O.



[Footnote 1: [most]]



* * * * *



No. 415. Thursday, June 26, 1712. Addison.



'Adde tot egregias urbes, operumque laborem.'

Virg.



Having already shewn how the Fancy is affected by the Works of Nature, and afterwards considered in general both the Works of Nature and of Art, how they mutually assist and compleat each other, in forming such Scenes and Prospects as are most apt to delight the Mind of the Beholder, I shall in this Paper throw together some Reflections on that Particular Art, which has a more immediate Tendency, than any other, to produce those Primary Pleasures of the Imagination, which have hitherto been the Subject of this Discourse. The Art I mean is that of Architecture, which I shall consider only with regard to the Light in which the foregoing Speculations have placed it, without entring into those Rules and Maxims which the great Masters of Architecture have laid down, and explained at large in numberless Treatises upon that Subject.

Greatness, in the Works of Architecture, may be considered as relating to the Bulk and Body of the Structure, or to the Manner in which it is built. As for the first, we find the Ancients, especially among the Eastern Nations of the World, infinitely superior to the Moderns.

Not to mention the Tower of Babel, of which an old Author says, there were the Foundations to be seen in his time, which looked like a spacious Mountain; what could be more noble than the Walls of Babylon, its hanging Gardens, and its Temple to Jupiter Belus, that rose a Mile high by Eight several Stories, each Story a Furlong in Height, and on the Top of which was the Babylonian Observatory; I might here, likewise, take Notice of the huge Rock that was cut into the Figure of Semiramis, with the smaller Rocks that lay by it in the Shape of Tributary Kings; the prodigious Basin, or artificial Lake, which took in the whole Euphrates, till such time as a new Canal was formed for its Reception, with the several Trenches through which that River was conveyed. I know there are persons who look upon some of these Wonders of Art as Fabulous, but I cannot find any [Grand [1]] for such a Suspicion, unless it be that we have no such Works among us at present. There were indeed many greater Advantages for Building in those Times, and in that Part of the World, than have been met with ever since. The Earth was extremely fruitful, Men lived generally on Pasturage, which requires a much smaller number of Hands than Agriculture: There were few Trades to employ the busie Part of Mankind, and fewer Arts and Sciences to give Work to Men of Speculative Tempers; and what is more than all the rest, the Prince was absolute; so that when he went to War, he put himself at the Head of a whole People: As we find Semiramis leading her [three [2]] Millions to the Field, and yet over-powered by the Number of her Enemies. 'Tis no wonder, therefore, when she was at Peace, and turned her Thoughts on Building, that she could accomplish so great Works, with such a prodigious Multitude of Labourers: Besides that, in her Climate, there was small Interruption of Frosts and Winters, which make the Northern Workmen lie half the Year Idle. I might mention too, among the Benefits of the Climate, what Historians say of the Earth, that it sweated out a Bitumen or natural kind of Mortar, which is doubtless the same with that mentioned in Holy Writ, as contributing to the Structure of Babel. Slime they used instead of Mortar.

In Egypt we still see their Pyramids, which answer to the Descriptions that have been made of them; and I question not but a traveller might find out some Remains of the Labyrinth that covered a whole Province, and had a hundred Temples disposed among its several Quarters and Divisions.

The Wall of China is one of these Eastern Pieces of Magnificence, which makes a Figure even in the Map of the World, altho an Account of it would have been thought Fabulous, were not the Wall it self still extant.

We are obliged to Devotion for the noblest Buildings that have adornd the several Countries of the World. It is this which has set Men at work on Temples and Publick Places of Worship, not only that they might, by the Magnificence of the Building, invite the Deity to reside within it, but that such stupendous Works might, at the same time, open the Mind to vast Conceptions, and fit it to converse with the Divinity of the Place. For every thing that is Majestick imprints an Awfulness and Reverence on the Mind of the Beholder, and strikes in with the Natural Greatness of the Soul.

In the Second place we are to consider Greatness of Manner in Architecture, which has such Force upon the Imagination, that a small Building, where it appears, shall give the Mind nobler Ideas than one of twenty times the Bulk, where the Manner is ordinary or little. Thus, perhaps, a Man would have been more astonished with the Majestick Air that appeared in one of [Lysippus's [3]] Statues of Alexander, tho' no bigger than the Life, than he might have been with Mount Athos, had it been cut into the Figure of the Hero, according to the Proposal of Phidias, [4] with a River in one Hand, and a City in the other.

Let any one reflect on the Disposition of Mind he finds in himself, at his first Entrance into the Pantheon at Rome, and how his Imagination is filled with something Great and Amazing; and, at the same time, consider how little, in proportion, he is affected with the Inside of a Gothick Cathedral, tho' it be five times larger than the other; which can arise from nothing else, but the Greatness of the Manner in the one, and the Meanness in the other.

I have seen an Observation upon this Subject in a French Author, which very much pleased me. It is in Monsieur Freart's Parallel of the Ancient and Modern Architecture. I shall give it the Reader with the same Terms of Art which he has made use of. I am observing (says he) a thing which, in my Opinion, is very curious, whence it proceeds, that in the same Quantity of Superficies, the one Manner seems great and magnificent, and the other poor and trifling; the Reason is fine and uncommon. I say then, that to introduce into Architecture this Grandeur of Manner, we ought so to proceed, that the Division of the Principal Members of the Order may consist but of few Parts, that they be all great and of a bold and ample Relievo, and Swelling; and that the Eye, beholding nothing little and mean, the Imagination may be more vigorously touched and affected with the Work that stands before it. For example; In a Cornice, if the Gola or Cynatium of the Corona, the Coping, the Modillions or Dentelli, make a noble Show by their graceful Projections, if we see none of that ordinary Confusion which is the Result of those little Cavities, Quarter Rounds of the Astragal and I know not how many other intermingled Particulars, which produce no Effect in great and massy Works, and which very unprofitably take up place to the Prejudice of the Principal Member, it is most certain that this Manner will appear Solemn and Great; as on the contrary, that it will have but a poor and mean Effect, where there is a Redundancy of those smaller Ornaments, which divide and scatter the Angles of the Sight into such a Multitude of Rays, so pressed together that the whole will appear but a Confusion.

Among all the Figures in Architecture, there are none that have a greater Air than the Concave and the Convex, and we find in all the Ancient and Modern Architecture, as well in the remote Parts of China, as in Countries nearer home, that round Pillars and Vaulted Roofs make a great Part of those Buildings which are designed for Pomp and Magnificence. The Reason I take to be, because in these Figures we generally see more of the Body, than in those of other Kinds. There are, indeed, Figures of Bodies, where the Eye may take in two Thirds of the Surface; but as in such Bodies the Sight must split upon several Angles, it does not take in one uniform Idea, but several Ideas of the same kind. Look upon the Outside of a Dome, your Eye half surrounds it; look up into the Inside, and at one Glance you have all the Prospect of it; the entire Concavity falls into your Eye at once, the Sight being as the Center that collects and gathers into it the Lines of the whole Circumference: In a Square Pillar, the Sight often takes in but a fourth Part of the Surface: and in a Square Concave, must move up and down to the different Sides, before it is Master of all the inward Surface. For this Reason, the Fancy is infinitely more struck with the View of the open Air, and Skies, that passes through an Arch, than what comes through a Square, or any other Figure. The Figure of the Rainbow does not contribute less to its Magnificence, than the Colours to its Beauty, as it is very poetically described by the Son of Sirach: Look upon the Rainbow and praise him that made it; very beautiful it is in its Brightness; it encompasses the Heavens with a glorious Circle, and the Hands of the [most High [5]] have bended it.

Having thus spoken of that Greatness which affects the Mind in Architecture, I might next shew the Pleasure that arises in the Imagination from what appears new and beautiful in this Art; but as every Beholder has naturally a greater Taste of these two Perfections in every Building which offers it self to his View, than of that which I have hitherto considered, I shall not trouble my Reader with any Reflections upon it. It is sufficient for my present Purpose, to observe, that there is nothing in this whole Art which pleases the Imagination, but as it is Great, Uncommon, or Beautiful.

O.



[Footnote 1: Grounds]

[Footnote 2: two]

[Footnote 3: Protogenes's]

[Footnote 4: Dinocrates.]

[Footnote 5: [Almighty]]



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No. 416. Friday, June 27, 1712. Addison.



'Quatenus hoc simile est oculis, quod mente videmus.'

Lucr.



I at first divided the Pleasures of the Imagination, into such as arise from Objects that are actually before our Eyes, or that once entered in at our Eyes, and are afterwards called up into the Mind either barely by its own Operations, or on occasion of something without us, as Statues, or Descriptions. We have already considered the first Division, and shall therefore enter on the other, which for Distinction sake, I have called the Secondary Pleasures of the Imagination. When I say the Ideas we receive from Statues, Descriptions, or such like Occasions, are the same that were once actually in our View, it must not be understood that we had once see the very Place, Action, or Person which are carved or described. It is sufficient, that we have seen Places, Persons, or Actions, in general, which bear a Resemblance, or at least some remote Analogy with what we find represented. Since it is in the Power of the Imagination, when it is once Stocked with particular Ideas, to enlarge, compound, and vary them at her own Pleasure.

