CONTENTS
VOLUMEI
1。OnthePleasureofPainting2。TheSameSubjectContinued3。OnthePastandFuture4。OnGeniusandCommonSense5。TheSameSubjectContinued6。CharacterofCobbett7。OnPeopleWithOneIdea8。OntheIgnoranceoftheLearned9。TheIndianJugglers10。OnLivingToOne”s-Self11。OnThoughtandAction12。OnWill-Making13。OnCertainInconsistenciesInSirJoshuaReynolds”sDiscourses14。TheSameSubjectContinued15。OnParadoxandCommon-Place16。OnVulgarityandAffectationVOLUMEII
1。OnaLandscapeofNicholasPoussin2。OnMilton”sSonnets3。OnGoingaJourney4。OnCoffee-HousePoliticians5。OntheAristocracyofLetters6。OnCriticism7。OnGreatandLittleThings8。OnFamiliarStyle9。OnEffeminacyofCharacter10。WhyDistantObjectsPlease11。OnCorporateBodies12。WhetherActorsOughtToSitintheBoxes13。OntheDisadvantagesofIntellectualSuperiority14。OnPatronageandPuffing15。OntheKnowledgeofCharacter16。OnthePicturesqueandIdeal17。OntheFearofDeathVOLUMEI
ESSAYI
ONTHEPLEASUREOFPAINTING”Thereisapleasureinpaintingwhichnonebutpaintersknow。”Inwriting，youhavetocontendwiththeworld；inpainting，youhaveonlytocarryonafriendlystrifewithNature。Yousitdowntoyourtask，andarehappy。Fromthemomentthatyoutakeupthepencil，andlookNatureintheface，youareatpeacewithyourownheart。Noangrypassionsrisetodisturbthesilentprogressofthework，toshakethehand，ordimthebrow：noirritablehumoursaresetafloat：youhavenoabsurdopinionstocombat，nopointtostrain，noadversarytocrush，nofooltoannoy——youareactuatedbyfearorfavourtonoman。Thereis”nojugglinghere”nosophistry，nointrigue，notamperingwiththeevidence，noattempttomakeblackwhite，orwhiteblack：butyouresignyourselfintothehandsofagreaterpower，thatofNature，withthesimplicityofachild，andthedevotionofanenthusiast——”studywithjoyhermanner，andwithrapturetasteherstyle。”Themindiscalm，andfullatthesametime。Thehandandeyeareequallyemployed。Intracingthecommonestobject，aplantorthestumpofatree，youlearnsomethingeverymoment。Youperceiveunexpecteddifferences，anddiscoverlikenesseswhereyoulookedfornosuchthing。Youtrytosetdownwhatyousee——findoutyourerror，andcorrectit。Youneednotplaytricks，orpurposelymistake：withallyourpains，youarestillfarshortofthemark。Patiencegrowsoutoftheendlesspursuit，andturnsitintoaluxury。Astreakinaflower，awrinkleinaleaf，atingeinacloud，astaininanoldwallorruingrey，areseizedwithavidityasthe_spoliaopima_ofthissortofmentalwarfare，andfurnishoutlabourforanotherhalf-day。Thehourspassawayuntold，withoutchagrin，andwithoutweariness；norwouldyoueverwishtopassthemotherwise。Innocenceisjoinedwithindustry，pleasurewithbusiness；andthemindissatisfied，thoughitisnotengagedinthinkingorindoinganymischief。[1]
Ihavenotmuchpleasureinwritingthese_Essays_，orinreadingthemafterwards；thoughIownInowandthenmeetwithaphrasethatIlike，orathoughtthatstrikesmeasatrueone。ButafterIbeginthem，I
amonlyanxioustogettotheendofthem，whichIamnotsureIshalldo，forIseldomseemywayapageorevenasentencebeforehand；andwhenIhaveasbyamiracleescaped，Itroublemyselflittlemoreaboutthem。Isometimeshavetowritethemtwiceover：thenitisnecessarytoreadthe_proof_，topreventmistakesbytheprinter；sothatbythetimetheyappearinatangibleshape，andonecanconthemoverwithaconscious，sidelongglancetothepublicapprobation，theyhavelosttheirglossandrelish，andbecome”moretediousthanatwice-toldtale。”Forapersontoreadhisownworksoverwithanygreatdelight，heoughtfirsttoforgetthatheeverwrotethem。Familiaritynaturallybreedscontempt。Itis，infact，likeporingfondlyoverapieceofblankpaper；fromrepetition，thewordsconveynodistinctmeaningtothemind——aremereidlesounds，exceptthatourvanityclaimsaninterestandpropertyinthem。Ihavemoresatisfactioninmyownthoughtsthanindictatingthemtoothers：wordsarenecessarytoexplaintheimpressionofcertainthingsuponmetothereader，buttheyratherweakenanddrawaveiloverthanstrengthenittomyself。
HoweverImightsaywiththepoet，”Mymindtomeakingdomis”yetI
havelittleambition”tosetathroneorchairofstateintheunderstandingsofothermen。”Theideaswecherishmostexistbestinakindofshadowyabstraction，Pureinthelastrecessesofthemind，andderiveneitherforcenorinterestfrombeingexposedtopublicview。
Theyareoldfamiliaracquaintance，andanychangeinthem，arisingfromtheadventitiousornamentsofstyleordress，islittletotheiradvantage。AfterIhaveoncewrittenonasubject，itgoesoutofmymind：myfeelingsaboutithavebeenmelteddownintowords，and_then_
Iforget。Ihave，asitwere，dischargedmymemoryofitsoldhabitualreckoning，andrubbedoutthescoreofrealsentiment。Forthefutureitexistsonlyforthesakeofothers。ButIcannotsay，frommyownexperience，thatthesameprocesstakesplaceintransferringourideastocanvas；theygainmorethantheyloseinthemechanicaltransformation。Oneisnevertiredofpainting，becauseyouhavetosetdownnotwhatyouknewalready，butwhatyouhavejustdiscovered。Intheformercaseyoutranslatefeelingsintowords；inthelatter，namesintothings。Thereisacontinualcreationoutofnothinggoingon。
Witheverystrokeofthebrushanewfieldofinquiryislaidopen；newdifficultiesarise，andnewtriumphsarepreparedoverthem。Bycomparingtheimitationwiththeoriginal，youseewhatyouhavedone，andhowmuchyouhavestilltodo。Thetestofthesensesissevererthanthatoffancy，andanover-matchevenforthedelusionsofourself-love。Onepartofapictureshamesanother，andyoudeterminetopaintuptoyourself，ifyoucannotcomeuptoNature。Everyobjectbecomeslustrousfromthelightthrownbackuponitbythemirrorofart：andbytheaidofthepencilwemaybesaidtotouchandhandletheobjectsofsight。Theair-drawnvisionsthathoveronthevergeofexistencehaveabodilypresencegiventhemonthecanvas：theformofbeautyischangedintoasubstance：thedreamandthegloryoftheuniverseismade”palpabletofeelingaswellassight。”——Andsee！arainbowstartsfromthecanvas，withitshumidtrainofglory，asifitweredrawnfromitscloudyarchinheaven。Thespangledlandscapeglitterswithdropsofdewaftertheshower。The”fleecyfools”showtheircoatsinthegleamsofthesettingsun。Theshepherdspipetheirfarewellnotesinthefresheveningair。Andisthisbrightvisionmadefromadead，dullblank，likeabubblereflectingthemightyfabricoftheuniverse？WhowouldthinkthismiracleofRubens”pencilpossibletobeperformed？Who，havingseenit，wouldnotspendhislifetodothelike？Seehowtherichfallows，thebarestubble-field，thescantyharvest-home，draginRembrandt”slandscapes！HowoftenhaveIlookedatthemandnature，andtriedtodothesame，tillthevery”lightthickened”andtherewasanearthinessinthefeelingoftheair！
Thereisnoendoftherefinementsofartandnatureinthisrespect。
Onemaylookatthemistyglimmeringhorizontilltheeyedazzlesandtheimaginationislost，inhopestotransferthewholeinterminableexpanseatoneblowuponthecanvas。Wilsonsaid，heusedtotrytopainttheeffectofthemotesdancinginthesettingsun。Atanothertime，afriend，comingintohispainting-roomwhenhewassittingonthegroundinamelancholyposture，observedthathispicturelookedlikealandscapeafterashower：hestartedupwiththegreatestdelight，andsaid，”ThatistheeffectIintendedtoproduce，butthoughtIhadfailed。”Wilsonwasneglected；and，bydegrees，neglectedhisarttoapplyhimselftobrandy。Hishandbecameunsteady，sothatitwasonlybyrepeatedattemptsthathecouldreachtheplaceorproducetheeffectheaimedat；andwhenhehaddonealittletoapicture，hewouldsaytoanyacquaintancewhochancedtodropin，”Ihavepaintedenoughforoneday：come，letusgosomewhere。”ItwasnotsoClaudelefthispictures，orhisstudiesonthebanksoftheTiber，togoinsearchofotherenjoyments，orceasedtogazeupontheglitteringsunnyvalesanddistanthills；andwhilehiseyedrankintheclearsparklinghuesandlovelyformsofnature，hishandstampedthemonthelucidcanvastolastthereforever！Oneofthemostdelightfulpartsofmylifewasonefinesummer，whenIusedtowalkoutofaneveningtocatchthelastlightofthesun，gemmingthegreenslopesorrussetlawns，andgildingtowerortree，whilethebluesky，graduallyturningtopurpleandgold，orskirtedwithduskygrey，hungitsbroadmarblepavementoverall，asweseeitinthegreatmasterofItalianlandscape。Buttocometoamoreparticularexplanationofthesubject：——
ThefirstheadIevertriedtopaintwasanoldwomanwiththeupperpartofthefaceshadedbyherbonnet，andIcertainlylaboured[at]itwithgreatperseverance。Ittookmenumberlesssittingstodoit。I
haveitbymestill，andsometimeslookatitwithsurprise，tothinkhowmuchpainswerethrownawaytolittlepurpose，——yetnotaltogetherinvainifittaughtmetoseegoodineverything，andtoknowthatthereisnothingvulgarinNatureseenwiththeeyeofscienceoroftrueart。Refinementcreatesbeautyeverywhere：itisthegrossnessofthespectatorthatdiscoversnothingbutgrossnessintheobject。Bethisasitmay，Isparednopainstodomybest。Ifartwaslong，I
thoughtthatlifewassotooatthatmoment。Igotinthegeneraleffectthefirstday；andpleasedandsurprisedenoughIwasatmysuccess。Therestwasaworkoftime——ofweeksandmonths(ifneedwere)，ofpatienttoilandcarefulfinishing。IhadseenanoldheadbyRembrandtatBurleighHouse，andifIcouldproduceaheadatalllikeRembrandtinayear，inmylifetime，itwouldbegloryandfelicityandwealthandfameenoughforme！TheheadlhadseenatBurleighwasanexactandwonderfulfacsimileofnature，andIresolvedtomakemine(asnearlyasIcould)anexactfacsimileofnature。Ididnotthen，nordoInowbelieve，withSirJoshua，thattheperfectionofartconsistsingivinggeneralappearanceswithoutindividualdetails，butingivinggeneralappearanceswithindividualdetails。Otherwise，Ihaddonemyworkthefirstday。ButIsawsomethingmoreinnaturethangeneraleffect，andIthoughtitworthmywhiletogiveitinthepicture。
