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 resemblance existing between several parts of the material and immaterial worlds, which is the foundation of metaphor and wit. As it feems in a great mea fure to depend on the early affociation of our ideas, and as this babit 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 mention'd bere and its effects defcrib'd. Then follows a general account of the production of these elegant arts, and of the fecondary pleasure, as it is call'd, arifing from the resemblance 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 usefulness in life. · Concerning the manner or turn of compofition which prevails in this piece, little can be faid with propriety by the author. He had two models; that antient and fimple one of the first Græcian poets, as it is refined by Virgil in the Georgics, Georgics, and the familiar epiftolary way of Horace. This latter has feveral advantages: + It admits of a greater variety of file; it more readily ingages the generality of readers, as partaking more of the air of converfation; and efpecially with the affiftance of rhyme, leads to a clofer and more concife 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 form'd to it alone. Yet, after all, the fubject before us tending almost conftantly to admiration and enthusiasm, seem'd rather to demand a more open, pathetic and figur'd file. This too appear'd more natural, as the author's aim was not fo much to give formal precepts, or enter into the way of direct argumentation, as by exhibiting the most ingaging profpects of nature, to enlarge and harmonize the imagination, and by that means infenfibly difpofe the minds of men to a fimilar tafte and habit of thinking in religion, morals, and civil life. 'Tis on this account that be 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 alfo 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 look'd upon as not quite direct to the fubject; but fince they bear an obvious relation to it, the authority of Virgil, the faultless model of didactic poetry, will beft fupport him in this particular. For the fentiments themselves he makes no apology. THE |