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of all be the most affecting, the most improving, and such of which the mind has the strongest comprehension.

For as to the affecting part, if it be true, that all events more or less affect us, as the subjects which they respect are more or less nearly related to us, then surely those events must needs be most affecting, to whose subjects we are of all the most intimately related. Now such is the relation which we bear to mankind; and men and human actions are the subjects here proposed for imitation.

As to improvement, there can be none surely (to man at least) so great, as that which is derived from a just and decent representation of human manners and sentiments. For what can more contribute to give us that master-knowledge, without which all other knowledge will prove of little or no utility?

As to our comprehension, there is nothing certainly of which we have so strong ideas, as of that which happens in the moral or human world. For as to the internal part, or active principle of the vegetable, we know it but obscurely; because there we can discover neither passion, nor sensation. In the animal world, indeed, this principle is more seen, and that from the passions and sensations which there declare themselves. Yet all still rests upon the mere evidence of sense; upon the force only of external and unassisted experience. But in the moral or human world, as we have a medium of knowledge far more accurate than this, so from hence it is that we can comprehend accordingly.

With regard, therefore, to the various events which happen

• ΓΝΩΘΙ ΣΑΥΤΟΝ. But further, be sides obtaining this moral science from the contemplation of human life, an end common both to epic, tragic, and comic poetry, there is a peculiar end to tragedy, that of eradicating the passions of pity and fear. Εστιν οὖν τραγῳδία μίμησις πράξεως σπουδαίας καὶ τελείας—δι ̓ ἐλέου καὶ φόβου περαίνουσα τὴν τῶν τοιούτων παθημάτων Kábaρow. Arist. Poet. c. 6. "Tragedy is the imitation of an action important and perfect, through pity and fear working the purgation of such-like passions."

There are none, it is evident, so devoid of these two passions, as those perpetually conversant, where the occasions of them are most frequent; such, for instance, as the military men, the professors of medicine, chirurgery, and the like. Their minds, by this intercourse, become, as it were, cal lous; gaining an apathy by experience, which no theory can ever teach them.

Now, that which is wrought in these men by the real disasters of life, may be supposed wrought in others by the fictions of tragedy; yet with this happy circumstance in favour of tragedy, that, without

the disasters being real, it can obtain the same end.

It must, however, for all this, be confessed, that an effect of this kind cannot reasonably be expected, except among nations, like the Athenians of old, who lived in a perpetual attendance upon these theatrical representations. For it is not a single or occasional application to these passions, but a constant and uninterrupted, by which alone they may be lessened or removed.

It would be improper to conclude this note, without observing, that the philosopher in this place by pity means not philanthropy, natural affection, a readiness to relieve others in their calamities and distress; but, by pity, he means that senseless effeminate consternation, which seizes weak minds, on the sudden prospect of any thing disastrous; which, in its more violent effects, is seen in shriekings, swoonings, &c. a passion, so far from laudable, or from operating to the good of others, that it is certain to deprive the party, who labours under its influence, of all capacity to do the least good office.

here, and the various causes by which they are produced; in other words, of all characters, manners, human passions, and sentiments; besides the evidence of sense, we have the highest evidence additional, in having an express consciousness of something similar within; of something homogeneous in the recesses of our own minds; in that which constitutes to each of us his true and real self.

These, therefore, being the subjects, not adapted to the genius of painting, it comes next to be considered, how far poetry can imitate them.

And, here, that it has abilities clearly equal, cannot be doubted; as it has that for the medium of its imitation, through which nature declares herself in the same subjects. For the sentiments in real life are only known by men's discourse.P And the characters, manners, and passions of men, being the prompters to what they say, it must needs follow, that their discourse will be a constant specimen of those characters, manners, and passions.

Format enim natura prius nos intus ad omnem

Fortunarum habitum; juvat, aut impellit ad iram:
Post effert animi motus, interprete lingua. 9

Not only, therefore, language is an adequate medium of imitation, but in sentiment it is the only medium; and in manners and passions there is no other which can exhibit them to us after that clear, precise, and definite way, as they in nature stand allotted to the various sorts of men, and are found to constitute the several characters of each."