Therewasagorgeouseffectoflightandshade；buttherewasadelicacyaswellasdepthinthechiaroscurowhichIwasboundtofollowintoitsdimandscarceperceptiblevarietyoftoneandshadow。ThenIhadtomakethetransitionfromastronglighttoasdarkashade，preservingthemasses，butgraduallysofteningofftheintermediateparts。Itwassoinnature；thedifficultywastomakeitsointhecopy。Itried，andfailedagainandagain；Istroveharder，andsucceededasIthought。
ThewrinklesinRembrandtwerenothardlines，butbrokenandirregular。Isawthesameappearanceinnature，andstrainedeverynervetogiveit。IfIcouldhitoffthisedgyappearance，andinsertthereflectedlightinthefurrowsofoldageinhalfamorning，IdidnotthinkIhadlostaday。Beneaththeshrivelledyellowparchmentlookoftheskin，therewashereandthereastreakoftheblood-colourtingingtheface；thisImadeapointofconveying，anddidnotceasetocomparewhatIsawwithwhatIdid(withjealous，lynx-eyedwatchfulness)tillIsucceededtothebestofmyabilityandjudgment。
Howmanyrevisionswerethere！HowmanyattemptstocatchanexpressionwhichIhadseenthedaybefore！Howoftendidwetrytogettheoldposition，andwaitforthereturnofthesamelight！Therewasapuckeringupofthelips，acautiousintroversionoftheeyeundertheshadowofthebonnet，indicativeofthefeeblenessandsuspicionofoldage，whichatlastwemanaged，aftermanytrialsandsomequarrels，toatolerablenicety。Thepicturewasneverfinished，andImighthavegoneonwithittothepresenthour。[2]Iusedtosititonthegroundwhenmyday”sworkwasdone，andsawrevealedtomewithswimmingeyesthebirthofnewhopesandofanewworldofobjects。ThepainterthuslearnstolookatNaturewithdifferenteyes。Hebeforesawher”asinaglassdarkly，butnowfacetoface。”Heunderstandsthetextureandmeaningofthevisibleuniverse，and”seesintothelifeofthings”notbythehelpofmechanicalinstruments，butoftheimprovedexerciseofhisfaculties，andanintimatesympathywithNature。Themeanestthingisnotlostuponhim，forhelooksatitwithaneyetoitself，notmerelytohisownvanityorinterest，ortheopinionoftheworld。Evenwherethereisneitherbeautynoruse——ifthateverwere——stillthereistruth，andasufficientsourceofgratificationintheindulgenceofcuriosityandactivityofmind。Thehumblestprinterisatruescholar；
andthebestofscholars——thescholarofNature。Formyself，andfortherealcomfortandsatisfactionofthething，IhadratherhavebeenJanSteen，orGerardDow，thanthegreatestcasuistorphilologerthateverlived。Thepainterdoesnotviewthingsincloudsor”mist，thecommonglossoftheologians”butappliesthesamestandardoftruthanddisinterestedspiritofinquiry，thatinfluencehisdailypractice，toothersubjects。Heperceivesform，hedistinguishescharacter。Hereadsmenandbookswithanintuitiveeye。Heisacriticaswellasaconnoisseur。Theconclusionshedrawsareclearandconvincing，becausetheyaretakenfromthethingsthemselves。Heisnotafanatic，adupe，oraslave；forthehabitofseeingforhimselfalsodisposeshimtojudgeforhimself。ThemostsensiblemenIknow(takenasaclass)arepainters；thatis，theyarethemostlivelyobserversofwhatpassesintheworldaboutthem，andtheclosestobserversofwhatpassesintheirownminds。Fromtheirprofessiontheyingeneralmixmorewiththeworldthanauthors；andiftheyhavenotthesamefundofacquiredknowledge，areobligedtorelymoreonindividualsagacity。ImightmentionthenamesofOpie，Fuseli，Northcote，aspersonsdistinguishedforstrikingdescriptionandacquaintancewiththesubtletraitsofcharacter。[3]Paintersinordinarysociety，orinobscuresituationswheretheirvalueisnotknown，andtheyaretreatedwithneglectandindifference，havesometimesaforwardself-sufficiencyofmanner；butthisisnotsomuchtheirfaultasthatofothers。Perhapstheirwantofregulareducationmayalsobeinfaultinsuchcases。Richardson，whoisverytenaciousoftherespectinwhichtheprofessionoughttobeheld，tellsastoryofMichaelAngelo，thatafteraquarrelbetweenhimandPopeJuliusII。，”uponaccountofaslighttheartistconceivedthepontiffhadputuponhim，MichaelAngelowasintroducedbyabishop，who，thinkingtoservetheartistbyit，madeitanargumentthatthePopeshouldbereconciledtohim，becausemenofhisprofessionwerecommonlyignorant，andofnoconsequenceotherwise；hisholiness，enragedatthebishop，struckhimwithhisstaff，andtoldhim，itwashethatwastheblockhead，andaffrontedthemanhimselfwouldnotoffend：theprelatewasdrivenoutofthechamber，andMichaelAngelohadthePope”sbenediction，accompaniedwithpresents。Thisbishophadfallenintothevulgarerror，andwasrebukedaccordingly。”
Besidestheexerciseofthemind，paintingexercisesthebody。Itisamechanicalaswellasaliberalart。Todoanything，todigaholeintheground，toplantacabbage，tohitamark，tomoveashuttle，toworkapattern，——inaword，toattempttoproduceanyeffect，andto_succeed，_hassomethinginitthatgratifiestheloveofpower，andcarriesofftherestlessactivityofthemindofman。Indolenceisadelightfulbutdistressingstate；wemustbedoingsomethingtobehappy。Actionisnolessnecessarythanthoughttotheinstinctivetendenciesofthehumanframe；andpaintingcombinesthembothincessantly。[4]Thehandisfurnishedapracticaltestofthecorrectnessoftheeye；andtheeye，thusadmonished，imposesfreshtasksofskillandindustryuponthehand。Everystroketellsastheverifyingofanewtruth；andeverynewobservation，theinstantitismade，passesintoanactandemanationofthewill。Everystepisnearerwhatwewish，andyetthereisalwaysmoretodo。Inspiteofthefacility，theflutteringgrace，theevanescenthues，thatplayroundthepencilofRubensandVan-dyke，howeverImayadmire，IdonotenvythemthispowersomuchasIdotheslow，patient，laboriousexecutionofCorreggio，LeonardodaVinci，andAndreadelSarto，whereeverytouchappearsconsciousofitscharge，emulousoftruth，andwherethepainfulartisthassodistinctlywrought，Thatyoumightalmostsayhispicturethought。
Intheonecasethecoloursseembreathedonthecanvasasifbymagic，theworkandthewonderofamoment；intheothertheyseeminlaidinthebodyofthework，andasifittooktheartistyearsofunremittinglabour，andofdelightfulnever-endingprogresstoperfection。[5]Whowouldwishevertocometothecloseofsuchworks，——nottodwellonthem，toreturntothem，tobeweddedtothemtothelast？Rubens，withhisflorid，rapidstyle，complainsthatwhenhehadjustlearnedhisart，heshouldbeforcedtodie。Leonardo，intheslowadvancesofhis，hadlivedlongenough！
Paintingisnot，likewriting，whatisproperlyunderstoodbyasedentaryemployment。Itrequiresnotindeedastrong，butacontinuedandsteadyexertionofmuscularpower。Theprecisionanddelicacyofthemanualoperation，makesupforthewantofvehemence，——astobalancehimselfforanytimeinthesamepositiontherope-dancermuststraineverynerve。Paintingforawholemorninggivesoneasexcellentanappetiteforone”sdinnerasoldAbrahamTuckeracquiredforhisbyridingoverBansteadDowns。ItisrelatedofSirJoshuaReynolds，that”hetooknootherexercisethanwhatheusedinhispainting-room”——thewritermeans，inwalkingbackwardsandforwardstolookathispicture；
buttheactofpaintingitself，oflayingonthecoloursintheproperplaceandproperquantity，wasamuchharderexercisethanthisalternaterecedingfromandreturningtothepicture。Thislastwouldberatherarelaxationandreliefthananeffort。Itisnottobewonderedat，thatanartistlikeSirJoshua，whodelightedsomuchinthesensualandpracticalpartofhisart，shouldhavefoundhimselfataconsiderablelosswhenthedecayofhissightprecludedhim，forthelastyearortwoofhislife，fromthefollowingupofhisprofession，——”thesource”accordingtohisownremark，”ofthirtyyears”uninterruptedenjoymentandprosperitytohim。”Itisonlythosewhoneverthinkatall，orelsewhohaveaccustomedthemselvestobroodincessantlyonabstractideas，thatneverfeelennui。
Togiveoneinstancemore，andthenIwillhavedonewiththisramblingdiscourse。Oneofmyfirstattemptswasapictureofmyfather，whowastheninagreenoldage，withstrong-markedfeatures，andscarredwiththesmallpox。Idrewitoutwithabroadlightcrossingtheface，lookingdown，withspectacleson，reading。ThebookwasShaftesbury”s_Characteristics_，inafineoldbinding，withGribelin”setchings。Myfatherwouldaslieveithadbeenanyotherbook；butforhimtoreadwastobecontent，was”richesfineless。”Thesketchpromisedwell；andIsettoworktofinishit，determinedtosparenotimenorpains。MyfatherwaswillingtositaslongasIpleased；forthereisanaturaldesireinthemindofmantositforone”spicture，tobetheobjectofcontinuedattention，tohaveone”slikenessmultiplied；andbesideshissatisfactioninthepicture，hehadsomeprideintheartist，thoughhewouldratherIshouldhavewrittenasermonthanpaintedlikeRembrandtorlikeRaphael。Thosewinterdays，withthegleamsofsunshinecomingthroughthechapel-windows，andcheeredbythenotesoftherobin-redbreastinourgarden(that”everinthehaunchofwintersings”)，——asmyafternoon”sworkdrewtoaclose，——wereamongthehappiestofmylife。WhenIgavetheeffectIintendedtoanypartofthepictureforwhichIhadpreparedmycolours；whenIimitatedtheroughnessoftheskinbyaluckystrokeofthepencil；whenIhittheclear，pearlytoneofavein；whenIgavetheruddycomplexionofhealth，thebloodcirculatingunderthebroadshadowsofonesideoftheface，Ithoughtmyfortunemade；orratheritwasalreadymorethanmade，ImightonedaybeabletosaywithCorreggio，”_Ialsoamapainter！_”Itwasanidlethought，aboy”sconceit；butitdidnotmakemelesshappyatthetime。Iusedregularlytosetmyworkinthechairtolookatitthroughthelongevenings；andmanyatimedidIreturntotakeleaveofitbeforeIcouldgotobedatnight。IremembersendingitwithathrobbinghearttotheExhibition，andseeingithunguptherebythesideofoneoftheHonourableMr。Skeffington(nowSirGeorge)。
