text,updated_at,metaphor,created_at,context,theme,reviewed_on,dictionary,comments,provenance,id,work_id
"The proper office of JUDGMENT in composition, is to compare the ideas which imagination collects; to observe their agreement or disagreement, their relations and resemblances; to point out such as are of a homogeneous nature; to mark and reject such as are discordant; and finally, to determine the truth and utility of the inventions or discoveries which are produced by the power of imagination. This faculty is, in all its operations, cool, attentive, and considerate. It canvasses the design, ponders the sentiments, examines their propriety and connection, and reviews the whole composition with severe impartiality. Thus it appears to be in every respect a proper counterbalance to the RAMBLING and VOLATILE power of IMAGINATION. The one, perpetually attempting to soar, is apt to deviate into the mazes of error; while the other arrests the wanderer in its vagrant course, and compels it to follow the path of nature and of truth.
(pp. 8-10)",2013-07-01 16:47:33 UTC,"""Thus it appears to be in every respect a proper counterbalance to the RAMBLING and VOLATILE power of IMAGINATION. The one, perpetually attempting to soar, is apt to deviate into the mazes of error; while the other arrests the wanderer in its vagrant course, and compels it to follow the path of nature and of truth.""",2013-07-01 16:47:33 UTC,"","",,Inhabitants,"",C-H Lion,21355,7498
"""We may define TASTE to be that internal sense, which, by its own exquisitely nice sensibility, without the assistance of the reasoning faculty, distinguishes and determines the various qualities of the objects submitted to its cognisance; pronouncing, by its own arbitrary verdict, that they are grand or mean, beautiful or ugly, decent or ridiculous."" From this definition it appears, that Taste is designed as a supplement to the defects of the power of judgment, at least in canvassing the merit of the performances of art. These indeed are the subjects on which it exercises its discerning talent with the greatest propriety, as well as with the greatest probability of success: its dominion, however, is in some degree universal, both in the Arts and Sciences; though that dominion is much more absolute, and more legitimate in the former than it is in the latter. The truth is, to bring philosophical subjects to the tribunal of Taste, or to employ this faculty principally in their examination, is extremely dangerous, and naturally productive of absurdity and error. The order of things is thereby reversed; reason is dethroned, and sense usurps the place of judgment. Taste therefore must be contented to act an inferior and subordinate part in the researches of science: it must not pretend to take the lead of reason, but humbly follow the path marked out by it. In the designs and works of art, the case is quite otherwise. Instead of being directed by judgment, it claims the direction in its turn; its authority is uncontrolable, and there lies no appeal from its decisions. Indeed it is well qualified to decide with precision and certainty on subject of this kind; for it possesses a perspicacity of discernment with regard to them which reason can by no means pretend to, even on those subjects that are the most adapted to its nature. So much more perfect are the senses than the understanding.
(pp. 11-2)",2013-07-01 16:48:40 UTC,"""The order of things is thereby reversed; reason is dethroned, and sense usurps the place of judgment.""",2013-07-01 16:48:40 UTC,"","",,Throne,"",C-H Lion,21356,7498
"Let us suppose two persons, the one possessed of a comprehensive and penetrating judgment, without any refinement or delicacy of taste; the other endued with the most exquisite sensibility of taste, without any extraordinary proportion of the reasoning talent, both set to work in examining the merit of some masterly production of art, that admired piece of history-painting, for instance, of the Crucifixion, by Michael Angelo, and observe their different procedure, and the very different remarks they will make. The former measures with his eye the exact proportion of every figure in the piece; he considers how far the rules of art are observed in the design and ordonance; whether the group of subordinate figures naturally lead the eye to the capital one, and fix the attention principally upon it and whether the artist has given a proper variety of expression to the countenances of the several spectators. Upon discovering that the painter had exactly conformed to the rules of his art in all these particulars, he would not only applaud his judgment, but would also give testimony to his mastery and skill; without, however, having any true feeling of those uncommon beauties which constitute real merit in the art of painting. Such would be the procedure and remarks of the man of mere judgment. Consider now, on the other hand, in what a different manner the man of taste will proceed, and in what manner he will be affected. Instead of attending, in the first place, to the just proportions of the various figures exhibited in the draught, however necessary to be observed; instead of remarking, with approbation, the judgment and ingenuity displayed by the artist in the uniformity of design, and in the regularity and justness that appear in the disposition of the several figures of the piece; he fixes his eye upon the principal one, in which he observes the various contorsions of the countenance, the natural expressions of agonising pain, mixed however with an air of divine benignity and compassion. Then he passes on to the contemplation of the inferior and subordinate figures, in which he perceives a variety of opposite passions, of rage and terror, of admiration and pity, strongly marked in their different countenances; and feels the corresponding emotions in their utmost strength which those several passions are calculated to inspire. In a word, the man of judgment approves of and admires what is merely mechanical in the piece; the man of taste is struck with what could only be effected by the power of Genius. Wherever nature is justly represented, wherever the features of any one passion are forcibly expressed, to those features his attention is attracted, and he dwells on the contemplation of them with intense and exquisite pleasure. The sensations of the former are cool, weak, and unaffecting throughout; those of the latter are warm, vivid, and deeply interesting; or, to speak more properly, the one reasons, the other feels. But as no reasoning can enable a man to form an idea of what is really an object of sensation, the most penetrating judgment can never supply the want of an exquisite sensibility of taste. In order therefore to relish and to judge of the production of Genius and to Art, there must be an internal perceptive power, exquisitely sensible to all the impressions which such productions are capable of making on a susceptible mind.
