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view the principal fubject before we defcend to its acceffories or ornaments, and the fuperior before the inferior or dependent; we are equally averse to enter into a minute confideration of constituent parts, till the thing be first surveyed as a whole. It need scarce be added, that our ideas are governed by the fame principle; and that, in thinking or reflecting upon a number of objects, we naturally follow the fame order as when we actually furvey them.

The principle of order is confpicuous with refpect to natural operations; for it always directs our ideas in the order of nature: thinking upon. a body in motion, we follow its natural course; the mind falls with a heavy body, defcends with a river, and afcends with flame and smoke: in tracing out a family, we incline to begin at the founder, and to defcend gradually to his latest pofterity; on the contrary, mufing on a lofty oak, we begin at the trunk, and mount from it to the branches: as to hiftorical facts, we love to proceed in the order of time; or, which comes to the fame, to proceed along the chain of causes and effects.

But though, in following out an historical chain, our bent is to proceed orderly from causes to their effects, we find not the fame bent in matters of science: there we feem rather difpofed to proceed from effects to their caufes, and from particular propofitions to thofe which are more general. Why this difference in matters that appear fo nearly

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nearly related? I anfwer, The cafes are fimilar in appearance only, not in reality. In an hiftorical chain, every event is particular, the effect of fome former event, and the cause of others that follow in fuch a chain, there is nothing to bias the mind from the order of nature. Widely different is fcience, when we endeavour to trace out caufes and their effects: many experiments are commonly reduced under one caufe; and again, many of thefe caufes under one ftill more general and comprehenfive: in our progress from particular effects to general caufes, and from particular propofitions to the more comprehenfive, we feel a gradual dilatation or expansion of mind, like what is felt in an afcending feries, which is extremely pleafing the pleasure here exceeds what arifes from following the course of nature; and it is that pleasure which regulates our train of thought in the cafe now mentioned, and in others that are fimilar. These obfervations, by the way, furnish materials for inftituting a comparifon between the fynthetic and analytic methods of reafoning: the fynthetic method, defcending regularly from principles to their confequences, is more agreeable to the ftrictness of order; but in following the oppofite courfe in the analytic method, we have a fenfible pleasure, like mounting upward, which is not felt in the other: the analytic method is more agreeable to the imagination; the other method will be preferred by thofe only who with rigidity ad

here

here to order, and give no indulgence to natural emotions*.

It now appears that we are framed by nature to relish order and connection. When an object is introduced by a proper connection, we are confcious of a certain pleasure arifing from that circumftance. Among objects of equal rank, the pleasure is proportioned to the degree of connection: but among unequal objects, where we require a certain order, the pleasure arises chiefly from an orderly arrangement; of which one is fenfible, in tracing objects contrary to the course of nature, or contrary to our sense of order the mind proceeds with alacrity down a flowing river, and with the fame alacrity from a whole to its parts, or from a principal to its acceffories; but in the contrary direction, it is fenfible of a fort of retrograde motion, which is unpleasant. And here may be remarked the great influence of order upon the mind of man : grandeur, which makes a deep impreffion, inclines us, in running over any series, to proceed from fmall to great, rather than from great to fmall; but order prevails over that tendency, and affords pleafure as well as facility in paffing from a whole to its parts, and from a fubject to its ornaments, which are not felt in the oppofite courfe. Elevation touches the mind no lefs

than

A train of perceptions or ideas, with refpect to its uniformity and variety, is handled afterwards, chap. 9.

than grandeur doth; and in raising the mind to elevated objects, there is a fenfible pleasure the courfe of nature, however, hath ftill a greater influence than elevation; and therefore, the pleasure of falling with rain, and defcending gradually with a river, prevails over that of mounting upward. But where the courfe of nature is joined with elevation, the effect must be delightful: and hence the fingular beauty of smoke afcending in a calm morning.

I am extremely fenfible of the disgust men generally have to abstract speculation; and I would avoid it altogether, if it could be done in a work that profeffes to draw the rules of criticifm from human nature, their true fource. We have but a fingle choice, which is, to continue a little longer in the fame train, or to abandon the undertaking altogether. Candour obliges me to notify this to my readers, that fuch of them as have an invincible averfion to abstract fpeculation, may ftop fhort here; for till principles be unfolded, I can promife no entertainment to those who fhun thinking. But I flatter myself with a different bent in the generality of readers: fome few, I imagine, will relish the abftract part for its own fake; and many for the useful purposes to which it may be applied. For encouraging the latter to proceed with alacrity, I affure them beforehand, that the foregoing fpeculation leads to many important rules of criticism, which shall

be

be unfolded in the course of this work. In the mean time, for inftant fatisfaction in part, they will be pleased to accept the following specimen.

Every work of art that is conformable to the natural courfe of our ideas, is fo far agreeable; and every work of art that reverses that course, is so far difagreeable. Hence it is required in every fuch work, that, like an organic system, its parts be orderly arranged and mutually connected, bearing each of them a relation to the whole, fome more intimate, fome lefs, according to their deftination: when due regard is had to these particulars, we have a sense of just compofition, and fo far are pleased with the performance. Homer is defective in order and connection; and Pindar more remarkably. Regularity, order, and connection, are painful restraints on a bold and fertile imagination; and are not patiently fubmitted to, but after much culture and difcipline. In Horace there is no fault more eminent than want of connection: inftances are without number. In the firft fourteen lines of ode 7. lib. 1. he mentions feveral towns and diftricts, more to the taste of fome than of others: in the remainder of the ode, Plancus is exhorted to drown his cares in wine. Having narrowly escaped death by the fall of a tree, this poet* takes occafion to obferve juftly, that while we guard

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* Lib. ii. ode 13.

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