48. Manifold are the advantages of criticism, when thus studied as a rational science. In the first place, a thorough acquaintance with the principles of the fine arts redoubles the pleasure we derive from them. To the man who resigns himself to feeling without interposing any judgment, poetry, music, painting are mere pastime. In the prime of life, indeed, they are delightful, being supported by the force of novelty, and the heat of imagination: but in time they lose their relish; and are generally neglected in the maturity of life, which disposes to more serious and more important occupations. To those who deal in criticism as a regular science, governed by just principles, and giving scope to judgment as well as to fancy, the fine arts are a favorite entertainment; and in old age maintain that relish which they produce in the morning of life.

In the next place (2), a philosophic inquiry into the principles of the fine arts inures the reflecting mind to the most enticing sort of logic: the practice of reasoning upon subjects so agreeable, tends to a habit; and a habit, strengthening the reasoning faculties, prepares the mind for entering into subjects more intricate and abstract. To have, in that respect, a just conception of the importance of criticism, we need but reflect upon the ordinary method of education; which, after some years spent in acquiring languages, hurries us, without the least preparatory discipline, into the most profound philosophy. A more effectual method to alienate the tender mind from abstract science, is beyond the reach of invention; and accordingly, with respect to such speculations, our youth generally contract a sort of hobgoblin terror, seldom if ever subdued. Those who apply to the arts, are trained in a very different manner: they are led, step by step, from the easier parts of the operation, to what are more difficult; and are not permitted to make a new motion, till they are perfected in those which go before. Thus the science of criticism may be considered as a middle link, connecting the different parts of education into a regular chain. This science furnisheth an inviting opportunity to exercise the judgment: we delight to reason upon subjects that are equally pleasant and familiar; we proceed grad

faculties enter into that complex faculty that is called taste:-imagination, sentiment, reason. Besides imagination and reason, the man of taste ought to possess an enlightened but ardent love of beauty: he must take delight in meeting it, must search for it, must summon it. To comprehend and demonstrate that a thing is not beautiful, is an ordinary pleasure-an ungrateful task; but to discern a beautiful thing, to make it evident, and make others participate in our sentiment, is an exquisite joy, a generous task.

"After having spoken of taste which appreciates beauty, shall we say nothing of genius which makes it live again? Genius is nothing else than taste in action, that is to say, the three powers of taste carried to their culmination, and armed with a new and mysterious power, the power of execution. What essentially distinguishes genius from taste, is the attribute of creative power. Taste feels, judges, discusses, analyzes, but does not invent. Genius is, before all, inventive and creative. The man of genius is not the master of the power that is in him: it is by the ardent, irresistible need of expressing what he feels, that he is a man of genius."-Lect. vii., Appleton's Ed.]

ually from the simple to the more involved cases; and in a due course of discipline, custom, which improves all our faculties, bestows acuteness on that of reason, sufficient to unravel all the intricacies of philosophy.*

Nor (3) ought it to be overlooked, that the reasonings employed on the fine arts are of the same kind with those which regulate our conduct. Mathematical and metaphysical reasonings have no tendency to improve our knowledge of man; nor are they applicable to the common affairs of life: but a just taste of the fine arts, derived from rational principles, furnishes elegant subjects for conversation, and prepares us for acting in the social state with dignity and propriety.

The science of rational criticism (4) tends to improve the heart no less than the understanding. It tends, in the first place, to moderate the selfish affections: by sweetening and harmonizing the temper, it is a strong antidote to the turbulence of passion, and violence of pursuit; it procures to a man so much mental enjoyment, that in order to be occupied, he is not tempted to deliver up his youth to hunting, gaming, drinking; nor his middle age to ambition; nor his old age to avarice. Pride and envy, two disgustful passions, find in the constitution no enemy more formidable than a delicate and discerning taste: the man upon whom nature and culture have bestowed this blessing, delights in the virtuous dispositions and actions of others he loves to cherish them, and to publish them to the world: faults and failings, it is true, are to him no less obvious; but these he avoids, or removes out of sight, because they give him pain. On the other hand, a man void of taste, upon whom even striking beauties make but a faint impression, indulges pride or envy without control, and loves to brood over errors and blemishes.

In the next place, (5) delicacy of taste tends no less to invigorate the social affections, than to moderate those that are selfish. To be convinced of that tendency, we need only reflect, that delicacy of taste necessarily heightens our feeling of pain and pleasure; and ot course our sympathy, which is the capital branch of every social passion. Sympathy invites a communication of joys and sorrows, hopes and fears: such exercise, soothing and satisfactory in itself, is necessarily productive of mutual good-will and affection.

One other advantage of rational criticism is reserved to the last (6) place, being of all the most important; which is, that it is a great support to morality. I insist on it with entire satisfaction, that no occupation attaches a man more to his duty, than that of cultivating a taste in the fine arts: a just relish of what is beautiful,

[The rules of criticism are no more than the deductions of sound logic concerning beauty and deformity, from the permanent principles and feelings of human nature; and without a knowledge of these rules it is not to be expected that any performance will be so successful as to obtain any great or lasting portion of the public approbation.-Barron's Lect. vol. i. p 16.]

proper, elegant, and ornamental, in writing or painting, in architecture or gardening, is a fine preparation for the same just relish of these qualities in character and behavior. To the man who has acquired a taste so acute and accomplished, every action wrong or improper must be highly disgustful; if, in any instance, the overbearing power of passion sway him from his duty, he returns to it with redoubled resolution never to be swayed a second time: he has now an additional motive to virtue, a conviction derived from experience, that happiness depends on regularity and order, and that disregard to justice or propriety never fails to be punished with shame and remorse.*

