Modern Painters Volume II Part 14

-- 10. Reasons for this coldness in the anxieties of the world. These anxieties overwrought and criminal.

-- 11. Evil consequences of such coldness.

-- 12. Theoria the service of Heaven.

Although this gross and inconceivable falsity will hardly be accepted by any one in so many terms, seeing that there are few so utterly lost but that they receive, and know that they receive, at certain moments, strength of some kind, or rebuke from the appealings of outward things; and that it is not possible for a Christian man to walk across so much as a rood of the natural earth, with mind unagitated and rightly poised, without receiving strength and hope from some stone, flower, leaf, or sound, nor without a sense of a dew falling upon him out of the sky; though, I say, this falsity is not wholly and in terms admitted, yet it seems to be partly and practically so in much of the doing and teaching even of holy men, who in the recommending of the love of G.o.d to us, refer but seldom to those things in which it is most abundantly and immediately shown; though they insist much on his giving of bread, and raiment, and health, (which he gives to all inferior creatures,) they require us not to thank him for that glory of his works which he has permitted us alone to perceive: they tell us often to meditate in the closet, but they send us not, like Isaac, into the fields at even, they dwell on the duty of self-denial, but they exhibit not the duty of delight. Now there are reasons for this, manifold, in the toil and warfare of an earnest mind, which, in its efforts at the raising of men from utter loss and misery, has often but little time or disposition to take heed of anything more than the bare life, and of those so occupied it is not for us to judge, but I think, that, of the weaknesses, distresses, vanities, schisms, and sins, which often even in the holiest men, diminish their usefulness, and mar their happiness, there would be fewer if, in their struggle with nature fallen, they sought for more aid from nature undestroyed. It seems to me that the real sources of bluntness in the feelings towards the splendor of the gra.s.s and glory of the flower, are less to be found in ardor of occupation, in seriousness of compa.s.sion, or heavenliness of desire, than in the turning of the eye at intervals of rest too selfishly within; the want of power to shake off the anxieties of actual and near interest, and to leave results in G.o.d's hands; the scorn of all that does not seem immediately apt for our purposes, or open to our understanding, and perhaps something of pride, which desires rather to investigate than to feel. I believe that the root of almost every schism and heresy from which the Christian church has ever suffered, has been the effort of men to earn, rather than to receive, their salvation; and that the reason that preaching is so commonly ineffectual is, that it calls on men oftener to work for G.o.d, than to behold G.o.d working for them. If, for every rebuke that we utter of men's vices, we put forth a claim upon their hearts; if for every a.s.sertion of G.o.d's demands from them, we could subst.i.tute a display of his kindness to them; if side by side with every warning of death, we could exhibit proofs and promises of immortality; if, in fine, instead of a.s.suming the being of an awful Deity, which men, though they cannot and dare not deny, are always unwilling, sometimes unable, to conceive, we were to show them a near, visible, inevitable, but all beneficent Deity, whose presence makes the earth itself a heaven, I think there would be fewer deaf children sitting in the market-place. At all events, whatever may be the inability in this present life to mingle the full enjoyment of the Divine works with the full discharge of every practical duty, and confessedly in many cases this must be, let us not attribute the inconsistency to any indignity of the faculty of contemplation, but to the sin and the suffering of the fallen state, and the change of order from the keeping of the garden to the tilling of the ground. We cannot say how far it is right or agreeable with G.o.d's will, while men are peris.h.i.+ng round about us, while grief, and pain, and wrath, and impiety, and death, and all the powers of the air, are working wildly and evermore, and the cry of blood going up to heaven, that any of us should take hand from the plough; but this we know, that there will come a time when the service of G.o.d shall be the beholding of him; and though in these stormy seas, where we are now driven up and down, his Spirit is dimly seen on the face of the waters, and we are left to cast anchors out of the stern, and wish for the day, that day will come, when, with the evangelists on the crystal and stable sea, all the creatures of G.o.d shall be full of eyes within, and there shall be "no more curse, but his servants shall serve him, and shall see his face."

SECTION II.

OF THE IMAGINATIVE FACULTY.

CHAPTER I.

OF THE THREE FORMS OF IMAGINATION.

-- 1. A partial examination only of the imagination is to be attempted.

