy of exultation. From the invention of fuch a group of figures, and fuch a diverfity of characters ; from the happy expreffion of fo great a va- riety of oppofite padions ; we infer the vi- vacity, the ftrength, the originality, and the ON G E N I US. 201 the extent of the Artift's Genius. To ex- prefs any one paflion juftly, is a certain proof that he is poffefled of a lively Imagi- nation j but to be able to exprefs 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 -comprehensive and origi-: mal. In fuch an Attempt, the Artiflmuft draw all his flores from himfelf ; he mull: invent the figures which compofe the pic- tures defign their different attitudes; and exprefs the variety of paffions difcernible in them, with juftnefs and force. By ac- complishing thefe purpofes, the illufion is rendered complete. Every figure in the piece is animated with nature, and flufhed with life j and the whole painting, taken together, at once delights the imagination, and fpeaks to the heart -f. We f That excellent Critic, whom we have had fuch frequent occafion to quote, feerns to think, that, in fome 202 AN ESSAY We fliall only farther obferve on this fubje<5t) that though original Genius is difplayed in the higheft degree and in the nobleft fphere 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 objecls, exhibits, as in the former cafe, fuch as are the mere creation of his own fancy. Even Land- fcapes, Grotefques, and pieces of flill Life, when they are invented by tjiis plaftic power of the mind, and not imitated from fcenes that actually exift, indicate an originality j : ibme cafes, a good picture may produce a ftronger ef- fe'cl: upon the mind of the fpectator, than a good ora- tion upon the mind of the hearer. Speaking of the efficacy of gefture and action, he obferves ; emosth, de Corona. Thus 2 o8 AN ESSAY Thus he introduces his fpmted argumen- tation *. This * E7ru$y ^6 )X« to. ^eXXovTa yfw^irtoJaj, x«u «r^o>;^£<; o? ov¥ t(p8iy!;u, ov¥ «twj «7roraTioK tjj -aroXst todtw* i\v, uvrcp n o*o|n?, D •nrgoysi/wy, »i Ta fuXXo/!©' a»4)v^ «yj f X»_ yoy. Nf» fx£» yag a7To1t>;£Ei> £oxn twk in gccF[Axrut , o ■nracrj xoi»o» iy» avOpwTroK, ot«» to Sew Taura Joxjj. Tot* & xfyaax ttTpota , ~ rctixi tuv aXXwy, arx x~arxcx TaTa, <&»XX»7T9rw i» T« /xiv 'BT^ar^ara e»? cVff vim VEguri), tiyipm xxt *up»®- >;§«9»] »X»flr7T<&- aVavTwv,. to> h vttt> T8 ps? y«i£c&ai txvtx ayuva, (Tt§o» %«§(? f^w*, ♦xrai' tB , £9roi») | u.£>o*. Kai t«utb //.♦j.J'i •7T» woTi T»J5 WoXf«t, t» Tok £^tt^O(70e» X^ovoij a^aAfjac xh£oy " But fince my adverfary lays fo much ftrefs upon events, I will venture to advance a paradox ; 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* and nifeft to all, and all had forefeert them j if even you, ./Eschines, had foretold and declared them with your bawling and thunderihg voice, who by the way never till now uttered a word concerning them j even in that cafe Athens ought by ho means to have altered its mea- 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 common 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 nor plead an exemption from the dangers attending it, without incurring the blame and difgrace of abandon- ing the common intereft to the rapacious ambition of Philip. If it had relinquifhed, without a ftrugglei thofe privileges which our anceftors braved every dan- ger to- maintain, who, ./Eschines, would not have defpifed your timid prudence I for no mare of the blame could juftly have fallen on the other members of the commonwealth, or upon me. — Great God ! with what eyes fhould we in that cafe have looked upon this great multitude^ afTembled 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 P our 210 AN ESSAY and many other (hiking arguments, evinced the rectitude of his own condudt, as well as of the conduct of his partners in the adminiftration, in carrying on the war againft Philip, comes next to touch upon the battle of Ch&ronea, 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 confider, that in former 'times it hath been always the character of the Athenian Republic to prefer glorious danger to difhonourable fafety." one ON GENIUS. 211 one of the bcldefl flights of rhetorical Genius -f . This is one of thofe flrokes of Elo- quence, which produce the intended ef- fect by an inftantaneous and irrefiftible impulfe, whirling away the fouls of the Cvt(> T»)5 iircvrrw iX£v8ig»«? x«» £«» TS< £7T «^T£jU.kiri&), X«( 'KroMas £T£f)tff raj f» TO»J ^jjf*.oo-»9»5 fMyyLctcn XBifAsvas ctyxQvi; a,v$f»s. Ov$ «7ratT«j opoiui jj woA»j tij? awTTjj a^tuacccrx T»^5j? s9«4' e '' *ttC'Vl — " 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 fwear 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 leaving them time to weigh the motives of conviction 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 conduct 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- irtg that their anceitors had fought the battles of Ma- rathon , Plataa, Salami n and Artemiftum, in defence of the liberties of Grace ; 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 moil fublime and ftaiking figure, the awful /hades 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 Chxronea^ and railing their dejected fpirits, than this folemn appeal to their anceftors, by which the Orator feems to put that defeat on a level with the victories ON GENIUS. 