THE WORKS OF JAMES HARRIS, ESQ. ii WITH AN ACCOUNT OP HIS LIFE AND CHARACTER BY HIS SON THE EARL OF MALMESBURY. OXFORD: PRINTED BY J. VINCENT, FOR THOMAS TEGG, 73, CHEAPSIDE, LONDON. 1841. MEMOIRS LIFE AND CHARACTER OF THE AUTHOR. A NEW edition of my father's Works having been for some time expected by the public, I have been induced to prefix to it the following short memoirs of his life and character. There are few readers, I believe, who do not desire to know something more of an author than is commonly to be learned merely from his own writings. What he has been in private life, and in his domestic retirement ; what appear to have been his habits of study, and of relaxation ; how he has conducted himself as a member of society, so as to have deserved praise or blame : all these are natural topics of inquiry concerning every writer who has attained considerable literary eminence. ) To gratify a curiosity so reasonable, is one motive which has en- gaged me in the present undertaking ; but, I will confess, it is not the only one. The pride which I feel in being the son of such a father, and the gratitude and affection with which I must ever recollect him, have also powerfully induced me to pay this public tribute of respect to his memory. To his early care of my education, to his judicious introduction of me to respectable friends and patrons, to his constant good advice and excellent example, I am fond of attributing whatever credit I may have acquired in the various active employments that have fallen to my share. I reflect with the highest pleasure on his having seen me, during many years, engaged in the service of my country ; and I can with truth say, that such advantages of rank or distinc- tion as I have been fortunate enough to acquire, which he did not live to witness, have, from that very circumstance, lost much of their value in my estimation. James Harris, esq., the writer of these volumes, was the eldest son of James Harris, esq., of the Close of Salisbury, by his 8GM70 iv LIFE AND CHARACTER second wife, the lady Elizabeth Ashley, who was third daughter of Anthony earl of Shaftesbury, and sister to the celebrated author of the Characteristics, as well as to the Hon. Maurice Ashley Cooper, the elegant translator of Xenophon's Cyropsedia. He was born upon the 20th of July, 1709. The early part of his education was received at Salisbury, under the Rev. Mr. Hele, master of the grammar school in the Close, who was long known and respected in the west of England as an instructor of youth. From Mr. Helens school, at the age of sixteen, he was removed to Oxford, where he passed the usual number of years as a gentleman-commoner of Wadham college. His father, as soon as he had finished his academical studies, entered him at Lincoln's Inn, not intending him for the bar, but, as was then a common practice, meaning to make the study of the law a part of his education. When he had attained his twenty-fourth year, his father died. This event, by rendering him independent in fortune, and freeing him from all control, enabled him to exchange the study of the law for other pursuits that accorded better with his inclination. The strong and decided bent of his mind had always been towards the Greek and Latin classics. These he preferred to every other sort of reading; and to his favourite authors he now applied himself with avidity, retiring from London to the house in which his family had very long resided in the Close of Salisbury, for the sake of enjoying, without interruption, his own mode of living. His application during fourteen or fifteen years to the best writers of antiquity, continued to be almost unremitting, and his industry was such as is not often exceeded. He rose always very early, frequently at four or five o'clock in the morning, especially during the winter, because he could then most ef- fectually insure a command of time to himself. By these means he was enabled to mix occasionally in the society of Salisbury and its neighbourhood, without too great a sacrifice of his main object, the acquisition of ancient literature. I have heard my father say, that it was not until many years after his retirement from London that he began to read Ari- stotle and his 'commentators, or to inquire, so deeply as he afterwards did, into the Greek philosophy. He had imbibed a OF THE AUTHOR. v prejudice, very common at that time even among scholars, that Aristotle was an obscure and unprofitable author, whose philo- sophy had been deservedly superseded by that of Mr. Locke ; a notion which my father's own writings have since contributed to correct, with no small evidence and authority. In the midst, however, of his literary labours he was not inattentive to the public good, but acted regularly and assidu- ously as a magistrate for the county of Wilts ; giving, in that capacity, occasional proofs of a manly spirit and firmness, without which the mere formal discharge of magisterial duty is often useless and inefficient. The first fruit which appeared to the world of so many years spent in the pursuit of knowledge, and in habits of deep specula- tion, was a volume published in 1744, containing three treatises : the first concerning Art ; the second concerning Music, Paint- ing, and Poetry ; the third concerning Happiness. These trea- tises, in addition to their merit as original compositions, are illustrated by a variety of learned notes and observations, elucidating many difficult passages of ancient writers, the study and examination of whom it was my fathers earnest wish to promote and to facilitate. Lord Monboddo, speaking of the Dialogue upon Art, praises it, as containing " the best specimen of the dividing, or diaeretic manner, as the ancients called it, that is to be found in any modern book with which he is ac- quainted." In the month of July 1745, my father was married to miss Elizabeth Clarke, daughter and eventually heiress of John Clarke, esq., of Sandford, near Bridgewater, in the county of Somerset. Five children were the issue of this marriage ; two of whom died young; myself and two daughters only have survived my father. This change in his state of life by no means withdrew his attention from those studies in which he had been used to take so great delight, and which he had cultivated with such ad- vantage and reputation ; for in 1751 he published another work, called " Hermes, or a philosophical inquiry concerning universal grammar." An eulogium so honourable to this publication has been made on it by the learned Dr. Lowth, late bishop of London, that I cannot deny myself the pleasure of here in- serting it, as of indisputable weight and authority. "Those., 1 " vi LIFE AND CHARACTER says the bishop, in the preface to his English Grammar, " who would enter deeply into the subject (of universal grammar), will find it fully and accurately handled, with the greatest acuteness of investigation, perspicuity of explication, and elegance of method, in a treatise entitled Hermes, by James Harris, esq. ; the most beautiful example of analysis that has been exhibited since the days of Aristotle." What first led my father to a deep and accurate consideration of the principles of universal grammar, was a book which he held in high estimation, and has frequently quoted in his Hermes, the Minerva of Sanctius. To that writer he confessed himself indebted for abundance of valuable information, of which it appears that he knew well how to profit, and to push his researches on the subject of grammar to a much greater length, by the help of his various and extensive erudition. From the period of his marriage until the year 1761, my father continued to live entirely at Salisbury, except in the summer, when he sometimes retired to his house at Durnford, near that city. It was there that he found himself most free from the interruption of business and of company, and at leisure to compose the chief part of those works which were the result of his study at other seasons. His time was divided between the care of his family, in which he placed his chief happiness, his literary pursuits, and the society of his friends and neigh- bours, with whom he kept up a constant and cheerful intercourse. The superior taste and skill which he possessed in music, and his extreme fondness for hearing it, led him to attend to its cultivation in his native place with uncommon pains and success ; insomuch that, under his auspices, not only the annual musical festival in Salisbury flourished beyond most institutions of the kind, but even the ordinary subscription-concerts were carried on by his assistance and direction, with a spirit and effect seldom equalled out of the metropolis. Many of the beautiful selections made from the best Italian and German composers for these festivals and concerts, and adapted by my father, some- times to words selected from Scripture or from Milton's Para- dise Lost, sometimes to compositions of his own, have survived the occasions on which they were first produced, and are still in great estimation. Two volumes of these selections have been lately published by Mr. Corfe, organist of Salisbury cathedral ; OF THE AUTHOR. vii the rest remain in manuscript, in possession of my family. His own house, in the mean time, was the frequent scene of social and musical meetings : and I think I do not hazard too much in saying, that he contributed, both by his own conversation and by the company which he often assembled at his house from various parts, to refine and improve the taste and manners of the place in which he resided. In 1761, by the interest of his near relation and very respect- able friend, the late Edward Hooper, esq., of Hum Court in Hampshire, my father was chosen one of the representatives in parliament for the borough of Christ Church; which