The Spectator Volume Ii Part 135

Lucr.

Our Sight is the most perfect and most delightful of all our Senses. It fills the Mind with the largest Variety of Ideas, converses with its Objects at the greatest Distance, and continues the longest in Action without being tired or satiated with its proper Enjoyments. The Sense of Feeling can indeed give us a Notion of Extension, Shape, and all other Ideas that enter at the Eye, except Colours; but at the same time it is very much streightned and confined in its Operations, to the number, bulk, and distance of its particular Objects. Our Sight seems designed to supply all these Defects, and may be considered as a more delicate and diffusive kind of Touch, that spreads it self over an infinite Mult.i.tude of Bodies, comprehends the largest Figures, and brings into our reach some of the most remote Parts of the Universe.

It is this Sense which furnishes the Imagination with its Ideas; so that by the Pleasures of the Imagination or Fancy (which I shall use promiscuously) I here mean such as arise from visible Objects, either when we have them actually in our View, or when we call up their Ideas in our Minds by Paintings, Statues, Descriptions, or any the like Occasion. We cannot indeed have a single Image in the Fancy that did not make its first Entrance through the Sight; but we have the Power of retaining, altering and compounding those Images, which we have once received, into all the varieties of Picture and Vision that are most agreeable to the Imagination; for by this Faculty a Man in a Dungeon is capable of entertaining himself with Scenes and Landskips more beautiful than any that can be found in the whole Compa.s.s of Nature.

There are few Words in the English Language which are employed in a more loose and uncirc.u.mscribed Sense than those of the Fancy and the Imagination. I therefore thought it necessary to fix and determine the Notion of these two Words, as I intend to make use of them in the Thread of my following Speculations, that the Reader may conceive rightly what is the Subject which I proceed upon. I must therefore desire him to remember, that by the Pleasures of the Imagination, I mean only such Pleasures as arise originally from Sight, and that I divide these Pleasures into two Kinds: My Design being first of all to Discourse of those Primary Pleasures of the Imagination, which entirely proceed from such Objects as are [before our [1]] Eye[s]; and in the next place to speak of those Secondary Pleasures of the Imagination which flow from the Ideas of visible Objects, when the Objects are not actually before the Eye, but are called up into our Memories, or formed into agreeable Visions of Things that are either Absent or Fict.i.tious.

The Pleasures of the Imagination, taken in the full Extent, are not so gross as those of Sense, nor so refined as those of the Understanding.

The last are, indeed, more preferable, because they are founded on some new Knowledge or Improvement in the Mind of Man; yet it must be confest, that those of the Imagination are as great and as transporting as the other. A beautiful Prospect delights the Soul, as much as a Demonstration; and a Description in Homer has charmed more Readers than a Chapter in Aristotle. Besides, the Pleasures of the Imagination have this Advantage, above those of the Understanding, that they are more obvious, and more easie to be acquired. It is but opening the Eye, and the Scene enters. The Colours paint themselves on the Fancy, with very little Attention of Thought or Application of Mind in the Beholder. We are struck, we know not how, with the Symmetry of any thing we see, and immediately a.s.sent to the Beauty of an Object, without enquiring into the particular Causes and Occasions of it.

A Man of a Polite Imagination is let into a great many Pleasures, that the Vulgar are not capable of receiving. He can converse with a Picture, and find an agreeable Companion in a Statue. He meets with a secret Refreshment in a Description, and often feels a greater Satisfaction in the Prospect of Fields and Meadows, than another does in the Possession.

It gives him, indeed, a kind of Property in every thing he sees, and makes the most rude uncultivated Parts of Nature administer to his Pleasures: So that he looks upon the World, as it were in another Light, and discovers in it a Mult.i.tude of Charms, that conceal themselves from the generality of Mankind.

There are, indeed, but very few who know how to be idle and innocent, or have a Relish of any Pleasures that are not Criminal; every Diversion they take is at the Expence of some one Virtue or another, and their very first Step out of Business is into Vice or Folly. A Man should endeavour, therefore, to make the Sphere of his innocent Pleasures as wide as possible, that he may retire into them with Safety, and find in them such a Satisfaction as a wise Man would not blush to take. Of this Nature are those of the Imagination, which do not require such a Bent of Thought as is necessary to our more serious Employments, nor, at the same time, suffer the Mind to sink into that Negligence and Remissness, which are apt to accompany our more sensual Delights, but, like a gentle Exercise to the Faculties, awaken them from Sloth and Idleness, without putting them upon any Labour or Difficulty.

We might here add, that the Pleasures of the Fancy are more conducive to Health, than those of the Understanding, which are worked out by Dint of Thinking, and attended with too violent a Labour of the Brain.

Delightful Scenes, whether in Nature, Painting, or Poetry, have a kindly Influence on the Body, as well as the Mind, and not only serve to clear and brighten the Imagination, but are able to disperse Grief and Melancholy, and to set the Animal Spirits in pleasing and agreeable Motions. For this Reason Sir Francis Bacon, in his Essay upon Health, has not thought it improper to prescribe to his Reader a Poem or a Prospect, where he particularly dissuades him from knotty and subtile Disquisitions, and advises him to pursue Studies that fill the Mind with splendid and ill.u.s.trious Objects, as Histories, Fables, and Contemplations of Nature.

