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I have dwelt the longer on this subject, because I think it may shew us the proper limits, as well as the defectiveness of our imagination ; how it is confined to a very small quantity of space, and immediately stopt in its operations, when it endeavours to take in any thing that is very great or very little. Let a man try to conceive the different bulk of an animal, which is twenty, from another which is an hundred times less than a mite, or to compare in his thoughts a length of a thousand diameters of the earth, with that of a million; and he will quickly find that he has no different measures in his inind, adjusted to such extraordinary degrees of grandeur or minuteness. The understanding, indeed, opens an infinite space on every side of us ; but the imagination, after a few faint efforts, is immediately at a stand, and finds here self swallowed up in the immensity of the void that surrounds it: our reason can pursue a particle of matter through an infinite variety of divisions ; but the fancy soon loses sight of it, and feels in itself a kind of chasm, that wants to be filled with matter of a more sensible bulk. We can neither widen nor contract the faculty to the dimensions of either extreme. The object is too big for our capacity, when we would comprehend the circumference of a world, and dwindles into nothing, when we endeavour after the idea of an atom.

It is possible this defect of imagination may not be in the soul itself, but as it acts in conjunction with the body. Perhaps there may not be room in the brain for such a variety of impressions, or the animal spirits may be incapable of figuring them in such a manner, as is necessary to excite so very large or very minute ideas. However it be, we may well suppose, that beings of a higher nature very much excel us in

this respect, as it is probable the soul of man will be infinitely more perfect hereafter in this faculty, as well as in all the rest; insomuch that, perhaps, the imagination will be able to keep pace with the understanding, and to form in itself distinct ideas of all the different modes and quantities of space,

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ADDISON.

N° 421. THURSDAY, JULY 3, 1712.

PAPER XI. ON THE PLEASURES OF THE IMAGINATION.

CONTENTS, How those please the imagination, who treat of subjects ab

stracted from matter, by allusions taken from it. What allusions most pleasing to the imagination. Great writers how faulty in this respect. Of the art of imagining in general. The imagination capable of pain as well as pleasure. In what degree the imagination is capable either of pain or pleasure.

Ignotis errare locis, ignota videre
Flumina gaudebat ; studio minuente laboren.

OVID. Met. 1. iv, ver. 294.
He sought fresh fountains in a foreign soil !
The pleasure lessen'd the attending toil.

ADDISON.

The pleasures of the imagination are not wholly confined to such particular authors as are conversant in material objects, but are often to be met with among the polite masters of morality, criticism, and other speculations abstracted from matter, who, though they do not directly treat of the visible parts of na

ture, often draw from them their similitudes, metaphors, and allegories. By these allusions, a truth in the understanding is, as it were, reflected by the imagination; we are able to see something like colour and shape in a notion, and to discover a scheme of thoughts traced out upon matter. And here the mind receives a great deal of satisfaction, and has two of its faculties gratified at the same time, while the fancy is busy in copying after the understanding, and transcribing ideas out of the intellectual world into the material.

The great art of a writer shews itself in the choice of pleasing allusions, which are generally to be taken from the great or beautiful works of art or nature ; for though whatever is new or uncommon is apt to delight the imagination, the chief design of an allusion being to illustrate and explain the passages of an author, it should be always borrowed from what is more known and common, than the passages which are to be explained,

Allegories, when well chosen, are like so many tracks of light in a discourse, that make every thing about them clear and beautiful. A noble metaphor, when it is placed to an advantage, casts a kind of glory round it, and darts a lustre through a whole sentence. These different kinds of allusion are but so many different manners of similitude; and, that they may please the imagination, the likeness ought to be very exact or very agreeable,' as we love to see a picture where the resemblance is just, or the posture and air graceful. But we often find eminent writers very faulty in this respect: great scholars are apt to fetch their comparisons and allusions from the sciences in which they are most conversant, so that a man may see the compass of their learning in a treatise on the

most indifferent subject. I have read a discourse upon love, which none but a profound chymist could understand, and have heard many a sermon that should only have been preached before a congregation of Cartesians. On the contrary, your men of business usually have recourse to such instances as are too mean and familiar. They are for drawing the reader into a game of chess or tennis, or for leading him from shop to shop, in the cant of particular trades and employments. It is certain, there may be found an infinite variety of very agreeable allusions in both these kinds; but, for the generality, the most entertaining ones lie in the works of nature, which are obvious to all capacities, and more delightful than what is to be found in arts and sciences.

It is this talent of affecting the imagination, that gives an embellishment to good sense, and makes one man's compositions more agreeable than another's. It sets off all writings in general, but is the very life and highest perfection of poetry: where it shines in an eminent degree, it has preserved several poems for many ages, that have nothing else to recommend them; and where all the other beauties are present, the work appears dry and insipid, if this single one be wanting. It has something in it like creation. It bestows a kind of existence, and draws up to the reader's view several objects which are not to be found in being. It makes additions to nature, and gives greater variety to God's works. In a word, it is able to beautify and adorn the most illustrious scenes in the universe, or to fill the mind with more glorious shows and apparitions, than can be found in any part of it.

We have now discovered the several originals of those pleasures that gratify the fancy; and here, per

haps, it would not be very difficult to cast under their proper heads those contrary objects, which are apt to fill it with distaste and terror; for the imagination is as liable to pain as pleasure. When the brain is hurt by any accident, or the mind disordered by dreams or sickness, the fancy is overrun with wild dismal ideas, and terrified with a thousand hideous monsters of its own framing.

Eumenidum veluti demens videt agmina Pentheus,
Et solem geminum, et duplices se ostendere Thebas :
Aut Agamemnonius scenis agitatus Orestes,
Armatam facibus matrem et serpentibus atris
Cùm fugit, ultricesque sedent in limine dira.'

VIRG. Æn. iv. ver. 469.

Like Pentheus, when distracted with his fear,
He saw two suns, and double Thebes appear:
Or mad Orestes, when his mother's ghost
Full in his face internal torches tost,
And shook her snaky locks: he shuns the sight,
Flies o'er the stage, surpris'd with mortal fright;

DRYDEN.

There is not a sight in nature so mortifying as that of a distracted person, when his imagination is troubled, and his whole soul disordered and confused. Babylon in ruins is not so melancholy a spectacle. But to quit so disagreeable a subject, I shall only consider, by way of conclusion, what an infinite advantage this facuity gives an almighty Being over the soul of man, and how great a measure of happiness or misery we are capable of receiving from the imagination only.

We have already seen the influence that one man has over the fancy of another, and with what ease he

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