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III. To compare, therefore, poetry, in these subjects, with painting: inasmuch as no subjects of painting are wholly superior to poetry; while the subjects, here described, far exceed the power of painting: inasmuch as they are, of all subjects, the most affecting and improving, and such of which we have the

P Page 36, note n.

4 Hor. de Art. Poet. 108.

It is true, indeed, that (besides what is done by poetry) there is some idea of character, which even painting can communicate.

Thus there is no doubt, but that such a countenance may be found by painters for Æneas, as would convey, upon view, a mild, humane, and yet a brave dis position. But then this idea would be vague and general. It would be concluded, only in the gross, that the hero was good. As to that system of qualities peculiar to #neas only, and which alone properly constitutes his true and real character, this would still remain a secret, and be no way discoverable. For how deduce it from the mere lincaments of a countenance? Or, if it were deducible, how few spectators would there be found so sagacious? It is here,

therefore, that recourse must be had, not to
painting, but to poetry. So accurate a con-
ception of character can be gathered only
from a succession of various and yet con-
sistent actions; a succession, enabling us
to conjecture, what the person of the drama
will do in the future, from what already he
has done in the past. Now, to such an
imitation, poetry only is equal; because it
is not bounded, like painting, to short, and,
as it were, instant events, but may imitate
subjects of any duration whatever. See
Arist. Poet. c. 6. Εστι δὲ ἦθος μὲν τὸ
τοιοῦτον, ὃ δηλοῖ τὴν προαίρεσιν ὁποῖα
τις ἐστὶν, ἐν οἷς οὐκ ἔστι δῆλον, εἰ προαι-
peîra & peúyei d λéywv. See also the in-
genious and learned Bossu, book iv. c. 4.
• Pages 28 and 34.
Page 37.

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strongest comprehension: further, inasmuch as poetry can most accurately imitate them :" inasmuch as, besides all imitation, there is a charm in poetry arising from its very numbers; whereas painting has pretence to no charm, except that of imitation only: lastly, (which will soon be shewn,') inasmuch as poetry is able to associate music as a most powerful ally, of which assistance painting is utterly incapable: from all this it may be fairly concluded, that poetry is not only equal, but that it is, in fact, far superior to its sister art of painting.

IV. But if it exceed painting, in subjects to which painting is not adapted, no doubt will it exceed music, in subjects to music not adapted. For here it has been preferred, even in those subjects which have been held adapted the best of all.

2

V. Poetry is, therefore, on the whole, much superior to either of the other mimetic arts; it having been shewn to be equally excellent in the accuracy of its imitation; and to imitate subjects which far surpass, as well in utility, as in dignity."

b

CHAPTER VI.

ON MUSIC, CONSIDERED NOT AS AN IMITATION, BUT AS DERIVING ITS EFFICACY FROM ANOTHER SOURCE. ON ITS JOINT OPERATION BY THIS MEANS WITH POETRY. AN OBJECTION TO MUSIC SOLVED. THE ADVANTAGE ARISING TO IT, AS WELL AS TO POETRY, FROM THEIR BEING UNITED. CONCLUSION.

d

In the above discourse, music has been mentioned as an ally to poetry. It has also been said to derive its efficacy from another source than imitation. It remains, therefore, that these things be explained.

Now, in order to this, it is first to be observed, that there are

" Page 38.

That there is a charm in poetry, arising from its numbers only, may be made evident from the five or six first lines of the Paradise Lost; where, without any pomp of phrase, sublimity of sentiment, or the least degree of imitation, every reader must find himself to be sensibly delighted; and that, only from the graceful and simple cadence of the numbers, and that artful variation of the casura, or pause, so essential to the harmony of every good poem.

An English heroic verse consists of ten semipeds, or half-feet. Now, in the lines above mentioned, the pauses are varied upon different semipeds in the order which follows; as may be seen by any, who

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various affections which may be raised by the power of music. There are sounds to make us cheerful, or sad; martial, or tender; and so of almost every other affection which we feel.

It is also further observable, that there is a reciprocal operation between our affections and our ideas; so that, by a sort of natural sympathy, certain ideas necessarily tend to raise in us certain affections; and those affections, by a sort of counter-operation, to raise the same ideas. Thus, ideas derived from funerals, tortures, murders, and the like, naturally generate the affection of melancholy. And when, by any physical causes, that affection happens to prevail, it as naturally generates the same doleful ideas.