seat he retained to the day of his death. The year following, he ac- cepted the office of one of the lords of the admiralty ; from thence he was promoted, in 1763, to be a lord of the treasury. He remained in that situation until the ministry with which he was connected went out of office in 1765 ; and after that time he did not hold any employment until 1774, when he became secretary and comptroller to the queen. This appointment was always valued by him exceedingly : not only by reason of the handsome and flattering manner in which it was conferred upon him by her majesty, but also on account of the frequent occa- sions it afforded him of experiencing her majesty's gracious kind- ness and condescension, of which he had a very high sense, and which were continued to him without interruption to the end of his life ; for in her service he died. Although assiduous in the discharge of his parliamentary duty, and occasionally taking a share in debates, my father never contracted any violent spirit of party. He abhorred faction of every kind; nor did he ever relinquish, for public business, those still more interesting pursuits which had been the delight and occupation of his earliest years. If they were somewhat intermitted during the sitting of parliament, he re- newed them with increased relish and satisfaction on his return into the country. Those who saw him in London, partaking with cheerfulness and enjoyment of a varied and extensive society, and frequenting dramatic and musical entertainments, while, during his stay in Salisbury, he always exercised a re- spectable, but well-regulated hospitality, were surprised that he could have found time to compose and publish, in 1775, another learned work. It contains, under the title of Philosophical Arrangements, a part only of a larger work that he had me- viii LIFE AND CHARACTER ditated, but did not finish, upon the Peripatetic logic. So far as relates to the arrangement of ideas, it is complete ; but it has other objects also in view. It combats, with great force and ability, the atheistical doctrines of chance and materialism : doctrines which have been lately revived in France, under the specious garb of modern philosophy, and, issuing from thence, have overspread a great part of Europe ; destroying the happi- ness of mankind, by subverting, in every part of their progress, the foundations of morality and religion. The last of my father's literary productions was printed in 1780, by the name of Philological Inquiries, but not published sooner than 1781. It is a more popular work than any of his former ones ; and contains rather a summary of the conclusions to which the philosophy of the ancients had conducted them in their critical inquiries, than a regular and perfect system. The principles on which those conclusions depend are therefore omitted, as being of a more abstruse nature than was agreeable to his design, which was to teach by illustration and example, not by strict demonstration. Indeed, this publication appears to have been meant, not only as a retrospective view of those studies which exercised his mind in the full vigour of his life, but likewise as a monument of his affection towards many of his intimate friends. I cannot therefore but consider it as a pleasing proof of a mind retaining, at an advanced age, a con- siderable degree of its former energy and activity, together with what is still more rarely to be found, an undiminished portion of its candour and benevolence. Before this last volume was entirely concluded, my father's health had evidently begun to be very much impaired. He never enjoyed a robust constitution ; but for some time, towards the end of his life, the infirmities under which he laboured had gradually increased. His family at length became apprehensive of a decline, symptoms of which were very apparent, and by none more clearly perceived than by himself. This was evident from a variety of little circumstances, but by no means from any impatience or fretfulness, nor yet from any dejection of spirits, such as are frequently incident to extreme weakness of body, especially when it proves to be the forerunner of ap- proaching dissolution. On the contrary, the same equable and placid temper which had distinguished him throughout his whole life, the same tender and affectionate attention to his sur- OF THE AUTHOR. ix rounding family, which he had unceasingly manifested while in health, continued, without the smallest change or abatement, to the very last ; displaying a mind thoroughly at peace with itself, and able without disturbance or dismay to contemplate the awful prospect of futurity. After his strength had been quite exhausted by illness, he expired calmly on the 22nd of December 1780, in the seventy- second year of his age. His remains were deposited in the north aisle of the cathedral church of Salisbury, near those of his ancestors ; and I cannot forbear to record tokens of unsolicited respect, honourable to my fathers memory, and soothing to the recollection of his family, which were shewn from various quarters upon that melancholy occasion. Six gentlemen, his friends and neighbours, supported the pall. At the western door of the cathedral, the corpse was met by the whole choir, and a funeral anthem was performed while the procession moved towards the grave. On the ensuing Sunday, the Rev. Mr. Chaffy, who preached at the cathedral, adverted in his sermon to the recent event of my father's death with such apposite and judicious commendation, as at once to mark his own sincere respect for a deceased neigh- bour, and strongly to excite the sympathy of his audience by the truths delivered concerning him. A monument was soon after erected to the memory of my father, near the spot where he was interred, on which is the following inscription : M.S. Jacob! Harris Sarisburiensis Viri boni, et docti, Graecarum Literarum praecipue periti, Cujus opera accuratissima De artibus elegantioribus De Grammatica, de Logica, de Ethice, Stylo brevi, limato, simplici, Sui more Aristotelis Conscripta, Posteri laudabunt ultimi. Studiis severioribus addictus, Communia tamen vitas officia, Et omnia Patris, Mariti, Civis, Senatoris munia, Et implevit et ornavit. Obiit xxir. Die Dccembris, M.DCC.LXXX. Anno jEtatis LXXII. x LIFE AND CHARACTER Above this inscription, a female figure of Philosophy is repre- sented, holding over a medallion of my father, a scroll, with the following inscription. To 3>povciv 'M.ovov ayaQov To 8' afypovtiv K.O.KOV. It remains for me to add some further particulars concerning my father, which, I think, are requisite to make his character completely understood. The distinction by which he was most generally known, while living, and by which he is likely to survive to posterity, is that of a man of learning. His profound knowledge of Greek, which he applied more successfully, perhaps, than any modern writer has done, to the study and explanation of ancient philo- sophy, arose from an early and intimate acquaintance with the excellent poets and historians in that language. They, and the best writers of the Augustan age, were his constant and never- failing recreation. By his familiarity with them, he was enabled to enliven and illustrate his deeper and more abstruse specula- tions, as every page almost of these volumes will abundantly testify. But his attainments were not confined to ancient phi- losophy and classical learning. He possessed likewise a general knowledge of modern history, with a very distinguishing taste in the fine arts, in one of which, as before observed, he was an eminent proficient. His singular industry empowered him to make these various acquisitions, without neglecting any of the duties which he owed to his family, his friends, or his country. I am in possession of such proofs, besides those already given to the public, of my father's laborious study and reflection, as I apprehend are very rarely to be met with. Not only was he accustomed, through a long series of years, to make copious extracts from the different books which he read, and to write critical remarks and conjectures on many of the passages ex- tracted, but he was also in the habit of regularly committing to writing such reflections as arose out of his study, which evince a mind carefully disciplined, and anxiously bent on the attain- ment of self-knowledge and self-government. And yet, though habituated to deep thinking and laborious reading, he was ge- nerally cheerful, even to playfulness. There was no pedantry in his manners or conversation ; nor was he ever seen either to OF THE AUTHOR. xi display his learning with ostentation, or to treat with slight or superciliousness those less informed than himself. He rather sought to make them appear partakers of what he knew, than to mortify them by a parade of his own superiority. Nor had he any of that miserable fastidiousness about him which too often disgraces men of learning, and prevents their being amused or interested, at least their choosing to appear so, by common performances and common events. It was with him a maxim, that the most difficult and in- finitely the preferable sort of criticism, both in literature and in the arts, was that which consists in rinding out beauties, rather than defects ; and although he certainly wanted not judgment to distinguish and to prefer superior excellence of any kind, he was too reasonable to expect it should very often occur, and too wise to allow himself to be disgusted at common weakness or imperfection. He thought, indeed, that the very attempt to please, however it might fall short of its aim, deserved some return of thanks, some degree of approbation; and that to endeavour at being pleased by such efforts, was due to justice, to good nature, and to good sense. Far, at the