Therewasnothingincommonbetweenthem，butthattheyweretheportraitsoftwoverygood-naturedmen。Ithink，butamnotsure，thatIfinishedthisportrait(oranotherafterwards)onthesamedaythatthenewsofthebattleofAusterlitzcame；Iwalkedoutintheafternoon，and，asIreturned，sawtheeveningstarsetoverapoorman”scottagewithotherthoughtsandfeelingsthanIshalleverhaveagain。OhfortherevolutionofthegreatPlatonicyear，thatthosetimesmightcomeoveragain！Icouldsleepoutthethreehundredandsixty-fivethousandinterveningyearsverycontentedly！——Thepictureisleft：thetable，thechair，thewindowwhereIlearnedtoconstrueLivy，thechapelwheremyfatherpreached，remainwheretheywere；buthehimselfisgonetorest，fullofyears，offaith，ofhope，andcharity！
NOTEStoESSAYI
[1]ThereisapassageinWerterwhichcontainsaverypleasingillustrationofthisdoctrine，andisasfollows：-”AboutaleaguefromthetownisaplacecalledWalheim。Itisveryagreeablysituatedonthesideofahill：fromoneofthepathswhichleadsoutofthevillage，youhaveaviewofthewholecountry；andtheretoagoodoldwomanwhosellswine，coffee，andteathere：butbetterthanallthisaretwolime-treesbeforethechurch，whichspreadtheirbranchesoveralittlegreen，surroundedbybarnsandcottages。I
haveseenfewplacesmoreretiredandpeaceful。Isendforachairandtablefromtheoldwoman”s，andthereIdrinkmycoffeeandreadHomer。
ItwasbyaccidentthatIdiscoveredthisplaceonefineafternoon：allwasperfectstillness；everybodywasinthefields，exceptalittleboyaboutfouryearsold，whowassittingontheground，andholdingbetweenhiskneesachildofaboutsixmonths；hepressedittohisbosomwithhislittlearms，whichmadeasortofgreatchairforit；andnotwithstandingthevivacitywhichsparkledinhiseyes，hesatperfectlystill。Quitedelightedwiththescene，Isatdownonaploughopposite，andhadgreatpleasureindrawingthislittlepictureofbrotherlytenderness。Iaddedabitofthehedge，thebarn-door，andsomebrokencart-wheels，withoutanyorder，justastheyhappenedtolie；andinaboutanhourIfoundIhadmadeadrawingofgreatexpressionandverycorrectdesignwithouthavingputinanythingofmyown。ThisconfirmedmeintheresolutionIhadmadebefore，onlytocopyNatureforthefuture。Natureisinexhaustible，andaloneformsthegreatestmasters。Saywhatyouwillofrules，theyalterthetruefeaturesandthenaturalexpression。”
[2]Itisatpresentcoveredwithathicksloughofoilandvarnish(theperishablevehicleoftheEnglishschool)，likeanenvelopeofgoldbeaters”skin，soastobehardlyvisible。
[3]Meninbusiness，whoareanswerablewiththeirfortunesfortheconsequencesoftheiropinions，andarethereforeaccustomedtoascertainprettyaccuratelythegroundsonwhichtheyact，beforetheycommitthemselvesontheevent，areoftenmenofremarkablyquickandsoundjudgements。Artistsinlikemannermustknowtolerablywellwhattheyareabout，beforetheycanbringtheresultoftheirobservationstothetestofoculardemonstration。
[4]ThefamousSchillerusedtosay，thathefoundthegreathappinessoflife，afterall，toconsistinthedischargeofsomemechanicalduty。
[5]Therich_impasting_ofTitianandGiorgionecombinessomethingoftheadvantagesofboththesestyles，thefelicityoftheonewiththecarefulnessoftheother，andisperhapstobepreferredtoeither。
ESSAYII
THESAMESUBJECTCONTINUED
Thepainternotonlytakesadelightinnature，hehasanewandexquisitesourceofpleasureopenedtohiminthestudyandcontemplationofworksofart——
Whate”erLorrainelighttouch”dwithsoft”ninghue，OrsavageRosadash”d，orlearnedPoussindrew。
Heturnsasidetoviewacountrygentleman”sseatwitheagerlooks，thinkingitmaycontainsomeoftherichproductsofart。ThereisanairroundLordRadnor”spark，fortherehangthetwoClaudes，theMorningandEveningoftheRomanEmpire——roundWiltonHouse，forthereisVandyke”spictureofthePembrokefamily——roundBlenheim，forthereishispictureoftheDukeofBuckingham”schildren，andthemostmagnificentcollectionofRubensesintheworld——atKnowsley，forthereisRembrandt”sHandwritingontheWall——andatBurleigh，fortherearesomeofGuido”sangelicheads。Theyoungartistmakesapilgrimagetoeachoftheseplaces，eyesthemwistfullyatadistance，”bosomedhighintuftedtrees”andfeelsaninterestinthemofwhichtheownerisscarceconscious：heentersthewell-sweptwalksandechoingarchways，passesthethreshold，isledthroughwainscotedrooms，isshownthefurniture，therichhangings，thetapestry，themassyservicesofplate——and，atlast，isusheredintotheroomwherehistreasureis，theidolofhisvows——somespeakingfaceorbrightlandscape！Itisstampedonhisbrain，andlivestherethenceforward，atallyfornature，andatestofart。Hefurnishesoutthechambersofthemindfromthespoilsoftime，picksandchooseswhichshallhavethebestplaces——nearesthisheart。Hegoesawayricherthanhecame，richerthanthepossessor；andthinksthathemayonedayreturn，whenheperhapsshallhavedonesomethinglikethem，orevenfromfailureshallhavelearnedtoadmiretruthandgeniusmore。
MyfirstinitiationinthemysteriesoftheartwasattheOrleansGallery：itwasthereIformedmytaste，suchasitis；sothatIamirreclaimablyoftheoldschoolinpainting。IwasstaggeredwhenIsawtheworkstherecollected，andlookedatthemwithwonderingandwithlongingeyes。Amistpassedawayfrommysight：thescalesfelloff。A
newsensecameuponme，anewheavenandanewearthstoodbeforeme。I
sawthesoulspeakingintheface——”handsthattherodofempirehadswayed”inmightyagespast——”aforkedmountainorbluepromontory”——
withtreesupon”tThatnoduntotheworld，andmockoureyeswithair。
OldTimehadunlockedhistreasures，andFamestoodportressatthedoor。WehadallheardofthenamesofTitian，Raphael，Guido，Domenichino，theCaracci——buttoseethemfacetoface，tobeinthesameroomwiththeirdeathlessproductions，waslikebreakingsomemightyspell——wasalmostaneffectofnecromancy！FromthattimeI
livedinaworldofpictures。Battles，sieges，speechesinparliamentseemedmereidlenoiseandfury，”signifyingnothing”comparedwiththosemightyworksanddreadednamesthatspoketomeintheeternalsilenceofthought。Thiswasthemoreremarkable，asitwasbutashorttimebeforethatIwasnotonlytotallyignorantof，butinsensibletothebeautiesofart。Asaninstance，IrememberthatoneafternoonI
wasreading_TheProvokedHusband_withthehighestrelish，withagreenwoodylandscapeofRuysdaelorHobbimajustbeforeme，atwhichIlookedoffthebooknowandthen，andwonderedwhattherecouldbeinthatsortofworktosatisfyordelightthemind——atthesametimeaskingmyself，asaspeculativequestion，whetherIshouldeverfeelaninterestinitlikewhatItookinreadingVanbrughandCibber？
IhadmadesomeprogressinpaintingwhenIwenttotheLouvretostudy，andIneverdidanythingafterwards。InevershallforgetconningovertheCataloguewhichafriendlentmejustbeforeIsetout。Thepictures，thenamesofthepainters，seemedtorelishinthemouth。
TherewasoneofTitian”sMistressathertoilette。Eventhecolourswithwhichthepainterhadadornedherhairwerenotmoregolden，moreamiabletosight，thanthosewhichplayedroundandtantalisedmyfancyereIsawthepicture。Thereweretwoportraitsbythesamehand——”A
youngNoblemanwithaglove”——Another，”acompaniontoit。”Ireadthedescriptionoverandoverwithfondexpectancy，andfilleduptheimaginaryoutlinewithwhateverIcouldconceiveofgrace，anddignity，andanantiquegusto——allbutequaltotheoriginal。TherewastheTransfigurationtoo。WithwhataweIsawitinmymind”seye，andwasovershadowedwiththespiritoftheartist！Nottohavebeendisappointedwiththeseworksafterwards，wasthehighestcomplimentI
canpaytotheirtranscendentmerits。Indeed，itwasfromseeingotherworksofthesamegreatmastersthatIhadformedavague，butnodisparagingideaofthese。ThefirstdayIgotthere，IwaskeptforsometimeintheFrenchExhibitionRoom，andthoughtIshouldnotbeabletogetasightoftheoldmasters。Ijustcaughtapeepatthemthroughthedoor(vilehindrance！)likelookingoutofpurgatoryintoparadise——fromPoussin”snoble，mellow-lookinglandscapestowhereRubenshungouthisgaudybanner，anddowntheglimmeringvistatotherichjewelsofTitianandtheItalianschool。Atlast，bymuchimportunity，Iwasadmitted，andlostnotaninstantinmakinguseofmynewprivilege。Itwas_unbeaujour_tome。Imarcheddelightedthroughaquarterofamileoftheproudesteffortsofthemindofman，awholecreationofgenius，auniverseofart！Iranthegauntletofalltheschoolsfromthebottomtothetop；andintheendgotadmittedintotheinnerroom，wheretheyhadbeenrepairingsomeoftheirgreatestworks。HeretheTransfiguration，theSt。PeterMartyr，andtheSt。
JeromeofDomenichinostoodonthefloor，asiftheyhadbenttheirknees，likecamelsstooping，tounladetheirrichestothespectator。
Ononeside，onaneasel，stoodHippolitodeMedici(aportraitbyTitian)，withaboar-spearinhishand，lookingthroughthosehesaw，tillyouturnedawayfromthekeenglance；andthrowntogetherinheapswerelandscapesofthesamehand，greenpastoralhillsandvales，andshepherdspipingtotheirmildmistressesunderneaththefloweringshade。Reader，”ifthouhastnotseentheLouvrethouartdamned！”——forthouhastnotseenthechoicestremainsoftheworksofart；orthouhastnotseenallthesetogetherwiththeirmutuallyreflectedglories。
Isaynothingofthestatues；forIknowbutlittleofsculpture，andneverlikedanytillIsawtheElginMarbles……Here，forfourmonthstogether，Istrolledandstudied，anddailyheardthewarningsound——”Quatresheurespassees，ilfautfermer，Citoyens”——(Ah！whydidtheyeverchangetheirstyle？)mutteredincoarseprovincialFrench；andbroughtawaywithmesomeloosedraughtsandfragments，whichIhavebeenforcedtopartwith，likedropsoflife-blood，for”hardmoney。”