(pp. 13-16)",2013-07-01 16:49:41 UTC,"""In order therefore to relish and to judge of the production of Genius and to Art, there must be an internal perceptive power, exquisitely sensible to all the impressions which such productions are capable of making on a susceptible mind.""",2013-07-01 16:49:41 UTC,"","",,Impressions,"",C-H Lion,21357,7498
"This internal power of perception, which we distinguish by the name of TASTE, and which we have shewn to be so necessary for enabling us to judge properly concerning works of imagination, does not appear to be requisite, in the same degree, in the researches of Science. In this department, reason reassumes the reins, points out and prescribes the flight of fancy, assigns the office, and determines the authority of taste, which, as we have already observed, must here be contented to act a secondary part. In philosophical speculations a constant appeal is made to the faculty of Reason, not to that of Imagination; principles are laid down, arguments are adduced, phenomena are explained, and their consequences investigated. Hence it follows, that in the whole process judgment is much more exercised than taste. Yet some scope is also afforded for the exercise of the latter faculty; for as all discoveries in Science are the work of imagination, which will be afterwards particularly shewn; so taste may be very properly exerted in the illustration of those discoveries which have obtained the sanction of reason; provided that, in this case, taste and imagination act under the direction, and submit to the controling power of judgment.
(pp. 16-7)",2013-07-01 16:50:33 UTC,"""In this department, reason reassumes the reins, points out and prescribes the flight of fancy, assigns the office, and determines the authority of taste, which, as we have already observed, must here be contented to act a secondary part.""",2013-07-01 16:50:33 UTC,"","",,Animals,"",C-H Lion,21358,7498
"It may be observed in general, that Genius is neither uniform in the manner, nor periodical with regard to the time of its appearance. The manner depends upon the original constitution and peculiar modification of the mental powers, together with the corresponding organisation of the corporeal ones, and upon that mutual influence of both, in consequence of which the mind receives a particular bias to one certain object, and acquires a talent for one art or science rather than another. The period depends sometimes upon a fortunate accident encouraging its exertion, sometimes upon a variety of concurring causes stimulating its ardor, and sometimes upon that natural effervescence of mind (if we may thus express it) by which it bursts forth with irresistible energy, at different ages, in different persons, not only without any foreign aid, but in opposition to every obstacle that arises in its way.