I have in this Paper, by way of Introduction, settled the Notion of those Pleasures of the Imagination which are the Subject of my present Undertaking, and endeavoured, by several Considerations, to recommend to my Reader the Pursuit of those Pleasures. I shall, in my next Paper, examine the several Sources from whence these Pleasures are derived. [2]

O.

[Footnote 1: [present to the]]

[Footnote 2: From a MS. Note-book of Addison's, met with in 1858, Mr. J.

d.y.k.es Campbell printed at Glasgow, in 1864, 250 copies of some portions of the first draught of these papers on Imagination with the Essay on Jealousy (No. 176) and that on Fame (No. 255). The MS. was an old calf bound 8vo volume obtained from a dealer. There were about 31 pages written on one side of each leaf in a beautiful print-like hand, which contained the Essays in their first state. Pa.s.sages were added by Addison in his ordinary handwriting upon the blank pages opposite to this carefully-written text, and there are pieces in a third hand-writing which neither the keeper of the MSS. Department of the British Museum nor the Librarian of the Bodleian could identify. The insertions in this third hand form part of the paper as finally published. Thus in the paper on Jealousy (No. 171) it wrote the English verse translation added to the quotation from Horace's Ode I. xiii. The MS. shows with how much care Addison revised and corrected the first draught of his papers, especially where, as in the series of eleven upon Imagination here commenced, he meant to put out all his strength. In Blair's Rhetoric four Lectures (20-23) are given to a critical Examination of the Style of Mr. Addison in Nos. 411, 412, 413, and 414 of the Spectator. Akenside's poem on the Pleasures of the Imagination, published in 1744, when he was 23 years old, was suggested by these papers. Many disquisitions upon Taste were written towards the close of the last century. They formed a new province in literature, of which Addison here appears as the founder and first lawgiver.]

No. 412. Monday, June 23, 1712. Addison.

'--Divisum sic breve fiet Opus.'

Mart.

I shall first consider those Pleasures of the Imagination, which arise from the actual View and Survey of outward Objects: And these, I think, all proceed from the Sight of what is Great, Uncommon, or Beautiful.

There may, indeed, be something so terrible or offensive, that the Horror or Loathsomeness of an Object may over-bear the Pleasure which results from its Greatness, Novelty, or Beauty; but still there will be such a Mixture of Delight in the very Disgust it gives us, as any of these three Qualifications are most conspicuous and prevailing.

By Greatness, I do not only mean the Bulk of any single Object, but the Largeness of a whole View, considered as one entire Piece. Such are the Prospects of an open Champain Country, a vast uncultivated Desart, of huge Heaps of Mountains, high Rocks and Precipices, or a wide Expanse of Waters, where we are not struck with the Novelty or Beauty of the Sight, but with that rude kind of Magnificence which appears in many of these stupendous Works of Nature. Our Imagination loves to be filled with an Object, or to grasp at any thing that is too big for its Capacity. We are flung into a pleasing Astonishment at such unbounded Views, and feel a delightful Stillness and Amazement in the Soul at the Apprehension[s]

of them. The Mind of Man naturally hates every thing that looks like a Restraint upon it, and is apt to fancy it self under a sort of Confinement, when the Sight is pent up in a narrow Compa.s.s, and shortned on every side by the Neighbourhood of Walls or Mountains. On the contrary, a s.p.a.cious Horizon is an Image of Liberty, where the Eye has Room to range abroad, to expatiate at large on the Immensity of its Views, and to lose it self amidst the Variety of Objects that offer themselves to its Observation. Such wide and undetermined Prospects are as pleasing to the Fancy, as the Speculations of Eternity or Infinitude are to the Understanding. But if there be a Beauty or Uncommonness joined with this Grandeur, as in a troubled Ocean, a Heaven adorned with Stars and Meteors, or a s.p.a.cious Landskip cut out into Rivers, Woods, Rocks, and Meadows, the Pleasure still grows upon us, as it rises from more than a single Principle.

Every thing that is new or uncommon raises a Pleasure in the Imagination, because it fills the Soul with an agreeable Surprize, gratifies its Curiosity, and gives it an Idea of which it was not before possest. We are indeed so often conversant with one Set of Objects, and tired out with so many repeated Shows of the same Things, that whatever is new or uncommon contributes a little to vary human Life, and to divert our Minds, for a while, with the Strangeness of its Appearance: It serves us for a kind of Refreshment, and takes off from that Satiety we are apt to complain of in our usual and ordinary Entertainments. It is this that bestows Charms on a Monster, and makes even the Imperfections of Nature [please [1]] us. It is this that recommends Variety, where the Mind is every Instant called off to something new, and the Attention not suffered to dwell too long, and waste it self on any particular Object. It is this, likewise, that improves what is great or beautiful, and make it afford the Mind a double Entertainment.