Howoften，thoutenantlessmansionofgodlikemagnificence——howoftenhasmyheartsincegoneapilgrimagetothee！
Ithasbeenmadeaquestion，whethertheartist，orthemeremanoftasteandnaturalsensibility，receivesmostpleasurefromthecontemplationofworksofart；andIthinkthisquestionmightbeansweredbyanotherasasortof_experimentumcrucis_，namely，whetheranyoneoutofthat”numbernumberless”ofmeregentlemenandamateurs，whovisitedParisattheperiodherespokenof，feltasmuchinterest，asmuchprideorpleasureinthisdisplayofthemoststrikingmonumentsofartasthehumbleststudentwould？ThefirstentranceintotheLouvrewouldbeonlyoneoftheeventsofhisjourney，notaneventinhislife，rememberedeverafterwiththankfulnessandregret。HewouldexploreitwiththesameunmeaningcuriosityandidlewonderashewouldtheRegaliaintheTower，ortheBotanicGardenintheTuileries，butnotwiththefondenthusiasmofanartist。Howshouldhe？Hisis”casualfruition，joyless，unendeared。”Butthepainterisweddedtohisart——themistress，queen，andidolofhissoul。Hehasembarkedhisallinit，fame，time，fortune，peaceofmind——hishopesinyouth，hisconsolationinage：andshallhenotfeelamoreintenseinterestinwhateverrelatestoitthanthemereindolenttrifler？Naturalsensibilityalone，withouttheentireapplicationofthemindtothatoneobject，willnotenablethepossessortosympathisewithallthedegreesofbeautyandpowerintheconceptionsofaTitianoraCorreggio；butitisheonlywhodoesthis，whofollowsthemintoalltheirforceandmatchlessrace，thatdoesorcanfeeltheirfullvalue。
Knowledgeispleasureaswellaspower。Noonebuttheartistwhohasstudiednatureandcontendedwiththedifficultiesofart，canbeawareofthebeauties，orintoxicatedwithapassionforpainting。Noonewhohasnotdevotedhislifeandsoultothepursuitofartcanfeelthesameexultationinitsbrightestornamentsandloftiesttriumphswhichanartistdoes。Wherethetreasureis，theretheheartisalso。ItisnowseventeenyearssinceIwasstudyingintheLouvre(andIhaveonsincegivenupallthoughtsoftheartasaprofession)，butlongafterIreturned，andevenstill，Isometimesdreamofbeingthereagain——ofaskingfortheoldpictures——andnotfindingthem，orfindingthemchangedorfadedfromwhattheywere，Icrymyselfawake！Whatgentleman-amateureverdoesthisatsuchadistanceoftime，——thatis，everreceivedpleasureortookinterestenoughinthemtoproducesolastinganimpression？
Butitissaidthatifapersonhadthesamenaturaltaste，andthesameacquiredknowledgeasanartist，withoutthepettyinterestsandtechnicalnotions，hewouldderiveapurerpleasurefromseeingafineportrait，afinelandscape，andsoon。This，however，isnotsomuchbeggingthequestionasaskinganimpossibility：hecannothavethesameinsightintotheendwithouthavingstudiedthemeans；northesameloveofartwithoutthesamehabitualandexclusiveattachmenttoit。
Paintersare，nodoubt，oftenactuatedbyjealousytothatonlywhichtheyfindusefultothemselvesinpainting。WilsonhasbeenseenporingoverthetextureofaDutchcabinet-picture，sothathecouldnotseethepictureitself。Butthisistheperversionandpedantryoftheprofession，notitstrueorgenuinespirit。IfWilsonhadneverlookedatanythingbutmegilpsandhandling，heneverwouldhaveputthesouloflifeandmannersintohispictures，ashehasdone。Anotherobjectionis，thattheinstrumentalpartsoftheart，themeans，thefirstrudiments，paints，oils，andbrushes，arepainfulanddisgusting；
andthattheconsciousnessofthedifficultyandanxietywithwhichperfectionhasbeenattainedmusttakeawayfromthepleasureofthefinestperformance。This，however，isonlyanadditionalproofofthegreaterpleasurederivedbytheartistfromhisprofession；forthesethingswhicharesaidtointerferewithanddestroythecommoninterestinworksofartdonotdisturbhim；heneveroncethinksofthem，heisabsorbedinthepursuitofahigherobject；heisintent，notonthemeans，buttheend；heistakenup，notwiththedifficulties，butwiththetriumphoverthem。Asinthecaseoftheanatomist，whooverlooksmanythingsintheeagernessofhissearchafterabstracttruth；orthealchemistwho，whileheisrakingintohissootandfurnaces，livesinagoldendream；alessergiveswaytoagreaterobject。Butitispretendedthatthepaintermaybesupposedtosubmittotheunpleasantpartoftheprocessonlyforthesakeofthefameorprofitinview。Sofaristhisfrombeingatruestateofthecase，thatIwillventuretosay，intheinstanceofafriendofminewhohaslatelysucceededinanimportantundertakinginhisart，thatnotallthefamehehasacquired，notallthemoneyhehasreceivedfromthousandsofadmiringspectators，notallthenewspaperpuffs，——noreventhepraiseofthe_EdinburghReview_，——notalltheseputtogetherevergavehimatanytimethesamegenuine，undoubtedsatisfactionasanyonehalf-houremployedintheardentandpropitiouspursuitofhisart——infinishingtohisheart”scontentafoot，ahand，orevenapieceofdrapery。Whatisthestateofmindofanartistwhileheisatwork？Heisthenintheactofrealisingthehighestideahecanformofbeautyorgrandeur：heconceives，heembodiesthatwhichheunderstandsandlovesbest：thatis，heisinfullandperfectpossessionofthatwhichistohimthesourceofthehighesthappinessandintellectualexcitementwhichhecanenjoy。
Inshort，asaconclusiontothisargument，Iwillmentionacircumstancewhichfellundermyknowledgetheotherday。AfriendhadboughtaprintofTitian”sMistress，thesametowhichIhavealludedabove。Hewasanxioustoshowitmeonthisaccount。Itoldhimitwasaspiritedengraving，butithadnotthelookoftheoriginal。I
believehethoughtthisfastidious，tillIofferedtoshowhimaroughsketchofit，whichIhadbyme。Havingseenthis，hesaidheperceivedexactlywhatImeant，andcouldnotbeartolookattheprintafterwards。Hehadgoodsenseenoughtoseethedifferenceintheindividualinstance；butapersonbetteracquaintedwithTitian”smannerandwithartingeneral——thatis，ofamorecultivatedandrefinedtaste——wouldknowthatitwasabadprint，withouthavinganyimmediatemodeltocompareitwith。Hewouldperceivewithaglanceoftheeye，withasortofinstinctivefeeling，thatitwashard，andwithoutthatbland，expansive，andnamelessexpressionwhichalwaysdistinguishedTitian”smostfamousworks。Anyonewhoisaccustomedtoaheadinapicturecanneverreconcilehimselftoaprintfromit；buttotheignoranttheyareboththesame。ToavulgareyethereisnodifferencebetweenaGuidoandadaub——betweenapennyprint，orthevilestscrawl，andthemostfinishedperformance。Inotherwords，allthatexcellencewhichliesbetweenthesetwoextremes，——all，atleast，thatmarkstheexcessabovemediocrity，——allthatconstitutestruebeauty，harmony，refinement，grandeur，islostuponthecommonobserver。Butitisfromthispointthatthedelight，theglowingrapturesofthetrueadeptcommence。Anuninformedspectatormaylikeanordinarydrawingbetterthantheablestconnoisseur；butforthatveryreasonhecannotlikethehighestspecimensofartsowell。Therefinementsnotonlyofexecutionbutoftruthandnatureareinaccessibletounpractisedeyes。TheexquisitegradationsinaskyofClaude”sarenotperceivedbysuchpersons，andconsequentlytheharmonycannotbefelt。Wherethereisnoconsciousapprehension，therecanbenoconsciouspleasure。Wonderatthefirstsightsofworksofartmaybetheeffectofignoranceandnovelty；butrealadmirationandpermanentdelightinthemarethegrowthoftasteandknowledge。”Iwouldnotwishtohaveyoureyes”
saidagood-naturedmantoacriticwhowasfindingfaultwithapictureinwhichtheothersawnoblemish。Whyso？Theideawhichpreventedhimfromadmiringthisinferiorproductionwasahigherideaoftruthandbeautywhichwaseverpresentwithhim，andacontinualsourceofpleasingandloftycontemplations。Itmaybedifferentinatasteforoutwardluxuriesandtheprivationsofmeresense；buttheideaofperfection，whichactsasanintellectualfoil，isalwaysanaddition，asupport，andaproudconsolation！
Richardson，inhis_Essays_，whichoughttobebetterknown，hasleftsomestrikingexamplesofthefelicityandinfelicityofartists，bothasitrelatestotheirexternalfortuneandtothepracticeoftheirart。Inspeakingof_theknowledgeofhands_，heexclaims：”Whenoneisconsideringapictureoradrawing，oneatthesametimethinksthiswasdonebyhim[1]whohadmanyextraordinaryendowmentsofbodyandmind，butwaswithalverycapricious；whowashonouredinlifeanddeath，expiringinthearmsofoneofthegreatestprincesofthatage，FrancisI。，KingofFrance，wholovedhimasafriend。Anotherisofhim[2]wholivedalongandhappylife，belovedofCharlesV。emperor；andmanyothersofthefirstprincesofEurope。Whenonehasanotherinhand，wethinkthiswasdonebyone[3]whosoexcelledinthreeartsasthatanyoftheminthatdegreehadrenderedhimworthyofimmortality；andonemoreoverthatdurstcontendwithhissovereign(oneofthehaughtiestpopesthateverwas)uponaslightofferedtohim，andextricatedhimselfwithhonour。Anotheristheworkofhim[4]who，withoutanyoneexterioradvantagebutmerestrengthofgenius，hadthemostsublimeimaginations，andexecutedthemaccordingly，yetlivedanddiedobscurely。Anotherweshallconsiderastheworkofhim[5]whorestoredPaintingwhenithadalmostsunk；ofhimwhomartmadehonourable，butwho，neglectinganddespisinggreatnesswithasortofcynicalpride，wastreatedsuitablytothefigurehegavehimself，nothisintrinsicworth；which，[he]nothavingphilosophyenoughtobearit，brokehisheart。Anotherisdonebyone[6]who(onthecontrary)wasafinegentlemanandlivedingreatmagnificence，andwasmuchhonouredbyhisownandforeignprinces；whowasacourtier，astatesman，andapainter；
andsomuchallthese，thatwhenheactedineithercharacter，_that_