2r3 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 vi&ories which they had obtained at Marathon, Plataa, Salamin, and Artemifium. Thofe who are defirous of feeing the above cele- brated paffage iiluftrated in the trueft tafle of Criti- cifm, may confult the fixteenth chapter of Longi- nus's Treatife on the Sublime j where that excellent Judge of the beauties of Compofitfon hath obferved, that by this fmgle 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 iuch as die in the fame manner : Qcunrxi 5i Iv®* t» oy.ortx.it ^pjtl®- ovtp eiQct^s a, , rrorgo$r l * tyu Kxhu t«; fim ■arpoyom? a.vo^iucra.%, oTt &« Ta? cnroQavotTcti; From this fhort fpecimen, our Readers will perceive that the Critic in his illuftration rivals the fublimity of the Orator. For farther fatisfa&ion we muft .refer them to the above-mentioned chapter, the limits of our plan not allowing us to fwell out the page with quotations. P 3 extend 2i 4 AN ESSAY extend his conquefts without moleftation, addreffes them in the following clofe, point- ed and energetic interrogatories, fo worthy of the Orator and the Patriot *. The * IIot' ev a avJpEj «9w/«»o», ^»a avajxrtrn; q ? vvv os t» %fvi reu ytyvo- uivcc tiyet&cn ? tywu.iv yecp oiu.ai toj$ iXtvQspois fjutyirnv avalxw rw vTtiD tuv TO-poiTE^rTs to»s >orfaF[Aaai tok how «oe yap ot/Ti^ taaoa rv txvru gupriv too-htov tvtv^irai baov «rapa t»» nutrifav a«,E* Xstav. " When, Athenians, when will you ac"t as you ought ? When fhall fome extraordinary event roufe you ? When fhall fome imminent neceffity compel you ? But what fhall we think of the prefent juncture, and of the events which have already happened ? For my part, I look upon the difgracefulnefs of our paft con ju&, to be the ftrongeft incentive, the moft urgent neceffity to free men to alter their meafures, and a£i a more fpirited part. Or tell me, Do you rather incline, according to your ufual cuftom, to fanter about idle, aiking each other in the forum, What news ? Can there be ON GENIUS. 215 The Athenian Orator paints the idle cu- riofity of his countrymen with great mas- tery in the above fhort queftion, MyiT&i n mm} " What news?" and the eloquent Apoftle of the Gentiles confirms this cha- racter of the Athenians, by the obfervation which he made on their conduct during his abode among them. He tells us, that v Ihtoltcep Aioikov ? " Can there be any thing more new, than that a man of Macedonia makes war upon the Athenians, and governs the reft of Greece?' is highly fpirited and poignant j fhews the difdain with which Demosthenes himfelf viewed the infolence of Philip j and was admirably calculated to produce a fenfe of honeft mame 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 re- - fpects truly admirable. Every one muft perceive the keen and exquifitely fine irony of the following queftion, TeM** $/A/*?ro which flows from the acquaintance he re- commends. " O ! the fweet contentment, V the tranquillity, and profound reft of " mind that he enjoys, who is a friend of " God, and to whom God therefore is a + Vol. I. page 345. " friend 3 ON GENIUS. 243 *' friend j who hath gotten loofe from all " meaner purfuits, and is regardlefs of all " lower advantages that interfere with his c< defire of knowing and loving God, and of " being known and beloved by him ; who * c lives as in his fight always, looks up to " him in every ftep of his conduct, 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 fablime metaphor : " The paflage through (< this Red-fea was bloody, but fhort ; a di- *« vine Hand ftrengthened him in it, and " conducted him through it ; and he foon " reached the fliore of blifs and immorta- * lity f ." * Atterbury's Sermons, vol.11, p. 198. f Ibid. vol. IV. p. 13. R 2 ?Q 244 AN ESSAY To the examples above produced, I take the liberty to fubjoin one other paflage 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 paflage 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 f* feared any man, nor paid court to any fet c< of men. I have worfhipped the Goddefs " Liberty alone, ever fince I drew my breath. " I hope to do fo in a land of liberty while " that breath remains. And when the fpirit " (hall 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 effect of this part of the fpeech was in the Britifh Senate, I have not heard ; but I am well perfuaded that it would have been applauded in the Roman Forum, ON GENIUS. 245 Forum, or by an Athenian Aflembly ; and though perhaps it is of too elevated a kind to (bit the cold and correct Genius of a mo- dern Critic, it would have afforded a fub- ject of Panegyric to Longinus or Quinti- LIAN. It is not our prefent bufinefs to inquire into the caufes of our deficiency in Ora- tory, as we intend, in a following fecYion, to hazard fome reflections on the fubjecl:. In the mean time we may obferve in general, that mod 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 intellectual, void of paflion and fenfibility. This ftrange miftake may perhaps be fuppofed to be partly the effect of the philofophical fpirit of the times, which, like all other prevailing modes, is fubject 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 actions will always be prompted by the latter, in what- ever degree his opinions may be influenced by the former. So long however as men continue ignorant of the nature, and indif- ferent to the itudy of Eloquence, there is little reafon to hope for the difplay of Ori- ginality of Genius in this noble art. Never- thelefs if we confider its nature, its extent, and the improvements of which it is fufcep* tiblCj we fhall have abundant reafon to con- clude, that this talent may frill be difplayed to the utmoft advantage, as doubtlefs it will be in every age, when circumftances concur to favour its exertion. There are innume- rable avenues to the human heart, innume- rable methods of captivating the affections, of roufing the paflions, and influencing the will j 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 and ON GENIUS. 