The materials of all imitation being thus laid open, nothing now remained but to illustrate some particular pleasures, which arife either from the relations of different objects one to another, or from the nature of imitation itself. Of the first kind is that various and complicated refemblance exifting between several parts of the material and immaterial worlds, which is the foundation of metaphor and wit. As it feems in a great measure to depend on the early affociation of our ideas, and as this habit of affociating is the fource of many pleasures and pains in life, and on that account bears a great share in the influence of poetry and the other arts, it is therefore mentioned here and its effects defcribed. Then follows a general account of the production of these elegant arts, and of the fecondary pleasure, as it is called, arifing from the refemblance of their imitations to the original appearances of nature. After which, the work concludes with fome reflections on the general conduct of the powers of imagination, and on their natural and moral ufefulnefs in life.

Concerning the manner or turn of composition which prevails in this piece, little can be faid with propriety by the author. He had two models; that ancient and. simple one of the firft Grecian poets, as it is refined by Virgil in the Georgics, and the familiar epiftolary way of Horace. This latter has feveral advantages. It its of a greater variety of ftile; it more readily the generality of readers, as partaking more ir of converfation; and, especially with the

affiftance

affistance of rhyme, leads to a closer and more concise expreffion. Add to this the example of the most perfect of modern poets, who has fo happily applied this manner to the nobleft parts of philofophy, that the public tafte is in a great measure formed to it alone. Yet, after all, the subject before us, tending almost constantly to admiration and enthusiafin, seemed rather to demand a more open, pathetic, and figured ftile. This too appeared more natural, as the author's aim was not so much to give formal precepts, or enter into the way of direct argumentation, as, by exhibiting the most engaging profpects of nature, to enlarge and harmonize the imagination, and by that means infenfibly dispose the minds of men to a fimilar tafte and habit of thinking in religion, morals, and civil life. It is on this account that he is fo careful to point out the benevolent intention of the Author of nature in every principle of the human conftitution here infifted on; and also to unite the moral excellencies of life in the fame point of view with the meer external objects. of good tafte; thus recommending them in common to our natural propensity for admiring what is beautiful and lovely. The fame views have alfo led him to introduce fome fentiments which may perhaps be looked upon as not quite direct to the fubje&t; but, fince they bear an obvious relation to it, the authority of Virgil, the faultlefs model of didactic poetry, will beft fupport him in this particular. For the fentiments themselves, he makes no apology.

THE

THE

PLEASURES

O F

IMAGINATION.

BOOK THE FIRST.

THE fubject propofed. Difficulty of treating it poetically. The ideas of the divine mind, the origin of every quality pleafing to the imagination. The natural variety of constitution in the minds of men; with its final cause. The idea of a fine imagination, and the state of the mind in the enjoyment of thofe pleasures which it affords. All the primary pleafures of the imagination result from the perception of greatnefs, or wonderfulness, or beauty in objects. The pleasure from greatnefs, with its final caufe. Pleasure from novelty or wonderfulness, with its final caufe. Pleasure from beauty, with its finał caufe. The connexion of beauty with truth and good, applied to the conduct of life. Invitation to the study of moral philofophy. The different degrees of beauty in different fpecies of objects: colour; fhape; natural concretes; vegetables; animals; the mind. The fublime, the fair, the wonderful of the mind. The connection of the imagination and the moral faculty. Conclufion.

W

ITH what attractive charms this goodly frame
Of nature touches the confenting hearts
Of mortal men; and what the pleasing stores
Which beauteous imitation thence derives

To deck the poet's, or the painter's toil;
My verfe unfolds. Attend, ye gentle powers
Of musical delight! and while I fing

Your gifts, your honours, dance around my strain.
Thou, fmiling queen of every tuneful breast,
Indulgent Fancy! from the fruitful banks

Of Avon, whence thy rofy fingers cull

Fresh flowers and dews to sprinkle on the turf
Where Shakespeare lies, be prefent: and with thee
Let Fiction come, upon her vagrant wings
Wafting ten thousand colours through the air,
Which, by the glances of her magic eye,

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She blends and shifts at will, through countless forms,
Her wild creation. Goddefs of the lyre,
Which rules the accents of the moving sphere,
Wilt thou, eternal Harmony! defcend

And join this feftive train? for with thee comes
The guide, the guardian of their lovely sports,
Majestic Truth; and where Truth deigns to come,
Her fifter Liberty will not be far.

Be prefent all ye Genii, who conduct

The wandering footsteps of the youthful bard,
New to your fprings and fhades: who touch his ear
With finer founds: who heighten to his eye

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The

The bloom of nature, and before him turn
The gayeft, happiest attitude of things.
Oft have the laws of each poetic ftrain
The critic-verfe employ'd; yet fill unfung
Lay this prime fubject, though importing most
A Poet's name: for fruitless is the attempt,
By dull obedience and by creeping toil
Obfcure to conquer the fevere afcent

Of high Parnaffus. Nature's kindling breath`
Must fire the chofen genius; nature's hand

Must ftring his nerves, and imp his eagle-wings
Impatient of the painful steep, to foar

High as the fummit; there to breathe at large
Ætherial air; with bards and fages old,
Immortal fons of praife. These flattering fcenes,
To this neglected labour court my fong;
Yet not unconscious what a doubtful task
To paint the finest features of the mind,

And to moft fubtle and myfterious things

Give colour, ftrength, and motion. But the love
Of Nature and the Mufes bids explore,

Through fecret paths erewhile untrod by man,
The fair poetic region, to detect

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And love and beauty, and poetic joy