We have hitherto been exclusively occupied with those sources of pleasure which exist in the external creation, and which in any faithful copy of it must to a certain extent exist also.

These sources of beauty, however, are not presented by any very great work of art in a form of pure transcript. They invariably receive the reflection of the mind under whose shadow they have pa.s.sed, and are modified or colored by its image.

This modification is the Work of Imagination.

As, in the course of our succeeding investigation, we shall be called upon constantly to compare sources of beauty existing in nature with the images of them presented by the human mind, it is very necessary for us shortly to review the conditions and limits of the imaginative faculty, and to ascertain by what tests we may distinguish its sane, healthy, and profitable operation, from that which is erratic, diseased, and dangerous.

It is neither desirable nor possible here to examine or ill.u.s.trate in full the essence of this mighty faculty. Such an examination would require a review of the whole field of literature, and would alone demand a volume. Our present task is not to explain or exhibit full portraiture of this function of the mind in all its relations, but only to obtain some certain tests by which we may determine whether it be very imagination or no, and unmask all impersonations of it, and this chiefly with respect to art, for in literature the faculty takes a thousand forms, according to the matter it has to treat, and becomes like the princess of the Arabian tale, sword, eagle, or fire, according to the war it wages, sometimes piercing, sometimes soaring, sometimes illumining, retaining no image of itself, except its supernatural power, so that I shall content myself with tracing that particular form of it, and unveiling those imitations of it only, which are to be found, or feared, in painting, referring to other creations of mind only for ill.u.s.tration.

-- 2. The works of the metaphysicians how nugatory with respect to this faculty.

Unfortunately, the works of metaphysicians will afford us in this most interesting inquiry no aid whatsoever. They who are constantly endeavoring to fathom and explain the essence of the faculties of mind, are sure in the end to lose sight of all that cannot be explained, (though it may be defined and felt,) and because, as I shall presently show, the essence of the imaginative faculty is utterly mysterious and inexplicable, and to be recognized in its results only, or in the negative results of its absence, the metaphysicians, as far as I am acquainted with their works, miss it altogether, and never reach higher than a definition of fancy by a false name.

What I understand by fancy will presently appear, not that I contend for nomenclature, but only for distinction between two mental faculties, by whatever name they be called, one the source of all that is great in the poetic arts; the other merely decorative and entertaining, but which are often confounded together, and which have so much in common as to render strict definition of either difficult.

-- 3. The definition of D. Stewart, how inadequate.

Dugald Stewart's meagre definition may serve us for a starting point.

"Imagination," he says, "includes conception or simple apprehension, which enables us to form a notion of those former objects of perception or of knowledge, out of which we are to make a selection; abstraction, which separates the selected materials from the qualities and circ.u.mstances which are connected with them in nature; and judgment or taste, which selects the materials and directs their combination. To these powers we may add that particular habit of a.s.sociation to which I formerly gave the name of fancy, as it is this which presents to our choice all the different materials which are subservient to the efforts of imagination, and which may therefore be considered as forming the ground-work of poetical genius."

(By fancy in this pa.s.sage, we find on referring to the chapter treating of it, that nothing more is meant than the rapid occurrence of ideas of sense to the mind.)

Now, in this definition, the very point and purpose of all the inquiry is missed. We are told that judgment or taste "directs the combination."

In order that anything may be directed, an end must be previously determined: What is the faculty that determines this end? and of what frame and make, how boned and fleshed, how conceived or seen, is the end itself? Bare judgment, or taste, cannot approve of what has no existence; and yet by Dugald Stewart's definition we are left to their catering among a host of conceptions, to produce a combination which, as they work for, they must see and approve before it exists. This power of prophecy is the very essence of the whole matter, and it is just that inexplicable part which the metaphysician misses.

-- 4. This instance nugatory.

As might be expected from his misunderstanding of the faculty, he has given an instance entirely nugatory.[49] It would be difficult to find in Milton a pa.s.sage in which less power of imagination was shown, than the description of Eden, if, as I suppose, this be the pa.s.sage meant, at the beginning of the fourth book, in which I can find three expressions only in which this power is shown, the "_burnished_ with golden rind, hung amiable" of the Hesperian fruit, the "_lays forth_ her purple grape" of the vine and the "_fringed_ bank with myrtle crowned," of the lake, and these are not what Stewart meant, but only that acc.u.mulation of bowers, groves, lawns, and hillocks, which is not imagination at all, but composition, and that of the commonest kind. Hence, if we take any pa.s.sage in which there is real imagination, we shall find Stewart's hypothesis not only inefficient and obscure, but utterly inapplicable.

