TASTE AND IMAGINATION.

Figurative language seems to have confounded the ideas of most writers upon metaphysics. Imagination, Memory, and Reason, have been long introduced to our acquaintance as allegorical personages, and we have insensibly learned to consider them as real beings. The "viewless regions" of the soul, have been portioned out amongst these ideal sovereigns; but disputes have, nevertheless, sometimes arisen concerning the boundaries of intellectual provinces. Amongst the disputed territories, those of Imagination have been most frequently the seat of war; her empire has been subject to continual revolution; her dominions have been, by potent invaders, divided and subdivided. Fancy,[59] Memory,[60] Ideal presence,[61] and Conception,[62] have shared her spoils.

By poets, imagination has been addressed as the great parent of genius, as the arbiter, if not the creator, of our pleasures; by philosophers, her name has been sometimes pronounced with horror; to her fatal delusions, they have ascribed all the crimes and miseries of mankind. Yet, even philosophers have not always agreed in their opinions: whilst some have treated Imagination with contempt, as the irreconcileable enemy of Reason, by others[63] she has been considered with more respect, as Reason's inseparable friend; as the friend who collects and prepares all the arguments upon which Reason decides; as the injured, misrepresented power who is often forced to supply her adversaries with eloquence, who is often called upon to preside at her own trial, and to pronounce her own condemnation.

Imagination is "the power," we are told, of "forming images:" the word image, however, does not, strictly speaking, express any thing more than a representation of an object of sight; but the power of imagination extends to objects of all the senses.

Imagination hears the voice, as well as sees the hand; by an easy license of metaphor, what was originally used to express the operation of our senses, is extended to them all. We do not precisely say, that Imagination, forms images of past sounds, or tastes, or smells; but we say that she forms ideas of them; and ideas, we are told, are mental images. It has been suggested by Dr. Darwin, that all these analogies between images and thoughts have, probably, originated in our observing the little pictures painted on the retina of the eye.

It is difficult certainly, if not impossible, to speak of the invisible operations of the mind or body, without expressing ourselves in metaphor of some kind or other; and we are easily misled by allusions to sensible objects, because when we comprehend the allusion, we flatter ourselves that we understand the theory which it is designed to illustrate. Whether we call ideas images in popular language, or vibrations, according to Dr. Hartley's system, or modes of sensation with Condillac, or motions of the sensorium, in the language of Dr. Darwin, may seem a matter of indifference. But even the choices of names is not a matter of indifference to those who wish to argue accurately; when they are obliged to describe their feelings or thoughts by metaphoric expressions, they will prefer the simplest; those with which the fewest extraneous associations are connected. Words which call up a variety of heterogeneous ideas to our minds, are unfit for the purposes of sober reasoning; our attention is distracted by them, and we cannot restrain it to the accurate comparison of simple proportions. We yield to pleasing reverie, instead of exerting painful voluntary attention. Hence it is probably useful in our attempts to reason, especially upon metaphysical subjects, to change from time to time our nomenclature,[64] and to substitute terms which have no relation to our old associations, and which do not affect the prejudices of our education. We are obliged to define with some degree of accuracy the sense of new terms, and we are thus led to compare our old notions with more severity. Our superstitious reverence for mere symbols is also dissipated; symbols are apt to impose even upon those who acknowledge their vanity, and who profess to consider them merely as objects of vulgar worship.

When we call a class of our ideas images and pictures, a tribe of associations with painting comes into our mind, and we argue about Imagination as if she were actually a paintress, who has colours at her command, and who, upon some invisible canvass in the soul, portrays the likeness of all earthly and celestial objects. When we continue to pursue the same metaphor in speaking of the moral influence of Imagination, we say that her colouring deceives us, that her pictures are flattering and false, that she draws objects out of proportion, &c. To what do all these metaphors lead? We make no new discoveries by talking in this manner; we do not learn the cause or the cure of any of the diseases of the mind; we only persuade ourselves that we know something, when we are really ignorant.

We have sedulously avoided entering into any metaphysical disquisitions; but we have examined with care the systems of theoretic writers, that we may be able to avail ourselves of such of their observations as can be reduced to practice in education. With respect to the arts, imagination may be considered practically in two points of view, as it relates to our taste, and as it relates to our talents for the arts. Without being a poet, or an orator, a man may have a sufficient degree of imagination to receive pleasure from the talents of others; he may be a critical judge of the respective merits of orators, poets, and artists. This sensibility to the pleasures of the imagination, when judiciously managed, adds much to the happiness of life, and it must be peculiarly advantageous to those who are precluded by their station in society from the necessity of manual labour. Mental exercise, and mental amusements, are essential to persons in the higher ranks of life, who would escape from the fever of dissipation, or from the lethargy of ennui. The mere physical advantages which wealth can procure, are reducible to the short sum of "meat, fire, and clothes." A nobleman of the highest birth, and with the longest line of ancestry, inherits no intuitive taste, nor can he purchase it from the artist, the painter, or the poet; the possession of the whole Pinelli library could not infuse the slightest portion of literature. Education can alone give the full power to enjoy the real advantages of fortune. To educate the taste and the imagination, it is not necessary to surround the heir of an opulent family with masters and connoisseurs. Let him never hear the jargon of amateurs, let him learn the art "not to admire." But in his earliest childhood cultivate his senses with care, that he may be able to see and hear, to feel and understand, for himself. Visible images he will rapidly collect in his memory; but these must be selected, and his first associations must not be trusted to accident. Encourage him to observe with attention all the works of nature, but show him only the best imitations of art; the first objects that he contemplates with delight, will remain long associated with pleasure in his imagination; you must, therefore, be careful, that these early associations accord with the decisions of those who have determined the national standard of taste. In many instances taste is governed by arbitrary and variable laws; the fashions of dress, of decoration, of manner, change from day to day; therefore no exclusive prejudices should confine your pupil's understanding. Let him know, as far as we know them, the general principles which govern mankind in their admiration of the sublime and beautiful; but at the same time give him that enlarged toleration of mind, which comprehends the possibility of a taste different from our own. Show him, and you need not go further than the Indian skreen, or the Chinese paper in your drawing room, for the illustration, that the sublime and beautiful vary at Pekin, at London, on Westminster bridge, and on the banks of the Ganges. Let your young pupil look over a collection of gems or of ancient medals; it is necessary that his eye should be early accustomed to Grecian beauty, and to all the classic forms of grace. But do not suffer him to become a bigot, though he may be an enthusiast in his admiration of the antique. Short lessons upon this subject may be conveyed in a few words. If a child sees you look at the bottom of a print for the name of the artist, before you will venture to pronounce upon its merits, he will follow your example, and he will judge by the authority of others, and not by his own taste. If he hears you ask, who wrote this poem? Who built this palace? Is this a genuine antique? he will ask the same questions before he ventures to be pleased. If he hears you pronounce with emphasis, that such a thing comes from Italy, and therefore must be in good taste, he will take the same compendious method of decision upon the first convenient occasion.