seemedtobehisbusiness，andtheothershisdiversion。Isaywhenonethusreflects，besidesthepleasurearisingfromthebeautiesandexcellencesofthework，thefineideasitgivesusofnaturalthings，thenoblewayofthinkingitsuggesttous，anadditionalpleasureresultsfromtheaboveconsiderations。But，oh！thepleasure，whenaconnoisseurandloverofarthasbeforehimapictureordrawingofwhichhecansaythisisthehand，thesearethethoughtsofhim[7]whowasoneofthepolitest，best-naturedgentlementhateverwas；andbelovedandassistedbythegreatestwitsandthegreatestmentheninRome：ofhimwholivedingreatfame，honour，andmagnificence，anddiedextremelylamented；andmissedaCardinal”shatonlybydyingafewmonthstoosoon；butwasparticularlyesteemedandfavouredbytwoPopes，theonlyoneswhofilledthechairofSt。Peterinhistime，andasgreatmenaseversattheresincethatapostle，ifatleastheeverdid：one，inshort，whocouldhavebeenaLeonardo，aMichaelAngelo，aTitian，aCorreggio，aParmegiano，anAnnibal，aRubens，oranyotherwhomhepleased，butnoneofthemcouldeverhavebeenaRaffaelle。”
Thesamewriterspeaksfeelinglyofthechangeinthestyleofdifferentartistsfromtheirchangeoffortune，andasthecircumstancesarelittleknownIwillquotethepassagerelatingtotwoofthem：——”GuidoReni，fromaprince-likeaffluenceoffortune(thejustrewardofhisangelicworks)，felltoaconditionlikethatofahiredservanttoonewhosuppliedhimwithmoneyforwhathedidatafixedrate；andthatbyhisbeingbewitchedbyapassionforgaming，wherebyhelostvastsumsofmoney；andevenwhathegotinhisstateofservitudebyday，hecommonlylostatnight：norcouldheeverbecuredofthiscursedmadness。Thoseofhisworks，therefore，whichhedidinthisunhappypartofhislifemayeasilybeconceivedtobeinadifferentstyletowhathedidbefore，whichinsomethings，thatis，intheairsofhisheads(inthegraciouskind)hadadelicacyinthempeculiartohimself，andalmostmorethanhuman。ButImustnotmultiplyinstances。
Parmegianoisonethatalonetakesinalltheseveralkindsofvariation，andallthedegreesofgoodness，fromthelowestoftheindifferentuptothesublime。Icanproduceevidentproofsofthisinsoeasyagradation，thatonecannotdenybutthathethatdidthismightdothat，andveryprobablydidso；andthusonemayascendanddescend，liketheangelsonJacob”sladder，whosefootwasupontheearth，butitstopreachedtoHeaven。”Andthisgreatmanhadhisunluckycircumstance。Hebecamemadafterthephilosopher”sstone，anddidbutverylittleinpaintingordrawingafterwards。Judgewhatthatwas，andwhethertherewasnotanalterationofstylefromwhathehaddonebeforethisdevilpossessedhim。Hiscreditorsendeavouredtoexorcisehim，anddidhimsomegood，forbesethimselftoworkagaininhisownway；butifadrawingIhaveofaLucretiabethathemadeforhislastpicture，asitprobablyis(Vasarisaysthatwasthesubjectofit)，itisanevidentproofofhisdecay；itisgoodindeed，butitwantsmuchofthedelicacywhichiscommonlyseeninhisworks；andsoIalwaysthoughtbeforeIkneworimaginedittobedoneinthishisebbofgenius。”
Wehavehadtwoartistsofourowncountrywhosefatehasbeenassingularasitwashard：Gandywasaportrait-painterinthebeginningofthelastcentury，whoseheadsweresaidtohavecomeneartoRembrandt”s，andhewastheundoubtedprototypeofSirJoshuaReynolds”sstyle。Yethisnamehasscarcelybeenheardof；andhisreputation，likehisworks，neverextendedbeyondhisowncountry。Whatdidhethinkofhimselfandofafamesobounded？Didheeverdreamhewasindeedanartist？Orhowdidthisfeelinginhimdifferfromthevulgarconceitofthelowestpretender？ThebestknownofhisworksisaportraitofanaldermanofExeter，insomepublicbuildinginthatcity。
PoorDan。Stringer！Fortyyearsagohehadthefinesthandandtheclearesteyeofanyartistofhistime，andproducedheadsanddrawingsthatwouldnothavedisgracedabrighterperiodintheart。Buthefellamartyr(likeBurns)tothesocietyofcountrygentlemen，andthenofthosewhomtheywouldconsiderasmorehisequals。Isawhimmanyyearsagowhenhetreatedthemasterlysketcheshehadbyhim(oneinparticularofthegroupofcitizensinShakespeare”swallowingthetailor”snews”)as”bastardsofhisgenius，nothischildren”andseemedtohavegivenupallthoughtsofhisart。Whetherheissincedead，Icannotsay；theworlddonotsomuchasknowthatheeverlived！
NOTEStoESSAYII
[1]LeonardodaVinci。
[2]Titian。
[3]MichaelAngelo。
[4]Correggio。
[5]AnnibalCaracci。
[6]Rubens。
[7]Raffaelle。
ESSAYIII
ONTHEPASTANDFUTURE
Ihavenaturallybutlittleimagination，andamnotofaverysanguineturnofmind。Ihavesomedesiretoenjoythepresentgood，andsomefondnessforthepast；butIamnotatallgiventobuildcastlesintheair，nortolookforwardwithmuchconfidenceorhopetothebrilliantillusionsheldoutbythefuture。HenceIhaveperhapsbeenledtoformatheory，whichisverycontrarytothecommonnotionsandfeelingsonthesubject，andwhichIwillheretrytoexplainaswellasIcan。
WhenSterneinthe_SentimentalJourney_toldtheFrenchMinister，thatiftheFrenchpeoplehadafault，itwasthattheyweretooserious，thelatterrepliedthatifthatwashisopinion，hemustdefenditwithallhismight，forhewouldhavealltheworldagainsthim；soIshallhaveenoughtodotogetwellthroughthepresentargument。
Icannotsee，then，anyrationalorlogicalgroundforthatmightydifferenceinthevaluewhichmankindgenerallysetuponthepastandfuture，asiftheonewaseverything，andtheothernothing——ofnoconsequencewhatever。Ontheotherhand，Iconceivethatthepastisasrealandsubstantialapartofourbeing，thatitisasmucha_bonafide_，undeniableconsiderationintheestimateofhumanlife，asthefuturecanpossiblybe。Tosaythatthepastisofnoimportance，unworthyofamoment”sregard，becauseithasgoneby，andisnolongeranything，isanargumentthatcannotbeheldtoanypurpose；forifthepasthasceasedtobe，andisthereforetobeaccountednothinginthescaleofgoodorevil，thefutureisyettocome，andhasneverbeenanything。Shouldanyonechoosetoassertthatthepresentonlyisofanyvalueinastrictandpositivesense，becausethatalonehasarealexistence，thatweshouldseizetheinstantgood，andgiveallelsetothewinds，Icanunderstandwhathemeans(thoughperhapshedoesnothimself)；[1]butIcannotcomprehendhowthisdistinctionbetweenthatwhichhasadownrightandsensible，andthatwhichhasonlyaremoteandairyexistence，canbeappliedtoestablishthepreferenceofthefutureoverthepast；forbothareinthispointofviewequallyideal，absolutelynothing，exceptastheyareconceivedofbythemind”seye，andarethusrenderedpresenttothethoughtsandfeelings。Nay，theoneisevenmoreimaginary，amorefantasticcreatureofthebrainthantheother，andtheinterestwetakeinitmoreshadowyandgratuitous；
forthefuture，onwhichwelaysomuchstress，maynevercometopassatall，thatis，mayneverbeembodiedintoactualexistenceinthewholecourseofevents，whereasthepasthascertainlyexistedonce，hasreceivedthestampoftruth，andleftanimageofitselfbehind。Itissofarthenplacedbeyondthepossibilityofdoubt，orasthepoethasit，Thosejoysarelodg”dbeyondthereachoffate。
Itisnot，however，attemptedtobedeniedthatthoughthefutureisnothingatpresent，andhasnoimmediateinterestwhilewearespeaking，yetitisoftheutmostconsequenceinitself，andoftheutmostinteresttotheindividual，becauseitwillhavearealexistence，andwehaveanideaofitasexistingintimetocome。Well，then，thepastalsohasnorealexistence；theactualsensationandtheinterestbelongingtoitarebothfled；butit_hashad_arealexistence，andwecanstillcallupavividrecollectionofitashavingoncebeen；andtherefore，byparityofreasoning，itisnotathingperfectlyinsignificantinitself，norwhollyindifferenttothemindwhetheriteverwasornot。Ohno！Farfromit！Letusnotrashlyquitourholduponthepast，whenperhapstheremaybelittleelselefttobindustoexistence。Isitnothingtohavebeen，andtohavebeenhappyormiserable？OrisitamatterofnomomenttothinkwhetherIhavebeenoneortheother？DoIdeludemyself，doIbuilduponashadoworadream，doIdressupinthegaudygarbofidlenessandfollyapurefiction，withnothingansweringtoitintheuniverseofthingsandtherecordsoftruth，whenIlookbackwithfonddelightorwithtenderregrettothatwhichwasatonetimetomemyall，whenIrevivetheglowingimageofsomebrightreality，Thethoughtsofwhichcanneverfrommyheart？
DoIthenmuseonnothing，doIbendmyeyesonnothing，whenIturnbackinfancyto”thosesunsandskiessopure”thatlightedupmyearlypath？Isittothinkofnothing，tosetanidlevalueuponnothing，tothinkofallthathashappenedtome，anofallthatcaneverinterestme？Or，tousethelanguageofafinepoet(whoishimselfamongmyearliestandnotleastpainfulrecollections)——
WhatthoughtheradiancewhichwasoncesobrightBenowforevervanish”dfrommysight，ThoughnothingcanbringbackthehourOfgloryinthegrass，ofsplendourintheflow”r——
yetamImockedwithaliewhenIventuretothinkofit？OrdoInotdrinkinandbreatheagaintheairofheavenlytruthwhenIbut”retraceitsfootsteps，anditsskirtsfaroffadore”？Icannotsaywiththesamepoet——
Andseehowdarkthebackwardstream，Alittlemomentpastsosmiling——
foritisthepastthatgivesmemostdelightandmostassuranceofreality。Whattomeconstitutesthegreatcharmofthe_Confessions_ofRousseauistheirturningsomuchuponthisfeeling。Heseemstogatherupthepastmomentsofhisbeinglikedropsofhoney-dewtodistilapreciousliquorfromthem；hisalternatepleasuresandpainsarethebead-rollthathetellsoverandpiouslyworships；hemakesarosaryoftheflowersofhopeandfancythatstrewedhisearliestyears。Whenhebeginsthelastofthe_ReveriesofaSolitaryWalker_，”Ilyaaujourd”hui，jourdesPaquesFleuris，cinquanteansdepuisquej”aipremiervuMadameWarens”whatayearningofthesoulisimpliedinthatshortsentence！Wasallthathadhappenedtohim，allthathehadthoughtandfeltinthatsadintervaloftime，tobeaccountednothing？