Among the different Kinds of Representation, Statuary is the most natural, and shews us something likest the Object that is represented. To make use of a common Instance, let one who is born Blind take an Image in his Hands, and trace out with his Fingers the different Furrows and Impressions of the Chissel, and he will easily conceive how the Shape of a Man, or Beast, may be represented by it; but should he draw his Hand over a Picture, where all is smooth and uniform, he would never be able to imagine how the several Prominencies and Depressions of a human Body could be shewn on a plain Piece of Canvas, that has in it no Unevenness or Irregularity. Description runs yet further from the Things it represents than Painting; for a Picture bears a real Resemblance to its Original, which Letters and Syllables are wholly void of. Colours speak of Languages, but Words are understood only by such a People or Nation. For this Reason, tho' Men's Necessities quickly put them on finding out Speech, Writing is probably of a later invention than Painting; particularly we are told, that in America when the Spaniards first arrived there Expresses were sent to the Emperor of Mexico in Paint, and the News of his Country delineated by the Strokes of a Pencil, which was a more natural Way than that of Writing, tho' at the same time much more imperfect, because it is impossible to draw the little Connexions of Speech, or to give the Picture of a Conjunction or an Adverb. It would be yet more strange, to represent visible Objects by Sounds that have no Ideas annexed to them, and to make something like Description in Musick. Yet it is certain, there may be confused, imperfect Notions of this Nature raised in the Imagination by an Artificial Composition of Notes; and we find that great Masters in the Art are able, sometimes, to set their Hearers in the Heat and Hurry of a Battel, to overcast their Minds with melancholy Scenes and Apprehensions of Deaths and Funerals, or to lull them into pleasing Dreams of Groves and Elisiums.

In all these Instances, this Secondary Pleasure of the Imagination proceeds from that Action of the Mind, which compares the Ideas arising from the Original Objects, with the Ideas we receive from the Statue, Picture, Description, or Sound that represents them. It is impossible for us to give the necessary Reason, why this Operation of the Mind is attended with so much Pleasure, as I have before observed on the same Occasion; but we find a great Variety of Entertainments derived from this single Principle: For it is this that not only gives us a Relish of Statuary, Painting and Description, but makes us delight in all the Actions and Arts of Mimickry. It is this that makes the several kinds of Wit Pleasant, which consists, as I have formerly shewn, in the Affinity of Ideas: And we may add, it is this also that raises the little Satisfaction we sometimes find in the different Sorts of false Wit; whether it consists in the Affinity of Letters, as in Anagram, Acrostick; or of Syllables, as in Doggerel Rhimes, Ecchos; or of Words, as in Punns, Quibbles; or of a whole Sentence or Poem, to Wings, and Altars. The final Cause, probably, of annexing Pleasure to this Operation of the Mind, was to quicken and encourage us in our Searches after Truth, since the distinguishing one thing from another, and the right discerning betwixt our Ideas, depends wholly upon our comparing them together, and observing the Congruity or Disagreement that appears among the several Works of Nature.

But I shall here confine my self to those Pleasures of the Imagination, [which [1]] proceed from Ideas raised by Words, because most of the Observations that agree with Descriptions, are equally Applicable to Painting and Statuary.

Words, when well chosen, have so great a Force in them, that a Description often gives us more lively Ideas than the Sight of Things themselves. The Reader finds a Scene drawn in stronger Colours, and painted more to the Life in his Imagination, by the help of Words, than by an actual Survey of the Scene which they describe. In this case the Poet seems to get the better of Nature; he takes, indeed, the Landskip after her, but gives it more vigorous Touches, heightens its Beauty, and so enlivens the whole Piece, that the Images which flow from the Objects themselves appear weak and faint, in Comparison of those that come from the Expressions. The Reason, probably, may be, because in the Survey of any Object we have only so much of it painted on the Imagination, as comes in at the Eye; but in its Description, the Poet gives us as free a View of it as he pleases, and discovers to us several Parts, that either we did not attend to, or that lay out of our Sight when we first beheld it. As we look on any Object, our Idea of it is, perhaps, made up of two or three simple Ideas; but when the Poet represents it, he may either give us a more complex Idea of it, or only raise in us such Ideas as are most apt to affect the Imagination.

It may be here worth our while to Examine how it comes to pass that several Readers, who are all acquainted with the same Language, and know the Meaning of the Words they read, should nevertheless have a different Relish of the same Descriptions. We find one transported with a Passage, which another runs over with Coldness and Indifference, or finding the Representation extreamly natural, where another can perceive nothing of Likeness and Conformity. This different Taste must proceed, either from the Perfection of Imagination in one more than in another, or from the different Ideas that several Readers affix to the same Words. For, to have a true Relish, and form a right Judgment of a Description, a Man should be born with a good Imagination, and must have well weighed the Force and Energy that lye in the several Words of a Language, so as to be able to distinguish which are most significant and expressive of their proper Ideas, and what additional Strength and Beauty they are capable of receiving from Conjunction with others. The Fancy must be warm to retain the Print of those Images it hath received from outward Objects and the Judgment discerning, to know what Expressions are most proper to cloath and adorn them to the best Advantage. A Man who is deficient in either of these Respects, tho' he may receive the general Notion of a Description, can never see distinctly all its particular Beauties: As a Person, with a weak Sight, may have the confused Prospect of a Place that lies before him, without entering into its several Parts, or discerning the variety of its Colours in their full Glory and Perfection.

O.



[Footnote 1: [that]]



THE SPECTATOR



VOL. III.



A NEW EDITION



REPRODUCING THE ORIGINAL TEXT BOTH AS FIRST ISSUED AND AS CORRECTED BY ITS AUTHORS

WITH INTRODUCTION, NOTES, AND INDEX BY HENRY MORLEY

PROFESSOR OF ENGLISH LITERATURE, UNIVERSITY COLLEGE, LONDON



IN THREE VOLUMES



VOL. III.



1891



* * * * *



No. 417. Saturday, June 28, 1712. Addison.



'Quem tu Melpomene semel Nascentem placido lumine videris, Non illum labor Isthmius Clarabit pugilem, non equus impiger, &c. Sed quae Tibur aquae fertile perfluunt, Et Spissae nemorum comae Fingent AEolio carmine nobilem.'

Hor.



We may observe, that any single Circumstance of what we have formerly seen often raises up a whole Scene of Imagery, and awakens [numberless [1]] Ideas that before slept in the Imagination; such a particular Smell or Colour is able to fill the Mind, on a sudden, with the Picture of the Fields or Gardens, where we first met with it, and to bring up into View all the Variety of Images that once attended it. Our Imagination takes the Hint, and leads us unexpectedly into Cities or Theatres, Plains or Meadows. We may further observe, when the Fancy thus reflects on the Scenes that have past in it formerly, those which were at first pleasant to behold, appear more so upon Reflection, and that the Memory heightens the Delightfulness of the Original. A Cartesian would account for both these Instances in the following Manner.

The Sett of Ideas, which we received from such a Prospect or Garden, having entered the Mind at the same time, have a Sett of Traces belonging to them in the Brain, bordering very near upon one another; when, therefore, any one of these Ideas arises in the Imagination, and consequently dispatches a flow of Animal Spirits to its proper Trace, these Spirits, in the Violence of their Motion, run not only into the Trace, to which they were more particularly directed, but into several of those that lie about it: By this means they awaken other Ideas of the same Sett, which immediately determine a new Dispatch of Spirits, that in the same manner open other Neighbouring Traces, till at last the whole Sett of them is blown up, and the whole Prospect or Garden flourishes in the Imagination. But because the Pleasure we received from these Places far surmounted, and overcame the little Disagreeableness we found in them; for this Reason there was at first a wider Passage worn in the Pleasure Traces, and, on the contrary, so narrow a one in those which belonged to the disagreeable Ideas, that they were quickly stopt up, and rendered incapable of receiving any Animal Spirits, and consequently of exciting any unpleasant Ideas in the Memory.

It would be in vain to enquire, whether the Power of Imagining Things strongly proceeds from any greater Perfection in the Soul, or from any nicer Texture in the Brain of one Man than of another. But this is certain, that a noble Writer should be born with this Faculty in its full Strength and Vigour, so as to be able to receive lively Ideas from outward Objects, to retain them long, and to range them together, upon Occasion, in such Figures and Representations as are most likely to hit the Fancy of the Reader. A Poet should take as much Pains in forming his Imagination, as a Philosopher in cultivating his Understanding. He must gain a due Relish of the Works of Nature, and be thoroughly conversant in the various Scenary of a Country Life.

When he is stored with Country Images, if he would go beyond Pastoral, and the lower kinds of Poetry, he ought to acquaint himself with the Pomp and Magnificence of Courts. He should be very well versed in every thing that is noble and stately in the Productions of Art, whether it appear in Painting or Statuary, in the great Works of Architecture which are in their present Glory, or in the Ruins of those [which [2]] flourished in former Ages.

Such Advantages as these help to open a Man's Thoughts, and to enlarge his Imagination, and will therefore have their Influence on all kinds of Writing, if the Author knows how to make right use of them. And among those of the learned Languages who excel in this Talent, the most perfect in their several kinds, are perhaps Homer, Virgil, and Ovid. The first strikes the Imagination wonderfully with what is Great, the second with what is Beautiful, and the last with what is Strange. Reading the Iliad is like travelling through a Country uninhabited, where the Fancy is entertained with a thousand Savage Prospects of vast Desarts, wide uncultivated Marshes, huge Forests, mis-shapen Rocks and Precipices. On the contrary, the AEneid is like a well ordered Garden, where it is impossible to find out any Part unadorned, or to cast our Eyes upon a single Spot, that does not produce some beautiful Plant or Flower. But when we are in the Metamorphoses, we are walking on enchanted Ground, and see nothing but Scenes of Magick lying round us.