He will not trouble himself to examine why utility pleases, nor will he analyze his taste, or discover why one proportion or one design pleases him better than another; he will, if by example you teach him prejudice, content himself with repeating the words, proportion, antique, picturesque, &c. without annexing any precise ideas to these words.

Parents, who have not turned their attention to metaphysics, may, perhaps, apprehend, that they have something very abstruse or intricate to learn, before they can instruct their pupils in the principles of taste: but these principles are simple, and two or three entertaining books, of no very alarming size, comprise all that has yet been ascertained upon this subject. Vernet's ThÉorie des Sentiments AgrÉables; Hogarth's Analysis of Beauty; an Essay of Hume's on the standard of taste; Burke's Sublime and Beautiful; Lord Kames's Elements of Criticism; Sir Joshua Reynold's Discourses; and Alison on Taste; contain so much instruction, mixed with so much amusement, that we cannot think that it will be a terrible task to any parent to peruse them.

These books are above the comprehension of children; but the principles which they contain, can be very early illustrated in conversation. It will be easy, in familiar instances, to show children that the fitness, propriety, or utility of certain forms, recommends them to our approbation: that uniformity, an appearance of order and regularity, are, in some cases, agreeable to us; contrast, in others: that one class of objects pleases us from habit, another from novelty, &c. The general principle that governs taste, in the greatest variety of instances, is the association of ideas, and this, fortunately, can be most easily illustrated.

"I like such a person, because her voice puts me in mind of my mother's. I like this walk, because I was very happy the last time I was here with my sister. I think green is the prettiest of all colours; my father's room is painted green, and it is very cheerful, and I have been very happy in that room; and, besides, the grass is green in spring." Such simple observations as these, come naturally from children; they take notice of the influence of association upon their taste, though, perhaps, they may not extend their observations so as to deduce the general principle according to philosophical forms. We should not lay down for them this or any other principle of taste, as a rule which they are to take for granted; but we should lead them to class their own desultory remarks, and we should excite them to attend to their own feelings, and to ascertain the truth, by experiments upon themselves. We have often observed, that children have been much entertained with comparing the accidental circumstances they have met with, and the unpremeditated expressions used in conversation, with any general maxim. In this point of view, we may render even general maxims serviceable to children, because they will excite to experiment: our pupils will detect their falsehood, or, after sufficient reflection, acknowledge their truth.

Perhaps it may be thought, that this mode of instruction will tend rather to improve the judgment than the taste; but every person of good taste, must have also a good judgment in matters of taste: sometimes the judgment may have been partially exercised upon a particular class of objects, and its accuracy of discrimination may be confined to this one subject; therefore we hastily decide, that, because men of taste may not always be men of universally good judgment, these two powers of the mind are unnecessary to one another. By teaching the philosophy, at the same time that we cultivate the pleasures, of taste, we shall open to our pupils a new world; we shall give them a new sense. The pleasure of every effect will be increased by the perception of its cause; the magic of the scenery will not lose its power to charm, though we are aware of the secret of the enchantment.

We have hitherto spoken of the taste for what is beautiful; a taste for the sublime we should be cautious in cultivating. Obscurity and terror are two of the grand sources of the sublime; analyze the feeling, examine accurately the object which creates the emotion, and you dissipate the illusion, you annihilate the pleasure.

The indistinctness of the head and of the kingly crown, makes this a sublime image. Upon the same principle,

always must appear sublime as long as the passion of fear operates. Would it not, however, be imprudent in education to permit that early propensity to superstitious terrors, and that temporary suspension of the reasoning faculties, which are often essential to our taste for the sublime? When we hear of "Margaret's grimly ghost," or of the "dead still hour of night," a sort of awful tremor seizes us, partly from the effect of early associations, and partly from the solemn tone of the reader. The early associations which we perhaps have formed of terror, with the ideas of apparitions, and winding sheets, and sable shrouds, should be unknown to children. The silent solemn hour of midnight, should not to them be an hour of terror. In the following poetic description of the beldam telling dreadful stories to her infant audience, we hear only of the pleasures of the imagination; we do not recollect how dearly these pleasures must be purchased by their votaries:

No prudent mother will ever imitate this eloquent village matron, nor will she permit any beldam in the nursery to conjure up these sublime shapes, and to quell the hearts of her children with these grateful terrors. We were once present when a group of speechless children sat listening to the story of Blue-beard, "breathing astonishment." A gentleman who saw the charm beginning to operate, resolved to counteract its dangerous influence. Just at the critical moment, when the fatal key drops from the trembling hands of the imprudent wife, the gentleman interrupted the awful pause of silence that ensued, and requested permission to relate the remainder of the story. Tragi-comedy does not offend the taste of young, so much as of old critics; the transition from grave to gay was happily managed. Blue-beard's wife afforded much diversion, and lost all sympathy the moment she was represented as a curious, tattling, timid, ridiculous woman. The terrors of Blue-beard himself subsided when he was properly introduced to the company; and the denouement of the piece was managed much to the entertainment of the audience; the catastrophe, instead of freezing their young blood, produced general laughter. Ludicrous images, thus presented to the mind which has been prepared for horror, have an instantaneous effect upon the risible muscles: it seems better to use these means of counteracting the terrors of the imagination, than to reason upon the subject whilst the fit is on; reason should be used between the fits.[66] Those who study the minds of children know the nice touches which affect their imagination, and they can, by a few words, change their feelings by the power of association.

Ferdinand Duke of Tuscany was once struck with the picture of a child crying: the painter,[67] who was at work upon the head, wished to give the duke a proof of his skill: by a few judicious strokes, he converted the crying into a laughing face. The duke, when he looked at the child again, was in astonishment: the painter, to show himself master of the human countenance, restored his first touches; and the duke, in a few moments, saw the child weeping again. A preceptor may acquire similar power over the countenance of his pupil if he has studied the oratorical art. By the art of oratory, we do not mean the art of misrepresentation, the art of deception; we mean the art of showing the truth in the strongest light; of exciting virtuous enthusiasm and generous indignation. Warm, glowing eloquence, is not inconsistent with accuracy of reasoning and judgment. When we have expressed our admiration or abhorrence of any action or character, we should afterwards be ready coolly to explain to our pupils the justice of our sentiments: by this due mixture and alternation of eloquence and reasoning, we may cultivate a taste for the moral and sublime, and yet preserve the character from any tincture of extravagant enthusiasm. We cannot expect, that the torrent of passion should never sweep away the land-marks of exact morality; but after its overflowing impetuosity abates, we should take a calm survey of its effects, and we should be able to ascertain the boundaries of right and wrong with geometrical precision.