Wasthatlong，dim，fadedretrospectofyearshappyormiserable——ablankthatwasnottomakehiseyesfailandhisheartfaintwithinhimintryingtograspallthathadoncefilleditandthathadsincevanished，becauseitwasnotaprospectintofuturity？Washewronginfindingmoretointeresthiminitthaninthenextfiftyyears——whichhedidnotlivetosee？Orifhehad，whatthen？Wouldtheyhavebeenworththinkingof，comparedwiththetimesofhisyouth，ofhisfirstmeetingwithMadameWarens，withthosetimeswhichhehastracedwithsuchtruthandpuredelight”inourheart”stables”？When”allthelifeoflifewasflown”washenottolivethefirstandbestpartofitoveragain，andoncemorebeallthathethenwas？——YewoodsthatcrowntheclearlonebrowofNormanCourt，whydoIrevisityesooft，andfeelasoothingconsciousnessofyourpresence，butthatyourhightopswavinginthewindrecalltomethehoursandyearsthatareforeverfled；thatyerenewinceaselessmurmursthestoryoflong-cherishedhopesandbitterdisappointment；thatinyoursolitudesandtangledwildsIcanwanderandlosemyselfasIwanderonandamlostinthesolitudeofmyownheart；andthatasyourrustlingbranchesgivetheloudblasttothewastebelow——borneonthethoughtsofotheryears，I
canlookdownwithpatientanguishatthecheerlessdesolationwhichI
feelwithin！Withoutthatfacepaleastheprimrosewithhyacinthinelocks，forevershunningandforeverhauntingme，mockingmywakingthoughtsasinadream；withoutthatsmilewhichmyheartcouldneverturntoscorn；withoutthoseeyesdarkwiththeirownlustre，stillbentonmine，anddrawingthesoulintotheirliquidmazeslikeaseaoflove；withoutthatnametremblinginfancy”sear；withoutthatformglidingbeforemelikeOreadorDryadinfabledgroves，whatshouldI
do？howpassawaythelistless，leaden-footedhours？Thenwave，waveon，yewoodsofTuderley，andliftyourhightopsintheair；mysighsandvowsutteredbyourmysticvoicebreatheintomemyformerbeing，andenablemetobearthethingIam！——Theobjectsthatwehaveknowninbetterdaysarethemainpropsthatsustaintheweightofouraffections，andgiveusstrengthtoawaitourfuturelot。Thefutureislikeadeadwallorathickmisthidingallobjectsfromourview；thepastisaliveandstirringwithobjects，brightorsolemn，andofunfadinginterest。Whatisitinfactthatwerecurtooftenest？Whatsubjectsdowethinkortalkof？Nottheignorantfuture，butthewell-storedpast。Othello，theMoorofVenice，amusedhimselfandhishearersatthehouseofSignorBrabantioby”runningthroughthestoryofhislifeevenfromhisboyishdays”；andoft”beguiledthemoftheirtears，whenhedidspeakofsomedisastrousstrokewhichhisyouthsuffered。”Thisplanofingratiatinghimselfwouldnothaveansweredifthepasthadbeen，likethecontentsofanoldalmanac，ofnousebuttobethrownasideandforgotten。Whatablank，forinstance，doesthehistoryoftheworldforthenextsixthousandyearspresenttothemind，comparedwiththatofthelast！Allthatstrikestheimaginationorexcitesanyinterestinthemightysceneis_whathasbeen_！[2]
***
Neitherinitself，then，norasasubjectofgeneralcontemplation，hasthefutureanyadvantageoverthepast。Butwithrespecttoourgrosserpassionsandpursuitsithas。Asfarasregardstheappealtotheunderstandingortheimagination，thepastisjustasgood，asreal，ofasmuchintrinsicandostensiblevalueasthefuture；butthereisanotherprincipleinthehumanmind，theprincipleofactionorwill；
andofthisthepasthasnohold，thefutureengrossesitentirelytoitself。Itisthisstrongleveroftheaffectionsthatgivessopowerfulabiastooursentimentsonthissubject，andviolentlytransposesthenaturalorderofourassociations。Weregretthepleasureswehavelost，andeagerlyanticipatethosewhicharetocome：
wedwellwithsatisfactionontheevilsfromwhichwehaveescaped(_Posthaecmeminisseiuvabit_)——anddreadfuturepain。Thegoodthatispastisinthissenselikemoneythatisspent，whichisofnofurtheruse，andaboutwhichwegiveourselveslittleconcern。Thegoodweexpectislikeastoreyetuntouched，andintheenjoymentofwhichwepromiseourselvesinfinitegratification。Whathashappenedtouswethinkofnoconsequence：whatistohappentous，ofthegreatest。Whyso？Simplybecausetheoneisstillinourpower，andtheothernot——becausetheeffortsofthewilltobringanyobjecttopassortopreventitstrengthenourattachmentoraversiontothatobject——becausethepainsandattentionbestoweduponanythingaddtoourinterestinit——andbecausethehabitualandearnestpursuitofanyendredoublestheardourofourexpectations，andconvertsthespeculativeandindolentsatisfactionwemightotherwisefeelinitintorealpassion。
Ourregrets，anxiety，andwishesarethrownawayuponthepast；buttheinsistingontheimportanceofthefutureisoftheutmostuseinaidingourresolutionsandstimulatingourexertions。Ifthefuturewerenomoreamenabletoourwillsthanthepast；ifourprecautions，oursanguineschemes，ourhopesandfearswereofaslittleavailintheonecaseastheother；ifwecouldneithersoftenourmindstopleasure，norsteelourfortitudetotheresistanceofpainbeforehand；ifallobjectsdriftedalongbyuslikestrawsorpiecesofwoodinariver，thewillbeingpurelypassive，andaslittleabletoavertthefutureastoarrestthepast，weshouldinthatcasebeequallyindifferenttoboth；
thatis，weshouldconsidereachastheyaffectedthethoughtsandimaginationwithcertainsentimentsofapprobationorregret，butwithouttheimportunityofaction，theirritationofthewill，throwingthewholeweightofpassionandprejudiceintoonescale，andleavingtheotherquiteempty。Whiletheblowiscoming，wepreparetomeetit，wethinktowardofforbreakitsforce，wearmourselveswithpatiencetoendurewhatcannotbeavoided，weagitateourselveswithfiftyneedlessalarmsaboutit；butwhentheblowisstruck，thepangisover，thestruggleisnolongernecessary，andweceasetoharassortormentourselvesaboutitmorethanwecanhelp。Itisnotthattheonebelongstothefutureandtheothertotimepast；butthattheoneisasubjectofaction，ofuneasyapprehension，ofstrongpassion，andthattheotherhaspassedwhollyoutofthesphereofactionintotheregionofCalmcontemplationandmajesticpains。[3]
Itwouldnotgiveamanmoreconcerntoknowthatheshouldbeputtotherackayearhence，thantorecollectthathehadbeenputtoitayearago，butthathehopestoavoidtheone，whereashemustsitdownpatientlyundertheconsciousnessoftheother。Inthishopehewearshimselfoutinvainstruggleswithfate，andputshimselftotherackofhisimaginationeverydayhehastoliveinthemeanwhile。Whentheeventissoremoteorsoindependentofthewillastosetasidethenecessityofimmediateaction，ortobaffleallattemptstodefeatit，itgivesuslittlemoredisturbanceoremotionthanifithadalreadytakenplace，orweresomethingtohappeninanotherstateofbeing，ortoanindifferentperson。Criminalsareobservedtogrowmoreanxiousastheirtrialapproaches；butaftertheirsentenceispassed，theybecometolerablyresigned，andgenerallysleepsoundthenightbeforeitsexecution。
Itinsomemeasureconfirmsthistheory，thatmenattachmoreorlessimportancetopastandfutureeventsaccordingastheyaremoreorlessengagedinactionandthebusyscenesoflife。Thosewhohaveafortunetomake，orareinpursuitofrankandpower，thinklittleofthepast，foritdoesnotcontributegreatlytotheirviews：thosewhohavenothingtodobuttothink，takenearlythesameinterestinthepastasinthefuture。Thecontemplationoftheoneisasdelightfulandrealasthatoftheother。Theseasonofhopehasanend；buttheremembranceofitisleft。Thepaststilllivesinthememoryofthosewhohaveleisuretolookbackuponthewaythattheyhavetrod，andcanfromit”catch-glimpsesthatmaymakethemlessforlorn。”Theturbulenceofaction，anduneasinessofdesire，mustpointtothefuture：itisonlyinthequietinnocenceofshepherds，inthesimplicityofpastoralages，thatatombwasfoundwiththisinscription——”IALSOWASANARCADIAN！”
ThoughIbynomeansthinkthatourhabitualattachmenttolifeisinexactproportiontothevalueofthegift，yetIamnotoneofthosespleneticpersonswhoaffecttothinkitofnovalueatall。_Quepeudechoseestlaviehumaine_，isanexclamationinthemouthsofmoralistsandphilosophers，towhichIcannotagree。Itislittle，itisshort，itisnotworthhaving，ifwetakethelasthour，andleaveoutallthathasgonebefore，whichhasbeenonewayoflookingatthesubject。Suchcalculatorsseemtosaythatlifeisnothingwhenitisover，andthatmayintheirsensebetrue。Iftheoldrule——_Respicefinem_——weretobemadeabsolute，andnoonecouldbepronouncedfortunatetillthedayofhisdeath，therearefewamonguswhoseexistencewould，uponthoseconditions，bemuchtobeenvied。Butthisisnotafairviewofthecase。Aman”slifeishiswholelife，notthelastglimmeringsnuffofthecandle；andthis，Isay，isconsiderable，andnota_littlematter_，whetherweregarditspleasuresoritspains。
Todrawapeevishconclusiontothecontraryfromourownsuperannuateddesiresorforgetfulindifferenceisaboutasreasonableastosay，amanneverwasyoungbecausehehasgrownold，orneverlivedbecauseheisnowdead。Thelengthoragreeablenessofajourneydoesnotdependonthefewlaststepsofit，noristhesizeofabuildingtobejudgedoffromthelaststonethatisaddedtoit。Itisneitherthefirstnorlasthourofourexistence，butthespacethatpartsthesetwo——notourexitnorourentranceuponthestage，butwhatwedo，feel，andthinkwhilethere——thatwearetoattendtoinpronouncingsentenceuponit。
Indeeditwouldbeeasytoshowthatitistheveryextentofhumanlife，theinfinitenumberofthingscontainedinit，itscontradictoryandfluctuatinginterests，thetransitionfromonesituationtoanother，thehours，months，yearsspentinonefondpursuitafteranother；thatitis，inaword，thelengthofourcommonjourneyandthequantityofeventscrowdedintoit，that，bafflingthegraspofouractualperception，makeitslidefromourmemory，anddwindleintonothinginitsownperspective。Itistoomightyforus，andwesayitisnothing！