49. Rude ages exhibit the triumph of authority over reason. Philosophers anciently were divided into sects, being Epicureans, Platonists, Stoics, Pythagoreans, or Skeptics: the speculative relied no farther on their own judgment but to choose a leader, whom they implicitly followed. In later times, happily, reason hath obtained the ascendant: men now assert their native privilege of thinking for themselves, and disdain to be ranked in any sect, whatever be the science. I am forced to except criticism, which, by what fatality I know not, continues to be no less slavish in its principles, nor less submissive to authority, than it was originally. Bossuet, a celebrated French critic, gives many rules; but can discover no better foundation for any of them, than the practice merely of Homer and Virgil, supported by the authority of Aristotle. Strange! that in so long a work, he should never once have stumbled upon the question, Whether, and how far, do these rules agree with human nature. It could not surely be his opinion, that these poets, however eminent for genius, were entitled to give law to mankind; and that nothing now remains, but blind obedience to their arbitrary will. If in writing they followed no rule, why should they be imitated? If they studied nature, and were obsequious to rational principles, why should these be concealed from us?

50. With respect to the present undertaking, it is not the author's intention to compose a regular treatise upon each of the fine arts; but only, in general, to exhibit their fundamental principles, drawn from human nature, the true source of criticism. The fine arts are intended to entertain us, by making pleasant impressions; and, by that circumstance, are distinguished from e useful arts; but, in

Genius is allied to a warm and inflammable constitution; delicacy of taste to calmness and sedateness. Hence it is common to find genius in one who is a prey to every passion; but seldom delicacy of taste. Upon a man possessed of that blessing, the moral duties, no less than the fine arts, make a deep impression, and counterbalance every irregular desire; at the same time, à temper calm and sedate is not easily moved, even by a strong temptation.

48. Six advantages of a thorough acquaintance with the principles of the fine arts. 49. Whence the rules of criticism should be derived.—A comparison of former ages with the present on this poin

order to make pleasant impressions, we ought, as above hinted, to know what objects are naturally agreeable, and what naturally disagreeable. That subject is here attempted, as far as necessary for unfolding the genuine principles of the fine arts; and the author assumes no merit from his performance, but that of evincing, perhaps more distinctly than hitherto has been done, that these principles, as well as every just rule of criticism, are founded upon the sensitive part of our nature. What the author hath discovered or collected upon that subject, he chooses to impart in the gay and agreeable form of criticism; imagining that this form will be more relished, and perhaps be no less instructive, than a regular and labored disquisition. His plan is, to ascend gradually to principles, from facts and experiments; instead of beginning with the former, handled abstractedly, and descending to the latter. But, though criticism is thus his only declared aim, he will not disown, that all along it has been his view, to explain the Nature of Man, considered as a sensitive being capable of pleasure and pain: and, though he flatters himself with having made some progress in that important science, he is, however, too sensible of its extent and difficulty, to undertake it professedly, or to avow it as the chief purpose of the present work.

51. To censure works, not men, is the just prerogative of criticism; and accordingly all personal censure is here avoided, unless where necessary to illustrate some general proposition. No praise is claimed on that account; because censuring with a view merely to find fault, cannot be entertaining to any person of humanity. Writers, one should imagine, ought, above all others, to be reserved on that article, when they lie so open to retaliation. The author of this treatise, far from being confident of meriting no censure, entertains not even the slightest hope of such perfection. Amusement was at first the sole aim of his inquiries: proceeding from one particular to another, the subject grew under his hand; and he was far advanced before the thought struck him, that his private meditations might be publicly useful.

N. B. THE ELEMENTS OF CRITICISM, meaning the whole, is a title too assuming for this work. A number of these elements or principles are here unfolded: but, as the author is far from imagining that he has completed the list, a more humble title is proper, such as may express any number of parts less than the whole. This he thinks is signified by the title he has chosen, viz. Elements of CRITICISM.

50. More particular account of the plan of the present work.-Design of the fine arts: how distinguished from the useful.-The peculiar merit which this work claims to possess. What, besides criticism, it aims at.

51. The title of the work.

ELEMENTS OF CRITICISM.

CHAPTER I.

PERCEPTIONS AND IDEAS IN A TRAIN.

52. A MAN, while awake, is conscious of a continued train of perceptions and ideas passing in his mind. It requires no activity on his part to carry on the train.* At the same time, we learn from daily experience, that the train of our thoughts is not regulated by chance and if it depend not upon will, nor upon chance, by what law is it governed? The question is of importance in the science of human nature; and I promise beforehand, that it will be found of great importance in the fine arts.

53. It appears, that the relations by which things are linked together, have a great influence in directing the train of thought. Taking a view of external objects, their inherent properties are not more remarkable than the various relations that connect them together. Cause and effect, contiguity in time or in place, high and low, prior and posterior, resemblance, contrast, and a thousand other relations, connect things together without end. Not a single thing appears solitary and altogether devoid of connection; the only dif ference is, that some are intimately connected, some more slightly; some near, some at a distance.

54. Experience will satisfy us of what reason makes probable, that the train of our thoughts is in a great measure regulated by the foregoing relations: an external object is no sooner presented to us in idea, than it suggests to the mind other objects to which it is related; and in that manner is a train of thoughts composed. Such is the law of succession; which must be natural, because it

For how should this be done? what idea is it that we are to add? If we can specify the idea, that idea is already in the mind, and there is no occasion for any act of the will. If we cannot specify any idea, I next demand, how can a person will, or to what purpose, if there be nothing in view? We cannot form a conception of such a thing. If this argument need confirmation, I urge experience: whoever makes a trial will find, that ideas are linked together in the mind, forming a connected chain; and that we have not the command of any idea independent of the chain.

52. State of the mind.-53. What directs the train of thought?