247 and irritating, of agitating and inflaming the paffions of mankind, different from what have been practifed by thofe immortal Ora- tors above-mentioned ; and perhaps it will be flill more difficult to improve the means which they have invented and fo fuccefsfully ufed. To accomplifh thefe purpofes how- ever is certainly not impoflible *, 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 perfe&um " Oratorem efle non prohibet : turpiterque defperatur " quicquid fieri poteft." Quintil. Injllt. 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 antiquity : R 4 " Nam . 24S AN ESSAY The talents of a performer, and z, mas* ter and composer of Mufic, are very dif- ferent. To conflitutc the firfr, a nice mu- fkal 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- fion, together with a peculiar conforma- ** Nam quis ignorat Muficen (ut de hac primum " loquar) tantum jam illis antiquis temporibus non ** ftudii modo, verum etiam venerationis habuifTe, ut " iidem & Mufici & vates, & fapientes judicarcntur ? " Mittam alios : Orpheus & Linus ; quorum utrum- " que Diis genitum, alterum vero quod rudes quoque " atque agreftes animos admiratione mulceret, non ** feras modo, fed faxa etiam fylvasque duxifTe, pofte- " ritatis memoriae traditum eft. Et teftes Timagenes " au&or eft, omnium in Uteris ftudiorum antiquifli- « c mam Muficen extitiiTe ; & teftimonio funt clariflimi " Pcetae, 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, arc indifpenfibly neceflary. Though all the li- beral Arts are indebted to Imagination in common, a talent for each of them refpeftively depends upon the peculiar modificatiok 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 objecls he propofes to defcribe, thinks only of exprefling his ideas in fmooth and harmonious numbers ; the Painter, having the fame vivid conception of every object, is wholly intent on exhibiting a reprefentation of them in colours, as if he had no other method of conveying his ideas ; and the Mulician, 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 2 5 o AN ESSAY fidiis even of original Genius. Every mafterly Compofer of Mufic muft feel, in the moft intehfe and exquifite degree, the various emotions, which, by his compolitions, 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 paflion, which he delires to ex* prefs and to communicate in his piece. In effectuating this purpofe, Imagination ope- rates very powerfully, by awakening in his 6Wil mind thofe particular affections, that are correfpondent to the airs he is meditat- ing ; and by raifing each of thefe to that tone of fenfibility, and that fervor of paflion, which is moft favourable to compofition. This fervor and enthufiafm of paflion, may be termed the infpiration of Mufic j and is the principal quality which gives it fuch an irrefiftible empire over the human heart. The maxim of Horace, Si vis meftere, dolendum eft primum ipji tibi. Would you have me participate your pain t Firft teach yourfeif to feel the woes you feign •, is ON GENIUS. a 5 i is a rule as neceffary to be obferved by a 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 afTem- blage of words can make an elegant and connected poem or oration -, fo Imagination, under the direction of a tuneful ear, rnufr. affift the mufical Artift in adopting and combining thofe founds only, which may af- fect the paffions in the manner he intends. It muft be granted indeed, that the ef- forts Of Imagination difcovered in Mufic, though not inconfiderable, are by no means fo extraordinary as in any of the Arts above- mentioned. The exercife of this quality feems in Mufic to be fomewhat confined, being neceflarily fubjected to, and under the direction 252 AN ESSAY direction 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 affecting the human heart by the power of founds ; how the affections 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 higher! 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- lity 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 pleafing to the ear, rather than af- fecting ON GENIUS. 