CHAPTER SEVENTH.

OF IMAGINATION.

SECTION I.

Analysis of Imagination.

In attempting to draw the line between Conception and Imagination, I have already observed, that the province of the former is to present us with an exact transcript of what we have formerly felt and perceived; that of the latter, to make a selection of qualities and of circumstances from a variety of different objects, and by combining and disposing these, to form a new creation of its own.

According to the definitions adopted, in general, by modern philosophers, the province of imagination would appear to be limited to objects of sight. "It is the sense of sight," says Mr. Addison, "which furnishes the Imagination with its ideas; so that by the pleasures of Imagination, I here mean such as arise from visible objects, either when we have them actually in view, or when we call up their ideas into our minds, by paintings, statues, descriptions, or any the like occasions. We cannot, indeed, have a single image in the fancy, that did not make its first entrance through the sight." Agreeably to the same view of the subject, Dr. Reid observes, that "Imagination properly signifies a lively conception of objects of sight; the former power being distinguished from the latter, as a part from the whole."

That this limitation of the province of Imagination to one particular class of our perceptions is altogether arbitrary, seems to me to be evident; for, although the greater part of the materials which imagination combines be supplied by this sense, it is nevertheless indisputable, that our other perceptive faculties also contribute occa

sionally their share. How many pleasing images have been borrowed from the fragrance of the fields and the melody of the groves; not to mention that sister art, whose magical influence over the human frame, it has been, in all ages, the highest boast of poetry to celebrate! In the following passage, even the more gross sensations of Taste form the subject of an ideal repast, on which it is impossible not to dwell with some complacency; particularly after a perusal of the preceding lines, in which the Poet describes "the wonders of the Torrid Zone."

"Bear me, Pomona! to thy citron groves;

To where the lemon and the piercing lime,
With the deep orange, glowing through the green,
Their lighter glories blend. Lay me reclin'd
Beneath the spreading tamarind that shakes,
Fann'd by the breeze, its fever-cooling fruit:
Or, stretch'd amid these orchards of the sun,
O let me drain the cocoa's milky bowl,
More bounteous far than all the frantic juice
Which Bacchus pours! Nor, on its slender twigs
Low bending, be the full pomegranate scorn'd;
Nor, creeping through the woods, the gelid race
Of berries. Oft in humble station dwells
Unboastful worth, above fastidious pomp.
Witness, thou best Anana, thou the pride
Of vegetable life, beyond whate'er
The Poets imaged in the golden age :
Quick let me strip thee of thy spiny coat,

Spread thy ambrosial stores, and feast with Jove!" *

What an assemblage of other conceptions, different from all those hitherto mentioned, has the genius of Virgil combined in one distich!

"Hic gelidi fontes, hic mollia prata, Lycori,

Hic nemus hic ipso tecum consumerer ævo."

These observations are sufficient to show, how inadequate a notion of the province of Imagination (considered even in its reference to the sensible world) is conveyed by the definitions of Mr. Addison and of Dr. Reid. But the sensible world, it must be remembered, is not the only field where Imagination exerts her pow

Thomson's Summer.

ers. All the objects of human knowledge supply materials to her forming hand; diversifying infinitely the works she produces, while the mode of her operation remains essentially uniform. As it is the same power of Reasoning which enables us to carry on our investigations with respect to individual objects, and with respect to classes or genera; so it was by the same processes of Analysis and Combination, that the genius of Milton produced the Garden of Eden; that of Harrington, the Commonwealth of Oceana; and that of Shakspeare, the characters of Hamlet and Falstaff. The difference between these several efforts of invention, consists only in the manner in which the original materials were acquired; as far as the power of Imagination is concerned, the processes are perfectly analogous.