Itisaspeckinourfancy，andyetwhatcanvaswouldbebigenoughtoholditsstrikinggroups，itsendlesssubjects！Itislightasvanity，andyetifallitswearymoments，ifallitsheadandheartacheswerecompressedintoone，whatfortitudewouldnotbeoverwhelmedwiththeblow！Whatahugeheap，a”huge，dumbheap”ofwishes，thoughts，feelings，anxiouscares，soothinghopes，loves，joys，friendships，itiscomposedof！Howmanyideasandtrainsofsentiment，longanddeepandintense，oftenpassthroughthemindinonlyoneday”sthinkingorreading，forinstance！Howmanysuchdaysarethereinayear，howmanyyearsinalonglife，stilloccupiedwithsomethinginteresting，stillrecallingsomeoldimpression，stillrecurringtosomedifficultquestionandmakingprogressinit，everystepaccompaniedwithasenseofpower，andeverymomentconsciousof”thehighendeavourorthegladsuccess”；forthemindseizesonlyonthatwhichkeepsitemployed，andiswounduptoacertainpitchofpleasurableexcitementorlivelysolicitude，bythenecessityofitsownnature。ThedivisionofthemapoflifeintoitscomponentpartsisbeautifullymadebyKingHenryVI。：——
OhGod！methinksitwereahappylifeTobenobetterthanahomelyswain，TosituponahillasIdonow，Tocarveoutdialsquaintly，pointbypoint，TherebytoseetheminuteshowtheyrunHowmanymakethehourfullcomplete，Howmanyhoursbringabouttheday，Howmanydayswillfinishuptheyear，Howmanyyearsamortalmanmaylive：
Whenthisisknown，thentodividethetimes；
SomanyhoursmustItendmyflock，SomanyhoursmustItakemyrest，SomanyhoursmustIcontemplate，SomanyhoursmustIsportmyself；
Somanydaysmyeweshavebeenwithyoung，Somanyweekserethepoorfoolswillyean，SomanymonthsereIshallshearthefleece：
Somanyminutes，hours，weeks，months，andyearsPastovertotheendtheywerecreated，Wouldbringgreyhairsuntoaquietgrave。
Imyselfamneitherakingnorashepherd：bookshavebeenmyfleecycharge，andmythoughtshavebeenmysubjects。Butthesehavefoundmesufficientemploymentatthetime，andenoughtothinkofforthetimetocome。
Thepassionscontractandwarpthenaturalprogressoflife。Theyparalyseallofitthatisnotdevotedtotheirtyrannyandcaprice。
Thismakesthedifferencebetweenthelaughinginnocenceofchildhood，thepleasantnessofyouth，andthecrabbednessofage。Aloadofcareslieslikeaweightofguiltuponthemind：sothatamanofbusinessoftenhasalltheair，thedistractionandrestlessnessandhurryoffeelingofacriminal。Aknowledgeoftheworldtakesawaythefreedomandsimplicityofthoughtaseffectuallyasthecontagionofitsexample。Theartlessnessandcandourofourearlyyearsareopentoallimpressionsalike，becausethemindisnotcloggedandpreoccupiedwithotherobjects。Ourpleasuresandourpainscomesingle，makeroomforoneanother，andthespringofthemindisfreshandunbroken，itsaspectclearandunsullied。Hence”thetearforgotassoonasshed，thesunshineofthebreast。”Butasweadvancefarther，thewillgetsgreaterhead。Weformviolentantipathiesandindulgeexclusivepreferences。Wemakeupourmindstosomeonething，andifwecannothavethat，willhavenothing。Weareweddedtoopinion，tofancy，toprejudice；whichdestroysthesoundnessofourjudgments，andtheserenityandbuoyancyofourfeelings。Thechainofhabitcoilsitselfroundtheheart，likeaserpent，tognawandstifleit。Itgrowsrigidandcallous；andforthesoftnessandelasticityofchildhood，fullofproudfleshandobstinatetumours。Theviolenceandperversityofourpassionscomeinmoreandmoretooverlayournaturalsensibilityandwell-groundedaffections；andwescrewourselvesuptoaimonlyatthosethingswhichareneitherdesirablenorpracticable。Thuslifepassesawayinthefeverishirritationofpursuitandthecertaintyofdisappointment。Bydegrees，nothingbutthismorbidstateoffeelingsatisfiesus：andallcommonpleasuresandcheapamusementsaresacrificedtothedemonofambition，avarice，ordissipation。Themachineisoverwrought：theparchingheatoftheveinsdriesupandwitherstheflowersofLove，Hope，andJoy；andanypause，anyreleasefromtherackofecstasyonwhichwearestretched，seemsmoreinsupportablethanthepangswhichweendure。Wearesuspendedbetweentormentingdesiresandthehorrorsof_ennui_。Theimpulseofthewill，likethewheelsofacarriagegoingdownhill，becomestoostrongforthedriver，Reason，andcannotbestoppednorkeptwithinbounds。Someidea，somefancy，takespossessionofthebrain；andhoweverridiculous，howeverdistressing，howeverruinous，hauntsusbyasortoffascinationthroughlife。
Notonlyisthisprincipleofexcessiveirritabilitytobeseenatworkinourmoreturbulentpassionsandpursuits，butevenintheformalstudyofartsandsciences，thesamethingtakesplace，andunderminesthereposeandhappinessoflife。Theeagernessofpursuitovercomesthesatisfactiontoresultfromtheaccomplishment。Themindisoverstrainedtoattainitspurpose；andwhenitisattained，theeaseandalacritynecessarytoenjoyitaregone。Theirritationofactiondoesnotceaseandgodownwiththeoccasionforit；butwearefirstuneasytogettotheendofourwork，andthenuneasyforwantofsomethingtodo。Thefermentofthebraindoesnotofitselfsubsideintopleasureandsoftrepose。Hencethedispositiontostrongstimuliobservableinpersonsofmuchintellectualexertiontoallayandcarryofftheover-excitement。The_improvisatori_poets(itisrecordedbySpenceinhis_AnecdotesofPope_)cannotsleepafteranevening”scontinueddisplayoftheirsingularanddifficultart。Therhymeskeeprunningintheirheadinspiteofthemselves，andwillnotletthemrest。MechanicsandlabouringpeopleneverknowwhattodowiththemselvesonaSunday，thoughtheyreturntotheirworkwithgreaterspiritfortherelief，andlookforwardtoitwithpleasurealltheweek。SirJoshuaReynoldswasnevercomfortableoutofhispainting-room，anddiedofchagrinandregretbecausehecouldnotpaintontothelastmomentofhislife。Heusedtosaythathecouldgoonretouchingapictureforever，aslongasitstoodonhiseasel；butassoonasitwasoncefairlyoutofthehouse，heneverwishedtoseeitagain。Aningeniousartistofourowntimehasbeenheardtodeclare，thatifevertheDevilgothimintohisclutches，hewouldsethimtocopyhisownpictures。Thussecure，self-complacentretrospecttowhatisdoneisnothing，whiletheanxious，uneasylookingforwardtowhatistocomeiseverything。Weareafraidtodwelluponthepast，lestitshouldretardourfutureprogress；theindulgenceofeaseisfataltoexcellence；andtosucceedinlife，welosetheendsofbeing！
NOTEStoESSAYIII
[1]Ifwetakeawayfromthe_present_themomentthatIsjustbyandthemomentthatisnexttocome，howmuchofitwillbeleftforthisplain，practicaltheorytorestupon？Theirsolidbasisofsenseandrealitywillreduceitselftoapin”spoint，ahairline，onwhichourmoralbalance-masterswillhavesomedifficultytomaintaintheirfootingwithoutfallingoveroneitherside。
[2]AtreatiseontheMillenniumisdull；butwhowaseverwearyofreadingthefablesoftheGoldenAge？OnmyonceobservingIshouldliketohavebeenClaude，apersonsaid，”theyshouldnot，forthatthenbythistimeitwouldhavebeenalloverwiththem。”Asifitcouldpossiblysignifywhenwelive(saveandexceptingthepresentminute)，orasifthevalueofhumanlifedecreasedorincreasedwithsuccessivecenturies。Atthatrate，wehadbetterhaveourlifestilltocomeatsomefutureperiod，andsopostponeourexistencecenturyaftercentury_adinfinitum_。
[3]Inlikemanner，thoughweknowthataneventmusthavetakenplaceatadistance，longbeforewecanheartheresult，yetaslongasweremaininIgnoranceofit，weirritateourselvesaboutit，andsufferalltheagoniesofsuspense，asifitwasstilltocome；butassoonasouruncertaintyisremoved，ourfretfulimpatiencevanishes，weresignourselvestofate，andmakeupourmindstowhathashappenedaswellaswecan。
ESSAYIV
ONGENIUSANDCOMMONSENSE
Wehearitmaintainedbypeopleofmoregravitythanunderstanding，thatgeniusandtastearestrictlyreducibletorules，andthatthereisaruleforeverything。Sofarisitfrombeingtruethatthefinestbreathoffancyisadefinablething，thattheplainestcommonsenseisonlywhatMr。Lockewouldhavecalleda_mixedmode_，subjecttoaparticularsortofacquiredandundefinabletact。Itisasked，“Ifyoudonotknowtherulebywhichathingisdone，howcanyoubesureofdoingitasecondtime？“Andtheansweris，“Ifyoudonotknowthemusclesbythehelpofwhichyouwalk，howisityoudonotfalldownateverystepyoutake？“Inart，intaste，inlife，inspeech，youdecidefromfeeling，andnotfromreason；thatis，fromtheimpressionofanumberofthingsonthemind，fromwhichimpressionistrueandwellfounded，thoughyoumaynotbeabletoanalyseoraccountforitintheseveralparticulars。Inagestureyouuse，inalookyousee，inatoneyouhear，youjudgeoftheexpression，propriety，andmeaningfromhabit，notfromreasonorrules；thatistosay，frominnumerableinstancesoflikegestures，looks，andtones，ininnumerableothercircumstances，variouslymodified，whicharetoomanyandtoorefinedtobealldistinctlyrecollected，butwhichdonotthereforeoperatethelesspowerfullyuponthemindandeyeoftaste。Shallwesaythattheseimpressions(theimmediatestampofnature)donotoperateinagivenmannertilltheyareclassifiedandreducedtorules，orisnottheruleitselfgrounded，uponthetruthandcertaintyofthatnaturaloperation？
Howthencanthedistinctionoftheunderstandingastothemannerinwhichtheyoperatebenecessarytotheirproducingtheirdueanduniformeffectuponthemind？Ifcertaineffectsdidnotregularlyariseoutofcertaincausesinmindaswellasmatter，therecouldbenorulegivenforthem：naturedoesnotfollowtherule，butsuggestsit。Reasonistheinterpreterandcriticofnatureandgenius，nottheirlaw-giverandjudge。Hemustbeapoorcreatureindeedwhosepracticalconvictionsdonotinalmostallcasesoutrunhisdeliberateunderstanding，orwhodoesnotfeelandknowmuchmorethanhecangiveareasonfor。Hencethedistinctionbetweeneloquenceandwisdom，betweeningenuityandcommonsense。Amanmaybedexterousandableinexplainingthegroundsofhisopinions，andyetmaybeameresophist，becauseheonlyseesone-halfofasubject。Anothermayfeelthewholeweightofaquestion，nothingrelatingtoitmaybelostuponhim，andyethemaybeabletogivenoaccountofthemannerinwhichitaffectshim，ortodraghisreasonsfromtheirsilentlurking-places。Thislastwillbeawiseman，thoughneitheralogiciannorrhetorician。GoldsmithwasafooltoDr。Johnsoninargument；thatis，inassigningthespecificgroundsofhisopinions：