253 fecting to the heart ; that they have ftudied the foft and delicate graces, rather than the fublime and animated expreflion of Mufic ; and that by attempting to heighten its me- lody, they have in a great meafure deprived it of the energy and eloquence of paffion, and thereby rendered mufical concerts rather a delicious gratification, than an ufeful and exalted entertainment. We fhall confider laftly, how far Origi- nality of Genius may be difcovered in Architecture. It muft be conferred, that no improve- ments have been made in this art by our modern Architects, 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 auguft monuments of antiquity, which have been the wonder and admiration of ages, have been confider- ed, 254 A N E S S A Y ed> by the moft ingenious artifts themfelves, as complete Models of Architecture, from which nothing can be taken, and to which nothing can be added ; and are in fact fuch as few of them have ever equaled, and none of them (whether through want of ability, or want of ambition) have ever excelled. Great veneration is unqueflionably due to ancient Genius. The Ancients have indeed been our Mafters in the liberal Arts ; and their productions deferve our higheft com- mendations: yet let us not fhew them a blind and fuperftitious reverence. Abfo- lute perfection is incompatible with the works of man ; and while we regard the works of the Ancients as fo perfect, that we defpair of excelling them, the confequence will be, that we fhall never be able to equal them : the original will always be prefer- able to the copy. We have already ani-* madverted on this too fervile deference to antiquity * ; and fhall only here rernark, * Book I. Sedlion IL that ON GENIUS. £55 that this difpofition is highly unfavourable to the improvement of any of the Arts j and that a diffident timidity will always prove a greater difcouragement, cs well as obftruc- tion to Originality of 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 made 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, are innumerable. "Where this faculty is re- trained, and the ambition and exertion of Artifts are confined to the imitation of cer- tain Models invented by others, there 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 extenfive Imagi- nation, we confefs, may be exerted in afTem- bling together the detached parts of one great defign ; and when thefe are united to- gether in the conftruction 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 plaflic 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 as well as uncommon defign. We have ON GENIUS. 257 have already obferved, that every original Genius, whether in Architecture or in any other of the liberal Arts, is peculiarly diftin- guifhed by a powerful bias to invention. It was this bias which we may call the in- frinctive, infuppreflible Impulfe of Genius, whofe fpontaneous efforts defigned thofe ftu- pendous Gothic ftruclures, that appear fo magnificent in their ruins. The Architects, who firft planned thofe edifices, though unacquainted with the polite Arts, or with the Grecian and Roman Architecture, were doubtlefs great Originals in their profefTioh, fince they planned them by the unaided ftrength of their own Genius. Their un- tutored imaginations prompted them to af- pire to the Solemn, the Vaft, 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 (hew the inventive power of the human mind in S a ftriking 258 AN ESSAY a ftriking light, and are fufficient to con- vince us, that excellence in Architecture was not confined to the Greeks and Romans^ but may be fometimes difplayed among a people in other refpects barbarous. Though it is impoffible to point out the particular tracks which an original Ge- nius in Architecture will purfue, in endea- vouring to improve the art he profefles, 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 Architecture 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 GENIUS. 259 We (hall conclude this feclion with ob- ferving, that though the fimpleft and earlieft periods of fociety are favourable to original defcriptive Poetry, which we fhall immedi- ately endeavour to (hew, and Eloquence will always be exerted in its utmoft power under a Democratical form of government, during the reign of Liberty and public Spirit j Paint- ing and Architecture will in general attain their higheft degree of improvement, in the moil advanced ftate of fociety, under the ir- radiations of Monarchical fplendor, aided by the countenance and encouragement of the great and opulent. ■ - . $2 SECTION 260 AN ESSAY SECTION V. THAT ORIGINAL POETIC GENIUS Will in general be difplayed in its utmoft Vigour IN THE EARLY AND UNCULTIVATED PERIODS of SOCIETY Which are peculiarly favourable to it ; 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 mod fa- vourable ON GENIUS. 261 vourable to the difplay of Originality of Genius in the iafl mentioned art ; and this period we affirm to be the earlieft and lead cultivated. To aflert that this divine art, to an ex- cellence in which the higheft efforts of hu- man Genius are requifite, mould attain its utmofl 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 imperfecl ftate, there is great fcope afforded for the exertions of Genius. Much is to be obferved ; much is to be dis- covered and invented. Imagination how- ever in general exerts itfeif with more fuccefs in the Arts than in the Sciences ; in the for- mer of which its fuccefs is more rapid than S3 in 26a AN ESSAY in the latter. Active as this faculty is in its operations, its difcoveries in fcience are for the moil part attained by flow and gradual fteps. They are the effect of long and fe- vere inveftigation j and receive their highefl improvement in the moft civilized ft ate of fociety. On the other hand the efforts of Imagination, in Poetry at leaft, are impe- tuous, and attain their utmoft perfection at once, even in the^ rudeft form of focial life. This art does not require long and fedulous application, to confer Originality and excel- lence on its productions: its earlieft unla- boured effays 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- stance 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 Architecture, attain their highefl improvement by the repeated efforts of ingenious Artifts, as well as the fciences by the reiterated refearches and ex- periments ON GENIUS. 