Groves, Fields, and Meadows, are at any Season of the Year pleasant to look upon, but never so much as in the Opening of the Spring, when they are all new and fresh, with their first Gloss upon them, and not yet too much accustomed and familiar to the Eye. For this Reason there is nothing that more enlivens a Prospect than Rivers, Jetteaus, or Falls of Water, where the Scene is perpetually shifting, and entertaining the Sight every Moment with something that is new. We are quickly tired with looking upon Hills and Vallies, where every thing continues fixed and settled in the same Place and Posture, but find our Thoughts a little agitated and relieved at the Sight of such Objects as are ever in Motion, and sliding away from beneath the Eye of the Beholder.

But there is nothing that makes its Way more directly to the Soul than Beauty, which immediately diffuses a secret Satisfaction and Complacency through the Imagination, and gives a Finishing to any thing that is Great or Uncommon. The very first Discovery of it strikes the Mind with an inward Joy, and spreads a Chearfulness and Delight through all its Faculties. There is not perhaps any real Beauty or Deformity more in one Piece of Matter than another, because we might have been so made, that whatsoever now appears loathsome to us, might have shewn it self agreeable; but we find by Experience, that there are several Modifications of Matter which the Mind, without any previous Consideration, p.r.o.nounces at first sight Beautiful or Deformed. Thus we see that every different Species of sensible Creatures has its different Notions of Beauty, and that each of them is most affected with the Beauties of its own Kind. This is no where more remarkable than in Birds of the same Shape and Proportion, where we often see the Male determined in his Courtship by the single Grain or Tincture of a Feather, and never discovering any Charms but in the Colour of its Species.

Scit thalamo servare fidem, sanctasque veretur Connubii leges, non illum in pectore candor Sollicitat niveus; neque pravum accendit amorem Splendida Lanugo, vel honesta in vertice crista, Purpureusve nitor pennarum; ast agmina late Foeminea explorat cautus, maculasque requirit Cognatas, paribusque interlita corpora guttis: Ni faceret, pictis sylvam circ.u.m undique monstris Confusam aspiceres vulg, partusque biformes, Et genus ambiguum, et Veneris monumenta nefandae.

Hinc merula in nigro se oblectat nigra marito, Hinc socium lasciva pet.i.t Philomela canorum, Agnoscitque pares sonitus, hinc Noctua tetram Canitiem alarum, et glaucos miratur ocellos.

Nempe sibi semper constat, crescitque quotannis Lucida progenies, castos confessa parentes; Dum virides inter saltus lucosque sonoros Vere novo exultat, plumasque decora Juventus Explicat ad solem, patriisque coloribus ardet. [2]

There is a second Kind of Beauty that we find in the several Products of Art and Nature, which does not work in the Imagination with that Warmth and Violence as the Beauty that appears in our proper Species, but is apt however to raise in us a secret Delight, and a kind of Fondness for the Places or Objects in which we discover it. This consists either in the Gaiety or Variety of Colours, in the Symmetry and Proportion of Parts, in the Arrangement and Disposition of Bodies, or in a just Mixture and Concurrence of all together. Among these several Kinds of Beauty the Eye takes most Delight in Colours. We no where meet with a more glorious or pleasing Show in Nature than what appears in the Heavens at the rising and setting of the Sun, which is wholly made up of those different Stains of Light that shew themselves in Clouds of a different Situation. For this Reason we find the Poets, who are always addressing themselves to the Imagination, borrowing more of their Epithets from Colours than from any other Topic. As the Fancy delights in every thing that is Great, Strange, or Beautiful, and is still more pleased the more it finds of these Perfections in the same Object, so is it capable of receiving a new Satisfaction by the a.s.sistance of another Sense. Thus any continued Sound, as the Musick of Birds, or a Fall of Water, awakens every moment the Mind of the Beholder, and makes him more attentive to the several Beauties of the Place that lye before him. Thus if there arises a Fragrancy of Smells or Perfumes, they heighten the Pleasures of the Imagination, and make even the Colours and Verdure of the Landskip appear more agreeable; for the Ideas of both Senses recommend each other, and are pleasanter together than when they enter the Mind separately: As the different Colours of a Picture, when they are well disposed, set off one another, and receive an additional Beauty from the Advantage of their Situation.

O.

[Footnote 1: [to please]]

[Footnote 2: Addison's MS. described in the note to No. 411 shows, by corrections in his handwriting of four or five lines in this piece of Latin verse, that he was himself its author. Thus in the last line he had begun with Scintillat solitis, altered that to Ostentat solitas, struck out that also, and written, as above, Explicat ad solem.]

No. 413. Tuesday, June 24, 1712. Addison.

'--Causa latet, vis est notissima--'

Ovid.

Though in Yesterday's Paper we considered how every thing that is Great, New, or Beautiful, is apt to affect the Imagination with Pleasure, we must own that it is impossible for us to a.s.sign the necessary Cause of this Pleasure, because we know neither the Nature of an Idea, nor the Substance of a Human Soul, which might help us to discover the Conformity or Disagreeableness of the one to the other; and therefore, for want of such a Light, all that we can do in Speculations of this kind is to reflect on those Operations of the Soul that are most agreeable, and to range under their proper Heads, what is pleasing or displeasing to the Mind, without being able to trace out the several necessary and efficient Causes from whence the Pleasure or Displeasure arises.