object calculated to produce them is presented to the mind, unless its attention is previously engrossed, a train of thought is immediately awakened, analogous in character to the object exciting it. It must be observed, however, that the simple perception of the object is insufficient of itself to excite the emotion. No pleasurable impression will be produced, unless the mind operates in connection with the sensation; unless the imagination busies itself with the pursuit of such trains of thought as are awakened.

We find that the same thing is true of the creations of art. A fine landscape, a beautiful poem, a thrilling strain of harmony, excite feeble emotions in our minds, as long as our attention is confined to the qualities they present to our senses. We fully appreciate them only when our imaginations are kindled by their power, when we lose ourselves amid the images summoned before us, and wake at last from the play of fancy as from the charm of a romantic dream.

§ 254. That pleasurable emotions are not produced by mere impressions on the external senses, but remain unfelt unless these impressions are transferred to the imagination, is susceptible of conclusive proof. If, for instance, the mind is in such a state as to prevent the play of imagination, the sensation of pleasure is entirely lost, although of course the effect on the outward sense is the same. A man in pain or affliction will contemplate without the slightest admiration scenes and objects, which, were his imagination at liberty, would afford him the liveliest pleasure. The sublimity and beauty of external nature are almost constantly before us, and not a day passes without presenting us objects calculated to charm and elevate the mind; yet it is in general with a heedless eye that we regard them, and only at particular moments that we are sensible of their power. There are few that have not contemplated with delight the beauties of a glowing sunset; yet every one knows that, at times, all

urable emotion in the mind? What is said of the emotions produced by the cre ations of art?

§ 254. Prove that pleasurable emotions are not produced by mere impressions on the external senses. To what is the difference in the impressions produced

the gorgeous magnificence with which nature paints the heavens at the close of day falls powerless on the eye.

This difference of effect is clearly not attributable to the objects themselves, nor to the external senses on which the impression is primarily produced: it arises from a difference in the state of our imaginations; from our disposition at one time to follow out the train of thought awakened, and our incapacity to do this, at another, in consequence of the preoccupation of our minds by some engrossing idea. The pleasures of Taste are enjoyed in their perfection only when the imagination is free, and the attention is so little occupied as to leave us open to all the impressions created by the objects before us. It is, therefore, always in leisure hours that we turn to music and poetry for amusement. The seasons of care, of grief, of business, have other occupations; and destroy, for the time at least, our sensibility to the beautiful or the sublime, in proportion as the state of mind produced by them is unfavorable to the exercise of the imagination.

Another proof that imagination is the source of the pleasures of Taste may be derived from what is observed in the process of criticising. When, in considering a poem or painting, we attend minutely to the language and structure of the one, or the coloring and design of the other, we cease to feel the delight which they otherwise produce. The reason of this is that by so doing we restrain our imagination, and, instead of yielding to its suggestions, resist them by fixing our attention on minute and unconnected parts. On the contrary, if the imagination is ardent and is left to its free exercise, the mind receives pleasure from the performance as a whole, and takes no note of the minor details of criticism.

It is this chiefly that makes it difficult for young persons with lively imaginations to form correct judgments of the productions of literature and art, and which so often induces them to approve of mediocre performances. It is not that they are incapable of learning in what merit of composition consists; for the principles which direct us in the formaby the same object at different times attributable? When are the pleasures of Taste enjoyed in their perfection? When do we turn to music or poetry for amusement?

What do facts observable in the process of criticising prove with regard to the pleasures of Taste? State the arguments thus derived. What kind of critics are persons with ardent imaginations likely to become? What renders it diffieult for the young to form correct judgments of literary performances? What

tion of critical opinions are neither numerous nor abstruse. It is not that sensibility increases with age; for this all experience contradicts. But it is because at this period of life the imagination is fresh, and is excited by the slightest causes; because the young decide on the merits of a composition according to the impression it makes on this faculty; because their estimate of its value is formed, not by comparing it with other works or with any abstract or ideal standard, but from the facility with which it leads them into those enchanting regions of fancy where youth loves to wander. It is their own imagination that in reality possesses the charms which they attribute to the work that excites it; and the simplest tale is as capable of exciting this faculty in the young, and is therefore advanced to as high a rank in their estimation as the most meritorious performances would be at a later period.

All this flow of imagination, however, in which youth and men of sensibility are apt to indulge, and which so often yields them pleasure while it involves them in incorrect judgments, the labor of criticism destroys. Thus employed, the mind, instead of being free to follow the trains of imagery successively awakened, is either fettered to the consideration of minute and isolated parts, or pauses to weigh the various ideas received. Thus distracted, it loses the emotion, whether of beauty or sublimity; and, since the impression on the outward sense is evidently the same as before, it must be the restraint of imagination alone that makes the difference, and consequently this faculty is the sole source whence the pleasures of Taste flow. Accordingly, the mathematician who investigates the demonstrations of the Newtonian philosophy, the painter who studies the designs of Raphael, the poet who reasons on the measure of Milton,-all in such occupations lose the delight which these several productions give; and, when they wish to recover the emotion of pleasure, must withdraw their attention from minute considerations, and leave their fancy to revel amid the great and pleasing conceptions with which it is inspired.

