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an influence to vitiate both, or to preserve them pure and untainted : neither of them are arbitrary nor local : being rooted in human nature, and governed by principles common to all men. The design of the present undertaking, which aspires not to morality, is, to examine the sensitive branch of human nature, to trace the objects that are naturally agreeable, as well as those that are naturally disagreeable; and by these means to discover, if we can, what are the genuine principles of the fine arts. The man who aspires to be a critic in these arts must pierce still deeper : he must acquire a clear perception of what objects are lofty, what low, what proper or improper, what manly, and what mean or trivial. Hence a foundation for reasoning upon the taste of any individual, and for passing sentence upon it: where it is conformable to principles, we can pronounce with certainty that it is correct; otherwise, that it is incorrect, and perhaps whimsical. Thus the fine arts, like morals, become a rational science; and, like morals, may be cultivated to a high degree of refinement.
Manifold are the advantages of criticism, when thus studied as a rational science. In the first place a thorough acquaintance with the principles of the fine arts, redoubles the pleasure we derive from them. To the man who resigns himself to feeling without interposing any judgment, poetry, music, painting, are mere pastime. In the prime of life, indeed, they are delightful, being supported by the force of novelty, and the heat of imagination : but in time they lose their relish ; and are generally neglected in the maturity of life, which disposes to more serious and more important occupations. To those who deal in criticism as a regular science, governed by just principles, and giving scope to judgment as well as to fancy, the fine arts are a favourite entertainment; and Vol. I.
in old age maintain that relish which they produce in the morning of life.*
In the next place, a philosophic inquiry into the principles of the fine arts, inures the reflecting mind to the most enticing sort of logic: the practice of reasoning upon subjects so agreeable, tends to a habit; and a habit, strengthening the reasoning faculties, prepares the mind for entering into subjects more intricate and abstract. To have, in that respect, a just conception of the importance of criticism, we need but reflect upon the ordinary method of education ; which, after some years spent in acquiring languages, hurries us, without the least preparatory discipline, into the most profound philosophy. A more effectual method to alienate the tender mind from abstract science, is beyond the reach of invention : and accordingly, with respect to such speculations, our youth generally contract a sort of hobgoblin terror, seldom if ever subdued. Those who apply to the arts, are trained in a very different manner: they are led, step by step, from the easier parts of the operation, to what are more difficult; and are not permitted to make a new motion, till they are perfected in those which go before. Thus the science of criticism may be considered as a middle link, connecting the different parts of education into a regular chain. This science furnisheth an inviting opportunity to exercise the judgment; we delight to reason upon subjects that are equally pleasant and familiar; we proceed gradually from the simpler to the more involved cases;
and in a due course of discipline, custom, which improves all our faculties, bestows acuteness on that of reason, sufficient to unravel all the intricacies of philosophy.
*“ Though logic may subsist without rhetoric or poetry, yet so necessa“ ry to these last is a sound and correct logic, that without it they are no 6 better than warbling trifleg,” Hermes, p. 6.
Nor ought it to be overlooked, that the reasonings enployed on the fine arts are of the same kind with those which regulate our conduct. Mathematical and metaphysical reasonings have no tendency to improve our knowledge of man; nor are they applicable to the common affairs of life: but a just taste of the fine arts, derived from rational principles, furnishes elegant subjects for conversation, and prepares us for acting in the social state with dignity and propriety.
The science of rational criticism tends to improve the heart no less than the understanding. It tends, in the first place, to moderate the selfish affections: by sweetening and harmonising the temper, it is a strong antidote to the turbulence of passion, and violence of pursuit; it procures to a man so much mental enjoyment, that in order to be occupied, he is not tempted to deliver up his youth to hunting, gaming, drinking ;* nor his middle age to ambition; nor his old age to avarice. Pride and envy, two disgustful passions, find in the constitution no enemy more formidable than a delicate and discerning taste: the man upon whom nature and culture have bestowed this blessing, delights in the virtuous dispositions and actions of others : he loves to cherish them, and to publish them to the world : faults and failings, it is true, are to him no less obvious; but these he avoids, or removes out of sight, because they give him pain. On the other hand, a man void of taste, upon whom even striking beauties make but a faint impression, indulges pride or envy without controul, and loves to brood over errors and blemishes. In a word, there are other passions, that upon occasion, may disturb the peace of society more than those mentioned; but not another passion is so unwearied an antagonist to the sweets of social intercourse: pride and envy put a man perpetually in opposition to others; and dispose him to relish bad more than good qualities, even in a companion. How different that disposition of mind, where every virtue in a companion or neighbour is, by refinement of taste, set in its strongest light; and defects or blemishes, natural to all, are suppressed, or kept out of view !
* If any youth of a splendid fortune and English education stumble perchance upon this book and this passage, he will pronounce the latter to be empty declamation. But if he can be prevailed upon to make the experiment, he will find, much to his satisfaction, every article well founda ed.
In the next place, delicacy of taste tends no less to invigorate the social affections, than to moderate those that are selfish. To be convinced of that tendency, we need only reflect, that delicacy of taste necessarily heightens our feeling of pain and pleasure; and of course our sympathy, which is the capital branch of every social passion. Sympathy invites a communication of joys and sorrows, hopes and fears: such exercise, soothing and satisfactory in itself, is necessarily productive of mutual good-will and affection.
One other advantage of rational 'criticism is reserved to the last place, being of all the most important; which is, that it is a great support to morality. I insist on it with entire satisfaction, that no occupation attaches a man more to his duty, than that of cultivating a taste in the fine arts: a just relish of what is beautiful, proper, elegant, and ornamental, in writing or painting, in architecture or gardening, is a fine preparation for the same just relish of these qualities in character and behaviour. To the man who has acquired a taste so acute and accomplished, every action wrong or improper must be highly disgustful; if, in any instance, the overbearing power of passion sway him from his duty, he returns to it with redoubled resolution never to be swayed a second time: he has now an additional motive to virtue, a conviction derived from experience, that happiness depends on regularity and order, and that disregard to justice or propriety never fails to be punished with shame and remorse.*
Rude ages exhibit the triumph of authority over reason: Philosophers anciently were divided into sects, being Epicureans, Platonists, Stoics, Pythagoreans, or Sceptics: the speculative relied no farther on their own judgment but to choose a leader, whom they implicitly followed. In later times, happily, reason hath obtained the ascendant: men now assert their native privilege of thinking for themselves; and disdain to be ranked in any sect, whatever be the science. I am forced to except criticism, which, by what fatality I know not, continues to be no less slavish in its principles, nor less submissive to authority, than it was originally. Bossu, a celebrated French critic, gives many rules; but can discover no better foundation for any of them, than the practice merely of Homer and Virgil, supported by the authority of Aristotle : Strange! than in so long a work, he should never once have stumbled upon the question, Whether, and how far, do these rules agree with human nature. It could not surely be his opinion, that these poets, however eminent for genius, were entitled to give law to mankind; and that nothing now remains, but blind obedience to their arbitrary will; if in writing they followed no rule, why should they be imitated? If they studied nature, and were obsequious to rational principles, why should these be concealed from us?
* Genius is allied to a warm and inflammable constitution; delicacy of taste to calmness and sedateness. Hence it is common to find genius in one who is a prey to every passion ; but seldom delicacy of taste. Upon a man possessed of that blessing, the moral duties, no less than the fine arts, make a deep impression, and counterbalance every irregular desire; at the same time, a temper calm and sedate is not easily moved, even by a strong temptation.