There is a style of bombast morality affected by some authors, which must be hurtful to young readers. Generosity and honour, courage and sentiment, are the striking qualities which seize and enchant the imagination in romance: these qualities must be joined with justice, prudence, economy, patience, and many humble virtues, to make a character really estimable; but these would spoil the effect, perhaps, of dramatic exhibitions.

Children may with much greater safety see hideous, than gigantic representations of the passions. Richard the Third excites abhorrence; but young Charles de Moor, in "The Robbers," commands our sympathy; even the enormity of his guilt, exempts him from all ordinary modes of trial; we forget the murderer, and see something like a hero. It is curious to observe, that the legislature in Germany, and in England, have found it necessary to interfere as to the representation of Captain Mac Heath and the Robbers; two characters in which the tragic and the comic muse have had powerful effects in exciting imitation. George Barnwell is a hideous representation of the passions, and therefore beneficial.

There are many sublime objects which do not depend upon terror, or at least upon false associations of terror, for their effect; and there are many sublime thoughts, which have no connection with violent passions or false ideas of morality. These are what we should select, if possible, to raise, without inflating, the imagination. The view of the ocean, of the setting or the rising sun, the great and bold scenes of nature, affects the mind with sublime pleasure. All the objects which suggest ideas of vast space, or power, of the infinite duration of time, of the decay of the monuments of ancient grandeur, or of the master-pieces of human art and industry, have power to raise sublime sensations: but we should consider, that they raise this pleasure only by suggesting certain ideas; those who have not the previous ideas, will not feel the pleasure. We should not, therefore, expect that children should admire objects which do not excite any ideas in their minds; we should wait till they have acquired the necessary knowledge, and we should not injudiciously familiarize them with these objects.

Simplicity is a source of the sublime, peculiarly suited to children; accuracy of observation and distinctness of perception, are essential to this species of the sublime. In Percy's collection of ancient ballads, and in the modern poems of the Ayreshire ploughman, we may see many instances of the effect of simplicity. To preserve our pupil's taste from a false love of ornament, he must avoid, either in books or in conversation, all verbose and turgid descriptions, the use of words and epithets which only fill up the measure of a line.

When a child sees any new object, or feels any new sensation, we should assist him with appropriate words to express his thoughts and feelings: when the impression is fresh in his mind, the association, with the precise descriptive epithets, can be made with most certainty. As soon as a child has acquired a sufficient stock of words and ideas, he should be from time to time exercised in description; we should encourage him to give an exact account of his own feelings in his own words. Those parents who have been used to elegant, will not, perhaps, be satisfied with the plain, descriptions of unpractised pupils; but they should not be fastidious; they should rather be content with an epithet too little, than with an epithet too much; and they should compare the child's description with the objects actually described, and not with the poems of Thomson or Gray, or Milton or Shakespeare. If we excite our pupils to copy from the writings of others, they never can have any originality of thought. To show parents what sort of simple descriptions they may reasonably expect from children, we venture to produce the following extempore description of a summer's evening, given by three children of different ages.

July 12th, 1796. Mr. —— was walking out with his family, and he asked his children to describe the evening just as it appeared to them. "There were three bards in Ossian's poems," said he, "who were sent out to see what sort of a night it was; they all gave different descriptions upon their return; you have never any of you read Ossian, but you can give us some description of this evening; try."

B—— (a girl of 14.) "The clouds in the west are bright with the light of the sun which has just set; a thick mist is seen in the east, and the smoke which had been heaped up in the day-time, is now spread, and mixes with the mist all round us; the noises are heard more plainly (though there are but few) than in the day-time; and those which are at a distance, sound almost as near as those which are close to us; there is a red mist round the moon."

C—— (a girl of eleven years old.) "The western clouds are pink with the light of the sun which has just set. The moon shines red through the mist. The smoke and mist make it look dark at a distance; but the few objects near us appear plainer. If it was not for the light of the moon, they would not be seen; but the moon is exceedingly bright; it shines upon the house and the windows. Every thing sounds busy at a distance; but what is near us is still."

S—— (a boy between nine and ten years old). "The sun has set behind the hill, and the western clouds are tinged with light. The mist mixes with the smoke, which rises from the heaps of weeds which some poor man is burning to earn bread for his family. The moon through the mist peeps her head, and sometimes she goes back, retires into her bower of clouds. The few noises that are heard, are heard very plain—very plainly."

We should observe, that the children who attempted these little descriptions, had not been habituated to the poetic trade; these were the only descriptions of an evening which they ever made. It would be hurtful to exercise children frequently in descriptive composition; it would give them the habit of exact observation, it is true, but something more is necessary to the higher species of poetry. Words must be selected which do not represent only, but which suggest, ideas. Minute veracity is essential to some sorts of description; but in a higher style of poetry, only the large features characteristic of the scene must be produced, and all that is subordinate must be suppressed. Sir Joshua Reynolds justly observes, that painters, who aim merely at deception of the eye by exact imitation, are not likely, even in their most successful imitations, to rouse the imagination. The man who mistook the painted fly for a real fly, only brushed, or attempted to brush it, away. The exact representation of such a common object, could not raise any sublime ideas in his mind; and when he perceived the deception, the wonder which he felt at the painter's art, was a sensation no wise connected with poetic enthusiasm.

As soon as young people have collected a variety of ideas, we can proceed a step in the education of their fancy. We should sometimes in conversation, sometimes in writing or in drawing, show them how a few strokes, or a few words, can suggest or combine various ideas. A single expression from CÆsar, charmed a mutinous army to instant submission. Unless the words "Roman Citizens!" had suggested more than meets the ear, how could they have produced this wonderful effect? The works of Voltaire and Sterne abound with examples of the skilful use of the language of suggestion: on this the wit of Voltaire, and the humour and pathos of Sterne, securely depend for their success. Thus, corporal Trim's eloquence on the death of his young master, owed its effect upon the whole kitchen, including "the fat scullion, who was scouring a fish-kettle upon her knees," to the well-timed use of the mixed language of action and suggestion.

"'Are we not here now?' continued the corporal (striking the end of his stick perpendicularly upon the floor, so as to give an idea of health and stability) 'and are we not' (dropping his hat upon the ground) 'gone in a moment?'"

