« back to search

"Thus the Poet, having by the force of Imagination formed lively images of the objects he proposes to describe, thinks only of expressing his ideas in smooth and harmonious numbers; the Painter, having the same vivid conception of every object, is wholly intent on exhibiting a representation of them in colours, as if he had no other method of conveying his ideas; and the Musician, having his head filled with crotchets and concords, airs and sonatas, employs his Imagination intirely in combining a variety of sounds, and trying their power, in order to constitute harmony."

— Duff, William (1732-1815)

Author

An Essay on Original Genius

Place of Publication

London

Publisher

Printed for Edward and Charles Dilly

Date

1767

Metaphor

"Thus the Poet, having by the force of Imagination formed lively images of the objects he proposes to describe, thinks only of expressing his ideas in smooth and harmonious numbers; the Painter, having the same vivid conception of every object, is wholly intent on exhibiting a representation of them in colours, as if he had no other method of conveying his ideas; and the Musician, having his head filled with crotchets and concords, airs and sonatas, employs his Imagination intirely in combining a variety of sounds, and trying their power, in order to constitute harmony."

Metaphor in Context

The talents of a PERFORMER, and a MASTER and COMPOSER of Music, are very different. To constitute the first, a nice musical ear, and a dexterity of performance acquired by habit, are the sole requisites. To constitute the last, not only a nice musical ear, but an exquisite sensibility of passion, together with a peculiar CONFORMATION of Genius to this particular art, are indispensibly necessary. Though all the liberal Arts are indebted to Imagination in common, a talent for each of them respectively depends upon the peculiar MODIFICATION and ADAPTATION of this faculty to the several RESPECTIVE Arts. Thus the Poet, having by the force of Imagination formed lively images of the objects he proposes to describe, thinks only of expressing his ideas in smooth and harmonious numbers; the Painter, having the same vivid conception of every object, is wholly intent on exhibiting a representation of them in colours, as if he had no other method of conveying his ideas; and the Musician, having his head filled with crotchets and concords, airs and sonatas, employs his Imagination intirely in combining a variety of sounds, and trying their power, in order to constitute harmony. A musical Genius naturally exerts itself in exercises of this kind, and is indicated by them. In this art likewise it must be confessed, that considerable scope is afforded for the exertions even of ORIGINAL Genius. Every masterly Composer of Music must feel, in the most intense and exquisite degree, the various emotions, which, by his compositions, he attempts to excite in the minds of others. Even before he begins to compose a piece of music, he must work himself up to that transport of passion, which he desires to express and to communicate in his piece. In effectuating this purpose, Imagination operates very powerfully, by awakening in his own mind those particular affections, that are correspondent to the airs he is meditating; and by raising each of these to that tone of sensibility, and that fervor of passion, which is most favourable to composition. This fervor and enthusiasm of passion, may be termed the inspiration of Music; and is the principal quality which gives it such an irresistible empire over the human heart.
(pp. 248-50)