263 periments 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 ; but flill 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- fefled. Should it be objected, that the art of Painting was revived, and brought to the utmoft perfection to which it ever arrived in modern times, in one fmgle age, that of Leo the Tenth, we anfwer, That the Italian Matters, 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 flatuary, which, by heightening their ideas of excellence in its filler art, and kindling their ambition, contributed greatly to the perfection of their works. Arts and Sciences indeed generally rife and fall together; but, excepting Poetry 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 connection with thofe external caufes, which promote or obftrucl: their improvement. It is ycry 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 perfection to which human Genius is capable of advancing it; not only when the other Arts and Sciences are in a languishing ftate, but when they do not fo much as exit!:. Thus Homer wrote his Iliad and Oa\fey. y when there was not a Angle picture to be feen in Greece; 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 j let us endeavour to account for it. The firft-reafon we fhall afllgn of origi- nal Poetic Genius being mod remarka- bly dilplayed 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 ftate 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 fiction, yet unexplored by others, is fubjected to his furvey, 266 AN ESSAY far vey, from which he culls thofe rich fpoils, which adorn his compofitions, and render them original. It may be faid indeed, in ahTwe'r 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 ; but it may be replied, That fome of her flores are more readily found 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, pofiefling thofe unrifled treafures, and con- templating thefe unfullied features, could not fail to prefent us with a draught fo ftriking, as to deferve the name of a com- plete Original. We may farther obferve, that the objects 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 fpeaking of, excites an attention, curiofity and furprife, highly favourable to the exer- tion of Genius, and fomewhat refembling - : that; ON GENIUS. 267 that which Milton attributes to our firft anceftor : Straight towardHeaven my wond'ring eyes I turn'd, And gaz'd a while the ample fky. Paradife Loft, Book viii. line 257. About me round I faw Hill, dale, and fhady woods, and funny plains, And liquid lapfe of murmuring ftreams. Line 261. Such a perfon looks round him with won- der -, every object is new to him, and has the power to affect him with furprife and pleafurej and as he is not familiarifed by previous defcription to the fcenes he con- templates, thefe ftrike upon his mind with their full force j and the Imagination afto- nifhed and enraptured with the furvey of the Vaft, the Wild, and the Beautiful in nature, conveyed through the medium of fenfe, fpontaneoufly exprenes its vivid ideas in bold and glowing metaphors, in fubJime, animated and piclurefque defcription. Even a Poet 268 AN ESSAY a Poet of ordinary Genius will in fuch a itate of fociety prefent us with fome origi- nal ideas in his compofitions j for nature lying open to his view in all its extent and variety, in contemplating this unbounded field, fo fmall a part of which hath been yet occupied by others, he can hardly fail to {elect fome diftinguifhing objects 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 flate 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, arc ON GENIUS. 269 are loft. Could the works of the latter be recovered, thofe 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 effect of a particu- lar fituation. It is the confequence of an- tiquity. The next reafon we (hall give, why origi- nal Poetic Genius appears in its utmoft per- fection in the firft periods of focial life, is the fimplicity and uniformity of manners peculiar to fuch periods. Manners have a much greater effect on, the exertions of Poetic Genius, than is commonly imagined. The fimple manners which prevail among moil 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 pat- fions are (if we may ufe the expreffion) perfectly 270 A N E S S A Y perfectly original. They are the dictates of nature, unmixed and undifgulfed : they are therefore more eafily comprehended and defcribed. The Poet in defcribing his own feelings, defcribes alfo the feelings of others ; for in fuch a ftate of fociety, thefe are fimi- lar and uniform in all. Their tafles, 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 ; and the Poet who re- lates thefe, feeling the infpiration of his fubjecl, is himfelf animated with all the ardor of the Lover, the Friend, and the Hero. Hence as his fenfations are warm and vivid, his fentiments will become paf- fionate or fublime, as the occafion may re- quire j his defcriptions energetic ; his flile bold, elevated, and metaphorical ; and the whole, being the effufion of a glowing fancy and an impaflioned heart, will be perfectly natural and original. Thus far ON GENIUS. 