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NUMB. 44. SATURDAY, February 17, 1759.

MEMORY is, among the faculties of the human mind, that of which we make the most frequent use, or rather that of which the agency is incessant, or perpetual. Memory is the primary and fundamental power, without which there could be no other intellectual operation. Judgment and ratiocination suppose something already known, and draw their decisions only from experience. Imagination selects ideas from the treasures of remembrance, and produces novelty only by varied combinations. We do not even form conjectures of distant, or anticipations of future events, but by concluding what is possible from what is past.

The two offices of memory are collection and distribution; by one images are accumulated, and by the other produced for use. Collection is always the employment of our first years; and distribution commonly that of our advanced age.

To collect and reposite the various forms of things, is far the most pleasing part of mental occupation. We are naturally delighted with novelty, and there is a time when all that we see is new. When first we enter into the world, whithersoever we turn our eyes, they meet knowledge with pleasure at her side; every diversity of nature pours ideas in upon the soul; neither search nor labour are necessary; we have nothing more to do than to open our eyes, and curiosity is gratified.

Much of the pleasure which the first survey of the world affords, is exhausted before we are conscious of our own felicity, or able to compare our condition with some possible state. We have therefore few traces of the joy of our earliest discoveries; yet we all remember a time when nature had so many untasted gratifications, that every excursion gave delight which can now be found no longer, when the noise of a torrent, the rustle of a wood, the song of birds, or the play of lambs, had power to fill the attention, and suspend all perception of the course of time.

But these easy pleasures are soon at an end; we have seen in a very little time so much, that we call out for new objects of observation, and endeavour to find variety in books and life. But study is laborious, and not always satisfactory; and conversation has its pains as well as pleasures; we are willing to learn, but not willing to be taught; we are pained by ignorance, but pained yet more by another's knowledge.

From the vexation of pupillage men commonly set themselves free about the middle of life, by shutting up the avenues of intelligence, and resolving to rest in their present state; and they, whose ardour of inquiry continues longer, find themselves insensibly forsaken by their instructors. As every man advances in life, the proportion between those that are younger and that are older than himself is continually changing; and he that has lived half a century finds few that do not require from him that information which he once expected from those that went before him.

Then it is that the magazines of memory are opened, and the stores of accumulated knowledge are displayed by vanity or benevolence, or in honest commerce of mutual interest. Every man wants others, and is therefore glad when he is wanted by them. And as few men will endure the labour of intense meditation without necessity, he that has learned enough for his profit or his honour, seldom endeavours after further acquisitions. The pleasure of recollecting speculative motions would not be much less than that of gaining them, if they could be kept pure and unmingled with the passages of life; but such is the necessary concatenation of our thoughts, that good and evil are linked together, and no pleasure recurs but associated with pain. Every revived idea reminds us of a time when something was enjoyed that is now lost, when some hope was not yet blasted, when some purpose had yet not languished into sluggishness or indifference. Whether it be that life has more vexations than comforts, or what is in the event just the same, that evil makes deeper impression than good, it is certain that few can review the time past without heaviness of heart. He remembers many calamities incurred by folly, many opportunities lost by negligence. The shades of the dead rise up before him ; and he laments the companions of his youth, the partners of his amusements, the assistants of his labours, whom the hand of death has snatched away. o When an offer was made to Themistocles of teachVOI,. V. N

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ing him the art of memory, he answered, that he would rather wish for the art of forgetfulness. He felt his imagination haunted by phantoms of misery which he was unable to suppress, and would gladly have calmed his thoughts with some oblivious antidote. In this we all resemble one another; the hero and the sage are, like vulgar mortals, overburdened by the weight of life; all shrink from recollection, and all wish for an art of forgetfulness.

NUMB. 45. SATURDAY, February 24, 1759.

THERE is in many minds a kind of vanity exerted to the disadvantage of themselves; a desire to be praised for superior acuteness discovered only in the degradation of their species, or censure of their country.

Defamation is sufficiently copious. The general lampooner of mankind may find long exercise for his zeal or wit, in the defects of nature, the vexations of life, the follies of opinion, and the corruptions of practice. But fiction is easier than discernment; and most of these writers spare themselves the labour of enquiry, and exhaust their virulence upon imaginary crimes, which, as they never existed, can never be amended.

That the painters find no encouragement among the English for many other works than portraits, has been imputed to national selfishness. "Tis vain, says the satirist, to set before any Englishman the scenes of landscape, or the heroes of history; nature and antiquity are nothing in his eye; he has no value but for himself, nor desires any copy but of his own form.

Whoever is delighted with his own picture must derive his pleasure from the pleasure of another. Every man is always present to himself, and has, therefore, little need of his own resemblance, nor can desire it, but for the sake of those whom he loves, and by whom he hopes to be remembered. This use of the art is a natural and reasonable consequence of affection; and though, like other human actions, it is often complicated with pride, yet even such pride is more laudable than that by which palaces are covered with pictures, that, however excellent, neither imply the owner's virtue, nor excite it.

Genius is chiefly exerted in historical pictures; and the art of the painter of portraits is often lost in the obscurity of his subject. But it is in painting as in life; what is greatest is not always best. I should grieve to see Reynolds transfer to heroes and to goddesses, to empty splendour and to airy fiction, that art which is now employed in diffusing friendship, in reviving tenderness, in quickening the affections of the absent, and continuing the presence of the dead.

Yet in a nation great and opulent there is room, and ought to be patronage, for an art like that of painting through all its diversities; and it is to be wished, that the reward now offered for an historical picture may excite an honest emulation, and give beginning to an English school.

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