Homer is in his Province, when he is describing a Battel or a Multitude, a Heroe or a God. Virgil is never better pleased, than when he is in his Elysium, or copying out an entertaining Picture. Homer's Epithets generally mark out what is Great, Virgil's what is Agreeable. Nothing can be more Magnificent than the Figure Jupiter makes in the first Iliad, no more Charming than that of Venus in the first AEneid.

[Greek: Ae, kai kyaneaesin ep' ophrysi neuse Kronion, Ambrosiai d' ara chaitai eperrhosanto anaktos Kratos ap' athanatoio megan d' elelixen Olympos.]

Dixit et avertens rosea cervice refulsit: Ambrosiaeque comae; divinum vertice odorem Spiravere: Pedes vestis defluxit ad imos: Et vera incessu patuit Dea—

Homer's Persons are most of them God-like and Terrible; Virgil has scarce admitted any into his Poem, who are not Beautiful, and has taken particular Care to make his Heroe so.

—lumenque juventae Purpureum, et laetos oculis afflavit honores.

In a Word, 'Homer' fills his Readers with Sublime Ideas, and, I believe, has raised the Imagination of all the good Poets that have come after him. I shall only instance 'Horace', who immediately takes Fire at the first Hint of any Passage in the 'Iliad' or 'Odyssey', and always rises above himself, when he has 'Homer' in his View. 'Virgil' has drawn together, into his 'AEneid', all the pleasing Scenes his Subject is capable of admitting, and in his 'Georgics' has given us a Collection of the most delightful Landskips that can be made out of Fields and Woods, Herds of Cattle, and Swarms of Bees.

'Ovid', in his 'Metamorphoses', has shewn us how the Imagination may be affected by what is Strange. He describes a Miracle in every Story, and always gives us the Sight of some new Creature at the end of it. His Art consists chiefly in well-timing his Description, before the first Shape is quite worn off, and the new one perfectly finished; so that he every where entertains us with something we never saw before, and shews Monster after Monster, to the end of the 'Metamorphoses'.

If I were to name a Poet that is a perfect Master in all these Arts of working on the Imagination, I think 'Milton' may pass for one: And if his 'Paradise Lost' falls short of the 'AEneid' or 'Iliad' in this respect, it proceeds rather from the Fault of the Language in which it is written, than from any Defect of Genius in the Author. So Divine a Poem in 'English', is like a stately Palace built of Brick, where one may see Architecture in as great a Perfection as in one of Marble, tho' the Materials are of a coarser Nature. But to consider it only as it regards our present Subject: What can be conceived greater than the Battel of Angels, the Majesty of Messiah, the Stature and Behaviour of Satan and his Peers? What more beautiful than 'Pandaemonium', Paradise, Heaven, Angels, 'Adam' and 'Eve'? What more strange, than the Creation of the World, the several Metamorphoses of the fallen Angels, and the surprising Adventures their Leader meets with in his Search after Paradise? No other Subject could have furnished a Poet with Scenes so proper to strike the Imagination, as no other Poet could have painted those Scenes in more strong and lively Colours.

O.



[Footnote 1: [a Thousand]]

[Footnote 2: [that]]



* * * * *



[Advertisement:—'Whereas the Proposal called the Multiplication Table is under an Information from the Attorney General, in Humble Submission and Duty to her Majesty the said Undertaking is laid down, and Attendance is this Day given ... in order to repay such Sums as have been paid into the said Table without Deduction.']



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No. 418. Monday, June 30, 1712. Addison.



'—ferat et rubus asper amomum.'

Virg.



The Pleasures of these Secondary Views of the Imagination, are of a wider and more Universal Nature than those it has when joined with Sight; for not only what is Great, Strange or Beautiful, but any Thing that is Disagreeable when looked upon, pleases us in an apt Description. Here, therefore, we must enquire after a new Principle of Pleasure, which is nothing else but the Action of the Mind, which compares the Ideas that arise from Words, with the Ideas that arise from the Objects themselves; and why this Operation of the Mind is attended with so much Pleasure, we have before considered. For this Reason therefore, the Description of a Dunghill is pleasing to the Imagination, if the Image be represented to our Minds by suitable Expressions; tho' perhaps, this may be more properly called the Pleasure of the Understanding than of the Fancy, because we are not so much delighted with the Image that is contained in the Description, as with the Aptness of the Description to excite the Image.

But if the Description of what is Little, Common, or Deformed, be acceptable to the Imagination, the Description of what is Great, Surprising or Beautiful, is much more so; because here we are not only delighted with comparing the Representation with the Original, but are highly pleased with the Original itself. Most Readers, I believe, are more charmed with Milton's Description of Paradise, than of Hell; they are both, perhaps, equally perfect in their Kind, but in the one the Brimstone and Sulphur are not so refreshing to the Imagination, as the Beds of Flowers and the Wilderness of Sweets in the other.

There is yet another Circumstance which recommends a Description more than all the rest, and that is if it represents to us such Objects as are apt to raise a secret Ferment in the Mind of the Reader, and to work, with Violence, upon his Passions. For, in this Case, we are at once warmed and enlightened, so that the Pleasure becomes more Universal, and is several ways qualified to entertain us. Thus in Painting, it is pleasant to look on the Picture of any Face, where the Resemblance is hit, but the Pleasure increases, if it be the Picture of a Face that is Beautiful, and is still greater, if the Beauty be softened with an Air of Melancholy or Sorrow. The two leading Passions which the more serious Parts of Poetry endeavour to stir up in us, are Terror and Pity. And here, by the way, one would wonder how it comes to pass, that such Passions as are very unpleasant at all other times, are very agreeable when excited by proper Descriptions. It is not strange, that we should take Delight in such Passions as are apt to produce Hope, Joy, Admiration, Love, or the like Emotions in us, because they never rise in the Mind without an inward Pleasure which attends them. But how comes it to pass, that we should take delight in being terrified or dejected by a Description, when we find so much Uneasiness in the Fear or Grief [which [1]] we receive from any other Occasion?

If we consider, therefore, the Nature of this Pleasure, we shall find that it does not arise so properly from the Description of what is terrible, as from the Reflection we make on our selves at the time of reading it. When we look on such hideous Objects, we are not a little pleased to think we are in no Danger of them. We consider them at the same time, as Dreadful and Harmless; so that the more frightful Appearance they make, the greater is the Pleasure we receive from the Sense of our own Safety. In short, we look upon the Terrors of a Description, with the same Curiosity and Satisfaction that we survey a dead Monster.

'—Informe cadaver Protrahitur, nequeunt expleri corda tuendo Terribiles oculos: vultum, villosaque satis Pectora semiferi, atque extinctos faucibus ignes.'

Virg.

It is for the same Reason that we are delighted with the reflecting upon Dangers that are past, or in looking on a Precipice at a distance, which would fill us with a different kind of Horror, if we saw it hanging over our Heads.

In the like manner, when we read of Torments, Wounds, Deaths, and the like dismal Accidents, our Pleasure does not flow so properly from the Grief which such melancholy Descriptions give us, as from the secret Comparison which we make between our selves and the Person [who [2]] suffers. Such Representations teach us to set a just Value upon our own Condition, and make us prize our good Fortune, which exempts us from the like Calamities. This is, however, such a kind of Pleasure as we are not capable of receiving, when we see a Person actually lying under the Tortures that we meet with in a Description; because in this case, the Object presses too close upon our Senses, and bears so hard upon us, that it does not give us Time or Leisure to reflect on our selves. Our Thoughts are so intent upon the Miseries of the Sufferer, that we cannot turn them upon our own Happiness. Whereas, on the contrary, we consider the Misfortunes we read in History or Poetry, either as past, or as fictitious, so that the Reflection upon our selves rises in us insensibly, and over-bears the Sorrow we conceive for the Sufferings of the Afflicted.

But because the Mind of Man requires something more perfect in Matter, than what it finds there, and can never meet with any Sight in Nature which sufficiently answers its highest Ideas of Pleasantness; or, in other Words, because the Imagination can fancy to it self Things more Great, Strange, or Beautiful, than the Eye ever saw, and is still sensible of some Defect in what it has seen; on this account it is the part of a Poet to humour the Imagination in its own Notions, by mending and perfecting Nature where he describes a Reality, and by adding greater Beauties than are put together in Nature, where he describes a Fiction.

He is not obliged to attend her in the slow Advances which she makes from one Season to another, or to observe her Conduct, in the successive Production of Plants and Flowers. He may draw into his Description all the Beauties of the Spring and Autumn, and make the whole Year contribute something to render it the more agreeable. His Rose-trees, Wood-bines, and Jessamines may flower together, and his Beds be cover'd at the same time with Lillies, Violets, and Amaranths. His Soil is not restrained to any particular Sett of Plants, but is proper either for Oaks or Mirtles, and adapts itself to the Products of every Climate. Oranges may grow wild in it; Myrrh may be met with in every Hedge, and if he thinks it proper to have a Grove of Spices, he can quickly command Sun enough to raise it. If all this will not furnish out an agreeable Scene, he can make several new Species of Flowers, with richer Scents and higher Colours than any that grow in the Gardens of Nature. His Consorts of Birds may be as full and harmonious, and his Woods as thick and gloomy as he pleases. He is at no more Expence in a long Vista, than a short one, and can as easily throw his Cascades from a Precipice of half a Mile high, as from one of twenty Yards. He has his Choice of the Winds, and can turn the Course of his Rivers in all the Variety of Meanders, that are most delightful to the Reader's Imagination. In a word, he has the modelling of Nature in his own Hands, and may give her what Charms he pleases, provided he does not reform her too much, and run into Absurdities, by endeavouring to excel.