And hence it is, that ideas derived from external causes, have at different times, upon the same person, so different an effect. If they happen to suit the affections which prevail within, then is their impression most sensible, and their effect most lasting. If the contrary be true, then is the effect contrary. Thus, for instance, a funeral will much more affect the same man if he see it when melancholy, than if he see it when cheerful.

Now this being premised, it will follow, that whatever happens to be the affection or disposition of mind, which ought naturally to result from the genius of any poem, the same, probably, it will be in the power of some species of music to excite. But whenever the proper affection prevails, it has been allowed that then all kindred ideas, derived from external causes, make the most sensible impression. The ideas, therefore, of poetry, must needs make the most sensible impression, when the affections," peculiar to them, are already excited by the music. For here a double force is made to cooperate to one end. A poet, thus assisted, finds not an audience in a temper averse to the genius of his poem, or, perhaps at best, under a cool indifference; but by the preludes, the symphonies, and concurrent operation of the music in all its parts, roused into those very affections which he would most desire.

An audience so disposed, not only embrace with pleasure the ideas of the poet when exhibited, but, in a manner, even anticipate them in their several imaginations. The superstitious have not a more previous tendency to be frightened at the sight of spectres, or a lover to fall into raptures at the sight of his mistress, than a mind, thus tempered by the power of music, to enjoy all ideas which are suitable to that temper.

And hence the genuine charm of music, and the wonders which it works through its great professors. A power which

Quintilian elegantly, and exactly ap posite to this reasoning, says of music, Namque et voce et modulatione grandia elate, jucunda dulciter, moderata leniter

g

canit, totaque arte consentit cum eorum, quæ dicuntur, affectibus. Inst. Orator. l. i. c. 10.

Such, above all, is George Frederic

consists not in imitations, and the raising ideas, but in the raising affections to which ideas may correspond. There are few to be found so insensible, I may even say so inhuman, as when good poetry is justly set to music, not in some degree to feel the force of so amiable an union; but to the Muses' friends it is a force irresistible, and penetrates into the deepest recesses of the soul.

k

Pectus inaniter angit,

Irritat, mulcet, falsis terroribus implet.h

II. Now this is that source from whence music was said formerly to derive its greatest efficacy; and here, indeed, not in imitation, ought it to be chiefly cultivated. On this account also it has been called a powerful ally to poetry. And, further, it is by the help of this reasoning that the objection is solved, which is raised against the singing of poetry, (as in operas, oratorios, &c.) from the want of probability and resemblance to nature. To one, indeed, who has no musical ear, this objection may have weight; it may even perplex a lover of music, if it happen to surprise him in his hours of indifference. But when he is feeling the charm of poetry so accompanied, let him be angry (if he can) with that which serves only to interest him more feelingly in the subject, and support him in a stronger and more earnest attention; which enforces, by its aid, the several ideas of the poem, and gives them to his imagination with unusual strength and grandeur. He cannot surely but confess, that he is a gainer in the exchange, when he barters the want of a single probability, that of pronunciation, (a thing merely arbitrary, and everywhere different,) for a noble heightening of affections which are suitable to the occasion, and enable him to enter into the subject with double energy and enjoyment.

:

III. From what has been said, it is evident, that these two arts can never be so powerful singly, as when they are properly united for poetry, when alone, must be necessarily forced to waste many of its richest ideas, in the mere raising of affections, when, to have been properly relished, it should have found those affections in their highest energy; and music, when alone, can only raise affections which soon languish and decay, if not maintained and fed by the nutritive images of poetry. Yet must it be remembered, in this union, that poetry ever have the pre

Handel; whose genius having been cultivated by continued exercise, and being itself far the sublimest and most universal now known, has justly placed him without an equal, or a second. This transient testimony could not be denied so excellent an artist, from whom this treatise has borrowed such eminent examples, to justify

its assertions in what it has offered con-
cerning music.

h Horat. Epist. 1. 1. ii. 211.
i Page 31.

For the narrow extent, and little effi-
cacy of music, considered as a mimetic or
imitative art, see chap. ii. sect. 3.
1 Page 39.

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