which

whiting corresponding to what we mean by a general idea. It quirt weil designated by Mr. Stewart as 66 one of the most curia thes events which occur in the history of the human mind." tracti The question is one of no practical importance, and when had is cleared from its connection with the ancient doctrine all ideas, appears to be one of no difficulty. Without supposing that there is in nature any actual essence corresponding to a general idea, the truth seems to be, that we do form a certain notion or conception of a quality in which several substances agree, distinct from any one substance to which the quality belongs. Hence some have proposed the term Notionalist, or Conceptualist, as designating_opinions distinct from those both of the Nominalist and Realists. But, according to the principles of modern science, we cannot consider the discussion as any thing more than an ingenious arguing on points of no real importance. The process which the mind really carries on in that mental operation to which these remarks have referred, consists simply in tracing relations or points of resemblance in which certain individual things agree, though they may in others be remarkably different. We then give a name to this common quality, and thus form the individuals into a class of which this quality is the distinguishing character. Thus we may take a number of animals differing remarkably from each other, and say they are all quadrupeds. We may take a number of substances very dissimilar in their external and mechanical properties, and say they are all acids. Some of these substances are solid, some fluid, and some gaseous; but the property of acidity is common to them all, and this accordingly becomes the name and the distinguishing character of the class into which we now arrange them.

Character of the controversy? What is the real process in such a case? Examples

iny

can

of

elemer
the

m

we

SECTION III.

IMAGINATION.

In the ercise of IMAGINATION, we take the component al scenes, events, or characters, and combine

a

process of the mind itself, so as to form h have no existence in nature. A painter, depicts a landscape combining the beauties al landscapes, and excluding their defects. A

on the same manner, calls into being a

Character, endowed with those qualities with which his purpose to invest him, places him in contact with beings equally imaginary, and arranges, according to will, the scenes in which he shall bear a part, and the ine of conduct which he shall follow. (The compound in these cases is entirely fictitious and arbitrary; but it is expected that the individual elements shall be such as actually occur in nature,' and that the combination shall not differ remarkably from what might really happen. When this is not attended to, as in a picture or a novel, we speak of the work being extravagant or out of nature. But, avoiding combinations which are grossly at variance with reality, the framer of such a compound may make it superior to any thing that actually occurs. A painter may draw a combination of beauties in a landscape superior to any thing that is actually known to exist; and a novelist may delineate a more perfect character than is met with in real life. It is remarked by Mr. Stewart, that Milton, in his garden of Eden, "has created a landscape more perfect, probably, in all its parts, than has ever been realized in nature, and certainly very different from any thing that this country exhibited at the time when he wrote."

"It

is a curious remark of Mr. Walpole," he adds, "that Milton's Eden is free from the defects of the old English garden, and is imagined on the same principles which

Nature of imagination? Examples. How much fictitious, and how much true? Superiority of such creations. Examples. Stewart's remark?

whiting corresponding to what we mean by a general idea. It quir, weil designated by Mr. Stewart as "one of the most curia thas events which occur in the history of the human mind." tractiThe question is one of no practical importance, and when had is cleared from its connection with the ancient doctrine all ideas, appears to be one of no difficulty. Without sup

which.

posing that there is in nature any actual essence corresponding to a general idea, the truth seems to be, that we do form a certain notion or conception of a quality in which several substances agree, distinct from any one substance to which the quality belongs. Hence some have proposed the term Notionalist, or Conceptualist, as designating_opinions distinct from those both of the Nominalist and Realists. But, according to the principles of modern science, we cannot consider the discussion as any thing more than an ingenious arguing on points of no real importance. The process which the mind really carries on in that mental operation to which these remarks have referred, consists simply in tracing relations or points of resemblance in which certain individual things agree, though they may in others be remarkably different. We then give a name to this common quality, and thus form the individuals into a class of which this quality is the distinguishing character. Thus we may take a number of animals differing remarkably from each other, and say they are all quadrupeds. We may take a number of substances very dissimilar in their external and mechanical properties, and say they are all acids. Some of these substances are solid, some fluid, and some gaseous; but the property of acidity is common to them all, and this accordingly becomes the name and the distinguishing character of the class into which we now arrange them.

Character of the controversy ? What is the real process in such a case? Examples

SECTION III.

IMAGINATION.

In the exercise of IMAGINATION, we take the component elements of real scenes, events, or characters, and combine them anew by a process of the mind itself, so as to form compounds which have no existence in nature. A painter, by this process, depicts a landscape combining the beauties of various real landscapes, and excluding their defects. A poet or a novelist, in the same manner, calls into being a fictitious character, endowed with those qualities with which it suits his purpose to invest him, places him in contact with other beings equally imaginary, and arranges, according to his will, the scenes in which he shall bear a part, and the line of conduct which he shall follow. (The compound in these cases is entirely fictitious and arbitrary; but it is expected that the individual elements shall be such as actually occur in nature, and that the combination shall not differ remarkably from what might really happen. When this is not attended to, as in a picture or a novel, we speak of the work being extravagant or out of nature. But, avoiding combinations which are grossly at variance with reality, the framer of such a compound may make it superior to any thing that actually occurs. A painter may draw a combination of beauties in a landscape superior to any thing that is actually known to exist; and a novelist may delineate a more perfect character than is met with in real life. It is remarked by Mr. Stewart, that Milton, in his garden of Eden, "has created a landscape more perfect, probably, in all its parts, than has ever been realized in nature, and certainly very different from any thing that this country exhibited at the time when he wrote." "It is a curious remark of Mr. Walpole," he adds, "that Milton's Eden is free from the defects of the old English garden, and is imagined on the same principles which

Nature of imagination? Examples. How much fictitious, and how much true? Superiority of such creations. Examples. Stewart's remark ?

it was reserved for the present age to carry into execution."

The mode of artificial combination which results from the exercise of imagination is applicable chiefly to four kinds of composition.

1. Fictitious narrative, in which the author delineates imaginary scenes or transactions; and paints imaginary characters, endowing them with such qualities as may suit the purpose which he has in view.

2. Composition or verbal address, directed to the passions, and intended to excite particular mental emotions. To this head are referable many of the combinations of the poet, and addresses calculated to operate upon the feelings of a popular assembly; also, those which derive their character from the language of trope and metaphor. The genius of the orator, and the inventive powers of the poet, are exhibited in the variety and the novelty of the analogies, resemblances, illustrations, and figures, which he thus brings to bear upon his subject.

3. Those unexpected and peculiar associations which form the basis of wit and humor.

4. Combinations of objects of sense, calculated to produce mental emotions of a pleasurable or painful kind, as our impressions of the sublime, the beautiful, the terrible, or the ludicrous. The combinations of this class are chiefly referable to the head of objects of taste, or the fine arts; and are exemplified in the inventions of the painter and the statuary, in decorative architecture and artificial gardening, -we may add, theatrical exhibitions and music.

The facility of rapidly forming in these several departments combinations calculated to produce the effect which is intended, constitutes what we call inventive genius. Similar powers of invention, founded on an exercise of imagination, may also be applied to the investigations of science. It may be employed, for example, in the contrivance of experiments calculated to aid an investigation or to illustrate a doctrine; and in the construction of those legitimate hypotheses which have often led to the most important discoveries.

Kinds of composition, how many and what? First kind, what? Second kind? How different from the first? Third kind? Fourth kind? Examples Inventive genius, what? How applicable to science }