"Are we not here now, and gone in a moment?" continues Sterne, who, in this instance, reveals the secret of his own art. "There was nothing in the sentence; it was one of your self-evident truths we have the advantage of hearing every day; and if Trim had not trusted more to his hat than his head, he had made nothing at all of it."

When we point out to our pupils such examples in Sterne, we hope it will not be understood, that we point them out to induce servile imitation. We apprehend, that the imitators of Sterne have failed from not having discovered that the interjections and —— dashes of this author, are not in themselves beauties, but that they affect us by suggesting ideas. To prevent any young writers from the intemperate or absurd use of interjections, we should show them Mr. Horne Tooke's acute remarks upon this mode of embellishment. We do not, however, entirely agree with this author in his abhorrence of interjections. We do not believe that "where speech can be employed they are totally useless; and are always insufficient for the purpose of communicating our thoughts."[68] Even if we class them, as Mr. Tooke himself does,[69] amongst "involuntary convulsions with oral sound," such as groaning, shrieking, &c. yet they may suggest ideas, as well as express animal feelings. Sighing, according to Mr. Tooke, is in the class of interjections, yet the poet acknowledges the superior eloquence of sighs:

"'I wish,' said Uncle Toby, with a deep sigh (after hearing the story of Le Fevre) 'I wish, Trim, I was asleep.'" The sigh here adds great force to the wish, and it does not mark that Uncle Toby, from vehemence of passion, had returned to the brutal state of a savage who has not learnt the use of speech; but, on the contrary, it suggests to the reader, that Uncle Toby was a man of civilized humanity; not one whose compassion was to be excited merely as an animal feeling by the actual sight of a fellow-creature in pain, but rather by the description of the sufferer's situation.

In painting, as well as in writing, the language of suggestion affects the mind, and if any of our pupils should wish to excel in this art, they must early attend to this principle. The picture of Agamemnon hiding his face at the sacrifice of his daughter, expresses little to the eye, but much to the imagination. The usual signs of grief and joy make but slight impression; to laugh and to weep are such common expressions of delight or anguish, that they cannot be mistaken, even by the illiterate; but the imagination must be cultivated to enlarge the sphere of sympathy, and to render a more refined language intelligible. It is said that a Milanese artist painted two peasants, and two country-girls, who laughed so heartily, that no one could look at them without laughing.[70] This is an instance of sympathy unconnected with imagination. The following is an instance of sympathy excited by imagination. When Porcia was to part from Brutus, just before the breaking out of the civil war, "she endeavoured," says Plutarch, "as well as possible, to conceal the sorrow that oppressed her; but, notwithstanding her magnanimity, a picture betrayed her distress. The subject was the parting of Hector and Andromache. He was represented delivering his son Astyanax into her arms, and the eyes of Andromache were fixed upon him. The resemblance that this picture bore to her own distress, made Porcia burst into tears the moment she beheld it." If Porcia had never read Homer, Andromache would not have had this power over her imagination and her sympathy.

The imagination not only heightens the power of sympathy with the emotions of all the passions which a painter would excite, but it is likewise essential to our taste for another class of pleasures. Artists, who like Hogarth would please by humour, wit, and ridicule, must depend upon the imagination of the spectators to supply all the intermediate ideas which they would suggest. The cobweb over the poor box, one of the happiest strokes of satire that Hogarth ever invented, would probably say nothing to the inattentive eye, or the dull imagination. A young person must acquire the language, before he can understand the ideas, of superior minds.

The taste for poetry must be prepared by the culture of the imagination. The united powers of music and poetry could not have triumphed over Alexander, unless his imagination had assisted "the mighty master."

The sigh and the tears were the consequences of Alexander's own thoughts, which were only recalled by kindred sounds. We are well aware, that savage nations, or those that are imperfectly civilized, are subject to enthusiasm; but we are inclined to think, that the barbarous clamour with which they proclaim their delight in music and poetry, may deceive us as to the degree in which it is felt: the sensations of cultivated minds may be more exquisite, though they are felt in silence. It has been supposed, that ignorance is extremely susceptible of the pleasures of wonder: but wonder and admiration are different feelings: the admiration which a cultivated mind feels for excellence, of which it can fully judge, is surely a higher species of pleasure, than the brute wonder expressed by "a foolish face of praise." Madame Roland tells us, that once, at a sermon preached by a celebrated Frenchman, she was struck with the earnest attention painted in the countenance of a young woman who was looking up at the preacher. At length the fair enthusiast exclaimed, "My God, how he perspires!" A different sort of admiration was felt by CÆsar, when the scroll dropped from his hand whilst he listened to an oration of Cicero's.

There are an infinite variety of associations, by which the orator has power to rouse the imagination of a person of cultivated understanding; there are comparatively few, by which he can amuse the fancy of illiterate auditors. It is not that they have less imagination than others; they have equally the power of raising vivid images; but there are few images which can be recalled to them: the combinations of their ideas are confined to a small number, and words have no poetic or literary associations in their minds: even amongst children, this difference between the power we have over the cultivated and uncultivated mind, early appears. A laurel leaf is to the eye of an illiterate boy nothing more than a shrub with a shining, pale-green, pointed leaf: recall the idea of that shrub by the most exact description, it will affect him with no peculiar pleasure: but associate early in a boy's mind the ideas of glory, of poetry, of olympic crowns, of Daphne and Apollo; by some of these latent associations the orator may afterwards raise his enthusiasm. We shall not here repeat what has been said[71] upon the choice of literature for young people, but shall once more warn parents to let their pupils read only the best authors, if they wish them to have a fine imagination, or a delicate taste. When their minds are awake and warm, show them excellence; let them hear oratory only when they can feel it; if the impression be vivid, no matter how transient the touch. Ideas which have once struck the imagination, can be recalled by the magic of a word, with all their original, all their associated force. Do not fatigue the eye and ear of your vivacious pupil with the monotonous sounds and confused images of vulgar poetry. Do not make him repeat the finest passages of Shakespeare and Milton; the effect is lost by repetition; the words, the ideas are profaned. Let your pupils hear eloquence from eloquent lips, and they will own its power. But let a drawling, unimpassioned reader, read a play of Shakespeare's, or an oration of Demosthenes, and if your pupil is not out of patience, he will never taste the charms of eloquence. If he feels a fine sentiment, or a sublime idea, pause, leave his mind full, leave his imagination elevated. Five minutes afterwards, perhaps, your pupil's attention is turned to something else, and the sublime idea seems to be forgotten: but do not fear; the idea is not obliterated; it is latent in his memory; it will appear at a proper time, perhaps a month, perhaps twenty years afterwards. Ideas may remain long useless, and almost forgotten in the mind, and may be called forth by some corresponding association from their torpid state.