same time, from that presumptuous conceit which is solicitous about mending others, and that moroseness which feeds its own pride by dealing in general censure, he cultivated to the utmost that great moral wisdom by which we are made humane, gentle, and forgiving; thankful for the blessings of life, acquiescent in the afflictions we endure, and submissive to all the dispensations of Providence. He detested the gloom of superstition, and the persecuting spirit by which it is so often accompanied ; but he abhorred still more the baneful and de- structive svstem of modern philosophy; and from his early solicitude to inspire me with a hatred of it, it would almost seem that he foresaw its alarming approach and fatal progress. There is no obligation which I acknowledge with more thankfulness ; none that I shall more anxiously endeavour to confer upon my own children, from a thorough conviction of its value and importance. My fathers affection to every part of his family was ex- emplary and uniform. As a husband, a parent, a master, he was ever kind and indulgent ; and it deserves to be mentioned to his honour, that he thought it no interruption of his graver xii LIFE AND CHARACTER OF THE AUTHOR. occupations, himself to instruct his daughters, by exercising- them daily both in reading and composition, and writing essays for their improvement, during many of their younger years. No man was a better judge of what belonged to female education, and the elegant accomplishments of the sex, or more disposed to set a high value upon them. But he had infinitely more at heart, that his children should be early habituated to the practice of religion and morality, and deeply impressed with their true principles. To promote this desirable end, he was assiduous both by instruction and example ; being himself a constant attendant upon public worship, and enforcing that great duty upon every part of his family. The deep sense of moral and religious obligation which was habitual to him, and those benevolent feelings which were so great a happiness to his family and friends, had the same powerful influence over his public as his private life. He had an ardent zeal for the prosperity of his country, whose real interests he well under- stood ; and in his parliamentary conduct he proved himself a warm friend to the genuine principles of religious and civil liberty, as well as a firm supporter of every branch of our admirable constitution. MALMESBURY. CONTENTS. THREE TREATISES. I. CONCERNING ART, A DIALOGUE. II. A DISCOURSE ON MUSIC, PAINTING, AND POETRY. CHAP. I. Introduction Design and Distribution of the Whole Preparation for the following Chapters ---------- 25 CHAP. II. On the Subjects which Painting imitates On the Subjects which Music imitates Comparison of Music with Painting 29 CHAP. III. On the Subjects which Poetry imitates, but imitates only through natural Media, or mere Sounds Comparison of Poetry in this Capacity, first with Painting, then with Music --------32 CHAP. IV. On the Subjects which Poetry imitates, not by mere Sounds or natural Media, but by Words significant ; the Subjects being such to which the Genius of each of the other two Arts is most perfectly adapted Its Comparison in these Subjects, first with Painting, then with Music ----- 33 CHAP. V. On the Subjects which Poetry imitates by Words significant, being at the same time Subjects not adapted to the Genius of either of the other Arts The Nature of these Subjects The Abilities of Poetry to imitate them Comparison of Poetry in respect of these Subjects, first with Painting, then with Music - - - -36 CHAP. VI. On Music, considered not as an Imitation, but as deriving its Efficacy from another Source On its joint Operation by this means with Poetry An Objection to Music solved The Advantage arising to it, as well as to Poetry, from their being united Conclusion --------39 III. CONCERNING HAPPINESS, A DIALOGUE. PART I. 43 PART II. 71 HERMES. BOOK I. PREFACE -- m CHAP. I. Introduction Design of the whole 117 CHAP. II. Concerning the Analyzing of Speech into its smallest Parts - - - 119 CHAP. III. Concerning the several Species of those smallest Parts - - -123 CHAP. IV. Concerning Substantives, properly so called 127 CHAP. V. Concerning Substantives of the Secondary Order - - - - 135 CHAP. VI. Concerning Attributives, and first concerning Verbs - 141 CHAP. VII. Concerning Time and Tenses 145 CHAP. VIII. Concerning Modes - - - - 158 CHAP. IX. Concerning Verbs, as to their Species and other remaining Properties - 167 CHAP. X. Concerning Participles and Adjectives 170 CHAP. XI. Concerning Attributives of the Secondary Order - ... 173 BOOK II. CHAP. I. Concerning Definitives ... 179 CHAP. II. Concerning Connectives, and first those called Conjunctions - - - 185 CHAP. III. Concerning those other Connectives, called Prepositions - 192 (.'HA'.-. IV. Concerning Cases - 196 CHAP. V. Concerning Interjections Recapitulation Conclusion ... 200 CONTENTS. BOOK III. CHAP. I. Introduction Division of the Subject into its principal Parts - 205 CHAP. II. Upon the Matter or common Subject of Language - - 20H CHAP. III. Upon the Form, or peculiar Character of Language - - 211 CHAP. IV. Concerning general or universal Ideas - - 217 CHAP. V. Subordination of Intelligence Difference of Ideas, both in particular Men, and in whole Nations Different Genius of different Languages Cha- racter of the English the Oriental, the Latin,, and the Greek Languages Superlative Excellence of the Last Conclusion - - 235 PHILOSOPHICAL ARRANGEMENTS. CHAP. I. Introduction Scope or End of the Inquiry begins from the Arrange- ment of simple, or single Terms Character of these Terms Nature and Multitude of the Objects which they represent - ... 247 CHAP. II. A Method of Arrangement proposed rejected, and why another Method proposed adopted, and why General Remarks Plan of the Whole 255 CHAP. III. Concerning Substance natural how continued, or carried on Principles of this Continuation, two increased to three reduced again to two these last two, Form and a Subject, or rather, Form and Matter - - - 259 CHAP. IV. Concerning Matter an imperfect Description of it its Nature, and the Necessity of its Existence, traced out and proved first by Abstraction then by Analogy Illustrations from Mythology - 267 CHAP. V. Concerning Form An imperfect Description of it Primary Forms, united with Matter, make Body Body Mathematical Body Physical how they differ Essential Forms Transition to Forms of a Character superior to the passive and elementary _.._----- 273 CHAP. VI. Concerning Form, considered as an Efficient Animating Principle Har- mony in Nature between the living and the lifeless Ovid, a philosophical Poet Further Description of the Animating Principle from its Operations, Energies, and Effects Virgil The Active Principle and the Passive Principle run through the Universe Mind, Region of Forms Corporeal Connections, where necessary, where obstructive Means and Ends their different Pre- cedence according to different Systems Empedocles, Lucretius, Prior, Galen, Cicero, Aristotle, &c. Providence -------- 276 CHAP. VII. Concerning the Properties of Substance, attributed to it in the Peripa- tetic Logic . . 288 CHAP. VIII. Concerning Qualities corporeal and incorporeal natural and ac- quired of Capacity and Completion Transitions immediate, and through a medium Dispositions Habits Genius Primary and imperfect Capacity Secondary and perfect where it is that no Capacities exist Qualities, pene- trating and superficial Essential Form Figure an important Quality Figures intellectual, natural, artificial, fantastic Colour, Roughness, Smooth- ness, &c. Persons of Quality Properties of Quality Some rejected, one admitted, and why - -291 CHAP. IX. Concerning Quantity its two Species their Characters Time and Place their Characters Property of Quantity, what Quantities relative Figure and Number, their Effect upon Quantity Importance of this Effect Sciences Mathematical appertain to it their Use, according to Plato How other Beings partake of Quantity Analogy, found in Mind Common Sense and Genius, how distinguished Amazing efficacy of this Genus in and through the World Illustrations 302 CHAP. X. Concerning Relatives their Source Relatives apparent real their Properties, reciprocal Inference, and Co-existence Force of Relation in Ethics in matters Dramatic in Nature, and the Order of Being Relations, amicable and hostile Evil Want Friendship Strife Relation of all to the Supreme Cause Extent and Use of this Predicament, or Arrangement - - 311 CONTENTS. xv CHAP. XI. Concerning Action and Passion Action, its five Species those of Passion reciprocate Mind Divine, Human latter, how acted upon Politics, (Economics, Ethics Passivity in Bodies animate and inanimate Action and Re-action, where they exist, where not Self-motion, what, and where Power, whence, and what requisite both in Action and in Passion Power, though like Nonentity, yet widely different Double in the reasoning Faculty Power, not first in Existence, but Energy, which never has ceased, or will cease, or can cease ------..---- 323 CHAP. XII. Concerning When and Where Concerning Time and Place, and their Definitions When and Where, how distinguished from Time and Place, how connected with them Descriptions of When and Where their Utility and Importance in human Life Various Terms, denoting these two Predicaments others denoting them not, yet made to denote them When and Where, their extensive influence plausible Topics concurring Causes Opportunity, what Chance, what it is not, what it is Fate, Providence cooperating Causes Supreme Intelligence - - _ . 