(pp. 27-8)",2013-07-01 16:51:27 UTC,"""The period depends sometimes upon a fortunate accident encouraging its exertion, sometimes upon a variety of concurring causes stimulating its ardor, and sometimes upon that natural effervescence of mind (if we may thus express it) by which it bursts forth with irresistible energy, at different ages, in different persons, not only without any foreign aid, but in opposition to every obstacle that arises in its way.""",2013-07-01 16:51:27 UTC,"","",,"","",C-H Lion,21359,7498
"With regard to the first of these points: though Genius discovers itself in a vast variety of forms, we have already observed, that those forms are distinguished and characterised by one quality common to them all, possessed indeed in very different degrees, and exerted in very different capacities; this quality, it will be understood, is Imagination. The mental powers unfold themselves in exact proportion to our necessities and occasions for exercising them. Imagination therefore being that faculty which lays the foundation of all our knowledge, by collecting and treasuring up in the repository of the memory those materials on which Judgment is afterwards to work, and being peculiarly adapted to the gay, delightful, vacant season of childhood and youth, appears in those early periods in all its puerile brilliance and simplicity, long before the reasoning faculty discovers itself in any considerable degree. Imagination however, in general, exercises itself for some time indiscriminately on the various objects presented to it by the senses, without taking any particular or determinate direction; and sometimes the peculiar bent and conformation of Genius is discernible only in the advanced period of youth. The mind, as soon as it becomes capable of attending to the representation it receives of outward objects by the ministry of the senses, views such a representation with the curiosity of a stranger, who is presented with the prospect of an agreeable and uncommon scene. The novelty of the objects at first only affects it with pleasure and surprise. It afterwards surveys, revolves, and reviews them successively one after another; and, at last, after having been long conversant with them selects one distinguished and favourite object from the rest, which it pursues with its whole bent and vigour. There are some persons, it is true, in whom a certain bias or talent for one particular art or science, rather than another, appears in very early life; and in so great a degree as would incline us to imagine, that such a disposition and talent must have been congenial and innate. While persons are yet children, we discover in their infantile pursuits the opening buds of Genius; we discern the rudiments of the Philosopher, the poet, the Painter, and the Architect.
(pp. 28-30)",2013-07-01 16:52:28 UTC,"""Imagination therefore being that faculty which lays the foundation of all our knowledge, by collecting and treasuring up in the repository of the memory those materials on which Judgment is afterwards to work, and being peculiarly adapted to the gay, delightful, vacant season of childhood and youth, appears in those early periods in all its puerile brilliance and simplicity, long before the reasoning faculty discovers itself in any considerable degree.""",2013-07-01 16:52:28 UTC,"","",,"","",C-H Lion,21360,7498
"The same VIVACITY and ARDOR of Imagination which indicates the Poet, characterises likewise and distinguishes the Painter; the signs only being different by which it is expressed. The former endeavours to impart his sentiments and ideas to us by verbal description; the latter sets before our eyes a striking resemblance of the objects of which he intends to convey an idea, by the ingenious contrivance of various colours delicately blended, and by the proper union of light and shade. In order to effect his purpose, he must have his imagination possessed with very vivid conceptions of the objects he would thus exhibit; otherwise it is impossible he should delineate the transcript of them upon canvas. The Imagination must guide the hand in the design and execution of the whole. A Painter therefore of true Genius, having his fancy strongly impressed and wholly occupied by the most lively conceptions of the objects of which he intends to express the resemblance, has immediate recourse to his pencil, and attempts, by the dexterous use of colours, to sketch out those perfect and living figures which exist in his own mind. He will be frequently observed to employ his talents in this manner; and the eminence and extent of his Genius is indicated by the degree of his success.
(pp. 39-41)",2013-07-01 16:53:09 UTC,"""A Painter therefore of true Genius, having his fancy strongly impressed and wholly occupied by the most lively conceptions of the objects of which he intends to express the resemblance, has immediate recourse to his pencil, and attempts, by the dexterous use of colours, to sketch out those perfect and living figures which exist in his own mind.""",2013-07-01 16:53:09 UTC,"","",,Impressions,"",C-H Lion,21361,7498
"With respect to a Genius for Eloquence, its characteristical indications are essentially the same with those which denote a talent for Poetry. The same creative power, the same extent and force, the same impetuosity, and fire of Imagination, distinguish both almost in an equal degree; with this difference only, that the latter is permitted to range with a LOOSER rein than is indulged to the former, which, though it may dare to emulate the boldness and sublimity of poetic inspiration, is not allowed to SPORT and WANTON with such WILDNESS and LUXURIANCE.
