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sented in their imagination. On the subject of their dislike, there is a difference between all these people, arising from the different kinds and degrees of their knowledge ; but there is something in common to the painter, the shoemaker, the anatomist, and the Turkish emperor, the pleasure arising from a natural object, so far as each perceives it justly imitated; the satisfaction in seeing an agreeable figure; the sympathy proceeding from a striking and affecting incident. So far as Taste is natural, it is nearly common to all.

In poetry and other pieces of imagination the same parity may be observed. It is true, that one man is charmed with Don Bellianis, and reads Virgil coldly; whilst another is transported with the Æneid, and leaves Don Bellianis to children. These two men seem to have Taste very different from each other; but in fact they differ, very little. In both these pieces, which inspire such opposite sentiments, a tale exciting admiration is told; both are full of action, both are passionate; in both are voyages, battles, triumphs, and continual changes of fortune. The admirer of Don Bellianis perhaps does not understand the refined language of the Æneid, who, if it was degraded into the style of the Pilgrim's Progress, might feel it in all its energy, on the same principle which made him an admirer of Don Bellianis.

In his favourite author he is not shocked with the continual breaches of probability, the confusion of times, the offences against manners, the trampling upon geography; for he knows nothing of geography and chronology, and he has never examined the grounds of probability. He perhaps reads of a shipwreck on the coast of Bohemia; wholly taken up with so interesting an event, and

only solicitous for the fate of his hero, he is not in the least troubled at this extravagant blunder. For why should be be shocked at a shipwreck on the coast of Bohemia, who does not know but that Bohemia may be an island in the Atlantic ocean; and, after all, what reflection is this on the natural good Taste of the person here supposed ?

So far, then, as Taste belongs to the Imagination, its principle is the same in all men; there is no difference in the manner of their being affected, nor in the causes of the affection; but in the degree there is a difference, which arises from two causes principally; either from a greater degree of natural sensibility, or from a closer and longer attention to the object. To illustrate this by the procedure of the senses, in which the same difference is found, let us suppose a very smooth marble table to be set before two men; they both perceive it to be smooth, and they are both pleased with it because of this quality. So far they agree. But suppose another, and after that another table, the latter still smoother than the former, to be set before them. It is now very probable that these men, who are so agreed upon what is smooth, and in the pleasure from thence, will disagree when they come to settle which table has the advantage in point of polish. Here is indeed the great difference between Tastes, when men come to compare the excess or diminution of things which are judged by degree and not by measure. Nor is it easy, when such a difference arises, to settle the point, if the excess or diminution be not glaring. If we differ in opinion about two quantities, we can have recourse to a common measure, which may decide the question with the ut. most exactness; and this, I take it, is what gives mathematical knowledge a greater certainty than any other. But in things whose excess is not judged by greater or smaller, as smoothness and roughness, hardness and softness, darkness and light, the shades of colours, all these are very easily distinguished when the difference is any way considerable, but not when it is minute, for want of some common measures, which perhaps may never come to be discovered. In these nice cases, supposing the acuteness of the sense equal, the greater attention and habit in such things will have the advantage. In the question about the tables, the marble-polisher will unquestionably determine the most accurately. But notwithstanding this want of a common measure for settling many disputes relative to the senses, and their representative the imagination, we find that the principles are the same in all, and that there is no disagreement until we come to examine into the pre-eminence or difference of things, which brings us within the province of the judgment.

So long as we are conversant with the sensible qualities of things, hardly any more than the ima. gination seems concerned; little more also than the imagination seems concerned when the passions are represented, because, by the force of natural sympathy, they are felt in all men without any recourse to reasoning, and their justness recognised in every breast. Love, grief, fear, anger, joy, all these passions have in their turns affected every mind; and they do not affect it in an arbitrary or casual manner,

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upon certain, natural, and uni. form principles. But as many of the works of ima. gination are not confined to the representation of sensible objects, nor to efforts upon the passions, but extend themselves to the manners, the characters, the actions, and designs of men, their relations, their virtues, and vices, they come within the province of the judgment, which is improved by attention and by the habit of reasoning. All these make a very considerable part of what are considered as the objects of Taste ; and Horace sends us to the schools of philosophy and the world for our instruction in them. Whatever certainty is to be acquired in morality and the science of life; just the same degree of certainty bave we in what relates to them in works of imitation. Indeed it is for the most part in our skill in manners, and in the observances of time and place, and of decency in general, which is only to be learned in those schools to which Horace recommends us, that what is called Taste by way of distinction, consists; and which is in reality no other than a more refined judgment. On the whole it appears to me, that what is called Taste, in its most general acceptation, is not a simple idea, but is partly made up of a perception of the primary pleasures of sense, and the secondary pleasures of the imagination, and of the conclusions of the reasoning faculty concerning the various relations of these, and concerning the human passions, manners, and actions. All this is requisite to form Taste, and the groundwork of all these is the same in the human mind; for, as the senses are the great originals of all our ideas, and consequently of all our pleasures, if they are not uncertain and arbitrary, the whole groundwork of Taste is common to all, and therefore there is a sufficient foundation for a conclusive reasoning on these matters.

Whilst we consider Taste merely according to its nature and species, we shall find its principles entirely uniform; but the degree in which these principles prevail in the several individuals of mankind is altogether as different as the principles themselves are similar. For sensibility and judgnient, which are the qualities that compose what we commonly call a Taste, vary exceedingly in various people ; from a defect in the former of these qualities arises a want of Taste; a weakness in the latter constitutes a wrong or a bad one. There are some men formed with feelings so blunt, with tempers so cold and phlegmatic, that they can hardly be said to be awake during the whole course of their lives. Upon such persons the most striking objects make but a faint and obscure impression. There are others so continually in the agitation of gross and merely sensual pleasures, or so occupied in the low drudgery of avarice, or so heated in the chase of honours and distinction, that their minds, which had been used continually to the storms of these violent and tempestuous passions, can hardly be put in motion by the delicate and refined play of the imagination. These men, though from a different cause, become as stupid and insensible as the former; but whenever either of these happen to be struck with any natural elegance or greatness, or with these qualities in any work of art, they are moved upon the same principle.

The cause of a wrong Taste is a defect of judg. ment. And this may arise from a natural weakness of understanding, in whatever the strength of that faculty may consist; or, which is much more commonly the case, it may arise from a want of proper and well directed exercise, which alone can make it strong and ready. Besides, that ignorance, inattention, prejudice, rashness, levity, obstinacy, in short, all those passions, and all those vices, which pervert the judgment in other matters, prejudice it no less in this its more refined and elegant province. These causes produce different opinions upon every thing which is an object of the under.

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