O.



[Footnote 1: that]

[Footnote 2: that]



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No. 419. Tuesday, July 1, 1712. Addison.



'—mentis gratissimus Error.'

Hor.

There is a kind of Writing, wherein the Poet quite loses Sight of Nature, and entertains his Reader's Imagination with the Characters and Actions of such Persons as have many of them no Existence, but what he bestows on them. Such are Fairies, Witches, Magicians, Demons, and departed Spirits. This Mr. Dryden calls the Fairy Way of Writing, which is, indeed, more difficult than any other that depends on the Poet's Fancy, because he has no Pattern to follow in it, and must work altogether out of his own Invention.

There is a very odd Turn of Thought required for this sort of Writing, and it is impossible for a Poet to succeed in it, who has not a particular Cast of Fancy, and an Imagination naturally fruitful and superstitious. Besides this, he ought to be very well versed in Legends and Fables, antiquated Romances, and the Traditions of Nurses and old Women, that he may fall in with our natural Prejudices, and humour those Notions which we have imbibed in our Infancy. For otherwise he will be apt to make his Fairies talk like People of his own Species, and not like other Setts of Beings, who converse with different Objects, and think in a different Manner from that of Mankind;

'Sylvis deducti caveant, me Judice, Fauni Ne velut innati triviis ac poene forenses Aut nimium teneris juvenentur versibus'

[Hor.]

I do not say with Mr. Bays in the Rehearsal, that Spirits must not be confined to speak Sense, but it is certain their Sense ought to be a little discoloured, that it may seem particular, and proper to the Person and the Condition of the Speaker.

These Descriptions raise a pleasing kind of Horrour in the Mind of the Reader, and amuse his Imagination with the Strangeness and Novelty of the Persons who are represented in them. They bring up into our Memory the Stories we have heard in our Childhood, and favour those secret Terrors and Apprehensions to which the Mind of Man is naturally subject. We are pleased with surveying the different Habits and Behaviours of Foreign Countries, how much more must we be delighted and surprised when we are led, as it were, into a new Creation, and see the Persons and Manners of another Species? Men of cold Fancies, and Philosophical Dispositions, object to this kind of Poetry, that it has not Probability enough to affect the Imagination. But to this it may be answered, that we are sure, in general, there are many Intellectual Beings in the World besides our selves, and several Species of Spirits, who are subject to different Laws and Oeconomies from those of Mankind; when we see, therefore, any of these represented naturally, we cannot look upon the Representation as altogether impossible; nay, many are prepossest with such false Opinions, as dispose them to believe these particular Delusions; at least, we have all heard so many pleasing Relations in favour of them, that we do not care for seeing through the Falshood, and willingly give our selves up to so agreeable an Imposture.

The Ancients have not much of this Poetry among them, for, indeed, almost the whole Substance of it owes its Original to the Darkness and Superstition of later Ages, when pious Frauds were made use of to amuse Mankind, and frighten them into a Sense of their Duty. Our Forefathers look'd upon Nature with more Reverence and Horrour, before the World was enlightened by Learning and Philosophy, and lov'd to astonish themselves with the Apprehensions of Witchcraft, Prodigies, Charms and Enchantments. There was not a Village in England, that had not a Ghost in it, the Church-yards were all haunted, every large Common had a Circle of Fairies belonging to it, and there was scarce a Shepherd to be met with who had not seen a Spirit.

Among all the Poets of this Kind our English are much the best, by what I have yet seen; whether it be that we abound with more Stories of this Nature, or that the Genius of our Country is fitter for this sort of Poetry. For the English are naturally fanciful, and very often disposed by that Gloominess and Melancholy of Temper, which is so frequent in our Nation, to many wild Notions and Visions, to which others are not so liable.

Among the English, Shakespear has incomparably excelled all others. That noble Extravagance of Fancy which he had in so great Perfection, thoroughly qualified him to touch this weak superstitious Part of his Reader's Imagination; and made him capable of succeeding, where he had nothing to support him besides the Strength of his own Genius. There is something so wild and yet so solemn in the Speeches of his Ghosts, Fairies, Witches and the like Imaginary Persons, that we cannot forbear thinking them natural, tho' we have no rule by which to judge of them, and must confess, if there are such Beings in the World, it looks highly probable that they should talk and act as he has represented them.

There is another sort of imaginary Beings, that we sometimes meet with among the Poets, when the Author represents any Passion, Appetite, Virtue or Vice, under a visible Shape, and makes it a Person or an Actor in his Poem. Of this Nature are the Descriptions of Hunger and Envy in Ovid, of Fame in Virgil, and of Sin and Death in Milton. We find a whole Creation of the like Shadowy Persons in Spencer, who had an admirable Talent in Representations of this kind. I have discoursed of these Emblematical Persons in former Papers, and shall therefore only mention them in this Place. Thus we see how many Ways Poetry addresses it self to the Imagination, as it has not only the whole Circle of Nature for its Province, but makes new Worlds of its own, shews us Persons who are not to be found in Being, and represents even the Faculties of the Soul, with her several Virtues and Vices, in a sensible Shape and Character.

I shall, in my two following Papers, consider in general, how other kinds of Writing are qualified to please the Imagination, with which I intend to conclude this Essay.

O.



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No. 420 Wednesday, July 2, 1712. Addison.



'Quocunque volunt mentem Auditoris agunto.'

Hor.



As the Writers in Poetry and Fiction borrow their several Materials from outward Objects, and join them together at their own Pleasure, there are others who are obliged to follow Nature more closely, and to take entire Scenes out of her. Such are Historians, natural Philosophers, Travellers, Geographers, and in a Word, all who describe visible Objects of a real Existence.

It is the most agreeable Talent of an Historian, to be able to draw up his Armies and fight his Battels in proper Expressions, to set before our Eyes the Divisions, Cabals, and Jealousies of great Men, and to lead us Step by Step into the several Actions and Events of his History. We love to see the Subject unfolding it self by just Degrees, and breaking upon us insensibly, that so we may be kept in a pleasing Suspense, and have time given us to raise our Expectations, and to side with one of the Parties concerned in the Relation. I confess this shews more the Art than the Veracity of the Historian, but I am only to speak of him as he is qualified to please the Imagination. And in this respect Livy has, perhaps, excelled all who went before him, or have written since his Time. He describes every thing in so lively a Manner, that his whole History is an admirable Picture, and touches on such proper Circumstances in every Story, that his Reader becomes a kind of Spectator, and feels in himself all the Variety of Passions which are correspondent to the several Parts of the Relation.

But among this Sett of Writers there are none who more gratifie and enlarge the Imagination, than the Authors of the new Philosophy, whether we consider their Theories of the Earth or Heavens, the Discoveries they have made by Glasses, or any other of their Contemplations on Nature. We are not a little pleased to find every green Leaf swarm with Millions of Animals, that at their largest Growth are not visible to the naked Eye. There is something very engaging to the Fancy, as well as to our Reason, in the Treatises of Metals, Minerals, Plants, and Meteors. But when we survey the whole Earth at once, and the several Planets that lie within its Neighbourhood, we are filled with a pleasing Astonishment, to see so many Worlds hanging one above another, and sliding round their Axles in such an amazing Pomp and Solemnity. If, after this, we contemplate those wild Fields of Ether, that reach in Height as far as from Saturn to the fixt Stars, and run abroad almost to an Infinitude, our Imagination finds its Capacity filled with so immense a Prospect, and puts it self upon the Stretch to comprehend it. But if we yet rise higher, and consider the fixt Stars as so many vast Oceans of Flame, that are each of them attended with a different Sett of Planets, and still discover new Firmaments and new Lights that are sunk farther in those unfathomable Depths of Ether, so as not to be seen by the strongest of our Telescopes, we are lost in such a Labyrinth of Suns and Worlds, and confounded with the Immensity and Magnificence of Nature.

Nothing is more pleasant to the Fancy, than to enlarge it self by Degrees, in its Contemplation of the various Proportions [which [1]] its several Objects bear to each other, when it compares the Body of Man to the Bulk of the whole Earth, the Earth to the Circle it describes round the Sun, that Circle to the Sphere of the fixt Stars, the sphere of the fixt Stars to the Circuit of the whole Creation, the whole Creation it self to the infinite Space that is every where diffused about it; or when the Imagination works downward, and considers the Bulk of a human Body in respect of an Animal, a hundred times less than a Mite, the particular Limbs of such an Animal, the different Springs [which [2]] actuate the Limbs, the Spirits which set these Springs a going, and the proportionable Minuteness of these several Parts, before they have arrived at their full Growth and Perfection. But if, after all this, we take the least Particle of these Animal Spirits, and consider its Capacity of being Wrought into a World, that shall contain within those narrow Dimensions a Heaven and Earth, Stars and Planets, and every different Species of living Creatures, in the same Analogy and Proportion they bear to each other in our own Universe; such a Speculation, by reason of its Nicety, appears ridiculous to those who have not turned their Thoughts that way, though at the same time it is founded on no less than the Evidence of a Demonstration. Nay, we might yet carry it farther, and discover in the smallest Particle of this little World a new and inexhausted Fund of Matter, capable of being spun out into another Universe.