Dr。JohnsonwasafooltoGoldsmithinthefinetact，theairy，intuitivefacultywithwhichheskimmedthesurfacesofthings，andunconsciouslyformedhisOpinions。Commonsenseisthejustresultofthesumtotalofsuchunconsciousimpressionsintheordinaryoccurrencesoflife，astheyaretreasuredupinthememory，andcalledoutbytheoccasion。Geniusandtastedependmuchuponthesameprincipleexercisedonloftiergroundandinmoreunusualcombinations。
Iamgladtosheltermyselffromthechargeofaffectationorsingularityinthisviewofanoftendebatedbutill-understoodpoint，byquotingapassagefromSirJoshuaReynolds”s_Discourses_，whichisfull，and，Ithink，conclusivetothepurpose。Hesays：——”Iobserve，asafundamentalgroundcommontoalltheArtswithwhichwehaveanyconcerninthisDiscourse，thattheyaddressthemselvesonlytotwofacultiesofthemind，itsimaginationanditssensibility。”AlltheorieswhichattempttodirectortocontroltheArt，uponanyprinciplesfalselycalledrational，whichweformtoourselvesuponasuppositionofwhatoughtinreasontobetheendormeansofArt，independentoftheknownfirsteffectproducedbyobjectsontheimagination，mustbefalseanddelusive。Forthoughitmayappearboldtosayit，theimaginationisheretheresidenceoftruth。Iftheimaginationbeaffected，theconclusionisfairlydrawn；ifitbenotaffected，thereasoningiserroneous，becausetheendisnotobtained；
theeffectitselfbeingthetest，andtheonlytest，ofthetruthandefficacyofthemeans。”Thereisinthecommerceoflife，asinArt，asagacitywhichisfarfrombeingcontradictorytorightreason，andissuperiortoanyoccasionalexerciseofthatfacultywhichsupersedesitanddoesnotwaitfortheslowprogressofdeduction，butgoesatonce，bywhatappearsakindofintuition，totheconclusion。Amanendowedwiththisfacultyfeelsandacknowledgesthetruth，thoughitisnotalwaysinhispower，perhaps，togiveareasonforit；becausehecannotrecollectandbringbeforehimallthematerialsthatgavebirthtohisopinion；forverymanyandveryintricateconsiderationsmayunitetoformtheprinciple，evenofsmallandminuteparts，involvedin，ordependenton，agreatmanythings：——thoughtheseinprocessoftimeareforgotten，therightimpressionstillremainsfixedinhismind。”Thisimpressionistheresultoftheaccumulatedexperienceofourwholelife，andhasbeencollected，wedonotalwaysknowhoworwhen。
Butthismassofcollectiveobservation，howeveracquired，oughttoprevailoverthatreason，which，howeverpowerfullyexertedonanyparticularoccasion，willprobablycomprehendbutapartialviewofthesubject；andourconductinlife，aswellasinthearts，isoroughttobegenerallygovernedbythishabitualreason：itisourhappinessthatweareenabledtodrawonsuchfunds。Ifwewereobligedtoenterintoatheoreticaldeliberationoneveryoccasionbeforeweact，lifewouldbeatastand，andArtwouldbeimpracticable。”Itappearstometherefore”(continuesSirJoshua)”thatourfirstthoughts，thatis，theeffectwhichanythingproducesonourmindsonitsfirstappearance，isnevertobeforgotten；anditdemandsforthatreason，becauseitisthefirst，tobelaidupwithcare。Ifthisbenotdone，theartistmayhappentoimposeonhimselfbypartialreasoning；byacoldconsiderationofthoseanimatedthoughtswhichproceed，notperhapsfromcapriceorrashness(ashemayafterwardsconceit)，butfromthefulnessofhismind，enrichedwiththecopiousstoresofallthevariousinventionswhichhehadeverseen，orhadeverpassedinhismind。Theseideasareinfusedintohisdesign，withoutanyconsciouseffort；butifhebenotonhisguard，hemayreconsiderandcorrectthem，tillthewholematterisreducedtoacommonplaceinvention。”ThisissometimestheeffectofwhatImeantocautionyouagainst；
thatistosay，anunfoundeddistrustoftheimaginationandfeeling，infavourofnarrow，partial，confined，argumentativetheories，andofprinciplesthatseemtoapplytothedesigninhand，withoutconsideringthosegeneralimpressionsonthefancyinwhichrealprinciplesof_soundreason_，andofmuchmoreweightandimportance，areinvolved，and，asitwere，liehidundertheappearanceofasortofvulgarsentiment。Reason，withoutdoubt，mustultimatelydetermineeverything；
atthisminuteitisrequiredtoinformuswhenthatveryreasonistogivewaytofeeling。”[1]
Mr。Burke，bywhomtheforegoingtrainofthinkingwasprobablysuggested，hasinsistedonthesamething，andmaderatheraperverseuseofitinseveralpartsofhis_ReflectionsontheFrenchRevolution_；andWindhaminoneofhis_Speeches_hasclencheditintoanaphorism——”Thereisnothingsotrueashabit。”OncemoreIwouldsay，commonsenseistacitreason。Conscienceisthesametacitsenseofrightandwrong，ortheimpressionofourmoralexperienceandmoralapprehensionsonthemind，which，becauseitworksunseen，yetcertainly，wesupposetobeaninstinct，implantedinthemind；aswesometimesattributetheviolentoperationsofourpassions，ofwhichwecanneithertracethesourcenorassignthereason，totheinstigationoftheDevil！
Ishallheretrytogomoreatlargeintothissubject，andtogivesuchinstancesandillustrationsofitasoccurtome。
OneofthepersonswhohadrenderedthemselvesobnoxioustoGovernmentandbeenincludedinachargeforhightreasonintheyear1794，hadretiredsoonafterintoWalestowriteanepicpoemandenjoytheluxuriesofarurallife。Inhisperegrinationsthroughthatbeautifulscenery，hehadarrivedonefinemorningattheinnatLlangollen，intheromanticvalleyofthatname。Hehadorderedhisbreakfast，andwassittingatthewindowinallthedallianceofexpectationwhenafacepassed，ofwhichhetooknonoticeattheinstant——butwhenhisbreakfastwasbroughtinpresentlyafter，hefoundhisappetiteforitgone——thedayhadlostitsfreshnessinhiseye——hewasuneasyandspiritless；andwithoutanycausethathecoulddiscover，atotalchangehadtakenplaceinhisfeelings。Whilehewastryingtoaccountforthisoddcircumstance，thesamefacepassedagain——itwasthefaceofTaylorthespy；andhewaslongeratalosstoexplainthedifficulty。
Hehadbeforecaughtonlyatransientglimpse，apassingside-viewoftheface；butthoughthiswasnotsufficienttoawakenadistinctideainhismemory，hisfeelings，quickerandsurer，hadtakenthealarm；astringhadbeentouchedthatgaveajartohiswholeframe，andwouldnotlethimrest，thoughhecouldnotatalltellwhatwasthematterwithhim。Totheflitting，shadowy，half-distinguishedprofilethathadglidedbyhiswindowwaslinkedunconsciouslyandmysteriously，butinseparably，theimpressionofthetrainsthathadbeenlaidforhimbythisperson；——inthisbriefmoment，inthisdim，illegibleshort-handofthemindhehadjustescapedthespeechesoftheAttorneyandSolicitor-Generaloveragain；thegauntfigureofMr。Pittglaredbyhim；thewallsofaprisonenclosedhim；andhefeltthehandsoftheexecutionernearhim，withoutknowingittillthetremoranddisorderofhisnervesgaveinformationtohisreasoningfacultiesthatallwasnotwellwithin。Thatis，thesamestateofmindwasrecalledbyonecircumstanceintheseriesofassociationthathadbeenproducedbythewholesetofcircumstancesatthetime，thoughthemannerinwhichthiswasdonewasnotimmediatelyperceptible。Inotherwords，thefeelingofpleasureorpain，ofgoodorevil，isrevived，andactsinstantaneouslyuponthemind，beforewehavetimetorecollectthepreciseobjectswhichhaveoriginallygivenbirthtoit。[2]Theincidentherementionedwasmerely，then，onecaseofwhatthelearnedunderstandbythe_associationofideas_：butallthatismeantbyfeelingorcommonsenseisnothingbutthedifferentcasesoftheassociationofideas，moreorlesstruetotheimpressionoftheoriginalcircumstances，asreasonbeginswiththemoreformaldevelopmentofthosecircumstances，orpretendstoaccountforthedifferentcasesoftheassociationofideas。Butitdoesnotfollowthatthedumbandsilentpleadingoftheformer(thoughsometimes，nayoften，mistaken)islesstruethanthatofitsbabblinginterpreter，orthatwearenevertotrustitsdictateswithoutconsultingtheexpressauthorityofreason。Bothareimperfect，bothareusefulintheirway，andthereforebotharebesttogether，tocorrectortoconfirmoneanother。Itdoesnotappearthatinthesingularinstanceabovementioned，thesuddenimpressiononthemindwassuperstitionorfancy，thoughitmighthavebeenthoughtso，haditnotbeenprovedbytheeventtohavearealphysicalandmoralcause。Hadnotthesamefacereturnedagain，thedoubtwouldneverhavebeenproperlyclearedup，butwouldhaveremainedapuzzleeverafter，orperhapshavebeensoonforgot——Bythelawofassociationaslaiddownbyphysiologists，anyimpressioninaseriescanrecallanyotherimpressioninthatserieswithoutgoingthroughthewholeinorder；sothattheminddropstheintermediatelinks，andpassesonrapidlyandbystealthtothemorestrikingeffectsofpleasureorpainwhichhavenaturallytakenthestrongestholdofit。Bydoingthishabituallyandskillfullywithrespecttothevariousimpressionsandcircumstanceswithwhichourexperiencemakesusacquainted，itformsaseriesofunpremeditatedconclusionsonalmostallsubjectsthatcanbebroughtbeforeit，asjustastheyareofreadyapplicationtohumanlife；andcommonsenseisthenameofthisbodyofunassumingbutpracticalwisdom。Commonsense，however，isanimpartial，instinctiveresultoftruthandnature，andwillthereforebearthetestandabidethescrutinyofthemostsevereandpatientreasoning。Itisindeedincompletewithoutit。Byingraftingreasononfeeling，we”makeassurancedoublesure。””Tisthelastkey-stonethatmakesupthearch