Young people, who wish to make themselves orators or eloquent writers, should acquire the habit of attending first to the general impression made upon their own minds by oratory, and afterwards to the cause which produced the effect; hence they will obtain command over the minds of others, by using the knowledge they have acquired of their own. The habit of considering every new idea, or new fact, as a subject for allusion, may also be useful to the young orator. A change from time to time in the nature of his studies, will enlarge and invigorate his imagination. Gibbon says, that, after the publication of his first volume of the Roman history, he gave himself a short holyday. "I indulged my curiosity in some studies of a very different nature: a course of anatomy, which was demonstrated by Dr. Hunter, and some lessons of chemistry, which were delivered by Dr. Higgins. The principles of these sciences, and a taste for books of natural history, contributed to multiply my ideas and images; and the anatomist and chemist may sometimes track me in their own snow."

Different degrees of enthusiasm are requisite in different professions; but we are inclined to think, that the imagination might with advantage be cultivated to a much higher degree than is commonly allowed in young men intended for public advocates. We have seen several examples of the advantage of a general taste for the belles lettres in eminent lawyers;[72] and we have lately seen an ingenious treatise called Deinology, or instructions for a Young Barrister, which confirms our opinion upon this subject. An orator, by the judicious preparation of the minds of his audience, may increase the effect of his best arguments. A Grecian painter,[73] before he would produce a picture which he had finished, representing a martial enterprise, ordered martial music to be played, to raise the enthusiasm of the assembled spectators; when their imagination was sufficiently elevated, he uncovered the picture, and it was beheld with sympathetic transports of applause.

It is usually thought, that persons of extraordinary imagination are deficient in judgment: by proper education, this evil might be prevented. We may observe that persons, who have acquired particular facility in certain exercises of the imagination, can, by voluntary exertion, either excite or suppress certain trains of ideas on which their enthusiasm depends. An actor, who storms and raves whilst he is upon the stage, appears with a mild and peaceable demeanor a moment afterwards behind the scenes. A poet, in his inspired moments, repeats his own verses in his garret with all the emphasis and fervour of enthusiasm; but when he comes down to dine with a mixed convivial company, his poetic fury subsides, a new train of ideas takes place in his imagination. As long as he has sufficient command over himself to lay aside his enthusiasm in company, he is considered as a reasonable, sensible man, and the more imagination he displays in his poems, the better. The same exercise of fancy, which we admire in one case, we ridicule in another. The enthusiasm which characterizes the man of genius, borders upon insanity.

When Voltaire was teaching mademoiselle Clairon, the celebrated actress, to perform an impassioned part in one of his tragedies, she objected to the violence of his enthusiasm. "Mais, monsieur, on me prendroit pour une possedÉe!"[74] "Eh, mademoiselle," replied the philosophic bard, "il faut Être un possedÉ pour rÉussir en aucun art."

The degree of enthusiasm, which makes the painter and poet set, what to more idle, or more busy mortals, appears an imaginary value upon their respective arts, supports the artist under the pressure of disappointment and neglect, stimulates his exertions, and renders him almost insensible to labour and fatigue. Military heroes, or those who are "insane with ambition,"[75] endure all the real miseries of life, and brave the terrors of death, under the invigorating influence of an extravagant imagination. Cure them of their enthusiasm, and they are no longer heroes. We must, therefore, decide in education, what species of characters we would produce, before we can determine what degree, or what habits of imagination, are desirable.

"Je suis le Dieu de la danse!"[76] exclaimed Vestris; and probably Alexander the Great did not feel more pride in his Apotheosis. Had any cynical philosopher undertaken to cure Vestris of his vanity, it would not have been a charitable action. Vestris might, perhaps, by force of reasoning, have been brought to acknowledge that a dancing-master was not a divinity, but this conviction would not have increased his felicity; on the contrary, he would have become wretched in proportion as he became rational. The felicity of enthusiasts depends upon their being absolutely incapable of reasoning, or of listening to reason upon certain subjects; provided they are resolute in repeating their own train of thoughts without comparing them with that of others, they may defy the malice of wisdom, and in happy ignorance may enjoy perpetual delirium.

Parents, who value the happiness of their children, will consider exactly what chance there is of their enjoying unmolested any partial enthusiasm; they will consider, that by early excitations, it is very easy to raise any species of ambition in the minds of their pupils. The various species of enthusiasm necessary to make a poet, a painter, an orator, or a military hero, may be inspired, without doubt, by education. How far these are connected with happiness, is another question. Whatever be the object which he pursues, we must, as much as possible, ensure our pupil's success. Those who have been excited to exertion by enthusiasm, if they do not obtain the reward or admiration which they had been taught to expect, sink into helpless despondency. Whether their object has been great or small, if it has been their favourite object, and they fail of its attainment, their mortification and subsequent languor are unavoidable. The wisest of monarchs exclaimed, that all was vanity and vexation of spirit; he did not, perhaps, feel more weary of the world than the poor juggler felt, who, after educating his hands to the astonishing dexterity of throwing up into the air, and catching as they fell, six eggs successively, without breaking them, received from the emperor, before whom he performed, six eggs to reward the labour of his life!

This poor man's ambition appears obviously absurd; and we are under no immediate apprehension, that parents should inspire their children with the enthusiasm necessary to the profession of a juggler: but, unless some precautions are taken, the objects which excite the ambition of numbers, may be placed so as to deceive the eye and imagination of children; and they may labour through life in pursuit of phantoms. If children early hear their parents express violent admiration for riches, rank, power, or fame, they catch a species of enthusiasm for these things, before they can estimate justly their value; from the countenance and manner, they draw very important conclusions. "Felicity is painted on your countenance," is a polite phrase of salutation in China. The taste for looking happy, is not confined to the Chinese: the rich and great,[77] by every artifice of luxury, endeavour to impress the spectator with the idea of their superior felicity. From experience we know, that the external signs of delight are not always sincere, and that the apparatus of luxury is not necessary to happiness. Children who live with persons of good sense, learn to separate the ideas of happiness and a coach and six; but young people who see their fathers, mothers, and preceptors, all smitten with sudden admiration at the sight of a fine phaeton, or a fine gentleman, are immediately infected with the same absurd enthusiasm. These parents do not suspect, that they are perverting the imagination of their children, when they call them with foolish eagerness to the windows to look at a fine equipage, a splendid cavalcade, or a military procession; they perhaps summon a boy, who is intended for a merchant, or a lawyer, to hear "the spirit stirring drum;" and they are afterwards surprised, if he says, when he is fifteen or sixteen, that, "if his father pleases, he had rather go into the army, than go to the bar." The mother is alarmed, perhaps, about the same time, by an unaccountable predilection in her daughter's fancy for a red coat, and totally forgets having called the child to the window to look at the smart cockades, and to hear the tune of "See the conquering hero comes."