I have dwelt the longer on this Subject, because I think it may shew us the proper Limits, as well as the Defectiveness of our Imagination; how it is confined to a very small Quantity of Space, and immediately stopt in its Operations, when it endeavours to take in any thing that is very great, or very little. Let a Man try to conceive the different Bulk of an Animal, which is twenty, from another which is a hundred times less than a Mite, or to compare, in his Thoughts, a length of a thousand Diameters of the Earth, with that of a Million, and he will quickly find that he has no different Measures in his Mind, adjusted to such extraordinary Degrees of Grandeur or Minuteness. The Understanding, indeed, opens an infinite Space on every side of us, but the Imagination, after a few faint Efforts, is immediately at a stand, and finds her self swallowed up in the Immensity of the Void that surrounds it: Our Reason can pursue a Particle of Matter through an infinite Variety of Divisions, but the Fancy soon loses sight of it, and feels in it self a kind of Chasm, that wants to be filled with Matter of a more sensible Bulk. We can neither widen, nor contract the Faculty to the Dimensions of either Extreme. The Object is too big for our Capacity, when we would comprehend the Circumference of a World, and dwindles into nothing, when we endeavour after the Idea of an Atome.

It is possible this defect of Imagination may not be in the Soul it self, but as it acts in Conjunction with the Body. Perhaps there may not be room in the Brain for such a variety of Impressions, or the Animal Spirits may be incapable of figuring them in such a manner, as is necessary to excite so very large or very minute Ideas. However it be, we may well suppose that Beings of a higher Nature very much excel us in this respect, as it is probable the Soul of Man will be infinitely more perfect hereafter in this Faculty, as well as in all the rest; insomuch that, perhaps, the Imagination will be able to keep Pace with the Understanding, and to form in it self distinct Ideas of all the different Modes and Quantities of Space.

O.



[Footnote 1: [that]]

[Footnote 2: [that]]



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No. 421. Thursday, July 3, 1712. Addison.



'Ignotis errare locis, ignota videre Flumina gaudebat; studio minuente laborem.'

Ovid.



The Pleasures of the Imagination are not wholly confined to such particular Authors as are conversant in material Objects, but are often to be met with among the Polite Masters of Morality, Criticism, and other Speculations abstracted from Matter, who, tho' they do not directly treat of the visible Parts of Nature, often draw from them their Similitudes, Metaphors, and Allegories. By these Allusions a Truth in the Understanding is as it were reflected by the Imagination; we are able to see something like Colour and Shape in a Notion, and to discover a Scheme of Thoughts traced out upon Matter. And here the Mind receives a great deal of Satisfaction, and has two of its Faculties gratified at the same time, while the Fancy is busie in copying after the Understanding, and transcribing Ideas out of the Intellectual World into the Material.

The Great Art of a Writer shews it self in the Choice of pleasing Allusions, which are generally to be taken from the great or beautiful Works of Art or Nature; for though whatever is New or Uncommon is apt to delight the Imagination, the chief Design of an Allusion being to illustrate and explain the Passages of an Author, it should be always borrowed from what is more known and common, than the Passages which are to be explained.

Allegories, when well chosen, are like so many Tracks of Light in a Discourse, that make every thing about them clear and beautiful. A noble Metaphor, when it is placed to an Advantage, casts a kind of Glory round it, and darts a Lustre through a whole Sentence: These different Kinds of Allusion are but so many different Manners of Similitude, and, that they may please the Imagination, the Likeness ought to be very exact, or very agreeable, as we love to see a Picture where the Resemblance is just, or the Posture and Air graceful. But we often find eminent Writers very faulty in this respect; great Scholars are apt to fetch their Comparisons and Allusions from the Sciences in which they are most conversant, so that a Man may see the Compass of their Learning in a Treatise on the most indifferent Subject. I have read a Discourse upon Love, which none but a profound Chymist could understand, and have heard many a Sermon that should only have been preached before a Congregation of Cartesians. On the contrary, your Men of Business usually have recourse to such Instances as are too mean and familiar. They are for drawing the Reader into a Game of Chess or Tennis, or for leading him from Shop to Shop, in the Cant of particular Trades and Employments. It is certain, there may be found an infinite Variety of very agreeable Allusions in both these kinds, but for the generality, the most entertaining ones lie in the Works of Nature, which are obvious to all Capacities, and more delightful than what is to be found in Arts and Sciences.

It is this Talent of affecting the Imagination, that gives an Embellishment to good Sense, and makes one Man's Compositions more agreeable than another's. It sets off all Writings in general, but is the very Life and highest Perfection of Poetry: Where it shines in an Eminent Degree, it has preserved several Poems for many Ages, that have nothing else to recommend them; and where all the other Beauties are present, the Work appears dry and insipid, if this single one be wanting. It has something in it like Creation; It bestows a kind of Existence, and draws up to the Reader's View several Objects which are not to be found in Being. It makes Additions to Nature, and gives a greater Variety to God's Works. In a Word, it is able to beautifie and adorn the most illustrious Scenes in the Universe, or to fill the Mind with more glorious Shows and Apparitions, than can be found in any Part of it.

We have now discovered the several Originals of those Pleasures that gratify the Fancy; and here, perhaps, it would not be very difficult to cast under their proper Heads those contrary Objects, which are apt to fill it with Distaste and Terrour; for the Imagination is as liable to Pain as Pleasure. When the Brain is hurt by any Accident, or the Mind disordered by Dreams or Sickness, the Fancy is over-run with wild dismal Ideas, and terrified with a thousand hideous Monsters of its own framing.

'Eumenidum veluti demens videt Agmina Pentheus, Et solem geminum, et duplices se ostendere Thebas. Aut Agamemnonius scenis agitatus Orestes, Armatam facibus matrem et serpentibus atris Cum videt, ultricesque sedent in limine Dirae.'

Vir.

There is not a Sight in Nature so mortifying as that of a Distracted Person, when his Imagination is troubled, and his whole Soul disordered and confused. Babylon in Ruins is not so melancholy a Spectacle. But to quit so disagreeable a Subject, I shall only consider, by way of Conclusion, what an infinite Advantage this Faculty gives an Almighty Being over the Soul of Man, and how great a measure of Happiness or Misery we are capable of receiving from the Imagination only.

We have already seen the Influence that one Man has over the Fancy of another, and with what Ease he conveys into it a Variety of Imagery; how great a Power then may we suppose lodged in him, who knows all the ways of affecting the Imagination, who can infuse what Ideas he pleases, and fill those Ideas with Terrour and Delight to what Degree he thinks fit? He can excite Images in the Mind, without the help of Words, and make Scenes rise up before us and seem present to the Eye without the Assistance of Bodies or Exterior Objects. He can transport the Imagination with such beautiful and glorious Visions, as cannot possibly enter into our present Conceptions, or haunt it with such ghastly Spectres and Apparitions, as would make us hope for Annihilation, and think Existence no better than a Curse. In short, he can so exquisitely ravish or torture the Soul through this single Faculty, as might suffice to make up the whole Heaven or Hell of any finite Being.

This Essay on the Pleasures of the Imagination having been published in separate Papers, I shall conclude it with a Table of the principal Contents in each Paper.

The CONTENTS.

PAPER I. [No. 411, Volume 2.]

The Perfection of our Sight above our other Senses. The Pleasures of the Imagination arise originally from Sight. The Pleasures of the Imagination divided under two Heads. The Pleasures of the Imagination in some Respects equal to those of the Understanding. The Extent of the Pleasures of the Imagination. The Advantages a Man receives from a Relish of these Pleasures. In what Respect they are preferable to those of the Understanding.

PAPER II. [No. 412, Volume 2.]

Three Sources of all the Pleasures of the Imagination, in our Survey of outward Objects. How what is Great pleases the Imagination. How what is New pleases the Imagination. How what is Beautiful in our own Species, pleases the Imagination. How what is Beautiful in general pleases the Imagination. What other Accidental Causes may contribute to the heightening of these Pleasures.

PAPER III. [No. 413, Volume 2.]

Why the Necessary Cause of our being pleased with what is Great, New, or Beautiful, unknown. Why the Final Cause more known and more useful. The Final Cause of our being pleased with what is Great. The Final Cause of our being pleased with what is New. The Final Cause of our being pleased with what is Beautiful in our own Species. The Final Cause of our being pleased with what is Beautiful in general.

PAPER IV. [No. 414, Volume 2.]

The Works of Nature more pleasant to the Imagination than those of Art. The Works of Nature still more pleasant, the more they resemble those of Art. The Works of Art more pleasant, the more they resemble those of Nature. Our English Plantations and Gardens considered in the foregoing Light.

PAPER V. [No. 415, Volume 2.]