335 CHAP. XIII. Concerning Position or Situation What it is, and how deduced how it exists in Beings inanimate in Vegetables in Man animal Progres- sion Works of Art Attitudes Illustrations of Attitude from Poets from Actors from Orators its Efficacy, whence Position, among the Elements of Democritus its Influence and Importance in the natural World in the intellectual - 342 CHAP. XIV. Concerning Habit, or rather the being habited Its Description its principal Species deduced and illustrated its Privation Conclusion of the second or middle part of the Treatise - - - - - - - -351 CHAP. XV. Concerning the Appendages to the Universal Genera or Arrangements ; that is to say, concerning Opposites, prior, subsequent, together or at once, and Motion, usually called Post-Predicaments the Modes or Species of all these (Motion excepted) deduced and illustrated Preparation for the Theory of Motion 354 CHAP. XVI. Concerning Motion Physical Its various Species deduced and illus- trated blend themselves with each other, and why Contrariety, Opposition, Rest Motion Physical an Object of all the senses Common Objects of Sensation, how many Motion, a thing not simple, but complicated with many other Things its Definition or Description taken from the Peripatetics the Accounts given of it by Pythagoras and Plato analogous to that of Aristotle, and why 360 CHAP. XVII. Concerning Motion Nolrphysical This means Metaphysical, and why so called Spontaneity Want Perception, Consciousness, Anticipation, Pre- conception Appetite, Resentment, Reason Motion Physical and Metaphy- sical, how united Discord and Harmony of the internal Principles Powers vegetative, animal, rational Immortality Rest, its several Species Motion, to what perceptive Beings it appertains ; to what not and whence the Difference 367 CHAP. XVIII. Conclusion Utilities deducible from the Theory of these Arrange- ments Recapitulation - " - - - - 381 PHILOLOGICAL INQUIRIES. PART I. CHAP. I. Concerning the Rise of Criticism in its first Species, the Philosophical- eminent Persons, Greeks and Romans, by whom this Species was cultivated - 388 CHAP. II. Concerning the Progress of Criticism in its second Species, the Historical Greek and Roman Critics, by whom this Species of Criticism was cultivated 391 CHAP. III. Moderns, eminent in the two Species of Criticism before mentioned, the Philosophical and the Historical the last Sort of Critics more numerous those mentioned in this Chapter confined to the Greek and Latin Languages 392 CHAP. IV. Modern Critics of the Explanatory kind, commenting Modern Writers Lexicographers Grammarians Translators - - ... 394 CHAP. V. Rise of the third Species of Criticism, the Correctivepractised by the Ancients, but much more by the Moderns, and why - - 396 xvi CONTENT S. CHAP. VI. Criticism may have teen abused Yet defended, as of the last Import- ance to the Cause of Literature - - 397 CHAP. VII. Conclusion Recapitulation Preparation for the Second Part - - 399 PART II. INTRODUCTION 399 CHAP. I. That the Epic Writers came first, and that nothing excellent in Literary Performances happens merely from Chance the Causes, or Reasons of such Excellence, illustrated by Examples 400 CHAP. II. Numerous Composition derived from Quantity Syllabic anciently es- sential both to Verse and Prose Rhythm Paeans and Cretics, the Feet for Prose Quantity Accentual a Degeneracy from Syllabic Instances of it first in Latin then in Greek Versus Politici Traces of Accentual Quantity in Terence essential to Modern Languages, and among others to English, from which last Examples are taken -------- 405 CHAP. III. Quantity Verbal in English a few Feet pure, and agreeable to Syllabic Quantity Instances yet Accentual Quantity prevalent Instances Transi- tion to Prose English Paeans, Instances of Rhythm governs Quantity, where this last is Accentual 411 CHAP. IV. Other Decorations of Prose besides Prosaic Feet Alliteration Sen- tences Periods Caution to avoid excess in consecutive Monosyllables Ob- jections made and answered Authorities alleged Advice about reading - 414 CHAP. V. Concerning Whole and Parts, as essential to the constituting of a legi- timate Work the Theory illustrated from the Georgics of Virgil, and the Menexenus of Plato same Theory applied to smaller Pieces Totality, essen- tial to small Works, as well as great Examples to illustrate Accuracy, another Essential more so to smaller Pieces, and why Transition to Dramatic Speculation - - 420 CHAP. VI. Dramatic Speculations the constitutive Parts of every Drama, Six in number which of these belong to other Artists which to the Poet Transi- tion to those which appertain to the Poet - - 426 CHAP. VII. In the constitutive Parts of a Drama, the Fable considered first its different Species which fit for Comedy, which for Tragedy Illustrations by Examples Revolutions Discoveries Tragic Passions Lillo's Fatal Cu- riosity compared with the (Edipus Tyrannus of Sophocles Importance of Fables, both Tragic and Comic how they differ bad Fables, whence other Dramatic Requisites, without the Fable, may be excellent Fifth Acts, how characterized by some Dramatic Writers 428 CHAP. VIII. Concerning Dramatic Manners what constitutes them Manners of Othello, Macbeth, Hamlet those of the last questioned, and why Consistency required yet sometimes blameable, and why Genuine Manners in Shak- speare in Lillo Manners, morally bad, poetically good - ... 434 CHAP. IX. Concerning Dramatic Sentiment what constitutes it Connected with Manners, and how Concerning Sentiment Gnomologic, or Preceptive its Description Sometimes has a Reason annexed to it Sometimes laudable, sometimes blameable whom it most becomes to utter Sentences -Bossu Transition to Diction - 436 CHAP. X. Concerning Diction the vulgar the affected the elegant this last much indebted to the Metaphor Praise of the Metaphor its Description ; and, when good, its Character the best and most excellent, what not turgid nor enigmatic nor base nor ridiculous Instances Metaphors by constant Use sometimes become common Words Puns Rupilius Rex OTTI2 Enigmas Cupping The God Terminus Ovid's Fasti - 439 CHAP. XI. Rank and Precedence of the constitutive parts of the Drama Remarks and Cautions both for Judging and Composing - - 445 CHAP. XII. Rules defended do not cramp Genius, but guide it flattering Doc- trine, that Genius will suffice fallacious, and why further defence of Rules No Genius ever acted without them ; nor ever a Time when Rules did not exist Connection between Rules and Genius their reciprocal Aid End of the Second Part Preparation for the Third - .... 443 CONTENTS. PART III. CHAP. I. Design of the whole Limits and Extent of the Middle Age Three Classes of Men, during that Interval, conspicuous: the Byzantine Greeks; the Saracens, or Arabians ; and the Latins, or Franks, Inhabitants of Western Europe Each Class in the following Chapters considered apart - 454 CHAP. II. Concerning the first Class, the Byzantine Greeks Simplicius Am- monius Philoponus Fate of the fine Library at Alexandria ... 456 CHAP. III. Digression to a short Historical Account of Athens, from the Time of her Persian Triumphs, to that of her becoming subject to the Turks' Sketch, during this long Interval, of her Political and Literary State ; of her Philosophers ; of her Gymnasia ; of her good and bad Fortune, &c. Manners of the present In- habitants Olives and Honey - - - - - - - - -459 CHAP. IV. Account of Byzantine Scholars continued Suidas John Stobaeus, or of Stoba Photius Michael Psellus this last said to have commented twenty- four Plays of Menander Reasons to make this probable Eustathius, a Bishop, the Commentator of Homer Eustratius, a Bishop, the Commentator of Aristotle Planudes, a Monk, the Admirer and Translator of Latin Classics, as well as the Compiler of one of the present Greek Anthologies Conjecturer concerning the Duration of the Latin Tongue at Constantinople - - - 468 CHAP. V. Nicetas, the Choniate His curious Narrative of the Mischiefs done by Baldwyn's Crusade, when they sacked Constantinople in the Year 1205 Many of the Statues described, which they then destroyed A fine Taste for Arts among the Greeks, even in those Days, proved from this Narrative not so among the Crusaders Authenticity of Nicetas's Narrative State of Con- stantinople at the last Period of the Grecian Empire, as given by contemporary Writers, Philelphus and ^Eneas Sylvius National Pride among the Greeks not totally extinct even at this day -------- 472 CHAP. VI. Concerning the second Class of Geniuses during the Middle Age, the Arabians, or Saracens At first, barbarous Their Character before the time of Mahomet Their greatest Caliphs were from among the Abassidae Almanzur one of the first of that Race Almamun of the same Race, a great Patron of Learning, and learned Men Arabians cultivated Letters, as their Empire grew settled and established Translated the best Greek Authors into their own Language Historians, Abulpharagius, Abulfeda, Bohadin Extracts from the last concerning Saladin - - - - - - - - - -478 CHAP. VII. Arabian Poetry and Works of Invention Facts relative to their Man- ners and Characters 484 CHAP. VIII. Arabians favoured Medicine and Astrology Facts relative to these two subjects They valued Knowledge, but had no Ideas of Civil Liberty The mean Exit of their last Caliph, Mostasem End of their Empire in Asia, and in Spain Their present wretched degeneracy in Africa An Anecdote - - 492 CHAP. IX. Concerning the Latins, or Franks Bede, Alcuin, Joannes Erigena, &c. Gerbertus, or Gibertus, travelled to the Arabians in Spain for improvement Suspected of Magic this the Misfortune of many superior Geniuses in Dark Ages ; of Bacon, Petrarch, Faust, and others Erudition of the Church ; Ig- norance of the Laity Ingulphus, an Englishman, educated in the Court of Edward the Confessor attached himself to the Duke of Normandy Accom- plished Character of Queen Egitha, Wife of the Confessor Plan