Puslapio vaizdai
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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. *

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Rude ages exhibit the triumph of authority over reason: Philosophers anciently were divided into sects, being Epicureans, Platonists, Stoics, Pythagoreans, or Sceptics: 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. Bossu, 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! than 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?

*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, a temper calm and sedate is not easily moved, even by a strong temptation.

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 the useful arts; but, in 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 laboured 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, thongh 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.

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 gene

ral 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. In public, however, he would not appear in a slovenly dress; and therefore he pretends not otherwise to apologise for his errors, than by observing, that in a new subject, no less nice than extensive, errors are in some measure unavoidable. Neither pretends he to justify his taste in every particular: that point must be extremely clear, which admits not variety of opinion; and in some matters susceptible of great refinement, time is perhaps the only infallible touch-stone of taste to that he appeals, and to that he cheerfully sub

mits.

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.

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ELEMENTS OF CRITICISM.

CHAPTER I.

Perceptions and Ideas in a Train.

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.

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*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.

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