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found to be united. A very delicate palate, on many occasions, may be a great inconvenience both to a man himself and to his friends; but a delicate taste of wit or beauty must always be a desirable quality, because it is the source of all the finest and most innocent enjoyments of which human nature is susceptible. In this decision, the sentiments of all mankind are agreed. Wherever you can ascertain a delicacy of taste, it is sure to meet with approbation; and the best way of ascertaining it is to appeal to those models and principles which have been established by the uniform consent and experience of nations and ages.

But, though there be naturally a wide difference in point of delicacy between one person and another, nothing tends further to increase and improve this talent than practice in a particular art, and the frequent survey or contemplation of a particular species of beauty. "When objects of any kind are first presented to the eye or imagination, the sentiment which attends them is obscure and confused, and the mind is, in a great measure, incapable of pronouncing concerning their merits or defects. The taste can not perceive the several excellences of the performance; much less distinguish the particular character of each excellency, and ascertain its quality and degree. If it pronounce the whole in general to be beautiful or deformed, it is the utmost that can be expected; and even this judgment a person so unpracticed will be apt to deliver with great hesitation and reserve. But allow him to acquire experience in those objects, his feeling becomes more exact and nice. He not only perceives the beauties and defects of each part, but marks the distinguishing species of each quality, and assigns it suitable praise or blame. A clear and distinct sentiment attends him through the whole survey of the objects; and he discerns that very degree and kind of approbation or displeasure which each part is naturally fitted to produce. The mist dissipates which seemed formerly to hang over the object. The organ acquires greater perfection in its operations, and can pronounce, without danger of mistake, concerning the merits of every performance. In a word, the same address and dexterity which practice gives to the execution of any work is acquired by the same means in the judging of it.

So advantageous is practice to the discernment of beauty, that, before we can give judgment on any work of importance, it will even be requisite that that very individual performance be more than once perused by us, and be surveyed in different lights with attention and deliberation. There is a flutter or hurry of thought which attends the first perusal of any piece, and which confounds the genuine sentiment of beauty. The relation of the parts is not discerned; the true characters of style are little distinguished; the several perfections and defects seem wrapped up in a species of confusion, and present themselves indistinctly to the imagination : not to mention that there is a species of beauty, which, as it is florid and superficial, pleases at first, but, being found incompatible with a just expression either of reason or passion, soon palls upon the taste, and is then rejected with disdain; at least, rated at a much lower value.

It is impossible to continue in the practice of contemplating any order of beauty without being frequently obliged to form comparisons between the several species and degrees of excellence, and estimating their proportion to each other. A man who has had no opportunity of comparing the different kinds of beauty is indeed totally unqualified to pronounce an opinion with regard to any object presented to him. By comparison alone, we fix the epithets of praise or blame, and learn how to assign the due degree of each. The coarsest daubing contains a certain luster of colors, and exactness of imitation, which are so far beauties, and would affect the mind of a peasant or Indian with the highest admiration. The most vulgar ballads are not entirely destitute of harmony or nature; and none but a person familiarized to superior beauties would pronounce their numbers harsh, or narration uninteresting. A great inferiority of beauty gives pain to a person conversant in the highest excellence of the kind, and is, for that reason, pronounced a deformity; as the most finished object with which we are acquainted is naturally supposed to have reached the pinnacle of perfection, and to be entitled to the highest applause. One accustomed to see and examine and weigh the several performances admired in different ages and nations can alone rate the merits of a work exhibited to his view, and assign its proper rank among the productions of genius.

But, to enable a critic the more fully to execute this undertaking, he must preserve his mind free from all prejudice, and allow nothing to enter into his consideration but the very object which is submitted to his examination. We may observe, that every work of art, in order to produce its due effect on the mind, must be surveyed in a certain point of view, and can not be fully relished by persons whose situation, real or imaginary, is not conforunable to that which is required by the performance. An orator adılresses himself to a particular audience, and must have a regard to their particular genius, interests, opinions, passions, and prejudices; otherwise he hopes in vain to govern their resolutions, and inflame their affections. Should they even have entertained some prepossessions against him, however unreasonable, he must not overlook this disadvantage, but, before he enters upon the subject, must endeavor to conciliate their affection, and acquire their good graces. A critic of a different age or nation who should peruse this discourse must have all these circumstances in

his eye, and must place himself in the same situation as the audience, in order to form a true judgment of the oration. In like manner, when any work is addressed to the public, though I should have a friendship or enmity with the author, I must depart from this situation, and, considering myself as a man in general, forget, if possible, my individual being and my peculiar circumstances. A person influenced by prejudice complies not with this condition, but obstinately maintains his natural position without placing himself in that point of view which the performance supposes. If the work be addressed to persons of a different age or nation, he makes no allowance for their peculiar views and prejudices, but, full of the manners of his own age and country, rashly condemns what seemed admirable in the eyes of those for whom alone the discourse was calculated. If the work be executed for the public, he never sufficiently enlarges his comprehension, or forgets his interest as a friend or enemy, as a rival or commentator. By this means, his sentiments are perverted; nor have the same beauties and blemishes the same influence upon him as if he had imposed a proper violence on his imagination, and had forgotten himself for a moment. So far, his taste evidently departs from the true standard, and, of consequence, loses all credit and authority.