of Education in. those Days The Places of Study, the Authors studied Canon Law, Civil Law, Holy War, Inquisition Troubadours William of Poictou Debauchery, Corruption, and Avarice of the Times William the Conqueror, his Character and Taste His Sons, Rufus and Henry little Incidents concerning them Hildebert, a Poet of the Times fine Verses of his quoted CHAP. X. Schoolmen their Rise and Character their Titles of Honour Remarks on such Titles Abelard and Heloisa John of Salisbury admirable Quota- tions from his two celebrated Works Giraldus Cambrensis Walter Mapps Richard Cceur de Leon his Transactions with Saladin his Death, and the singular Interview which immediately preceded it ----- 5Qf CHAP. XI. Concerning the Poetry of the latter Latins, or Western Europeans Accentual Quantity Rhyme Samples of Rhyme in Latin in Classical Poets, b xviii CONTENTS. accidental ; in those of a later Age, designed Rhyme among the Arabians Odilo, Hucbaldus, Hildigrim, Halabaldus, Poets or Heroes of Western Europe Rhymes in Modern Languages of Dante, Petrarch, Boccaccio, Chaucer, &c. Sannazarius, a pure Writer in Classic Latin, without Rhyme Anagrams, Chronograms, &c., finely and accurately described by the ingenious Author of the Scribleriad 515 CHAP. XII. Paul the Venetian and Sir John Mandeville, great Travellers Sir John Fortescue, a great Lawyer his valuable Book addressed to his Pupil the Prince of Wales King's College Chapel in Cambridge Founded by Henry the Sixth 5-21 CHAP. XIII. Concerning Natural Beauty its Idea the same in all Times Thes- salian Temple Taste of Virgil and Horace of Milton, in describing Paradise exhibited of late Years, first in Pictures thence transferred to English Gardens not wanting to the enlightened Few of the Middle Age proved in Leland, Petrarch, and Sannazarius Comparison between the younger Cyrus and Philip le Bel of France CHAP. XIV. Superior Literature and Knowledge both of the Greek and Latin Clergy, whence Barbarity and Ignorance of the Laity, whence Samples of Lay-manners, in a Story from Anna Comnena's History Church Authority ingeniously employed to check Barbarity the same Authority employed for other good Purposes to save the poor Jews to stop Trials by Battle more suggested concerning Lay-manners Ferocity of the Northern Laymen, whence different Causes assigned Inventions during the Dark Ages great, though the Inventors often unknown Inference arising from these Inventions - - 529 CHAP. XV. Opinions on past Ages and the present Conclusion arising from the Discussion of these Opinions Conclusion of the whole ... - 533 APPENDIX. PART I. AN Account of the Arabic Manuscripts belonging to the Escurial Library in Spain 540 PART II. Concerning the Manuscripts of Livy, in the Escurial Library - - - 544 PART III. Greek Manuscripts of Cebes, in the Library of the King of France - - - 545 PART IV. Some Account of Literature in Russia, and of its Progress towards being Civilized 546 THEEE TREATISES: I. CONCERNING ART. II. CONCERNING MUSIC, PAINTING, AND POETRY. III. CONCERNING HAPPINESS. CONCERNING ART: A DIALOGUE. TO THE RIGHT HONOURABLE THE EARL OF SHAFTESBURY. MY LORD, THE following is a conversation in its kind somewhat uncom- mon, and for this reason I have remembered it more minutely than I could imagine. Should the same peculiarity prove a reason to amuse your lordship, I shall think myself well re- warded in the labour of reciting. If not, you are candid enough to accept of the intention, and to think there is some merit even in the sincerity of my endeavours. To make no longer preface, the fact was as follows. A friend, from a distant country, having by chance made me a visit, we were tempted, by the serenity of a cheerful morning in the spring, to walk from Salisbury to see lord Pembroke^ at Wilton. The beauties of gardening, architecture, painting, and sculpture belonging to that seat, were the subject of great en- tertainment to my friend : nor was I, for my own part, less delighted than he was, to find that our walk had so well an- swered his expectations. We had given a large scope to our curiosity, when we left the seat, and leisurely began our return towards home. And here, my lord, in passing over a few pleasant fields, com- menced the conversation which I am to tell you, and which fell at first, as was natural, on the many curious works, which had afforded us both so elegant an amusement. This led us in- sensibly to discoursing upon art, for we both agreed, that what- ever we had been admiring of fair and beautiful, could all be re- ferred to no other cause. And here, I well remember, I called upon my friend to give me his opinion upon the meaning of the word " art :" a word it was (I told him) in the mouth of every one ; l^uTTthat nevertheless, as to its precise and definite idea, this might still be a secret ; that so it was, in fact, with a thou- sand words beside, all no less common, and equally familiar ; and yet all of them equally vague and undetermined. To this he answered, that as to the precise and definite idea of art, it was a question of some difficulty, and not so soon to be B n CONCERNING ART: that, however, ine could not conceive a more likely method of-comltig to know it, than by considering those several particulars, to each of which we gave the name. It is hardly probable, said he, that music, painting, medicine, poetry, agri- culture, and so many more, should be all called by one common name, if there was not something in each which was common to all. It should seem so, replied I. What, then, said he, shall we pronounce this to be? At this, I remember, I was under some sort of hesitation. Have courage, cried my friend, perhaps the case is not so desperate. Let me ask you, Is medicine the cause of any thing? Yes, surely, said I, of health. And agriculture, of what ? Of the plentiful growth of grain. And poetry, of what? Of plays, and satires, and odes, and the like. And is not the same true, said he, of music, of statuary, of architecture, and, in short, of every art whatever ? I confess, said I, it seems !so. Suppose, then, said he, we should say, it was common to *. every art to be a cause : Should we err ? I replied, I thought not. Let this then, said he, be remembered, that all art is cause. 8 I promised him it should. ~But how, then, continued he, if all art be cause, is it also true, that all cause is art ? At this again I could not help hesitating. You have heard, said he, without doubt, of that painter famed in story, b who being to paint the foam of a horse, and not suc- ceeding to his mind, threw at the picture in resentment a sponge bedaubed with colours, and produced a foam the most natural imaginable. Now, what say you to this fact? Shall we pro- nounce art to have been the cause? By no means, said I. What, said he, if instead of chance, his hand had been guided by mere compulsion, himself dissenting and averse to the vio- lence ? Even here, replied I, nothing could have been referred to his art. But what, continued he, if instead of a casual throw, or involuntary compulsion, he had willingly and designedly di- rected his pencil, and so produced that foam, which story says he failed in ? Would not art here have been the cause ? I re- plied, in this case, I thought it would. It should seem, then, a Artis maxime proprium, creare et dronicus, in explaining this last passage, de Nat. Deor. 1. ii. c. 22. Uav rb 5t' avOpcairov, adds olov rexvr), % gignere. Cic. y E) TIS 7rpa|js, " as, for instance, art, or art is employed in production ; that is, in any other human action." making something to be." Arist. Ethic. Alexander Aphrodisiensis speaks of effi- 1. vi. c. 4. cient causes, as follows : 'A\\a ^v ra KV- The active efficient causes have been picas atria. TroirjTtKa, fyvffis re, Kal rexvij, ranged and enumerated after different Kal irpoaipeans. " The causes, which are manners. In the same Ethics they are strictly and properly efficient, are nature, enumerated thus : atria yap SOKOVCTIV art, and each man's particular choice of tlvai fyvo-is, Kal avayKfi, Kal ri/x'n' ert action." Uepl ^XTJS, P- 160. B. ed. Aid. 8e vovs, Kal irav rb Si' avOp&irov. "The In what manner art is distinguished from several causes appear to be nature, necessity, the rest of these efficient causes, the sub- and chance ; and besides these, mind, or in- sequent notes will attempt to explain. tellect, and whatever operates by or through b See Valer. Max. 1. viii. c. 1 1. See also man." lib. iii. c. 3. The paraphrast An- Dion. Chrysost. Orat. Ixiii. p. 590. A DIALOGUE. 