Of Architecture as it affects the Imagination. Greatness in Architecture relates either to the Bulk or to the Manner. Greatness of Bulk in the Ancient Oriental Buildings. The ancient Accounts of these Buildings confirm'd,

1. From the Advantages, for raising such Works, in the first Ages of the World and in the Eastern Climates:

2. From several of them which are still extant.

Instances how Greatness of Manner affects the Imagination. A French Author's Observation on this Subject. Why Concave and Convex Figures give a Greatness of Manner to Works of Architecture. Every thing that pleases the Imagination in Architecture is either Great, Beautiful, or New.

PAPER VI. [No. 416, Volume 2.]

The Secondary Pleasures of the Imagination. The several Sources of these Pleasures (Statuary, Painting, Description and Musick) compared together. The Final Cause of our receiving Pleasure from these several Sources. Of Descriptions in particular. The Power of Words over the Imagination. Why one Reader more pleased with Descriptions than another.

PAPER VII. [No. 417, Volume 3.]

How a whole Set of Ideas Hang together, &c. A Natural Cause assigned for it. How to perfect the Imagination of a Writer. Who among the Ancient Poets had this Faculty in its greatest Perfection. Homer excelled in Imagining what is Great; Virgil in Imagining what is Beautiful; Ovid in imagining what is New. Our own Country-man Milton very perfect in all three respects.

PAPER VIII. [No. 418, Volume 3.]

Why any thing that is unpleasant to behold, pleases the Imagination when well described. Why the Imagination receives a more Exquisite Pleasure from the Description of what is Great, New, or Beautiful. The Pleasure still heightned, if—what is described raises Passion in the Mind. Disagreeable Passions pleasing when raised by apt Descriptions. Why Terror and Grief are pleasing to the Mind when excited by Descriptions. A particular Advantage the Writers in Poetry and Fiction have to please the Imagination. What Liberties are allowed them.

PAPER IX. [No. 419, Volume 3.]

Of that kind of Poetry which Mr. Dryden calls the Fairy Way of Writing. How a Poet should be Qualified for it. The Pleasures of the Imagination that arise from it. In this respect why the Moderns excell the Ancients. Why the English excell the Moderns. Who the Best among the English. Of Emblematical Persons.

PAPER X. [No. 420, Volume 3.]

What Authors please the Imagination who have nothing to do with Fiction. How History pleases the Imagination. How the Authors of the new Philosophy please the Imagination. The Bounds and Defects of the Imagination. Whether these Defects are Essential to the Imagination.

PAPER XI. [No. 421, Volume 3.]

How those please the Imagination who treat of Subjects abstracted from Matter, by Allusions taken from it. What Allusions most pleasing to the Imagination. Great Writers how Faulty in this Respect. Of the Art of Imagining in General. The Imagination capable of Pain as well as Pleasure. In what Degree the Imagination is capable either of Pain or Pleasure.

O.



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No. 422. Friday, July 4, 1712. Steele.



'Haec scripsi non otii abundantia sed amoris erga te.'

Tull. Epis.



I do not know any thing which gives greater Disturbance to Conversation, than the false Notion some People have of Raillery. It ought certainly to be the first Point to be aimed at in Society, to gain the good Will of those with whom you converse. The Way to that, is to shew you are well inclined towards them: What then can be more absurd, than to set up for being extremely sharp and biting, as the Term is, in your Expressions to your Familiars? A Man who has no good Quality but Courage, is in a very ill way towards making an agreeable Figure in the World, because that which he has superior to other People cannot be exerted, without raising himself an Enemy. Your Gentleman of a Satyrical Vein is in the like Condition. To say a Thing which perplexes the Heart of him you speak to, or brings Blushes into his Face, is a degree of Murder; and it is, I think, an unpardonable Offence to shew a Man you do not care, whether he is pleased or displeased. But won't you then take a Jest? Yes: but pray let it be a Jest. It is no Jest to put me, who am so unhappy as to have an utter Aversion to speaking to more than one Man at a time, under a Necessity to explain my self in much Company, and reducing me to Shame and Derision, except I perform what my Infirmity of Silence disables me to do.

Callisthenes has great Wit accompanied with that Quality (without which a Man can have no Wit at all) a Sound Judgment. This Gentleman rallies the best of any Man I know, for he forms his Ridicule upon a Circumstance which you are in your Heart not unwilling to grant him, to wit, that you are Guilty of an Excess in something which is in it self laudable. He very well understands what you would be, and needs not fear your Anger for declaring you are a little too much that Thing. The Generous will bear being reproached as Lavish, and the Valiant, Rash, without being provoked to Resentment against their Monitor. What has been said to be a Mark of a good Writer, will fall in with the Character of a good Companion. The good Writer makes his Reader better pleased with himself, and the agreeable Man makes his Friends enjoy themselves, rather than him, while he is in their Company. Callisthenes does this with inimitable Pleasantry. He whispered a Friend the other Day, so as to be overheard by a young Officer, who gave Symptoms of Cocking upon the Company, That Gentleman has very much of the Air of a General Officer. The Youth immediately put on a Composed Behaviour, and behaved himself suitably to the Conceptions he believed the Company had of him. It is to be allowed that Callisthenes will make a Man run into impertinent Relations, to his own Advantage, and express the Satisfaction he has in his own dear self till he is very ridiculous, but in this case the Man is made a Fool by his own Consent, and not exposed as such whether he will or no. I take it therefore that to make Raillery agreeable, a Man must either not know he is rallied, or think never the worse of himself if he sees he is.

Acetus is of a quite contrary Genius, and is more generally admired than Callisthenes, but not with Justice. Acetus has no regard to the Modesty or Weakness of the Person he rallies; but if his Quality or Humility gives him any Superiority to the Man he would fall upon, he has no Mercy in making the Onset. He can be pleased to see his best Friend out of Countenance, while the Laugh is loud in his own Applause. His Raillery always puts the Company into little Divisions and separate Interests, while that of Callisthenes cements it, and makes every Man not only better pleased with himself, but also with all the rest in the Conversation.

To rally well, it is absolutely necessary that Kindness must run thro' all you say, and you must ever preserve the Character of a Friend to support your Pretensions to be free with a Man. Acetus ought to be banished human Society, because he raises his Mirth upon giving Pain to the Person upon whom he is pleasant. Nothing but the Malevolence, which is too general towards those who excell, could make his Company tolerated; but they with whom he converses, are sure to see some Man sacrificed where-ever he is admitted, and all the Credit he has for Wit is owing to the Gratification it gives to other Men's Ill-nature.

Minutius has a Wit that conciliates a Man's Love at the same time that it is exerted against his Faults. He has an Art of keeping the Person he rallies in Countenance, by insinuating that he himself is guilty of the same Imperfection. This he does with so much Address, that he seems rather to bewail himself, than fall upon his Friend.

It is really monstrous to see how unaccountably it prevails among Men, to take the Liberty of displeasing each other. One would think sometimes that the Contention is, who shall be most disagreeable, Allusions to past Follies, Hints which revive what a Man has a Mind to forget for ever, and deserves that all the rest of the World should, are commonly brought forth even in Company of Men of Distinction. They do not thrust with the Skill of Fencers, but cut up with the Barbarity of Butchers. It is, methinks, below the Character of Men of Humanity and Good-manners, to be capable of Mirth while there is any one of the Company in Pain and Disorder. They who have the true Taste of Conversation, enjoy themselves in a Communication of each other's Excellencies, and not in a Triumph over their Imperfections. Fortius would have been reckoned a Wit, if there had never been a Fool in the World: He wants not Foils to be a Beauty, but has that natural Pleasure in observing Perfection in others, that his own Faults are overlooked out of Gratitude by all his Acquaintance.

After these several Characters of Men who succeed or fail in Raillery, it may not be amiss to reflect a little further what one takes to be the most agreeable Kind of it; and that to me appears when the Satyr is directed against Vice, with an Air of Contempt of the Fault, but no Ill-will to the Criminal. Mr. Congreve's Doris is a Master-piece in this Kind. It is the Character of a Woman utterly abandoned, but her Impudence by the finest Piece of Raillery is made only Generosity.

'Peculiar therefore is her Way, Whether by Nature taught, I shall not undertake to say, Or by experience bought;

For who o'er Night obtain'd her Grace, She can next Day disown, And stare upon the strange Man's Face, As one she ne'er had known,

So well she can the Truth disguise, Such artful Wonder frame, The Lover or distrusts his Eyes, Or thinks 'twas all a Dream.

Some censure this as lewd or low, Who are to Bounty blind; For to forget what we bestow, Bespeaks a noble Mind.'

T.



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No. 423. Saturday, July 5, 1712. Steele.



'—Nuper Idoneus.'

Hor.



I look upon my self as a Kind of Guardian to the Fair, and am always watchful to observe any thing which concerns their Interest. The present Paper shall be employed in the Service of a very fine young Woman; and the Admonitions I give her, may not be unuseful to the rest of the Sex. Gloriana shall be the Name of the Heroine in To-day's Entertainment; and when I have told you that she is rich, witty, young and beautiful, you will believe she does not want Admirers. She has had since she came to Town about twenty five of those Lovers, who make their Addresses by way of Jointure and Settlement. These come and go, with great Indifference on both Sides; and as beauteous as she is, a Line in a Deed has had Exception enough against it, to outweigh the Lustre of her Eyes, the Readiness of her Understanding, and the Merit of her general Character. But among the Crowd of such cool Adorers, she has two who are very assiduous in their Attendance. There is something so extraordinary and artful in their Manner of Application, that I think it but common Justice to alarm her in it. I have done it in the following Letter.