§ 255. The pleasures received from objects of Taste depending, as we have seen, on the action of the imagination, it follows that whatever facilitates the lively exercise of this faculty heightens the pleasurable emotions experienced. This is obviously the effect of those interesting associations with

effect has the labor of criticism on the flow of imagination? What is said of the mathematician, the painter, and the poet, when studying the great masters of their respective arts?

§ 255. On what do the pleasures received from objects of Taste depend? What, therefore, heightens the pleasurable emotions experienced? Of what is

particular objects which exist in every mind. These associations are comprised in three classes:

I. Personal. No man is indifferent to a view of the house where he was born, the school where he was educated, or the scenes amid which his infancy was spent. So many images of past affections and past happiness do they recall, that, commonplace as they may seem to others, to him they are a source of indescribable rapture. There are melodies, also, that were learned in infancy, or were sung perhaps by beloved voices now silent, which awake strong feeling within us whenever they are heard, and are through life preferred to all others.

II. National. Next to personal associations, those connected with our country are most calculated to heighten our emotions of pleasure. What American can visit the localities consecrated by the blood of his struggling ancestors, can behold Bunker Hill, Bennington, Valley Forge, Cowpens, or Yorktown, and not feel his heart touched with a far higher and stronger enthusiasm than would be kindled by the mere beauty of the respective scenes? To others, they may be objects of indifference ; to us, they are hallowed by their connection with our country's history. In like manner, the fine lines which Virgil, in his Georgics, has dedicated to the praises of his native land, beautiful as they are to us, were undoubtedly read with far greater pleasure by the ancient Roman.

The influence of such associations in increasing the beauty or sublimity of musical compositions must have been generally observed. Swiss soldiers in foreign lands have been so overwhelmed with melancholy on hearing their celebrated national air, that it has been found necessary to forbid its performance in the armies in which they serve. This effect is not attributable to the composition itself, but to the recollections with which it is accompanied; to the images it awakens of peace and domestic pleasures, from which they have been torn, and to which they may never return. So the tune called Bellisle March is said to have owed its popularity in England to the supposition that it was the air played when the British army marched into Bellisle, and to its consequent association with images of conquest and military glory.

III. Historical. Powerful, though in a less degree than the associa this obviously the effect? In how many classes are associations comprised? What is the first class? Describe personal associations. Show how they impart additional intensity to the pleasure received from certain melodies. What assoziations, next to personal ones, are most calculated to heighten our pleasurable emotions? What scenes are likely to kindle enthusiasm in an American's heart? Why? In whom is it likely that the lines dedicated by Virgil to his country awakened the liveliest pleasure? What compositions have their effect greatly increased by such associations? What illustration is cited, touching the Swiss soldiers? To what is the effect of this national air attributable? In like manner,

tions connected with our own land, are those founded on general history or the lives of distinguished persons. The valley of Vaucluse is celebrated for its beauty; yet how little would it have been esteemed, had it not been the residence of Petrarch! In like manner, there are many landscapes, no doubt, more beautiful than Runnymede; yet those who remember that this place witnessed the granting of the great charter which has guaranteed the rights and liberties of millions, will find few scenes affect their imaginations so strongly.

LESSON XXXVIII.

SOURCES OF THE PLEASURES OF THE IMAGINATION.

THE NOVEL.-THE WONDERFUL. THE PICTURESQUE.

§ 256. Or the five senses that have been given to man, three,-taste, smell, and touch,-are incapable by themselves of awakening the imagination to pleasure. Coöperating with the other two, they may contribute to the effect produced on this faculty; or, by the associations connected with their sensations, they may occasionally produce pleasing trains of thought: but, independently exercised, they can not be regarded as sources of the pleasures of Taste. Hence the intensity of the affliction with which the blind and deaf man is visited. Cut off from the manifold enjoyments insured by sight and hearing, and by these alone, he finds but little solace in the possession of the three inferior

senses.

Taste (in its literal signification) has to do with the body; it flatters and serves the grossest of all masters, the stomach. No sense has less

to what does the air called Bellisle March owe its popularity? What is the third class of associations? How do they rank as regards effect? What illustrations are given, to prove their power?

§ 256. Which of the five senses are incapable of affecting the imagination! When do they contribute to the effect produced on this faculty? How are they sometimes instrumental in producing pleasing trains of thought? Independently exercised, are they sources of the pleasures of Taste? What follows with respect to the blind and deaf man?

To what does the sense of taste appeal? What kind of pleasures is it incapa