whether the scene or object represented be an exact copy of some original in nature, or a creation of the artist's mind, if the attention be directed only to the skill shewn in the execution of the work, we are said to observe secondary beauties, or the beauties of execution. The art of writing or composition, whether elegant or useful, is one of the symbolical arts. There is no exact imitation of what is designed to be brought before the mind, but objects and scenes are represented by words as symbols. This must evidently increase the difficulty of the artist, or writer; for though he may have in his own mind distinct views of what is fitted to excite emotions of taste, and may connect these views with the signs which he uses, yet, if the reader do not attach the same views to the signs used, they will fail to excite in his mind the emotions designed to be produced. Much then will depend upon the skill with which these signs are used, and hence it is, that in literary productions, so much attention is paid, with the design of pleasing, to the execution of the work.

We may here also see a reason, why the beauties of design in literary productions, are said to be addressed to the imagination of the readers. As we have seen in the last chapter, it is by the aid of the imagination that the artist is able to design those objects and scenes, which are the creations of his own mind. When these creations have been formed, they are represented by the signs that are used. Now it is obviously the imagination of the reader, which must interpret these signs. They are intended to set his imagination in exercise, and to cause it to present before the mind an object or scene, similar to that which the writer had in view when using these signs; and if the reader have no powers of imagination, the attempt of the writer to place before him a scene fitted to excite grateful emotions, will be vain.

It is an easy inference from what has been said in this

chapter, that the cultivation and improvement of taste in the several fine arts, will be promoted by a familiarity with models of excellence in those arts. He who would cultivate a taste for painting or music, or fine writing, will seek after the works of those who excel in these different departments. But it may here be remarked generally in respect to taste, that it is improved by whatever gives enlargement and improvement to the mind. Taste, as judgment, calls into exercise various intellectual faculties; comparisons are to be instituted, inferences to be made, and conclusions to be drawn; and the more perfectly this work is performed, the higher is the order of taste possessed. Education, then, as furnishing mental discipline, and accustoming the mind to processes of analysis and investigation, is conducive to the improvement of the taste. And since, as has been stated, much that comes under cognizance of taste is addressed to the imagination, especially in the symbolical fine arts, the cultivation of this faculty of the mind will be closely connected with whatever calls for the exercise of the taste.

CHAPTER III.

ON LITERARY TASTE.

LITERARY taste is the judgment of whatever of a literary nature is designed to excite emotions of beauty, grandeur and sublimity, founded upon the past experience of emotions of the same kind. It is the object of this chapter to explain the nature of literary taste as thus defined, and to offer, in connexion with examples, such directions and cautions as may aid in its improvement. The word literature is most frequently used to denote something in distinction from science. In this sense, it refers to certain classes of writing. Such are Poetry and Fictitious Prose, Historical, Epistolary, and Essay Writing. On the other hand, a treatise on Optics or Electricity, or a work on Intellectual Philosophy, is classed under the head of science. The ground of this distinction is, that in the one case there are favourable opportunities for interesting and pleasing the mind by the mode of exhibiting objects and scenes, or from the nature of what is exhibited; while, in the other, the attention is principally directed to the elucidation and establishment of scientific principles, or to those intellectual employments which afford exercise to the reasoning powers.

There is, however, a more extended sense, in which the word literature is used. It is often intended to refer merely to the use of words as a mode of exhibiting the thoughts and views of the mind, and thus embraces all that is committed to letters. In this sense of the word, we might speak of Euclid's Elements of Geometry as a literary work, and say of the literature of any particular age, that it is of a scientific kind.

As it is not the object of this part of the work to direct the attention of the student to particular classes of literary productions, I shall here consider the word literature as used in its most extensive sense, and consequently in treating of attempts of a literary kind to excite emotions of taste, I shall refer to what is more particularly connected with the style.

If now we examine the various classes of literary productions, we find attempts to excite emotions of taste which are common in some degree to all. Such are well chosen words, well turned expressions and happy illustrations. These are called the ornaments of style, and though not essential to the communication of the writer's thoughts, they are often highly useful. They allure and fix the attention, and aid in the full and clear exhibition of what is communicated.

Of these ornaments of style, some have been classified and have received appropriate names. Such are Similes, Metaphors, Allusions, and Personifications; others are of a more incidental nature. The former will be examined in the present chapter; of the latter, some mention will be made, when treating of the different qualities of style.

Before entering upon the examination of the classified ornaments of style, I wish to bring distinctly to view the different principles, on which these attempts to excite emotions of taste are founded. In this way, the student will be enabled more fully to understand the reasons of the different directions and cautions which may be given, and to discern more clearly the nature and object of literary taste.

It was stated in the last chapter, that from the original constitution of the human mind, we are fitted to feel emotions of beauty and sublimity as regards objects and scenes in nature. A passage of descriptive writing will enable me to illustrate what is here meant.

The following description of the rising sun is taken from one of Gray's Letters :

"I set out one morning before five o'clock, the moon shining through a dark and misty autumnal air, and got to the sea-coast, time to be at the sun's levee. I saw the clouds and dark vapours open gradually to the right and left, rolling over one another in great smoky wreaths, and the tide (as it flowed in on the sands) first whitening, and then slightly tinged with gold and blue, and all at once a little line of insufferable brightness, that before I can write these five words is grown to half an orb, and now a whole one, too glorious to be distinctly seen."

This is a representation of a scene in nature, and the writer, in looking on this scene, felt an emotion of grandeur. Should it be asked, why this emotion is thus excited, the only cause to be assigned is, that it is natural to us to feel this emotion when viewing this and similar scenes. Our Creator has so constituted us. Should we now further inquire, why the description of the scene excites an emotion of the same kind in the minds of its readers, we have to assign, in answer, the same cause. The writer addresses himself to the imagination of his readers, and by the use of words as symbois brings the scene distinctly before their minds, and an emotion of grandeur is excited at the description, on the same principle, as when this emotion was excited while gazing on the scene itself. Now this is often done, when the ornaments of style are introduced. A word, or an illustration, brings before the mind an object or scene, which from the original constitution of our mind, excites an emotion of beauty or sublimity. This original constitution of the human mind is then to be considered as one of those principles, to which the writer addresses himself, with the design of exciting emotions of taste.

It was still further stated, that the emotions of beauty and sublimity, are often excited on the principle of association. Objects and scenes, which are not fitted from any original tendencies of the mind to excite these emo