It is well known, that, in all questions submitted to the understanding, prejudice is destructive of sound judgment, and perverts all operations of the intellectual faculties : it is no less contrary to good taste; nor has it less influence to corrupt our sentiment of beauty. It belongs to good sense to check its influence in both cases; and in this respect, as well as in many others, reason, if not an essential part of taste, is at least requisite to the operations of this latter faculty. In all the nobler productions of genius, there is a mutual relation and correspondence of parts ; nor can either the beauties or blemishes be perceived by him whose thought is not capacious enough to comprehend all those parts, and compare them with each other, in order to perceive the consistence and uniformity of the whole. Every work of art has also a certain end or purpose for which it is calculated, and is to be deemed more or less perfect as it is more or less fitted to attain this end. The object of eloquence is to persuade; of history, to instruct; of poetry, to please by means of the passions and the imagination. These ends we must carry constantly in our view when we peruse any performance; and we must be able to judge how far the means employed are adapted to their respective purposes. Besides, every kind of composition, even the most poetical, is nothing but a chain of propositions and reasonings; not always, indeed, the justest and most exact, but still plausible and specious, however disguised by the coloring of the imagination. The persons introduced in tragedy and epic poetry must be represented as reasoning and thinking and concluding and acting suitably to their character and circumstances : and, without judgment as well as taste and invention, a poet can never hope to succeed in so delicate an undertaking; not to mention that the same excellence of faculties which contributes to the improvement of reason, the same clearness of conception, the same exactness of distinction, the same vivacity of apprehension, are essential to the operations of true taste, and are its infallible concomitants. It seldom or never happens that a man of sense who has experience in any art can not judge of its beauty; and it is no less rare to meet with a man who has a just taste without a sound understanding

Thus, though the principles of taste be universal, and nearly, if not entirely, the same in all men, yet few are qualified to give judgment on any work of art, or establish their own sentiments as the standard of beauty. The organs of internal sensation are seldom so perfect as to allow the general principles their full play, and produce a feeling correspondent to those principles. They either labor under some defect, or are vitiated by some disorder, and by that means excite a sentiment which may be pronounced erroneous. When the critic has no delicacy, he judges without any distinction, and is only affected by the grosser and more palpable qualities of the object: the finer touches pass unnoticed and disregarded. Where he is not aided by practice, his verdict is attended with confusion and hesitation. Where no comparison has been employed, the most frivolous beauties, such as rather merit the name of defects, are the object of his admiration. Where he lies under the influence of prejudice, all his natural sentiments are perverted. Where good sense is wanting, he is not qualified to discern the beauties of design and reasoning which are the highest and most excellent. Under some or other of these imperfections, the generality of men labor; and hence a true judge in the finer arts is observed, even during the most polished

ages, to be so rare a character. Strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice, can alone entitle critics to this valuable character; and the joint verdict of such, wherever they are to be found, is the true standard of taste and beauty.

But where are such critics to be found ? By what marks are they to be known? How distinguish them from pretenders ? These questions are embarrassing, and seem to throw us back into the same uncertainty from which, during the course of this essay, we have endeavored to extricate ourselves.

But, if we consider the matter aright, these are questions of fact, not of sentiment. Whether any particular person be en

dowed with good sense and a delicate imagination, free from prejudice, may often be the subject of dispute, and be liable to great discussion and inquiry; but that such a character is valuable and estimable will be agreed in by all mankind. Where these doubts occur, men can do no more than in other disputable questions which are submitted to the understanding: they must produce the best arguments that their invention suggests to them; they must acknowledge a true and decisive standard to exist somewhere, to wit, real existence and matter of fact; and they must have indulgence to such as differ from them in their appeals to this standard. It is sufficient for our present purpose if we have proved that the taste of all individuals is not upon an equal footing, and that some men in general, however difficult to be particularly pitched upon, will be acknowledged by universal sentiment to have a preference above others.

But, in reality, the difficulty of finding, even in particulars, the standard of taste, is not so great as it is represented. Though in speculation we may readily allow a certain criterion in science, and deny it in sentiment, the matter is found, in practice, to be much more hard to ascertain in the former case than in the latter. Theories of abstract philosophy, systems of profound theology, have prevailed during one age: in a successive period, these have been universally exploded; their absurdity has been detected; other theories and systems have supplied their place, which again gave place to their successors; and nothing has been experienced more liable to the revolutions of chance and fashion than these pretended decisions of science. The case is not the same with the beauties of eloquence and poetry. Just expressions of passion and nature are sure, after a little time, to gain public applause, which they maintain for ever. Aristotle and Plato and Epicurus and Descartes may successively yield to each other; but Terence and Virgil maintain a universal, undisputed empire over the minds of men. The abstract philosophy of Cicero has lost its credit: the vehemence of his oratory is still the object of our admiration. Though men of delicate taste be rare, they are easily to be distinguished in society by the soundness of their understanding and the superiority of their faculties above the rest of mankind. The ascendant which they acquire gives a prevalence to that lively approbation with which they receive any productions of genius, and renders it generally predominant. Many men, when left to themselves, have but a faint and dubious perception of beauty, who yet are capable of relishing any fine stroke which is pointed out to them. Every convert to the admiration of the real poet or orator is the cause of some new conversion. And, though prejudices may prevail for a time, they never unite in celebrating any rival to the true genius, but yield at last to the

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