Madam,

'I have for some time taken Notice of two Gentlemen who attend you in all publick Places, both of whom have also easie Access to you at your own House: But the Matter is adjusted between them, and Damon, who so passionately addresses you, has no Design upon you; but Strephon, who seems to be indifferent to you, is the Man, who is, as they have settled it, to have you. The Plot was laid over a Bottle of Wine; and Strephon, when he first thought of you, proposed to Damon to be his Rival. The manner of his breaking of it to him, I was so placed at a Tavern, that I could not avoid hearing. Damon, said he with a deep Sigh, I have long languished for that Miracle of Beauty Gloriana, and if you will be very stedfastly my Rival, I shall certainly obtain her. Do not, continued he, be offended at this Overture; for I go upon the Knowledge of the Temper of the Woman, rather than any Vanity that I should profit by an Opposition of your Pretensions to those of your humble Servant. Gloriana has very good Sense, a quick Relish of the Satisfactions of Life, and will not give her self, as the Crowd of Women do, to the Arms of a Man to whom she is indifferent. As she is a sensible Woman, Expressions of Rapture and Adoration will not move her neither; but he that has her must be the Object of her Desire, not her Pity. The Way to this End I take to be, that a Man's general Conduct should be agreeable, without addressing in particular to the Woman he loves. Now, Sir, if you will be so kind as to sigh and die for Gloriana, I will carry it with great Respect towards her, but seem void of any Thoughts as a Lover. By this Means I shall be in the most amiable Light of which I am capable; I shall be received with Freedom, you with Reserve. Damon, who has himself no Designs of Marriage at all, easily fell into the Scheme; and you may observe, that where-ever you are Damon appears also. You see he carries on an unaffecting Exactness in his Dress and Manner, and strives always to be the very Contrary of Strephon. They have already succeeded so far, that your Eyes are ever in Search of Strephon, and turn themselves of Course from Damon. They meet and compare Notes upon your Carriage; and the Letter which, was brought to you the other Day, was a Contrivance to remark your Resentment. When you saw the Billet subscribed Damon, and turned away with a scornful Air, and cried Impertinence! you gave Hopes to him that shuns you, without mortifying him that languishes for you. What I am concerned for, Madam, is, that in the disposal of your Heart, you should know what you are doing, and examine it before it is lost. Strephon contradicts you in Discourse with the Civility of one who has a Value for you, but gives up nothing like one that loves you. This seeming Unconcern gives this Behaviour the advantage of Sincerity, and insensibly obtains your good Opinion, by appearing disinterested in the purchase of it. If you watch these Correspondents hereafter, you will find that Strephon makes his Visit of Civility immediately after Damon has tired you with one of Love. Tho' you are very discreet, you will find it no easie matter to escape the Toils so well laid, as when one studies to be disagreeable in Passion, the other to be pleasing without it. All the Turns of your Temper are carefully watched, and their quick and faithful Intelligence gives your Lovers irresistible Advantage. You will please, Madam, to be upon your guard, and take all the necessary Precautions against one who is amiable to you before you know he is enamoured.

I am, Madam, Your most Obedient Servant.

Strephon makes great Progress in this Lady's good Graces, for most Women being actuated by some little Spirit of Pride and Contradiction, he has the good effects of both those Motives by this Covert-Way of Courtship. He received a Message Yesterday from Damon in the following Words, superscribed With Speed.

'All goes well; she is very angry at me, and I dare say hates me in earnest. It is a good time to Visit. Yours.'

The Comparison of Strephon's Gayety to Damon's Languishment, strikes her Imagination with a Prospect of very agreeable Hours with such a Man as the former, and Abhorrence of the insipid Prospect with one like the latter. To know when a Lady is displeased with another, is to know the best time of advancing your self. This method of two Persons playing into each other's Hand is so dangerous, that I cannot tell how a Woman could be able to withstand such a Siege. The Condition of Gloriana, I am afraid, is irretrievable, for Strephon has had so many Opportunities of pleasing without suspicion, that all which is left for her to do is to bring him, now she is advised, to an Explanation of his Passion, and beginning again, if she can conquer the kind Sentiments she has already conceived for him. When one shews himself a Creature to be avoided, the other proper to be fled to for Succour, they have the whole Woman between them, and can occasionally rebound her Love and Hatred from one to the other, in such a manner as to keep her at a distance from all the rest of the World, and cast Lots for the Conquest.

N. B. I have many other Secrets which concern the Empire of Love, but I consider that while I alarm my Women, I instruct my Men.

T.



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No. 424. Monday, July 7, 1712. Steele



'Est Ulubris, animus si te non deficit—'

Hor.



London, June 24.

Mr. Spectator,

'A man who has it in his Power to chuse his own Company, would certainly be much to blame should he not, to the best of his Judgment, take such as are of a Temper most suitable to his own; and where that Choice is wanting, or where a Man is mistaken in his Choice, and yet under a Necessity of continuing in the same Company, it will certainly be to his Interest to carry himself as easily as possible.

'In this I am sensible I do but repeat what has been said a thousand times, at which however I think no Body has any Title to take Exception, but they who never failed to put this in Practice—Not to use any longer Preface, this being the Season of the Year in which great Numbers of all sorts of People retire from this Place of Business and Pleasure to Country Solitude, I think it not improper to advise them to take with them as great a Stock of Good-humour as they can; for tho' a Country-Life is described as the most pleasant of all others, and though it may in Truth be so, yet it is so only to those who know how to enjoy Leisure and Retirement.

'As for those who can't live without the constant helps of Business or Company, let them consider, that in the Country there is no Exchange, there are no Play-houses, no Variety of Coffee-houses, nor many of those other Amusements which serve here as so many Reliefs from the repeated Occurrences in their own Families; but that there the greatest Part of their Time must be spent within themselves, and consequently it behoves them to consider how agreeable it will be to them before they leave this dear Town.

'I remember, Mr. SPECTATOR, we were very well entertained last Year, with the Advices you gave us from Sir ROGER'S Country Seat; which I the rather mention, because 'tis almost impossible not to live pleasantly, where the Master of a Family is such a one as you there describe your Friend, who cannot therefore (I mean as to his domestick Character) be too often recommended to the Imitation of others. How amiable is that Affability and Benevolence with which he treats his Neighbours, and every one, even the meanest of his own Family! And yet how seldom imitated? instead of which we commonly meet with ill-natured Expostulations, Noise, and Chidings—And this I hinted, because the Humour and Disposition of the Head, is what chiefly influences all the other Parts of a Family.

'An Agreement and kind Correspondence between Friends and Acquaintance, is the greatest Pleasure of Life. This is an undoubted Truth, and yet any Man who judges from the Practice of the World, will be almost persuaded to believe the contrary; for how can we suppose People should be so industrious to make themselves uneasie? What can engage them to entertain and foment Jealousies of one another upon every the least Occasion? Yet so it is, there are People who (as it should seem) delight in being troublesome and vexatious, who (as Tully speaks) Mira sunt alacritate ad litigandum, Have a certain Chearfulness in wrangling. And thus it happens, that there are very few Families in which there are not Feuds and Animosities, tho' 'tis every one's Interest, there more particularly, to avoid 'em, because there (as I would willingly hope) no one gives another Uneasiness, without feeling some share of it—But I am gone beyond what I designed, and had almost forgot what I chiefly proposed; which was, barely to tell you, how hardly we who pass most of our Time in Town dispense with a long Vacation in the Country, how uneasie we grow to our selves and to one another when our Conversation is confined, insomuch that by Michaelmas 'tis odds but we come to downright squabbling, and make as free with one another to our Faces, as we do with the rest of the World behind their Backs. After I have told you this, I am to desire that you would now and then give us a Lesson of Good-humour, a Family-Piece; which, since we are all very fond of you, I hope may have some Influence upon us—

'After these plain Observations give me leave to give you an Hint of what a Set of Company of my Acquaintance, who are now gone into the Country, and have the Use of an absent Nobleman's Seat, have settled among themselves, to avoid the Inconveniencies above mentioned. They are a Collection of ten or twelve, of the same good Inclination towards each other, but of very different Talents and Inclinations: From hence they hope, that the Variety of their Tempers will only create Variety of Pleasures. But as there always will arise, among the same People, either for want of Diversity of Objects, or the like Causes, a certain Satiety, which may grow into ill Humour or Discontent, there is a large Wing of the House which they design to employ in the Nature of an Infirmary. Whoever says a peevish thing, or acts any thing which betrays a Sowerness or Indisposition to Company, is immediately to be conveyed to his Chambers in the Infirmary; from whence he is not to be relieved, till by his Manner of Submission, and the Sentiments expressed in his Petition for that Purpose, he appears to the Majority of the Company to be again fit for Society. You are to understand, that all ill-natured Words or uneasie Gestures are sufficient Cause for Banishment; speaking impatiently to Servants, making a Man repeat what he says, or any thing that betrays Inattention or Dishumour, are also criminal without Reprieve: But it is provided, that whoever observes the ill-natured Fit coming upon himself, and voluntarily retires, shall be received at his return from the Infirmary with the highest Marks of Esteem. By these and other wholesome Methods it is expected that if they cannot cure one another, yet at least they have taken Care that the ill Humour of one shall not be troublesome to the rest of the Company. There are many other Rules which the Society have established for the Preservation of their Ease and Tranquility, the Effects of which, with the Incidents that arise among them, shall be communicated to you from Time to Time for the publick Good, by,

SIR, Your most humble Servant, R. O.

