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judged of by the same marks, that we employ in judging of the delicacy of an external sense. As the goodness of the palate is not tried by strong flavours, but by a mixture of ingredients, where, notwithstanding the confusion, we remain sensible of each; so delicacy of internal taste appears, by a quick and lively sensibility to its finest, most compounded, or most latent objects.

Correctness of taste respects the improvement this faculty receives through its connection with the understanding. A man of correct taste is one, who is never imposed on by counterfeit beauties; who carries always, in his own mind, that standard of good sense, which he employs in judging of every thing. He estimates with propriety the relative merit of the several beauties, which he meets in any work of genius; refers them to their proper classes; assigns the principles, as far as they can be traced, whence their power of pleasing is derived; and is pleased himself precisely in that degree, in which he ought, and no more.

Taste is certainly not an arbitrary principle, which is subject to the fancy of every individual, and which admits no criterion for determining, whether it be true or false. Its foundation is It is built upon

the same in every human mind. sentiments and perceptions, which are inseparable from our nature; and which, generally operate with the same uniformity, as our other intellectual principles. When these sentiments are perverted by ignorance or prejudice, they may be rectified by reason. Their sound and

natural state is finally determined by comparing them with the general taste of mankind. Let men declaim as much as they please, concerning the caprice and uncertainty of taste; it is found by experience, that there are beauties, which, if displayed in a proper light, have power to command lasting and universal admiration. In every composition, what interests the imagination, and touches the heart, gives pleasure to all ages and nations. There is a certain string, which being properly struck, the human heart is so made, as to accord to it.

Hence the universal testimony, which the most improved nations of the earth, through a long series of ages, have concurred to bestow on some few works of genius; such, as the Iliad of Homer, and the Eneid of Virgil. Hence the authority which such works have obtained, as standards of poetical composition; since by them we are enabled to collect, what the sense of mankind is, with respect to those beauties, which give them the highest pleasure, and which therefore, poetry ought to exhibit. Authority or prejudice may, in one age or country, give a short lived reputation to an indifferent poet, or a bad artist; but when foreigners, or posterity examine his works, his faults are discovered, and the genuine taste of human nature is seen. Time overthrows the illusions of opinion, but establishes the decisions of nature.

CRITICISM.

GENIUS. PLEASURES OF

TASTE. SUBLIMITY IN OBJECTS.

Its

TRUE criticism is the application of taste and of good sense, to the several fine arts. design is to distinguish, what is beautiful, and what is faulty in every performance.) From particular instances it ascends to general principles, and gradually forms rules or conclusions concerning the several kinds of beauty in works of genius.

Criticism is an art, founded entirely on experience; on the observation of such beauties, as have been found to please mankind most generally. For example, Aristotle's rules concerning the unity of action in dramatic and epic composition, were not first discovered by logical reasoning, and then applied to poetry; but they were deduced from the practice of Homer and Sophocles. They were founded upon observing the superior pleasure, which we derive from the relation of an action, which is one and entire, beyond what we receive from the relation of scattered and unconnected facts.

A superior genius, indeed, will of himself, uninstructed, compose in such manner, as is agreeable to the most important rules of criticism; for, as these rules are founded in nature, nature will frequently suggest them in practice. Homer was a cquainted with no system of the art of poetry Guided by genius alone, he composed in verse a regular story, which all succeeding ages have admired. This, however, is no argument against the usefulness of criti

cism. For since no human genius is perfect, there is no writer, who may not receive assistance from critical observations upon the beauties and faults of those, who have gone before him. No rules indeed can supply the defects of genius, or inspire it, where it is wanting; but they may often guide it into its proper channel; they may correct its extravagancies, and teach it the most just and proper imitation of nature. Critical rules are intended chiefly to point out the faults, which ought to be avoided. We must be indebted to nature for the production of eminent beauties.

GENIUS is a word which in common acceptation extends much further, than to objects of taste. It signifies that talent or aptitude, which we receive from nature, in order to excel in any one thing whatever. ) A man is said to have a genius for mathematics as well as a genius for poetry; a genius for war, for politics, or for any mechanical employment.

Genius may be greatly improved by art and study; but by them alone it cannot be acquired. As it is a higher faculty than taste, it is ever, according to the common frugality of nature, more limited in the sphere of its operations. There are persons, not unfrequently to be met, who have an excellent taste in several of the polite arts; such, as music, poetry, painting, and eloquence; but an excellent performer in all these arts is very seldom found; or rather is not to be looked for. A universal genius, or one who is equally and indifferently inclined toward several different professions and arts, is

not likely to excel in any. Although there may be some few exceptions, yet in general it is true, that, when the mind is wholly directed toward some one object exclusively of others, there is the fairest prospect of eminence in that, whatever it may be. Extreme heat can be produ ced, only when the rays converge to a single point. Young persons are highly interested in this remark; since it may teach them to examine with care, and to pursue with ardour, that path, which nature has marked out for their culiar exertions.

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The nature of taste, the nature and importance of criticism, and the distinction between taste and genius, being thus explained; the sources of the pleasures of taste shall next be considered. Here a very extensive field is opened; no less, than all the pleasures of the imagination, as they are generally called, whether afforded us by natural objects, or by imitations and descriptions of them. It is not, however, necessary to the purpose of the present work, that all these be examined fully; the pleasure, which we receive from discourse or writing, being the principal object of them. Our design is to give some opening into the pleasures of taste in general, and to insist more particularly upon sublimity and beauty.

We are far from having yet attained any system concerning this subject. A regular inquiry into it was first attempted by Mr. Addison, in his essay on the Pleasures of the Imagination. By him these pleasures are ranged under three heads, beauty, grandeur, and novelty.

His

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