"Hear you me, Jessica," says Shylock to his daughter, "lock up my doors; and when you hear the drum, and the vile squeaking of the wry-necked fife, clamber not you up into the casements then."

Shylock's exhortations were vain; Jessica had arrived at years of discretion, and it was too late to forbid her clambering into the casements; the precautions should have been taken sooner; the epithets vile squeaking and wry-necked fife, could not alter the lady's taste: and Shylock should have known how peremptory prohibitions and exaggerated expressions of aversion operate upon the female imagination; he was imprudent in the extreme of his caution. We should let children see things as they really are, and we should not prejudice them either by our exclamations of rapture, or by our affected disgust. If they are familiarized with show, they will not be caught by it; if they see the whole of whatever is to be seen, their imagination will not paint things more delightful than they really are. For these reasons, we think that young people should not be restrained, though they may be guided in their tastes; we should supply them with all the information in which they are deficient, and leave them to form their own judgments.

Without making it a matter of favour, or of extraordinary consequence, parents can take their children to see public exhibitions, or to partake of any amusements which are really agreeable; they can, at the same time, avoid mixing factitious with real pleasure. If, for instance, we have an opportunity of taking a boy to a good play, or a girl to a ball, let them enjoy the full pleasure of the amusement, but do not let us excite their imagination by great preparations, or by anticipating remarks: "Oh, you'll be very happy to-morrow, for you're to go to the play. You must look well to-night, for you are going to the ball. Were you never at a ball? Did you never see a play before? Oh, then you'll be delighted, I'm sure!" The children often look much more sensible, and sometimes more composed, in the midst of these foolish exclamations, than their parents. "Est ce que je m'amuse, maman?" said a little girl of six years old, the first time she was taken to the playhouse.

Besides the influence of opinion, there are a number of other circumstances to be considered in cultivating the imagination; there are many other circumstances which must be attended to, and different precautions are necessary, to regulate properly the imagination of children of different dispositions, or temperaments. The disposition to associate ideas, varies in strength and quickness in opposite temperaments: the natural vivacity or dulness of the senses, the habit of observing external objects, the power of voluntary exertion, and the propensity to reverie, must all be considered before we can adapt a plan of education exactly to the pupil's advantage. A wise preceptor will counteract, as much as possible, all those defects to which a child may appear most liable, and will cultivate his imagination so as to prevent the errours to which he is most exposed by natural, or what we call natural, disposition.

Some children appear to feel sensations of pleasure or pain with more energy than others; they take more delight in feeling than in reflection; they have neither much leisure nor much inclination for the intellectual exertions of comparison or deliberation. Great care should be taken to encourage children of this temper to describe and to compare their sensations. By their descriptions we shall judge what motives we ought to employ to govern them, and if we can teach them to compare their feelings, we shall induce that voluntary exertion of mind in which they are naturally defective. We cannot compare or judge of our sensations without voluntary exertion. When we deliberate, we repeat our ideas deliberately; and this is an exercise peculiarly useful to those who feel quickly.

When any pleasure makes too great an impression upon these children of vivid sensations, we should repeat the pleasure frequently, till it begins to fatigue; or we should contrast it, and bring it into direct comparison with some other species of pleasure. For instance, suppose a boy had appeared highly delighted with seeing a game at cards, and that we were apprehensive he might, from this early association, acquire a taste for gaming, we might either repeat the amusement till the playing at cards began to weary the boy, or we might take him immediately after playing at cards to an interesting comedy; probably, the amusement he would receive at the playhouse, would be greater than that which he had enjoyed at the card-table; and as these two species of pleasure would immediately succeed to each other, the child could scarcely avoid comparing them. Is it necessary to repeat, that all this should be done without any artifice? The child should know the meaning of our conduct, and then he will never set himself in opposition to our management.

If it is not convenient, or possible, to dull the charm of novelty by repetition, or to contrast a new pleasure with some other superior amusement, there is another expedient which may be useful; we may call the power of association to our assistance: this power is sometimes a full match for the most lively sensations. For instance, suppose a boy of strong feelings had been offended by some trifle, and expressed sensations of hatred against the offender obviously too violent for the occasion; to bring the angry boy's imagination to a temperate state, we might recall some circumstance of his former affection for the offender; or the general idea, that it is amiable and noble to command our passion, and to forgive those who have injured us. At the sight of his mother, with whom he had many agreeable associations, the imagination of Coriolanus raised up instantly a train of ideas connected with the love of his family, and of his country, and immediately the violence of his sensations of anger were subdued.

Brutus, after his friend Cassius has apologized to him for his "rash humour," by saying, "that it was hereditary from his mother," promises that the next time Cassius is over-earnest with "his Brutus, he will think his mother chides, and leave him so;" that is to say, Brutus promises to recollect an association of ideas, which shall enable him to bear with his friend's ill humour.

Children, who associate ideas very strongly and with rapidity,[78] must be educated with continual attention. With children of this class, the slightest circumstances are of consequence; they may at first appear to be easily managed, because they will remember pertinaciously any reproof, any reward or punishment; and, from association, they will scrupulously avoid or follow what has, in any one instance, been joined with pain or pleasure in their imagination: but unfortunately, accidental events will influence them, as well as the rewards and punishments of their preceptors; and a variety of associations will be formed, which may secretly govern them long before their existence is suspected. We shall be surprised to find, that even where there is apparently no hope, or fear, or passion, to disturb their judgment, they cannot reason, or understand reasoning. On studying them more closely, we shall discover the cause of this seeming imbecility. A multitude of associated ideas occur to them upon whatever subject we attempt to reason, which distract their attention, and make them change the terms of every proposition with incessant variety. Their pleasures are chiefly secondary reflected pleasures, and they do not judge by their actual sensations so much as by their associations. They like and dislike without being able to assign any sufficient cause for their preference or aversion. They make a choice frequently without appearing to deliberate; and if you, by persuading them to a more detailed examination of the objects, convince them, that according to the common standard of good and evil, they have made a foolish choice, they will still seem puzzled and uncertain; and, if you leave them at liberty, will persist in their original determination. By this criterion we may decide, that they are influenced by some secret false association of ideas; and, instead of arguing with them upon the obvious folly of their present choice, we should endeavour to make them trace back their ideas, and discover the association by which they are governed. In some cases this may be out of their power, because the original association may have been totally forgotten, and yet those connected with it may continue to act: but even when we cannot succeed in any particular instance in detecting the cause of the errour, we shall do the pupils material service by exciting them to observe their own minds. A tutor, who carefully remarks the circumstances in which a child expresses uncommon grief or joy, hope or fear, may obtain complete knowledge of his associations, and may accurately distinguish the proximate and remote causes of all his pupil's desires and aversions. He will then have absolute command over the child's mind, and he should upon no account trust his pupil to the direction of any other person. Another tutor, though perhaps of equal ability, could not be equally secure of success; the child would probably be suspected of cunning, caprice, or obstinacy, because the causes of his tastes and judgments could not be discovered by his new preceptor.