T.



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No. 425. Tuesday, July 8, 1712. Budgell.



'Frigora mitescunt Zephyris, Ver proterit AEstas Interitura, simul Pomifer Autumnus fruges effuderit, et mox Bruma recurrit iners.'

Hor.



Mr. SPECTATOR,

'There is hardly any thing gives me a more sensible Delight, than the Enjoyment of a cool still Evening after the Uneasiness of a hot sultry Day. Such a one I passed not long ago, which made me rejoice when the Hour as come for the Sun to set, that I might enjoy the Freshness of the Evening in my Garden, which then affords me the pleasantest Hours I pass in the whole Four and twenty. I immediately rose from my Couch, and went down into it. You descend at first by twelve Stone Steps into a large Square divided into four Grass-plots, in each of which is a Statue of white Marble. This is separated from a large Parterre by a low Wall, and from thence, thro' a Pair of Iron Gates, you are led into a long broad Walk of the finest Turf, set on each Side with tall Yews, and on either Hand bordered by a Canal, which on the Right divides the Walk from a Wilderness parted into Variety of Allies and Arbours, and on the Left from a kind of Amphitheatre, which is the Receptacle of a great Number of Oranges and Myrtles. The Moon shone bright, and seemed then most agreeably to supply the Place of the Sun, obliging me with as much Light as was necessary to discover a thousand pleasing Objects, and at the same time divested of all Power of Heat. The Reflection of it in the Water, the Fanning of the Wind rustling on the Leaves, the Singing of the Thrush and Nightingale, and the Coolness of the Walks, all conspired to make me lay aside all displeasing Thoughts, and brought me into such a Tranquility of Mind, as is I believe the next Happiness to that of hereafter. In this sweet Retirement I naturally fell into the Repetition of some Lines out of a Poem of Milton's, which he entitles Il Penseroso, the Ideas of which were exquisitely suited to my present Wandrings of Thought.

'Sweet Bird! that shun'st the Noise of Folly, Most musical! most melancholy! Thee Chauntress, oft the Woods among, I wooe to hear thy Evening Song: And missing thee, I walk unseen On the dry smooth-shaven Green, To behold the wandring Moon, Riding near her highest Noon, Like one that hath been led astray, Thro' the Heavn's wide pathless Way, And oft, as if her Head she bow'd, Stooping thro' a fleecy Cloud.

Then let some strange mysterious Dream Wave with his Wings in airy Stream, Of lively Portraiture displaid, Softly on my Eyelids laid; And as I wake, sweet Musick breathe Above, about, or underneath, Sent by Spirits to Mortals Good, Or th' unseen Genius of the Wood.'

I reflected then upon the sweet Vicissitudes of Night and Day, on the charming Disposition of the Seasons, and their Return again in a perpetual Circle; and oh! said I, that I could from these my declining Years return again to my first Spring of Youth and Vigour; but that, alas! is impossible: All that remains within my Power, is to soften the Inconveniences I feel, with an easie contented Mind, and the Enjoyment of such Delights as this Solitude affords me. In this Thought I sate me down on a Bank of Flowers and dropt into a Slumber, which whether it were the Effect of Fumes and Vapours, or my present Thoughts, I know not; but methought the Genius of the Garden stood before me, and introduced into the Walk where I lay this Drama and different Scenes of the Revolution of the Year, which whilst I then saw, even in my Dream, I resolved to write down, and send to the SPECTATOR.

The first Person whom I saw advancing towards me was a Youth of a most beautiful Air and Shape, tho' he seemed not yet arrived at that exact Proportion and Symmetry of Parts which a little more time would have given him; but however, there was such a Bloom in his Countenance, such Satisfaction and Joy, that I thought it the most desirable Form that I had ever seen. He was cloathed in a flowing Mantle of green Silk, interwoven with Flowers: He had a Chaplet of Roses on his Head, and a Narcissus in his Hand; Primroses and Violets sprang up under his Feet, and all Nature was cheer'd at his Approach. Flora was on one Hand and Vertumnus on the other in a Robe of changeable Silk. After this I was surprized to see the Moon-beams reflected with a sudden Glare from Armour, and to see a Man compleatly armed advancing with his Sword drawn. I was soon informed by the Genius it was Mars, who had long usurp'd a Place among the Attendants of the Spring. He made Way for a softer Appearance, it was Venus, without any Ornament but her own Beauties, not so much as her own Cestus, with which she had incompass'd a Globe, which she held in her right Hand, and in her left she had a Sceptre of Gold. After her followed the Graces with their Arms intwined within one another, their Girdles were loosed, and they moved to the Sound of soft Musick, striking the Ground alternately with their Feet: Then came up the three Months which belong to this Season. As March advanced towards me, there was methought in his Look a louring Roughness, which ill befitted a Month which was ranked in so soft a Season; but as he came forwards his Features became insensibly more mild and gentle: He smooth'd his Brow, and looked with so sweet a Countenance that I could not but lament his Departure, though he made way for April. He appeared in the greatest Gaiety imaginable, and had a thousand Pleasures to attend him: His Look was frequently clouded, but immediately return'd to its first Composure, and remained fixed in a Smile. Then came May attended by Cupid, with his Bow strung, and in a Posture to let fly an Arrow: As he passed by methought I heard a confused Noise of soft Complaints, gentle Ecstacies, and tender Sighs of Lovers; Vows of Constancy, and as many Complainings of Perfidiousness; all which the Winds wafted away as soon as they had reached my Hearing. After these I saw a Man advance in the full Prime and Vigour of his Age, his Complexion was sanguine and ruddy, his Hair black, and fell down in beautiful Ringlets not beneath his Shoulders, a Mantle of Hair-colour'd Silk hung loosely upon him: He advanced with a hasty Step after the Spring, and sought out the Shade and cool Fountains which plaid in the Garden. He was particularly well pleased when a Troop of Zephyrs fanned him with their Wings: He had two Companions who walked on each Side that made him appear the most agreeable, the one was Aurora with Fingers of Roses, and her Feet dewy, attired in grey: The other was Vesper in a Robe of Azure beset with Drops of Gold, whose Breath he caught whilst it passed over a Bundle of Honey-Suckles and Tuberoses which he held in his Hand. Pan and Ceres followed them with four Reapers, who danced a Morrice to the Sound of Oaten Pipes and Cymbals. Then came the Attendant Months. June retained still some small Likeness of the Spring; but the other two seemed to step with a less vigorous Tread, especially August, who seem'd almost to faint whilst for half the Steps he took the Dog-Star levelled his Rays full at his Head: They passed on and made Way for a Person that seemed to bend a little under the Weight of Years; his Beard and Hair, which were full grown, were composed of an equal Number of black and grey; he wore a Robe which he had girt round him of a yellowish Cast, not unlike the Colour of fallen Leaves, which he walked upon. I thought he hardly made Amends for expelling the foregoing Scene by the large Quantity of Fruits which he bore in his Hands. Plenty walked by his Side with an healthy fresh Countenance, pouring out from an Horn all the various Product of the Year. Pomona followed with a Glass of Cyder in her Hand, with Bacchus in a Chariot drawn by Tygers, accompanied by a whole Troop of Satyrs, Fauns, and Sylvans. September, who came next, seem'd in his Looks to promise a new Spring, and wore the Livery of those Months. The succeeding Month was all soiled with the Juice of Grapes, as if he had just come from the Wine-Press. November, though he was in this Division, yet, by the many Stops he made seemed rather inclined to the Winter, which followed close at his Heels. He advanced in the Shape of an old Man in the Extremity of Age: The Hair he had was so very white it seem'd a real Snow; his Eyes were red and piercing, and his Beard hung with a great Quantity of Icicles: He was wrapt up in Furrs, but yet so pinched with Excess of Cold that his Limbs were all contracted and his Body bent to the Ground, so that he could not have supported himself had it not been for Comus the God of Revels, and Necessity the Mother of Fate, who sustained him on each side. The Shape and Mantle of Comus was one of the things that most surprized me; as he advanced towards me, his Countenance seemed the most desirable I had ever seen: On the fore Part of his Mantle was pictured Joy, Delight, and Satisfaction, with a thousand Emblems of Merriment, and Jests with Faces looking two Ways at once; but as he passed from me I was amazed at a Shape so little correspondent to his Face: His Head was bald, and all the rest of his Limbs appeared old and deformed. On the hinder Part of his Mantle was represented Murder with dishevelled Hair and a Dagger all bloody, Anger in a Robe of Scarlet, and Suspicion squinting with both Eyes; but above all the most conspicuous was the Battel of the Lapithae and the Centaurs. I detested so hideous a Shape, and turned my Eyes upon Saturn, who was stealing away behind him with a Scythe in one Hand, and an Hour-glass in t'other unobserved. Behind Necessity was Vesta the Goddess of Fire with a Lamp which was perpetually supply'd with Oyl; and whose Flame was eternal. She cheered the rugged Brow of Necessity, and warmed her so far as almost to make her assume the Features and Likeness of Choice. December, January, and February, passed on after the rest all in Furrs; there was little Distinction to be made amongst them, and they were only more or less displeasing as they discovered more or less Haste towards the grateful Return of Spring.