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beautiful in all other objects pleasant, or rather has made so many objects appear beautiful, that he might render the whole creation more gay and delightful. He has given almost every thing about us the power of raising an agreeable idea in the imagination: so that it is impossible for us to behold his works with coldness or indifference, and to survey so many beauties without a secret satisfaction and complacency. Things would make but a poor appearance to the eye,
if saw them only in their proper figures and motions : and what reason can we assign for their exciting in us many of those ideas which are different from any thing that exists in the objects themselves, (for such are light and colours,) were it not to add supernumerary ornaments to the universe, and make it more agreeable to the imagination? We are every where entertained with pleasing shows and apparitions, we discover imaginary glories in the heavens, and in the earth, and see some of this visionary beauty poured out upon the whole creation; but what a rough unsightly sketch of nature should we be entertained with, did all her colouring disappear, and the several distinctions of light and shade vanish! In short, our souls are at present delightfully lost and bewildered in a pleasing delusion, and we walk about like the enchanted hero in a romance, who sees beautiful castles, woods and meadows; and at the same time hears the warbling of birds, and the purling of streams; but upon the finishing of some secret spell, the fantastic scene breaks up, and the disconsolate knight finds himself on a barren heath, or in a solitary desert. It is not improbable that something Jike this
be the state of the soul after its first se. paration, in respect of the images it will receive from matter, though indeed the ideas of colours are so pleas
ing and beautiful in the imagination, that it is possible the soul will not be deprived of them, but perhaps find them excited by some other occasional cause, as they are at present by the different impressions of the subtile matter on the organ of sight.
I have here supposed that my reader is acquainted with that great modern discovery, which is at present universally acknowledged by all the inquirers into natural philosophy; namely, that light and colours, as apprehended by the imagination, are only ideas in the mind, and not qualities that have any existence in matter. As this is a truth which has been proved incontestably by many modern philosophers, and is indeed one of the finest speculations in that science, if the English reader would see the notion explained at large, he may find it in the eighth chapter of the second book of Mr. Locke's Essay on Human Understanding.
ON THE PLEASURES OF THE IMAGINATION,
PAPER IV. No. 414. If we consider the works of nature and art, as they are qualified to entertain the imagination, we shall find the last very defective in comparison of the former ; for, though they may sometimes appear as beautiful or strange, they can have nothing in them of that vastness and immensity which afford so great an entertainment to the mind of the beholder. The one may be as polite and delicate as the other, but can never show herself so august and magnificent in the design. There is something more bold and masterly in the rough careless strokes of nature, than
in the nice touches and embellishments of art. The beauties of the most stately garden or palace lie in a narrow compass, the imagination immediately runs them orer, and requires something else to gratify her;
but in the wide felds of nature, the sight wanders up • and down without confinement, and is fed with an
infinite variety of images, without any certain stint or number. For this reason we always find the poet in love with the country life, where nature appears in the greatest perfection, and furnishes out all those scenes that are most apt to delight the imagination. Scriptorum chorus omnis amat nemus, fi fugit urbes.
Hor. 2 Ep. ii. 77
Virg. Georg. ii. 467.
But though there are several of those wild scenes that are more delightful than any artificial show's; yet
we find the works of nature still more pleasant, the möre they resemble those of art; for in this case our pleasure rises from a double principle; from the agreeableness of the objects to the eye, and from their similitude to other objects. We are pleased as well with comparing their beauties, as with surveying them, and . can represent them to our minds, either as copies or originals. Hence it is that we take delight in a prospect which is well laid out, and diversified with fields and meadows, woods and rivers ; in those accidental landskips of trees, clouds and cities, that are sometimes found in the veins of marble; in the curious fret-work of rocks and grottos; and, in a word, in any thing that hath such a variety or regularity as may seem the effect of design in what we call the works of chance.
If the products of nature rise in value according as they more or less resemble those of art, we may be sure that artificial works receive a greater advantage from their resemblance of such as are natural ; because here the similitude is not only pleasant, but the pattern more perfect. The prettiest landskip I ever saw was one drawn on the walls of a dark room, which stood opposite on one side to a navigable river, and on the other to a park. The experiment is very common in optics. Here you might discover the waves and fluce tuations of the water in strong and proper colours, with the picture of a ship entering at one end, and sailing hy degrees through the whole piece. On another there appeared the green shadows of trees, waving to and fro with the wind, and herds of deer among them in miniature, leaping about upon the wall. I must confess, the novelty of such a sighı may be one occasion of its pleasantness to the imagination; but certainly its chief reason is its near resemblance to nature,
as it does not only, like other pictures, give the colour and figure, but the motion of the things it represents.
We have before observed that there is generally in nature something more grand and august than what we meet with in the curiosities of art, When, therefore, we see this imitated in any measure, it gives us a nobler and more exalted kind of pleasure than what we receive from the nicer and more accurate productions of art. On this account our English gardens are not so entertaining to the fancy as those in France and Italy, where we see a large extent of ground covered over with an agreeable mixture of garden and forest, which represent every where an artificial rudeness, much more charming than that neatness and elegancy which we meet with in those of our own country. It might, indeed, be of ill consequence to the public, as well as unprofitable to private persons, to alienate so much ground from pasturage, and the plough, in many parts of a country that is so well peopled, and cultivated to a far greater advantage. But why may not a whole estate be thrown into a kind of a garden by frequent plantations, that may turn as much to the profit, as the pleasure of the owner? A marshi overgrown with willows, or a mountain shaded with oaks, are not only more beautiful, but more beneficial, than when they lie bare and unadorned. Fields of corn make a pleasant prospect; and if the walks were a little taken care of that lie between them, if the natural embroidery of the meadows were helped and improved by some small additions of art, and the several rows of hedges set off by trees and flowers that the soil was capable of receiving, a man might make a pretty landskip of his own possessions.
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