The attempts of Mr. Addison and Dr. Reid to limit the province of imagination to objects of sight, have plainly proceeded from a very important fact, which it may be worth while to illustrate more particularly ;That the mind has a greater facility, and, of consequence, a greater delight in recalling the perceptions of this sense than those of any of the others; while, at the same time, the variety of qualities perceived by it is incomparably greater. It is this sense, accordingly, which supplies the painter and the statuary with all the subjects on which their genius is exercised; and which furnishes to the descriptive poet the largest and the most valuable portion of the materials which he combines. In that absurd species of prose composition, too, which borders on poetry, nothing is more remarkable than the predominance of phrases that recall to the memory glaring colors, and those splendid appearances of nature, which make a strong impression on the eye. It has been mentioned by different writers, as a characteristical circumstance in the Oriental or Asiatic style, that the greater part of the metaphors are taken from the celestial luminaries. "The works of the Persians," says M. de Voltaire," are like the titles of their kings, in which we are perpetually dazzled with the sun and the moon." Sir William Jones, in a short Essay

on the Poetry of Eastern Nations, has endeavoured to show, that this is not owing to the bad taste of the Asiatics, but to the old language and popular religion of their country. But the truth is, that the very same criticism will be found to apply to the juvenile productions of every author possessed of a warm imagination; and to the compositions of every people among whom a cultivated and philosophical taste has not established a sufficiently marked distinction between the appropriate styles of poetry and of prose. The account given by the Abbé Girard of the meaning of the word Phébus, as employed by the French critics, confirms strongly this observation. "Le Phébus a un brillant qui signifie, ou semble signifier quelque chose: le soleil y entre d'ordinaire; et c'est peut-être ce qui, en notre langue, a donné lieu au nom de Phébus.” *

Agreeably to these principles, Gray, in describing the infantine reveries of poetical genius, has fixed, with exquisite judgment, on this class of our conceptions:

Yet oft before his infant eye would run

Such Forms as glitter in the Muse's ray

With Orient hues.

From these remarks it may be easily understood, why the word imagination, in its most ordinary acceptation, should be applied to cases where our conceptions are derived from the sense of sight; although the province of this power be, in fact, as unlimited as the sphere of human enjoyment and of human thought. Hence, the origin of those partial definitions which I have been attempting to correct; and hence too, the origin of the word imagination; the etymology of which implies manifestly a reference to visible objects.

To all the various modes in which imagination may display itself, the greater part of the remarks contained in this chapter will be found to apply, under proper limitations; but, in order to render the subject more obvious to the reader's examination, I shall, in the farther prosecution of it, endeavour to convey my ideas, rather by means of particular examples, than in the form of

* Synonymes François.

general principles; leaving it to his own judgment to determine, with what modifications the conclusions to which we are led, may be extended to other combinations of circumstances.

Among the innumerable phenomena which this part of our constitution presents to our examination, the combinations which the mind forms out of materials supplied by the power of conception recommend themselves strongly, both by their simplicity, and by the interesting nature of the discussions to which they lead. I shall avail myself therefore, as much as possible, in the following inquiries, of whatever illustrations I am able to borrow from the arts of Poetry and of Painting; the operations of imagination in these arts furnishing the most intelligible and pleasing exemplifications of the intellectual processes, by which, in those analogous but less palpable instances that fall under the consideration of the Moralist, the mind deviates from the models presented to it by experience, and forms to itself new and untried objects of pursuit. It is in consequence of such processes (which, how little soever they may be attended to, are habitually passing in the thoughts of all men,) that human affairs exhibit so busy and so various a scene; tending, in one case, to improvement, and, in another, to decline; according as our notions of excellence and of happiness are just or erroneous.

It was observed in a former part of this work, that imagination is a complex power.* It includes Conception or simple Apprehension, which enables us to form a notion of those former objects of perception or of knowledge, out of which we are to make a selection; Abstraction, which separates the selected materials from the qualities and circumstances which are connected with them in nature; and Judgment or Taste, which selects the materials, and directs their combination. To these powers we may add, that particular habit of association to which I formerly gave the name of fancy; as it is this which presents to our choice, all the different materials which are subservient to the efforts of imagin

* See page 101.