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sons as have many of them no existence, but what he bestows on them. Such are fairies, witches, magicians, demons, and departed spirits. This. Mr. Dryden calls“ the fairy way of writing,' which is indeed more difficult than any other that depends on the poet's fancy, because he has no pattern to follow in it, and must work altogether out of his own invention.

There is a very odd turn of thought required for this sort of writing; and it is impossible for a poet to succeed in it, who has not a particular cast of fancy, and an imagination naturally fruitful and superstitious. Besides this, he ought to be very well versed in legends and fables, antiquated romances, and the traditions of nurses and old women, that he may fall in with our natural prejudices, and humour those notions which we have imbibed in our infancy. For otherwise he will be apt to make his fairies talk like people of his own species, and not like other sets of beings, who converse with different objects, and think in a different manner from that of mankind.

Sylvis deducti caveant, me judice, fauni,
Ne velut innati triviis, ac penè forenses,
Aut nimiùm teneris juvenentur versibus

HOR. Ars Poet. ver. 244.

A satyr, that comes staring from the woods,
Must not at first speak like an orator.

ROSCOMMON.

I do not say, with Mr. Bays in the Rehearsal, that spirits must not be confined to speak sense; but it is certain their sense ought to be a little discoloured, that it may seem particular, and proper to the person and condition of the speaker.

These descriptions raise a pleasing kind of horror in the mind of the reader, and amuse his imagination with the strangeness and novelty of the persons who are represented in them. They bring up into our memory the stories we have heard in our childhood, and favour those secret terrors and apprehensions to which the mind of man is naturally subject. We are pleased with surveying the different habits and behaviours of foreign countries : how much more must we be delighted and surprised when we are led, as it were, into a new creation, and see the persons and manners of another species! Men of cold fancies, and philosophical dispositions, object to this kind of poetry, that it has not probability enough to affect the imagination. But to this it may be answered, that we are sure, in general, there are many intellectual beings in the world beside ourselves, and several species of spirits, who are subject to different laws and æconomies from those of mankind: when we see, therefore, any of these represented naturally, we cannot look upon the representation as altogether impossible; nay, many are prepossessed with such false opinions, as dispose them to believe these particular delusions; at least we have all heard so many pleasing relations in favour of them, that we do not care for seeing through the falsehood, and willingly give ourselves up to so agreeable an imposture. · The ancients have not much of this poetry among them ; for, indeed, almost the whole substance of it owes its original to the darkness and superstition of later ages, when pious frauds were made use of to amuse mankind, and frighten them into a sense of their duty. Our forefathers looked upon nature with more reverence and horror, before the world was enlightened by learning and philosophy; and loved to astonish themselves with the apprehensions of witchcraft, prodigies, charms, and inchantments. There was not a village in England that had not a ghost in it; the churchyards were all haunted ; every large common had a circle of fairies belonging to it; and there was scarce a shepherd to be met with who had not seen a spirit'.

Among all the poets of this kind, our English are much the best, by what I have yet seen; whether it be that we abound with more stories of this nature, or that the genius of our country is fitter for this sort of poetry. For the English are naturally fanciful, and very often disposed, by that gloominess and melancholy of temper which is so frequent in our nation, to many wild notions and visions, to which others are not so liable.

Among the English, Shakspeare has incomparably excelled all others. That noble extravagance of fancy, which he had in so great perfection, thoroughly qualified him to touch this weak superstitious part of his reader's imagination ; and made him capable of succeeding, where he had nothing to support him besides the strength of his own genius. There is something so wild, and yet so solemn, in the speeches of his ghosts, fairies, witches, and the like imaginary persons, that we cannot forbear thinking them natural, though we have no rule by which to judge of them, and must confess, if there are such beings in the world, it looks highly probable they should talk and act as he has represented them.

There is another sort of imaginary beings, that we sometimes meet with among the poets, when the author represents any passion, appetite, virtue or vice,

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under a visible shape, and makes it a person or an actor in his poem. Of this nature are the descriptions of Hunger and Envy in Ovid, of Fame in Virgil, and of Sin and Death in Milton. We find a whole creation of the like shadowy persons in Spenser, who had an admirable talent in representations of this kind. I have discoursed of these emblematical persons in former papers’, and shall therefore only mention them in this place. Thus we see how many ways poetry addresses itself to the imagination, as it has not only the whole circle of nature for its province, but makes new worlds of its own, shews us persons who are not to be found in being, and represents even the faculties of the soul, with the several virtues and vices, in a sensible shape and character.

I shall, in my two following papers, consider, in general, how other kinds of writing are qualified to please the imagination ; with which I intend to conclude this essay.

ADDISON.

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N° 420. WEDNESDAY, JULY 2, 1712.

PAPER X. ON THE PLEASURES OF THE IMAGINATION.

CONTENTS. What authors please the imagination. Who have nothing

to do with fiction. How history pleases the imagina. tion. How the authors of the new philosophy please the imagination. The bounds and defects of the ima. gination. Whether these defects are essential to the imagination.

Quòcunque volent animum auditoris agunto.

HOR. Ars Poet. ver. 100. And raise men's passions to what height they will,

ROSCOMMON. As the writers' in poetry and fiction borrow their several materials from outward objects, and join them together at their own pleasure, there are others who are obliged to follow nature more closely, and to take intire scenes out of her. Such are historians, natural philosophers, travellers, geographers, and, in a word, all who describe visible objects of a real existence.

It is the most agreeable talent of an historian to be able to draw up his armies and fight his battles in proper expressions, to set before our eyes the divisions, cabals and jealousies of great men, and to lead us step by step into the several actions and events of his history. We love to see the subject unfolding itself by just degrees, and breaking upon us insensibly, that so we may be kept in a pleasing suspense, and have time given us to raise our expectations, and to side with one of the parties concerned in the relation. I confess this shews more the art than the veracity of

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