3 said he, that art implies not only cause, but the additional re- quisite of intention, reason, volition, and consciousness ; so that not every cause is art, but only voluntary or intentional cause. So, said I, it appears. And shall we, then, added he, pronounce every intentional cause to be art ? I see no reason, said I, why not. Consider, said he ; hunger this morning prompted you to eat. You were then the cause, and that too the intentional cause, of consuming certain food : and yet will you refer this consumption to art ? Did you chew by art ? Did you swallow by art ? No, certainly, said I. So by opening your eyes, said he, you are the inten- tional cause of seeing, and by stretching your hand, the inten- tional cause of feeling ; and yet will you affirm, that these things proceed from art \ I should be wrong, said I, if I did : for what art can there be in doing what every one is able to do by mere will, and a sort of uninstructed instinct ? You say right, replied he, and the reason is manifest : were it otherwise, we should make all mankind universal artists in every single action of their lives. And what can be a greater absurdity than this ? I confessed that the absurdity appeared to be evident. But if nothing, then, continued he, which we do by compulsion, or without intending it, be art ; and not even what we do intentionally, if it proceed from mere will and uninstructed instinct ; what is it we have left remaining, where art may be found conversant? Or can it, indeed, possibly be in any thing else, than in that which we do by use, practice, experience, and the like, all which are born with no one, but are all acquired afterward by advances unper- ceived. I can think, said I, of nothing else. Let therefore the words habit and habitual, said he, represent this requisite, and let us say, that art is not only a cause, but an intentional cause ; and not only an intentional cause, but an intentional cause founded in habit, or, in other words, an habitual cause. You appear, said I, to argue rightly. But if art, said he, be what we have now asserted, something learnt and acquired ; if it be also a thing intentional or voluntary, and not governed either by chance or blind necessity ; if this, I say, be the case, then mark the consequences. And what, said I, are they ? The first, said he, is, that no events, in what we call the natural world, must be referred to art ; such as tides, winds, vegetation, gravitation, attraction, and the like. For these all happen by stated laws ; by a curious necessity which is not to be withstood, and where the nearer and immediate causes appear to be wholly unconscious. I confess, said I, it seems so. In the next place, continued he, we must exclude all those admired works of the animal world, which, for their beauty and order, we metaphorically call artificial. The spider's web, the bee's comb, the beaver's house, and the swallow's nest, must all be referred to another source. For who can say, these ever B 2 4 CONCERNING ART. learnt to be thus ingenious? or, that they were ignorant by na- ture, and knowing only by education? None, surely, replied I. But we have still, said he, a higher consideration. And what, said I, is that 2 It is, answered he, this : not even that Divine Power which gave form to all things, then acted by art, when it gave that form. For how, continued he, can that intelligence, which has all perfection ever in energy, be supposed to have any power, not original to its nature ? How can it ever have any thing to learn, when it knows all from the beginning ; or, being perfect and complete, admit of what is additional and secondary? I should think, said I, it were impossible. If so, said he, then | art can never be numbered among its attributes : for all art is something learnt, something secondary and acquired, and never original to any being which possesses it. So the fact, said I, y has been established. If this, therefore, continued he, be true ; if art belong not either to the divine nature, the brute nature, or the inanimate nature ; to w r hat nature shall we say it does belong ? I know not, said I, unless it be to the human. You are right, said he ; for every nature else, you perceive, is either too excellent to want it, or too base to be capable of it. Beside, except the human, what other nature is there left ? Or where else can we find any of the arts already instanced, or, indeed, whatever others we may now fancy to enumerate ? Who are statuaries, but men ? Who pilots, who musicians? This seems, replied I, to be the fact. Let us then, continued he, say, not only that art is a cause, but that it is man becoming a cause ; and not only man, but man intending to do what is going to be done, and doing it also by habit ; so that its whole idea, as far as we have hitherto con- ceived it, is, man becoming a cause, intentional and habitual. I confess, said I, it has appeared so. c Aristotle, in his Rhetoric, thus accurately not of themselves. The things which they enumerates all the possible manners, either do not of themselves, they do either by direct or indirect, in which mankind may chance, or from necessity ; and the things be said to act, or do any thing. Uavres done from necessity, they do either by corn- s' Trpdrrovffi irdura, ra /j.fv, ov Si' avrovs' pulsion, which is external necessity, or by ret. Se, Si' auTouy * r /3/a, ra selves, they do either by chance, or from Se (pixrei' Sxrre itavra, oaa /J.TJ Si' avrovs compulsion, or by nature. Again, the irpdrrovffi, ra ^uei/ airb TUXES' TO Se (pvaref things which they do of themselves, and of ra Se 0ta. "Ov avrol which they are themselves properly the airioi, ra IJLSV Si' 0oy, ra Se St' t>peii/' Kal causes, some they do through custom and ra fj.V Sia XoyicrriK^v ope^tv, ra Se Si' acquired habit, others through original and a.\6yi(rrov. v Ev rj a.px$1 * v T$ TTOLOVVTI, " the efficient principle of which is in the doer, or agent." Thus, therefore, is art distin- guished from compulsion. These two causes, chance and compulsion, are mentioned and considered in the Dia- logue, page 2. Nature, or rather natural necessity, is that cause through which we breathe, per- spire, digest, circulate our blood, &c. Will, anger, and appetite, are (as already observed) but so many species of natural desire, con- sidered either as assisted by reason, or else as devoid of it. Now though natural de- sire and natural necessity differ, because in the one we act spontaneously, in the other not spontaneously, yet both of them meet in the common genus of natural power. Moreover this is true of all natural power, that the power itself is prior to any ener- gies or acts of that power. Ou yap K rov TroA Act/as t'SelV r) 7roAAa/y d/coOtrat ras For [to instance in the natural powers of sensa- tion] it was not from often seeing, and often hearing, that we acquired those senses ; but, on the contrary, being first possessed of them, we then used them, not through any use or exercise did we come to possess them." Arist. Ethic. 1. ii. c. 1. Now the contrary to this is true in the case of any powers or faculties not natural, but acquired by custom and usage. For here there are many energies and acts, which must necessarily precede the exist- ence of such power or habit, it being evi- dent (as is said in the same chapter) that CK T&V 6fj.oid)V fi/epyei&v a! eeis yiyvovrai, "from similiar and homogeneous energies it is that habits are obtained." So again, in the same place: *A.yap Se? p.a.Q6vras Troif?v, ravra TTOIOVVTCS fj.avQavop.ev olov otKoSo- fj-ovvres olKo5ofj.oi yivovrai, nal KiQapi^ovrss KiQapurraL " The things which we are to do, by having learnt, we learn by doing. Thus, by building, men become builders ; and by practising music, they become mu- sicians. 1 ' Thus, therefore, is art distinguished from all natural power of man, whether natural necessity, will, anger, or appetite. But art has been already distinguished from chance and compulsion. So that being clearly not the same with six of those seven causes, by which all men do all things, it must needs be referred to the seventh ; that is, to custom or habit. It must be observed, the natural causes or powers in man, considered as distinct from art, are treated in the Dialogue, page 3. And now, as we have shewn art to be a certain cause working in man, it remains to shew how it is distinguished from those other causes beside man, which we suppose to operate in the universe. These are either such causes as are below him, like the vege- tative power, which operates in vegetables, the sensitive in animals ; or else such causes as are above him, like God, and whatever is else of intelligence more than human. The causes below us may be all included in the common genus of nature ; and of nature we may say universally, as well of nature without us as within us, that its se- veral operations, contrary to those of art, are not in the least degree derived from custom or usage. Thus the author above cited : OuSev yap repv TJ apX^] & v T V TTOIOVVTI a\\a i^ v rep iroiov- fjLevcf. Ethic. 1. vi. c. 4. It is, indeed, pos- sible, that, even in works of art, the subject and efficient cause may be united, as in the case of a physician becoming his own pa- tient, and curing himself. But then it must be remembered, that this union is Kara w virdpxei Trpdroos, KaQ" 1 avrb Kal ^ Kara o-vuPfp-riKos : "a certain principle or cause of moving and ceasing to move, in some subject wherein such principle exists im- mediately, essentially, and not by way of accident." Arist. Natur. Ausc. 1. ii. c. 1. The causes which are of rank superior to man, such as the Deity, can have nothing to do with art, because being (as is said in the Dialogue, p. 4,) " perfect and complete, and knowing all from the beginning, they can never admit of what is additional and se- condary." Art, therefore, can only belong to beings like men ; who, being imperfect, know their wants, and endeavour to remove them by helps secondary and subsequent. It was from a like consideration that Py- thagoras called himself a philosopher ; that is to say, (according to his own explication of the name,) "a lover and seeker of what was wise and good," but not a possessor, which he deemed a character above him. Consonant to this we read in Plato's Ban- quet, QfSoif ouSels 5' eTriOv/j.f'i (to(/>bs yeveffOai' effTi yap, etc.: "no god philosophizes, or desires to become wise, for he is so already. Nor, if there be any other being wise, doth he philosophize, for the same reason. On the other hand, nei- ther do the indocile philosophize ; for this is the misfortune of indocility, without being virtuous, good, or prudent, to appear to oneself sufficient in all these respects. In general, therefore, he who thinketh himself in no want, desireth not that which he thinks himself not to need. ' Who, then,' said Socrates to Diotima, (the speaker of this narration,) ' who are those who philo- sophize, if they are neither the wise nor the indocile ? ' ' That (replied she) may be now conspicuous even to a child. They are those of middle