It often happens, that those who feel pleasure and pain most strongly, are likewise most disposed to form strong associations of ideas.[79] Children of this character are never stupid, but often prejudiced and passionate: they can readily assign a reason for their preference or aversion; they recollect distinctly the original sensations of pleasure or pain, on which their associations depend; they do not, like Mr. Transfer in Zelucco, like or dislike persons and things, because they have been used to them, but because they have received some injury or benefit from them. Such children are apt to make great mistakes in reasoning, from their registering of coincidences hastily; they do not wait to repeat their experiments, but if they have in one instance observed two things to happen at the same time, they expect that they will always recur together. If one event precedes or follows another accidentally, they believe it to be the cause or effect of its concomitant, and this belief is not to be shaken in their minds by ridicule or argument. They are, consequently, inclined both to superstition and enthusiasm, according as their hopes and fears predominate. They are likewise subject to absurd antipathies—antipathies which verge towards insanity.

Dr. Darwin relates a strong instance of antipathy in a child from association. The child, on tasting the gristle of sturgeon, asked what gristle was? and was answered, that gristle was like the division of a man's nose. The child, disgusted at this idea, for twenty years afterwards could never be persuaded to taste sturgeon.[80]

Zimmermann assures us, that he was an eye-witness of a singular antipathy, which we may be permitted to describe in his own words:

"Happening to be in company with some English gentlemen, all of them men of distinction, the conversation fell upon antipathies. Many of the company denied their reality, and considered them as idle stories, but I assured them that they were truly a disease. Mr. William Matthews, son to the governor of Barbadoes, was of my opinion, because he himself had an antipathy to spiders. The rest of the company laughed at him. I undertook to prove to them that this antipathy was really an impression on his soul, resulting from the determination of a mechanical effect. (We do not pretend to know what Dr. Zimmermann means by this.) Lord John Murray undertook to shape some black wax into the appearance of a spider, with a view to observe whether the antipathy would take place at the simple figure of the insect. He then withdrew for a moment, and came in again with the wax in his hand, which he kept shut. Mr. Matthews, who in other respects was a very amiable and moderate man, immediately conceiving that his friend really had a spider in his hand, clapped his hand to his sword with extreme fury, and running back towards the partition, cried out most horribly. All the muscles of his face were swelled, his eyes were rolling in their sockets, and his body was immoveable. We were all exceedingly alarmed, and immediately ran to his assistance, took his sword from him, and assured him that what he conceived to be a spider, was nothing more than a bit of wax, which he might see upon the table.

"He remained some time in this spasmodic state; but at length he began to recover, and to deplore the horrible passion from which he still suffered. His pulse was very strong and quick, and his whole body was covered with a cold perspiration. After taking an anodyne draft, he resumed his usual tranquillity.

"We are not to wonder at this antipathy," continues Zimmermann; "the spiders at Barbadoes are very large, and of an hideous figure. Mr. Matthews was born there, and his antipathy was therefore to be accounted for. Some of the company undertook to make a little waxen spider in his presence. He saw this done with great tranquillity, but he could not be persuaded to touch it, though he was by no means a timorous man in other respects. Nor would he follow my advice to endeavour to conquer this antipathy by first drawing parts of spiders of different sorts, and after a time whole spiders, till at length he might be able to look at portions of real spiders, and thus gradually accustom himself to whole ones, at first dead, and then living ones."[81]

Dr. Zimmermann's method of cure, appears rather more ingenious, than his way of accounting for the disease. Are all the natives of Barbadoes subject to convulsions at the sight of the large spiders in that island? or why does Mr. William Matthews' having been born there account so satisfactorily for his antipathy?

The cure of these unreasonable fears of harmless animals, like all other antipathies, would, perhaps, be easily effected, if it were judiciously attempted early in life. The epithets which we use in speaking of animals, and our expressions of countenance, have great influence on the minds of children. If we, as Dr. Darwin advises, call the spider the ingenious spider, and the frog the harmless frog, and if we look at them with complacency, instead of aversion, children, from sympathy, will imitate our manner, and from curiosity will attend to the animals, to discover whether the commendatory epithets we bestow upon them, are just.

It is comparatively of little consequence to conquer antipathies which have trifling objects. An individual can go through life very well without eating sturgeon, or touching spiders; but when we consider the influence of the same disposition to associate false ideas too strongly in more important instances, we shall perceive the necessity of correcting it by education.

Locke tells us of a young man, who, having been accustomed to see an old trunk in the room with him when he learned to dance, associated his dancing exertions so strongly with the sight of this trunk, that he could not succeed by any voluntary efforts in its absence. We have, in our remarks upon attention,[82] pointed out the great inconveniences to which those are exposed who acquire associated habits of intellectual exertion; who cannot speak, or write, or think, without certain habitual aids to their memory or imagination. We must further observe, that incessant vigilance is necessary in the moral education of children disposed to form strong associations; they are liable to sudden and absurd dislikes or predilections, with respect to persons, as well as things; they are subject to caprice in their affections and temper, and liable to a variety of mental infirmities, which, in different degrees, we call passion or madness. Locke tells us, that he knew a man who, after having been restored to health by a painful operation, had so strongly associated the idea and figure of the operator with the agony he had endured, that though he acknowledged the obligation, and felt gratitude towards this friend who had saved him, he never afterwards could bear to see his benefactor. There are some people who associate so readily and incorrigibly the idea of any pain or insult they have received from another, with his person and character, that they can never afterwards forget or forgive. They are hence disposed to all the intemperance of hatred and revenge; to the chronic malice of a Jago, or the acute pangs of an Achilles. Homer, in his speech of Achilles to Agamemnon's mediating ambassadors, has drawn a strong and natural picture of the progress of anger. It is worth studying as a lesson in metaphysics. Whenever association suggests to the mind of Achilles the injury he has received, he loses his reason, and the orator works himself up from argument to declamation, and from declamation to desperate resolution, through a close linked connection of ideas and sensations.