271 far then an early and uncultivated flate of fociety, in which the manners, fentiments and pafiions, 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 fhoots 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 primitive fcenes, which recal to our remembrance the fabulous era of the golden age. Happily exempted from that tormenting ambition, and thofe vexatious dehres, which trouble the 272 AN ESSAY the current of modern life, he wanders with a ferene, contented heart, through walks and groves confecrated to the Mufes ; or, indulging a fublime, penfive, and fweetly- foothing melancholy, {trays with a flow and folemn ftep, through the unfrequented de- fert, 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 tranfport; or the peaceful innocence of thofe happy times, which are fo wonderfully foothing and pleafing to the imagination. His defcrip- tions therefore will be perfectly 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 fpecies of Poetic Genius. Perhaps ON GENIUS. 273 Perhaps we may be thought to refine too much on this point j and it may be ques- tioned whether fuch tranquillity and inno- cence as we have above fuppofed have ever exifted 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 amamed 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 per- fection 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 knowledge 274 A N ESSAY knowledge as unfavourable to original Poe- try, we hope we fhall not be accufed of pleading the caufe of ignorance, rufticity, and barbarifm ; any more than when we fpeak of the happy influence of the fimple tmcultivated periods of fociety on the pro- ductions of the above-mentioned art, we fhall 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 j and the advantages of a flate of civiliza- tion, in augmenting and refining the plea- iures of focial life, are too obvious to re- quire to be pointed out. We are at pre- fent only concerned to examine the effects of Learning and critical Knowledge on ori- ginal Poetry, the want of which we affirm to be one of the principal caufes of this art's being carried to its highefl perfection in the firft uncultivated periods of human &ciety. Let ON GENIUS. 275 Let us inquire into the effects of thefe. Upon the mind of a Pcet pofiefied 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 collecting the obfer- vations and experience of paft ages, by fu- peradding his own, and by reafoning juftly 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 qualified to inrich the Sciences with new difcoveries, as well as mod of the Arts with new inventions and improvements. In his own art only he can never become an original Author by fuch means ; nor, ftrictly fpeaking, fo much as acquire the materials, by the ufe of which he may juftiy attain this character : for the ideas derived from books, that is, from the ideas of others, can by no procefs of poe- tical chymiflry confer perfect Originality. T 2 Thofe 2j6 AN ESSAY 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 characters 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- fectly original (of whom only it muft be remembered we are here treating) he muff, if he fhould 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- perffructure muft 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 character 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 moft finking characters in human life have been delineated, and many of the moft beautiful objects of nature, and fuch as are moft ob- vious, have been ddcribed by preceding Bards. It will be very difficult therefore for their fucceflbrs to felect objects which the eye of Fancy hath never explored, and none but a Genius uncommonly original can hope to accomplifli it. There are very different degrees of Origi- nality in Poetry j and ieveral eminent Ge- T 3 niufes 4 7 8 AN ESSAY jaiufes in this art, poMing a very con fide r- able (hare of Originality themfelves, have however 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 compofitions, partly through a natural ten- dency to imitate the excellencies they admired in a model rendered venerable by the con- current teftimonies of all ages in his favour, and partly through the real difficulty of at- taining complete Originality in the province of the Epopee a after him, Thus Virgil copied many of the epifodes and images of the Maonian Bard 5 Tasso imitated fome of his characters, as well as adopted a part of his imagery ; and even the divine Milton condefcended, in a very few in fiances in- deed, to imitate .this Prince of ancient Poets, in cafes where his own Genius, left to its native energy, and uninfluenced by an ac- quaintance with the Writings of Homer, would 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 Paradifc Loft, 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 iflue of the encounter. By this cool expedient, which was fuggefted by that pafTage of Homer, in which Jupiter is fuppofed to weigh the fates of Hector and Achilles in his golden balance, Milton has prevented the confe- rences of this horrid fray, facrificed a real excellence to a frivolous imitation, and very much difappointed the eager expectations 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, reprefled the na- tive ardor of his own imagination. This (ingle infiance is fufficient to mew us the T 4 effect ,3 ^ ^ : *£ 5 S A Y » effect of Literature en the mind of a Poet of original Genius, whofe exertions it pro- bably will in feme inftances fupprefs, but .cannot in any inflance arliir. On the other hand, a Poet living in the more early pe- riods of ieciety, having few or no preceding £ards for his models, is in very little hazard of beiug betrayed into imitation, which in a modern age it i£ fo difficult to avoid ; but, giving full fcope to the bent of his Genius, lie is enabled, if he is polTefled of a high der gree of this quality, to produce a Worl* completely original. From this train of reafoning- it appears, that the Literature which is acquired from books, efpepially from the Works of preceding Bards, is un r favourable to Originality in Poetry ; and that Poets who live in the firft periods of fociety,. who are deftitute of the means Qt learning, and consequently are exempt- ed from- the poiilbiiity of Imitation, e»i- jpy peculiar advantages for original com r portion. We ON GENIUS. 281 •We may add, that another effect of learn- ing is, to encumber and overload the mind of an original Poetic Genius. Indeed it has tliis effect upon the mind of every man who has not properly arranged its fcattered materials, and who by thought and reflec- tion has not "digefted into fenfe the motley meal •f'." But however properly arranged thofe materials may be, and however tho- roughly digefted this intellectual food, an original Genius will fometirnes find an in- conveniency refulting from it; for as no man can attend to and comprehend many differ-* ent things at once, his mental faculties will in fome cafes be necejTarily opprefled 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 felf-taught. He comes into the world as it were completely accomplished. Nature fup- , J . i Night Thoughts. plies 2 $2 AN ESSAY plies the materials of his compofitions • his fenfes are the under-workmen, while Ima- gination, like a mafterly Architect, fuperin- tends and directs the whole. Or, to fpeak more properly, Imagination both fupplies the materials, and executes the work, fince it calls into being cc things that are not," and creates and peoples worlds of its own. It may be eafily conceived therefore, that an ori- ginal Poetic Genius, porTefling 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 efpccially original Poetic Genius, which abhors the fetters of Criticifm, claims the pri- vilege of the freeborn fons of Nature, and never relinquifh.es it without the utmoft re- gret. This noble talent knows no law, and acknowledges 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 expreffion by which Voltaire eharacterifes 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, jEschylus, and Euripides. Let us obferve the probable and natural ef- fects which a Uriel: adherence to the rules of Criticifm will have on original Genius in Poetry. One obvious effect: of it is, that it confines the attention to artificial rules, and ties 284 AN ESSAY ties the mind down to the obfervance of them, perhaps at the very time that the imagination is upon the ft retch, and grafping at fome idea aftonifhingly great, which however it is obliged, though with the utmoft reluctance, to quit, being intimidated by the apprehen- fion of incurring cenfure. By this means, the irregular but noble boldnefs of Fancy is checked, the divine and impetuous ardor of Genius is, we do not fay extinguished, but in a great meafure fupprefTed, and many mining excellencies facrificed to juftnefs of defign, and regular uniformity of execution. The candid Reader will obferve, that the queftion 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 perfect and accurate, but what its particular effect will be upon the productions of a Genius truly original. We are far from intending to difregard or cenfure thofe rules " for writing well," which have been eftablifhcd by found judgment, and ON GENIUS. <% and an exaft difcernment of the various fpe- cies 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 Yoke of ages have pronounced important ; and we confider them as what ought never to be violated ; though with refpecr. to others of a more trivial nature, however binding 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 ridiculouily, but which it may boldly (hake off at pleafure ; at leaft whenever it finds them fupprefilng 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 ages of fociety are moft fa- vourable to the difplay of original Genius in Poetry j whence it is natural to expect, that in 2 86 A N E S S A Y in fuch ages the greateft Originals in this art will always arife. Unhappily for us, this point does not admit of proof from an in- duction of many particulars j for very few original Poems of thofe nations among whom they might have been expected, have defend- ed through the viciffitudes and revolutions of fo many ages to our times. Mofl of the mo- numents of Genius, as well as the works of Art, have perifhed in the general wreck of empire j and we can only conjecture the merit of fuch as are loft from that of the fmall 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 fufficknt 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 fhew the truth of the fecond part of it, which was, That this quality will feldom appear in a very high N degree in cultivated life, and let us aflign the reafons of it. Shakespear ON GENIUS. 