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of the mind upon those objects, and processes of creation or of composition, governed by certain fixed laws. I proceed to illustrate my meaning by instances. A parrot hangs from the wires of his cage by his beak or by his claws; or a monkey from the bough of a tree by his paws or his tail. Each creature does so literally and actually. In the first Eclogue of Virgil, the shepherd thinking of the time when he is to take leave of his farm, thus addresses his goats :
'Non ego vos posthac viridi projectus in antro
down Hangs one who gathers samphire, is the well-known expression of Shakespeare, delineating an ordinary image upon the cliffs of Dover. In these two instances is a slight exertion of the faculty which I denominate imagination, in the use of the words; neither the goats nor the samphire-gatherer do literally hang, as does the parrot or the monkey; but, presenting to the senses something of such an appearance, the mind in its activity, for its own gratification, contemplates them as hanging.
"As when, far off at sea, a fleet descried,
Far off the flying Fiend.' Here is the full strength of the imagination involved in the word hangs, and exerted upon the whole image: First, the fleet, an aggregate of many ships, is represented as one mighty person, whose track, we know and feel, is upon the waters; but, taking advantage of its appearance to the senses, the Poet dares to represent it as hanging in the clouds, both for the gratification of the mind in contemplat
ing the image itself, and in reference to the motion and appearance of the sublime object to which it is compared. From images of sight we will pass to those of sound.*
'Over his own sweet voice the Stock-dove broods ; of the same bird,
His voice was buried among trees,
Yet to be come at by the breeze ;' 'O Cuckoo ! shall I call thee Bird,
Or but a wandering Voice?' The stock-dove is said to coo, a sound well imitating the note of the bird: but, by the intervention of the metaphor broods, the affections are called in by the imagination to assist in marking the manner in which the bird reiterates and prolongs her soft note, as if herself delighting to listen to it, and participating of a still and quiet satisfaction, like that which may be supposed inseparable from the continuous process of incubation. “His voice was buried among trees," a metaphor expressing the love of seclusion by which this Bird is marked; and characterizing its note as not partaking of the shrill and the piercing, and therefore more easily deadened by the intervening shade; yet a note so peculiar, and withal so pleasing, that the breeze, gifted with that love of the sound which the Poet feels, penetrates the shade in which it is entombed, and conveys it to the ear of the listener.
"Shall I call thee Bird,
Or but a wandering Voice?' This concise interrogation characterizes the seeming ubiquity of the voice of the cuckoo, and dispossesses the creature almost of a corporal existence; the Imagination being tempted to this exertion of her power by a consciousness in the memory that the cuckoo is almost perpetually heard throughout the season of spring, but seldom becomes an object of sight.
* Added in edd. 1836-45, “which, as they must necessarily be of a less definite character, shall be selected from other volumes.”—ED.
Thus far of images independent of each other, and immediately endowed by the mind with properties that do not inhere in them, upon an incitement from properties and qualities the existence of which is inherent and obvious. These processes of imagination are carried on either by conferring additional properties upon an object, or abstracting from it some of those which it actually possesses, and thus enabling it to re-act upon the mind which hath performed the
process, like a new existence. I
pass from the Imagination acting upon an individual image to a consideration of the same faculty employed upon images in a conjunction by which they modify each other. The reader has already had a fine instance before him in the passage quoted from Virgil, where the apparently perilous situation of the goat, hanging upon the shaggy precipice, is contrasted with that of the shepherd, contemplating it from the seclusion of the cavern in which he lies stretched at ease and in security. Take these images separately, and how unaffecting the picture compared with that produced by their being thus connected with, and opposed to, each other !
As a huge stone is sometimes seen to lie
Motionless as a cloud the old Man stood,
And moveth altogether if it move at all.' In these images, the conferring, the abstracting, and the modifying powers of the Imagination, immediately and mediately acting, are all brought into conjunction. The
stone is endowed with something of the power of life to approximate it to the sea-beast; and the sea-beast stripped of some of its vital qualities to assimilate it to the stone; which intermediate image is thus treated for the purpose of bringing the original image, that of the stone, to a nearer resemblance to the figure and condition of the aged Man, who is divested of so much of the indications of life and motion as to bring him to the point where the two objects unite and coalesce in just comparison. After what has been said, the image of the cloud need not be commented upon.
Thus far of an endowing or modifying power; but the imagination also shapes and creates; and how? By innumerable processes; and in none does it more delight than in that of consolidating numbers into unity, and dissolving and separating unity into number,—alterations proceeding from, and governed by, a sublime consciousness of the soul in her own mighty and almost divine powers. Recur to the passage already cited from Milton.
When the compact Fleet, as one person, has been introduced Sailing from Bengala, They,' i.e., the 'merchants,' representing the fleet resolved into a multitude of ships, 'ply' their voyage towards the extremities of the earth : 'So' (referring to the word ‘As' in the commencement) seemed the flying fiend ;' the image of his Person acting to recombine the multitude of ships into one body,—the point from which the comparison set out. "So seemed,' and to whom seemed? To the heavenly Muse who dictates the poem, to the eye of the Poet's mind, and to that of the reader, present at one moment in the wide Ethiopian, and the next in the solitudes, then first broken in upon, of the infernal regions !
Hear again this mighty poet,--speaking of the Messiah going forth to expel from heaven the rebellious angels,
*Attended by ten thousand thousand Saints
He onward came : far off his coming shone,'— the retinue of Saints and the Person of the Messiah himself, lost almost and merged in the splendour of that indefinite abstraction, ‘His coming!'
As I do not mean here to treat this subject further than to throw some light upon the present Volumes, and especially upon one division of them, I shall spare myself and the reader the trouble of considering the Imagination as it deals with thoughts and sentiments, as it regulates the composition of characters, and determines the course of actions; I will not consider it (more than I have already done by implication) as that power which, in the language of one of my most esteemed Friends, 'draws all things to one; which makes things animate or inanimate, beings with their attributes, subjects with their accessories, take one colour and serve to one effect.'* The grand store-houses of enthusiastic and meditative Imagination, of poetical, as contradistinguished from human and dramatic Imagination, are the prophetic and lyrical parts of the Holy Scriptures, and the works of Milton, to which I cannot forbear to add those of Spenser. I select these writers in preference to those of ancient Greece and Rome, because the anthropomorphitism of the Pagan religion subjected the minds of the greatest poets in those countries too much to the bondage of definite form; from which the Hebrews were preserved by their abhorrence of idolatry.
This abhorrence was almost as strong in our great epic Poet, both from circumstances of his life, and from the constitution of his mind. However imbued the surface might be with classical literature, he was a Hebrew in soul; and all things tended in him towards the sublime. Spenser, of a gentler nature, maintained his freedom by aid of his allegorical spirit, at one time inciting him to create
* Charles Lamb upon the genius of Hogarth.