rank, between these ex- tremes. '" Plat. vol. iii. p. 203. edit. Serrani. Here we see (agreeably to what is said in the Dialogue, page 4,) that as to acquired, or secondary habits, some beings are too ex- cellent for them, and others too base ; and that the Deity, above all, is in the number of those transcendent, and is thus, as a cause, distinguished from art. Vid. Amm. irepl 'Ep- fiev. p. 26.b.et omiTino els Karrty. p. 127, 128. There are, besides the Deity and nature now spoken of, certain other external causes, which are mentioned in the first note as distinct from art ; namely, chance and ne- cessity. But of these hereafter, when we consider the subject of art. The Peripatetic definition of nature, given above, though in some degree illustrated page 11, (note #,) yet being still, from its brevity, perhaps, obscure, the following ex- plication of it is subjoined. In the first place, by " nature," the Peri- patetics meant that vital principle in plants, brutes, and men, by which they are said to live, and to be distinguished from things inanimate. Nature, therefore, being an- other name for "life," or a vital principle, throughout all subjects, is universally found to be of the following kind ; namely, to ad- vance the subject, which it enlivens, from a seed or embryo, to something better and more perfect. This progression, as well in plants as in animals, is called "growth." And thus is it that nature is a principle of mo- tion. But then this progression, or growth, is not infinite. When the subject is ma- ture, that is, hath obtained its completion and perfect form, then the progression ceases. Here, therefore, the business of the vital principle becomes different. It is from henceforward no longer employed to acquire a form, but to preserve to its sub- ject a form already acquired. And thus is it that nature is a principle of rest, stability, or ceasing to move. And such indeed she continues to be, maintaining, as long as possible, the form committed to her care, till time and external causes in the first place impair it. and induce at length its dissolution, which is death. And thus it has been shewn how nature may be called a principle both of motion and ceasing to move. As to the rest of the definition, namely, that nature is a principle, which inheres in its subject immediately, essentially, and not by way of accident ; no more is meant by this, than that the nature or life in every being, which hath such principle, is really and truly a part of that being, and not de- tached and separate from it, like the pilot A DIALOGUE. 7 It is concerning Alfenus ; who, (if you remember,) he tells us, though his tools were laid aside, and his shop shut up, was still an artist as much as ever : Alfenus vafer omni Abjecto instrumento artis clausaque taberna, Sutor erat. I remember, said I, the passage ; but to what purpose is it quoted? Only, replied he, to shew you, that I should not be without precedent, were I to affirm it not absolutely necessary to the being of art, that it should be man actually becoming a cause ; but that it was enough, if he had the power or capacity of so becoming. Why then, said I, did you not settle it so at first ? Because, replied he, faculties, powers, capacities, (call them as you will,) are in themselves, abstract from action, but obscure and hidden things. On the contrary, energies and operations lie open to the senses/ and cannot but be observed, even whether we will or no. And hence, therefore, when first) we treated of art, we chose to treat of it as of a thing only in""' energy. Now we better comprehend it, we have ventured some- what further. Repeat, then, said I, if you please, the alteration which you have made. At first, answered he, we reasoned upon art, as if it was only man actually becoming a cause intentional and habitual. Now we say it is a power in man of becoming such cause ; and that, though he be not actually in the exercise of such a power. I told him, his amendment appeared to be ; just. There is, too, another alteration, added he, which, for the sake of accuracy, is equally wanting ; and that is with respect to the epithet, " intentional or voluntary." And what, said I, is that ? We have agreed it, replied he, to be necessary, that all art should be under the guidance of intention or volition, so that no man acting by compulsion, or by chance, should be called an artist. We have. Now though this, said he, be true, yet it is not sufficient. We must limit this intention or volition to a peculiar kind. For were every little fancy, which we may work up into habit, a sufficient foundation to constitute an art, we should make art one of the lowest and most despicable of things. The meanest trick of a common juggler might, in such case, entitle from the ship, the musician from the in- Zirivoovntv. " If we are to explain what strument. For to these subjects though each of these things are, as for instance, those artists are principles of motion and what the intelligent principle, what the rest, yet do they in no sense participate sensitive, we must first inquire what it is with them in vital sympathy and union. to think, what to see, hear, and use the d El e xp'h ^tyeiv rl tKavrov rovrcav, senses. For with respect to us men, the olov rl rb vo-nriKbv, y) rl rb alffO-nriKbv, energies are prior and more evident than irp6rpou eTnovceTpreoi/, rl rb votiv^ Kal the powers, because it is in the energies we rl rb alo-Odvf 0-60.1 Trp6repai yap Kal are first conversant, and comprehend the ffCHpeffrepai Trpbs ?;/uas rSav 8vvd/j.f(t>i' powers from them." Themist. in lib. ii. de tiff i al fvepyfiai. Trpofvrvyxdfofj.fv yap Anima, p. 76. ed. Aid. Fol. Aristot. de An. avrais, Kal ras Svvdjj.tis airb rovr&v ii. 4. 8 CONCERNING ART: a man to the character of an artist. I confessed, that without some limitation, this might be the consequence. But how limit intentions to a kind or species? What think you, replied he, if we were to do it, by the number and dignity of the precepts, which go to the directing of our intentions ? You must explain, said I ; for your meaning is obscure. Are there not precepts, 6 replied he, in agriculture, about ploughing and sowing? Are there not precepts in architecture, about orders and proportions? Are there not the same in medicine, in navigation, and the rest 2 There are. And what is your opinion of these several pre- cepts ? Are they arbitrary and capricious, or rational and steady ? Are they the inventions of a day, or well-approved by long experience? I told him, I should consider them for the most part as rational, steady, and well-approved by long experience. And what, continued he, shall we say to their number ? Are they few ? Or are they not rather so numerous, that in every particular art, scarce any comprehend them all, but the several artists themselves ; and they only by length of time, with due attendance and application ? I replied, it seemed so. Suppose then we were to pronounce, that to every art there was a system of such various and well-approved precepts : should we err? No, certainly. And suppose we should say, that the intention of every artist, in his several art, was directed by such a system : would you allow this? Surely. And will not this limiting of intentions to such only, as are so directed, sufficiently distinguish art from any thing else which may resemble it ? in other words, is it likely, under this distinction, to be confounded with other habits of a trifling, capricious, and inferior kind ? I replied, I thought not. Let us then see, said he, and collect all that we have said together. We have already agreed, that the power of acting after a certain manner is sufficient to constitute art, without the actually operating agreeably to that power. And we have now further held the intentions of every artist to be directed by a system of various and well-approved precepts. Besides all this, we settled it before, that all art was founded in habit ; and was peculiar to man ; and was seen by becoming the cause of some effect. It should seem, then, that the whole idea of art was this, " an habitual power in man of becoming the cause of some e Vid. Plat, in Min. vol. ii. p. 316, 17. quaedam, id est, super-vacua artis imitatio, edit. Serran. et in Gorgia, vol. i. p. 465. A. quae nihil sane nee boni nee mali habeat, C7& 8 T^VT\v ov KctAo), 6 kv p &Xoyov sed vanura laborem : qualis illius fuit, qui irpd'Yfj.a. grana ciceris, ex spatio distante missa, in As to those low habits here mentioned, acum continue et sine frustratione insere- from which we distinguish art by the num- bat : quern, cum spectasset Alexander, do- ber and dignity of its precepts, they fall, in nasse dicitur ejusdem leguminis modio. general, under the denomination of /maraio- Quod quidem praemium fuit illo opere dig- Tfxvia*, of which Quintilian gives the fol- nissimura. Inst. Orat. 1. ii. c. 20. lowing account. MarcuoTcx^a quoque est A DIALOGUE. 9 effect, according to a system of various and well-approved precepts." f; I replied, that his account appeared to be probable and just. II. And now, then, continued he, as we have gone thus far, and have settled between us what we believe art to be ; shall we go a little further, or is your patience at an end? Oh ! no, replied I, not if any thing be left. We have walked so leisurely, that much remains of our way ; and I can think of no method how we may better amuse ourselves. f The Peripatetic definition of art is e'is, /J.GTO, \6yov a\r)6ovs Trotr/mrf] : " an effi- '< cient habit, joined with sound and true reason." ^ Arist. Ethic. 1. vi. c. 4. The Stoic definition, as we find it in Sext. Empir. adversus Logicos, p. 392, is, jrpbs rl reAos evxp^rov T&V tv ru> /8to5. - Thus translated by Cicero in Diodemes de Grammat. 