-- 5. Various instances.

Take one or two at random.

"On the other side, Incensed with indignation, Satan stood Unterrified, and like a comet burned That fires the length of Ophiuchus huge In the arctic sky, and from his horrid hair Shakes pestilence and war."

(Note that the word incensed is to be taken in its literal and material sense, set on fire.) What taste or judgment was it that directed this combination? or is there nothing more than taste or judgment here?

"Ten paces huge He back recoiled; the tenth on bended knee His ma.s.sy spear upstaid, as if on earth Winds under ground, or waters forcing way _Sidelong had pushed a mountain from his seat Half-sunk with all his pines._

"Together both ere the high lawns appeared _Under the opening eyelids_ of the morn, We drove a field, and both together heard What time the gray-fly winds her _sultry_ horn.

"Missing thee, I walk unseen On the dry smooth shaven green.

To behold the wandering moon Riding near her highest noon, _Like one that had been led astray_, Through the heavens' wide pathless way, And oft _as if her head she bowed_ Stooping through a fleecy cloud."

It is evident that Stewart's explanation utterly fails in all these instances, for there is in them no "combination" whatsoever, but a particular mode of regarding the qualities or appearances of a single thing, ill.u.s.trated and conveyed to us by the image of another; and the act of imagination, observe, is not the selection of this image, but the mode of regarding the object.

But the metaphysician's definition fails yet more utterly, when we look at the imagination neither as regarding, nor combining, but as penetrating.

"My gracious Silence, Hail: Wouldst thou have laughed, had I come coffin'd home That weep'st to see me triumph. Ah! my dear, Such eyes the widows in Corioli wear, And mothers that lack sons."

How did Shakspeare _know_ that Virgilia could not speak?

This knowledge, this intuitive and penetrative perception, is still one of the forms, the highest, of imagination, but there is no combination of images here.

-- 6. The three operations of the imagination. Penetrative, a.s.sociative, contemplative.

We find, then, that the imagination has three totally distinct functions. It combines, and by combination creates new forms; but the secret principle of this combination has not been shown by the a.n.a.lysts.

Again, it treats or regards both the simple images and its own combinations in peculiar ways; and, thirdly, it penetrates, a.n.a.lyzes, and reaches truths by no other faculty discoverable. These its three functions, I shall endeavor to ill.u.s.trate, but not in this order: the most logical mode of treatment would be to follow the order in which commonly the mind works; that is, penetrating first, combining next, and treating or regarding, finally; but this arrangement would be inconvenient, because the acts of penetration and of regard are so closely connected, and so like in their relations to other mental acts, that I wish to examine them consecutively, and the rather, because they have to do with higher subject matter than the mere act of combination, whose distinctive nature, that property which makes it imagination and not composition, it will I think be best to explain at setting out, as we easily may, in subjects familiar and material. I shall therefore examine the imaginative faculty in these three forms; first, as combining or a.s.sociative; secondly, as a.n.a.lytic or penetrative; thirdly, as regardant or contemplative.

FOOTNOTES

[49] He continues thus, "To ill.u.s.trate these observations, let us consider the steps by which Milton must have proceeded, in creating his imaginary garden of Eden. When he first proposed to himself that subject of description, it is reasonable to suppose that a variety of the most striking scenes which he had seen, crowded into his mind. The a.s.sociation of ideas suggested them and the power of conception placed each of them before him with all its beauties and imperfections. In every natural scene, if we destine it for any particular purpose, there are defects and redundancies, which art may sometimes, but cannot always correct. But the power of imagination is unlimited. She can create and annihilate, and dispose at pleasure her woods, her rocks, and her rivers. Milton, accordingly, would not copy his Eden from any one scene, but would select from each the features which were most eminently beautiful.

The power of abstraction enabled him to make the separation, and taste directed him in the selection."