(pp. 44-5)",2013-07-01 16:53:54 UTC,"""The same creative power, the same extent and force, the same impetuosity, and fire of Imagination, distinguish both almost in an equal degree; with this difference only, that the latter is permitted to range with a LOOSER rein than is indulged to the former, which, though it may dare to emulate the boldness and sublimity of poetic inspiration, is not allowed to SPORT and WANTON with such WILDNESS and LUXURIANCE.""",2013-07-01 16:53:54 UTC,"","",,Animals,"",C-H Lion,21362,7498
"Humour in WRITING consists either of random strokes of RIDICULE and FACETIOUSNESS, occasionally thrown out, as subjects of DROLLERY and PLEASANTRY happen to occur; or of a vein of IRONY and DELICATE SATIRE, purposely displayed on a particular subject. Perhaps Pope's Rape of the Lock is the most refined piece of HUMOUR in this kind, which any age can boast. There remains indeed another species of Wit and Humour (for it participates of, or at least pretends to both) of the lowest sort however, but deserving some attention; that which consists of puns, quibbles, and the petulant sallies of a rambling and undisciplined fancy; and which is sometimes displayed in conversation. This species of it is not only generally ostentatious, but superficial. It flashes for a little while, and then expires. It rushes on with precipitation, and, like a shallow stream, makes a great noise; but the rivulet soon dries up, and betrays the penuriousness of the source from which it flowed. The conversation-wits resemble those persons, whose ideas pass through their minds in too quick succession to be distinct; but who, nevertheless, being endued with a natural volubility of expression, acquit themselves to admiration in company; while one is at a loss to find either sense or grammer in their compositions. To become a man of true Wit and Humour, it is necessary to think; a piece of drudgery which the Gentlemen we are speaking of are too lively to undergo.
(pp. 50-2)",2013-07-01 16:54:41 UTC,"""The conversation-wits resemble those persons, whose ideas pass through their minds in too quick succession to be distinct; but who, nevertheless, being endued with a natural volubility of expression, acquit themselves to admiration in company; while one is at a loss to find either sense or grammer in their compositions.""",2013-07-01 16:54:41 UTC,"","",,"","",C-H Lion,21363,7498
"We are now to shew the influence of these qualities on each other, and how they contribute by their mutual influence to the improvement and consummation of Genius. Before we proceed to this disquisition, it will be proper to recur to the definition of Taste, given in a preceding section, which, for the sake of precision, we shall here repeat."" Taste is that internal sense, which, by its own exquisitely nice perception, without the assistance of the reasoning faculty, distinguishes and determines the various qualities of the objects submitted to its cognisance, pronouncing them, by its own arbitrary verdict, to be grand or mean, beautiful or ugly, decent or ridiculous."" The simple principles of Taste are found in every man, but the degrees in which they exist, are as various as can well be imagined: in some persons they are weak and rude; in others, they are vigorous and refined. The external organs of sense, which are the original and fundamental principles of Taste, are indeed nearly the same in every one who possesses in the most ordinary degree the essential and constituent parts of the human frame; but the ideas which are excited in the minds of some persons by the influence of outward objects on the senses, or by the power of reflection, are very different from those excited in the minds of others. Thus two persons, the one endued with a just and elegant taste, the other almost destitute of this quality, contemplating a magnificent and well-proportioned building, that of St Peter's, for instance, at Rome, will be affected in the most different manner and degree imaginable. The latter, looking around him with ignorant and insipid curiosity, casts his eye on the altar and decorations of the church, which captivate his attention, and please his rude fancy, merely by their novelty and splendor; while he stares at the magnificence of the edifice with a foolish face of wonder. The former, surveying all the fabric together, is struck with admiration of the exact symmetry, and majestic grandeur of the whole. Or if we should suppose both to be presented, at the same time, with the prospect of a rich, beautiful, and diversified landscape, consisting of woods and vallies, of rocks and mountains, of cascades and rivers, of groves and gardens, blended together in sweet rural confusion; this inchanting scene would be contemplated by the one with indifference, or at least with very little emotion of pleasure, his thoughts being chiefly employed in computing the produce of so fertile a spot; while the view of such a group of delightful objects would throw the other into rapture. It is natural to ask, whence arises this amazing difference in their sensations? The outward organ, by which these sensations are conveyed, is supposed to be equally perfect in both; but the internal feeling is extremely different. This difference must certainly proceed from the transforming power of Imagination, whose rays illuminate the objects we contemplate; and which, without the lustre shed on them by this faculty, would appear unornamented and undistinguished.
(pp. 64-7)",2013-07-01 16:55:41 UTC,"""This difference must certainly proceed from the transforming power of Imagination, whose rays illuminate the objects we contemplate; and which, without the lustre shed on them by this faculty, would appear unornamented and undistinguished.""",2013-07-01 16:55:41 UTC,"","",,"","",C-H Lion,21364,7498