1. ii. Ars est perceptionum ex- ercitatarum collectio, ad unum exitum vitae ntilem pertinentium. And again by Quin- tilian, Inst. Orat. 1. ii. c. 18. Artem con- stare ex perceptionibus consentientibus et coexercitatis ad finem utilem vitaa. The same definition is also alluded to in the Academics of Cicero, 1. ii. c. 7, where it is said, Ars vero quse potest esse, nisi quae non ex una, aut duabus, sed ex multis animi perceptionibus constat ? There is a third definition of art cited by Quintilian in the same place, and ascribed by him to Cleanthes : Ars est potestas via (id est, ordine) efficiens. The Greek, from which this Latin definition is taken, is fuller and more philosophical : the words are, "E/s 6$$ ftaiov(ra perk fyavTaaia.? : which may be rendered, " an habit, Avhich proceeds in a road or method, having a sense, withal, of what it is about." The last character distinguishes art from the natural energies of all things insensitive, which, though they proceed methodically, yet want a sense of what they are doing. Vid. Niceph. Blemmid. Epit. Logic, p. 20. Now if we compare these definitions with that in the Dialogue, we shall find them all to correspond. "The habitual power in man of becoming the cause of some effect," is the same as "Ets Troif]TiKrj in the Peripatetic definition. "According to a system of various and well-approved precepts," is the same as /urro \6yov a\r]6ovs. For sound and true reason must needs be the basis of all such precepts. Again, as to the second definition ; the words 2i'(TT7j/ia KaTaXtyewv [a system of comprehensions, or of certain and evident truths] correspond to the latter part of the definition in the Dialogue, " according to a system of various and \vell-approved pre- cepts." The word tyyeyvfj.i/aa/ji.tvwi' [that is to say, worked in by habit and exercise] corresponds to the first part, that " art is a cause founded in habit." And the rest [irphs rl re'Aos, &c. that is to say, " a system which has respect to some useful and serviceable end or purpose in human life,"] shews the system here mentioned to regard practice and action, not theory and speculation. And thus does it correspond with the definition of the Dialogue, where it is said that art is an habitual power, not of merely contemplating and knowing, but of becoming the cause of some effect. It is not, indeed, expressed in the Dialogue, that this effect has respect to the utility of human life, because this latter circumstance is reserved to the definition of the final cause of art, given page 16. As to the third definition of art, potestas via efficients, " a power operating methodi- cally," it may be observed, that by being called an operating power, it is distin- guished from powers purely speculative ; and as it is said to operate methodically, or in a road and regular process, it is distin- guished from chance as well as blind neces- sity. And thus far it corresponds with what is offered in the Dialogue. But it does not appear from this definition, whether the power therein mentioned be original and natural, or secondary and habitual, because powers of either sort may operate methodically. And perhaps Cleanthes in- tended not to distinguish so far, but took art in that larger and more general sense, adopted sometimes by the Stoics ; as when they describe Nature herself to be a irvp TGYVIKOV 65&? j8ctiCoz' TTOOS ysi/GO'iv* an artificial fire, proceeding methodically to production or creation." For it is not to be imagined, they intended by this to in- sinuate that nature Avas a fire, which had learnt by habit so to operate. On the con- trary, by "artificial," it is probable they in- tended no more than some active efficient principle, working with reason, order, and method ; of which principle they considered fire to be the properest vehicle, as being of all bodies the most subtle, and that into which the rest are all ultimately resolvable. Vide Diog. Laert. 1. vii. s. 156. Cic. de Nat. Deor. 1. ii. c. -Ji>. 10 CONCERNING ART: My friend, upon this, proceeded with saying, that if art were a cause, (as we had agreed it was,) it must be the cause of something. Allow it, said I. And if it be the cause of some- thing, it must have a subject to operate on. For every agent has need of some patient : the smith of his iron, the carpenter of his wood, the statuary of his marble, and the pilot of his ship. I answered, it was true. If, then, said he, the subjects of particular arts be thus evident, what idea shall we form of that universal subject which is common to all art? At this question, it must be confessed, I was a little embarrassed. This induced him to ask me, how many sorts of subjects I allowed of? Here I could not help hesitating again. There is nothing, continued he, so difficult in the question. You must needs perceive^ that all natures whatever can be but either con- tingent or necessary. This may be, replied I ; but even yet I do not comprehend you. Not comprehend me ! said he ; then answer me a question : can you conceive any medium between motion and no-motion, between change and no-change ? I replied, I could not. If not, can you conceive any thing in the whole order of being, which must not be either liable to these, or not liable? Nothing. Call those things, therefore, said he, which are liable to change and motion, contingent natures ; and those which are not liable, necessary natures : and thus you have a division, in which all things are included. We have so, said I. In which, therefore, said he, of these natures shall we seek for this common subject of art ? To this, I told him, I was unable to answer. Reflect, said he, a little. We have found art to be a cause. We have. And is it not essential to e^ery cause to operate? or can it be a cause, and be the cause of nothing? Impossible. Wherever, therefore, there is cause, there is necessarily implied some operation. There is. And can there possibly be operation, without motion and change? There cannot. But change and motion must needs be incom- patible with what is necessary and immutable. They must. So, therefore, is cause. It must. And so, therefore, art. It must. Truth, therefore, said he, and knowledge ; principles and demonstrations; the general and intellectual essences of things ; in short, the whole immutable and necessary nature is no part of it reducible to a subject of art. It seems so, said I. If, therefore, art, said he, have nothing to do with the steady, abstract, and necessary nature, it can have only to do with the transient, the particular, and contingent one. It is true, said I ; for there is no other left. And shall we then say, replied he, it has to do with all contingent natures existing in the universe ? For aught, replied I, which to me appears contrary. What think you, said he, of those contingents of higher order ? such as the grand planetary system ; the succession of the seasons ; the regular and uniform course of all superior natures in the A DIALOGUE. 11 universe ? Has art any ability to intermeddle here ? No, certainly, said I. These superior contingents, then, which move without interruption, are, it seems, above it. They are. And shall we say the same of those of lower sort ; those, whose course we see often interrupted ; those, which the strength and cunning of man are able to influence and control ? Give instances, said I, of what you mean. I mean, said he, earth, water, air, fire, stones, trees, animals, men themselves. Are these contingents within the reach of art, or has art here no influence ? I should think, said I, a very great one. If this, continued he, be true, it should seem that the common or universal subject of art was, all those contingent natures which lie within the reach of the human powers to influence. 8 I acknowledge, said I, it appears so. K The cause here treated is the material, the "TAT/, or 'YiroKeifj.evoi', or rb e'| o5 ytveral n evvTrdpxovTos. Of a contingent we have the following definition : Aeyca ' eV8e'xeo"0at, Kal rb ev5e- K, ov fj.fy OVTOS avayitaiov, redevros -, ouSei/ etrrat SIOTOUT' aS6varov. " I call that a contingent, which not being \ necessary, but being supposed to be, there j will follow nothing impossible from such | supposition." Arist. Anal, prior. 1. i. c. 13. Diog. Laert. 1. iii. s. 10. That this is true in works of art, is evident. It is not necessary, that a given fragment of such a rock should assume the figure of Hercules: but there follows nothing impossible, if we suppose it so figured. It is for this reason that the subject of art is in the Dialogue called "a contingent." But, however, to explain the whole of what is said in this place, it is necessary to go backward, and deduce what we would say from some remoter considerations. The Peripatetics held the end or aim of their philosophy to be the discovering and knowing the apxh the "primary and crea- tive principle of all things." They pursued this inquiry, when they reasoned analyti- cally, that is to say, upwards, by beginning their contemplation from those things which are to us first in the order of our compre- hension, and so ascending gradually to that which is truly first in the real order of beings. Ammon. els E. A.pio~Tore\iKrjs (pt\oo~0(pias , fj.arov' ' eiceivrjs Se ra irdvra irapdysffGai. Ttj/a 5e ra ayovra Ji/uas eJs rovro rb reAos ; (pa/jiev OTI 77 Si5acrKa\ia r)V ev XP^ VC ? Kal juerajSoAf; vTrapxovTcav' TGiavra 8e Iffn ra eV yeveffei Kal (pflopS. ' a,Trb yap rovrwv, Sta ^v TroXvrpSiroos KIVOV- f.i.ivcav eVl ra icara /xiav, ical ftdrrfv K(vt], " contingents of greater frequency." But yet, as these effects were not from the hypothesis necessary, and contrary to these upon occasion happened, hence it was, that whenever either nature or art became causes of the ra eV e\arrov, " those rarer events," in such case they (nature and art) were considered by these philosophers as alriai Kara