The insanities of ambition, avarice, and vanity, originate in early mistaken associations. A feather, or a crown, or an alderman's chain, or a cardinal's hat, or a purse of yellow counters, are unluckily associated in the minds of some men with the idea of happiness, and, without staying to deliberate, these unfortunate persons hunt through life the phantasms of a disordered imagination. Whilst we pity, we are amused by the blindness and blunders of those whose mistakes can affect no one's felicity but their own; but any delusions which prompt their victims to actions inimical to their fellow-creatures, are the objects not unusually of pity, but of indignation, of private aversion and public punishment. We smile at the avaricious insanity of the miser, who dresses himself in the cast-off Wig of a beggar, and pulls a crushed pancake from his pocket for his own and for his friend's dinner.[83] We smile at the insane vanity of the pauper, who dressed himself in a many-coloured paper star, assumed the title of Duke of Baubleshire, and as such required homage from every passenger.[84] But are we inclined to smile at the outrageous vanity of the man who styled himself the son of Jupiter, and who murdered his best friend for refusing him divine honours? Are we disposed to pity the slave-merchant, who, urged by the maniacal desire for gold, hears unmoved the groans of his fellow-creatures, the execrations of mankind, and that "small still voice," which haunts those who are stained with blood.

The moral insanities which strike us with horror, compassion, or ridicule, however they may differ in their effects, have frequently one common origin; an early false association of ideas. Persons who mistake in measuring their own feelings, or who neglect to compare their ideas, and to balance contending wishes, scarcely merit the name of rational creatures. The man, who does not deliberate, is lost.

We have endeavoured, though well aware of the difficulty of the subject, to point out some of the precautions that should be used in governing the imagination of young people of different dispositions. We should add, that in all cases the pupils attention to his own mind will be of more consequence, than the utmost vigilance of the most able preceptor; the sooner he is made acquainted with his own character, and the sooner he can be excited to govern himself by reason, or to attempt the cure of his own defects, the better.

There is one habit of the imagination, to which we have not yet adverted, the habit of reverie. In reverie we are so intent upon a particular train of ideas, that we are unconscious of all external objects, and we exert but little voluntary power. It is true that some persons in castle-building both reason and invent, and therefore must exert some degree of volition; even in the wildest reverie, there may be traced some species of consistency, some connection amongst the ideas; but this is simply the result of the association of ideas. Inventive castle-builders are rather nearer the state of insanity than of reverie; they reason well upon false principles; their airy fabrics are often both in good taste and in good proportion; nothing is wanting to them but a foundation. On the contrary, nothing can be more silly than the reveries of silly people; they are not only defective in consistency, but they want all the unities; they are not extravagant, but they are stupid; they consist usually of a listless reiteration of uninteresting ideas; the whole pleasure enjoyed by those addicted to them consists in the facility of repetition.

It is a mistaken notion, that only people of ardent imaginations are disposed to reverie; the most indolent and stupid persons waste their existence in this indulgence; they do not act always in consequence of their dreams, therefore we do not detect their folly. Young people of active minds, when they have not sufficient occupation, necessarily indulge in reverie; and, by degrees, this wild exercise of their invention and imagination becomes so delightful to them, that they prefer it to all sober employments.

Mr. Williams, in his Lectures upon Education, gives an account of a boy singularly addicted to reverie. The desire of invisibility had seized his mind, and for several years he had indulged his fancy with imagining all the pleasures that he should command, and all the feats that he could perform, if he were in possession of Gyges's ring. The reader should, however, be informed, that this castle-builder was not a youth of strict veracity; his confession upon this occasion, as upon others, might not have been sincere. We only state the story from Mr. Williams.

To prevent children from acquiring a taste for reverie, let them have various occupations both of mind and body. Let us not direct their imagination to extraordinary future pleasures, but let us suffer them to enjoy the present. Anticipation is a species of reverie; and children, who have promises of future pleasures frequently made to them, live in a continual state of anticipation.

To cure the habit of reverie when it has once been formed, we must take different methods with different tempers. With those who indulge in the stupid reverie, we should employ strong excitations, and present to the senses a rapid succession of objects, which will completely engage without fatiguing them. This mode must not be followed with children of different dispositions, else we should increase, instead of curing, the disease. The most likely method to break this habit in children of great quickness or sensibility, is to set them to some employment which is wholly new to them, and which will consequently exercise and exhaust all their faculties, so that they shall have no life left for castle-building. Monotonous occupations, such as copying, drawing, or writing, playing on the harpsichord, &c. are not, if habit has made them easy to the pupil, fit for our purpose. We may all perceive, that in such occupations, the powers of the mind are left unexercised. We can frequently read aloud with tolerable emphasis for a considerable time together, and at the same time think upon some subject foreign to the book we hold in our hands.

The most difficult exercises of the mind, such as invention, or strict reasoning, are those alone which are sufficient to subjugate and chain down the imagination of some active spirits. To such laborious exercises they should be excited by the encouraging voice of praise and affection. Imaginative children will be more disposed to invent than to reason, but they cannot perfect any invention without reasoning; there will, therefore, be a mixture of what they like and dislike in the exercise of invention, and the habit of reasoning will, perhaps, gradually become agreeable to them, if it be thus dexterously united with the pleasures of the imagination.

So much has already been written by various authors upon the pleasures and the dangers of imagination, that we could scarcely hope to add any thing new to what they have produced: but we have endeavoured to arrange the observations which appeared most applicable to practical education; we have pointed out how the principles of taste may be early taught without injury to the general understanding, and how the imagination should be prepared for the higher pleasures of eloquence and poetry. We have attempted to define the boundaries between the enthusiasm of genius, and its extravagance; and to show some of the precautions which may be used, to prevent the moral defects to which persons of ardent imagination are usually subject. The degree in which the imagination should be cultivated must, we have observed, be determined by the views which parents may have for their children, by their situations in society, and by the professions for which they are destined. Under the government of a sober judgment, the powers of the imagination must be advantageous in every situation; but their value to society, and to the individuals by whom they are possessed, depends ultimately upon the manner in which they are managed. A magician, under the control of a philosopher, would perform not only great, but useful, wonders. The homely proverb, which has been applied to fire, may with equal truth be applied to imagination: "It is a good servant, but a bad master."

[58] Priestley has ably given the desiderata of electricity, vision, &c.