287 ShAkespear is the only modern Author, (whoie times by the way compared with the pre fent are not very modern) whom* in poin* of Originality, we can venture to compare with thofe eminent ancient Poets above-men- tioned. In fublimity of Genius; indeed, Mil* ton is inferior to neither of them; but it cannot be pretended that he was Co 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 fut* lime fentiments, to be met with in Paradije Loft ; not to mention what was formerly obferved, that in a few paffages he imitated the great Father of Poetry. With refpecl to Shakespear therefore, admitting, him to be a modern Author, he is at any rate but a An- gle exception ; though indeed his Genius was fb ftrangely irregular, and fo different from that of every other Mortal, Qui nihil szmik ant fecundumt that .no. argument can be drawn from fuch an example to invalidate our po- rtion ; fince he would probably have difco* vered the fame great and eccentric Geniusi which 288 AN ESSAV which we fo much admire at pitfent, in any age 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 perfect Originals as thofe above-mentioned, which perhaps may be partly imputed to the influence of caufes peculiar to the prefent period and (late of fociety, yet it hath produced feveral ele- gant, and fome exalted Geniufes in Poetry ; who are diftinguifhed 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 pofterity. But fince it mud 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 fmgle inflance above* mentioned, it ON GENIUS. 289 it may be worth the while to inquire into the caufes why it fo leldom appears, or can be expected to appear in cultivated life. If we have fuccefsfully inveftigated the caufes why original Poetic Genius is mod re- markably difplayed in the uncultivated flate 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 affigned of this quality's being exerted in a higher degree in the earlier periods of fociai life, was deduced from the antiquity of thofe periods, 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 ftrike out a path for himfelf 5 but it muft likewife be allowed, that to do fo after his illuftrious predeceflbrs, will at lead U be 2 9 o AN ESSAY be more difficult. To what hath been above advanced on this head, we fhall here only add a {ingle obfervation, that mould any mo- dern Poet with juftice claim an equality of merit with the renowned Ancients in point of Originality, he would, confidering the dis- advantages he muft labour under, be intitled to a flill fuperior fhare 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- formity of ancient Manners, as another caufe why original Genius is exerted in its utmoft 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 productive of the improvement of all the mechanical, and fome of the liberal Arts j 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 fupprefTes 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 languiihes 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 exceflive Affluence is. The former crufhes its early and afpiring efforts at once; the latter more flowly, but no lefs furely, enervates its powers, and difTolves them in Luxury and Pleafure. It was a fenfible ob- fervation of a French Monarch *, though the conjunction be fomewhat fantaftical, Poctte & equi alcndi, 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 neceflary to unfold the bloflbms of Genius to the utmoft 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 flate. The caufe therefore why it feldom appears in a more advanced period, will be jufl 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 claihing interefts of mankind. As the voice of Confcience is often drowned amidft the clamours of tu- multuous paffion, fo the flame of Genius is frequently fmothered by the bufy, buttling cares of an active life. The thorny path of Ambition, and the painful, patient purfuit of Gain, are both unfavourable, though not in an equal degree, to its native ardor. The former occafions a diffraction, harafsment, and anxiety of thought ; the latter an intire depreflion of the powers of Imagination. Genius is milled 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 (loops to the drudgery of laborious bufinefs for the fake of wealth, of which 294 A N 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 objects at which it frequently afpires; and they often prove ob- ftrucYions to its native exertions in its proper fphere, by engaging the mind in purfuits, which produce embarrafTment and perplexity. True Genius, removed from the din and tu- mult of buflnefs and care, fhoots 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 aflaults 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 laft 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 effect of thefe ac- complishments upon the mind of an original Poet at great length, in the former part of this fection,we fhall conclude with a remark, which will exhibit in one view the fubftance of what hath been more fully difcufTed 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- fionj 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 moft part, be difplayed in its utmoft perfec- tion in the early and uncultivated periods of focial life. 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