8. Art the especial Province of the Faculty of Genius. In the propensity to imitate, or typify, or reproduce, certain particular ideas or subjects, primarily originated those arts which are denominated the ideal and imitative; and which are mainly comprised in those of sculpture, painting, architecture, eloquence, poetry, and music, although other pursuits and inventions, of a similar or corresponding nature, might also be classed with them. These, however, will suffice for the illustration of the argument contained in the present section.3 Sculpture appears to be the most natural of all the arts, and was probably the first invented; inasmuch as its origin would arise in the mere imitation of the shape of some object in nature, constituted of a certain malleable or hard substance." Painting is less simple with regard to the first invention and mode of effecting it, but describes more nearly the objects which it represents; and therefore has equally its foundation in the imitative power possessed by the mind. The origin of architecture is also to be attributed to the imitative power of the mind; and different orders are said to have been first invented from the imitation of the arched coverings afforded by trees, and the form of some caverns; whence people in a rude state were led to shape their habitations after them. Through subsequent efforts to perfect this art, it has grown more complex; and various principles have been adopted for its regulation, which, without tracing out the origin of the art, would seem to have rendered it more of a purely ideal than an imitative art. In eloquence, endeavours are made to effect in the most powerful manner, the description of the circumstance or scene narrated; not indeed, it may be, by strict imitation, but by affording us the most exalted and forcible ideas of the subject through those with which it is associated, and which are introduced for its illustration; while the feelings of the mind are also imitated by the orator in order to excite the sympathy of his audience, and to produce corresponding emotions in their breasts." The art of poetry may at first sight appear in its character to possess but little of an imitative pursuit; and like architecture, 3 "All the fine arts are, in some sense, imitative of nature; invention in these arts, is only observing and copying nature in a certain manner."— Gerard on Genius, pt. iii. s. 6. 5 Ibid., p. 69. Theory of the Arts, vol. i. c. iii. p. 71. 7 66 Ingenuous and well-disciplined natures find in the varieties of melody and rhme, striking resemblances of anger and meekness, of manliness IMITATIVE EFFORTS IN POETRY. 349 to be in many respects entirely ideal, and founded upon principles wholly foreign to either nature or imitation. But if, as in the case of architecture, we trace back the origin of it, we shall find that nature, and the imitative power, were the first producers of it, however other principles may since have been called in to its aid; and that it was adopted to delineate in the most effective form, the feelings of the mind. The origin of music was in a corresponding manner derived from the imitation of certain sounds in nature, which had for their object the excitement of agreeable sensations in the soul; and the art was perfected by so regulating them as to affect us in a mode the most forcible and pleasing. In each of these arts, however, whose origin arose from the imitative efforts of the mind, various other principles have been called in to aid their growth, and to contribute to their vigour and effect; and thus the several capacities of wit, taste, and invention are simultaneously resorted to, and in many instances contribute so largely, and indeed, essentially, to their excellence and energy, as almost to obscure the foundation on which they rest. Indeed, in all cases where any objects or subjects call forth in our minds ideas of beauty or of pleasure arising from their outward qualities, the faculty of genius, through its capacity of taste, is that which is exerted. The capacities of this faculty have however, ordinarily, but little to do with art of any kind until it becomes developed, and reaches a state of maturity, when its characteristic qualities are first manifested; such as those of effect, tasteful beauty, and imaginative creation. But, as regards these qualities, although of themselves independent of the subjects wherein they reside, they are nevertheless their most important characteristics and features in respect to their application to, and effect on the mind, to which they appeal solely through the capacities of genius; and it is their common power to deal with these peculiar qualities, that constitutes the alliance in their nature between these capacities. Even in art before it is fully developed, so far as its original creativeness is concerned, and whenever, and so far as, it consists in forming new combinations of any kind, genius is the principal faculty employed, through the capacity of origination.' As in the case of our material frames, although their growth and temperance, and of all other such moral affections, as well as of their contraries."-Aristotle. Politics, b. v. 8 Theory of the Arts, vol. i. c. iii. pp. 79. 85. 9 "Of all the objects of our senses, sounds are the most striking resemblances of manners."-Aristotle Politics, b. v. "I define genius as originality in intellectual construction."— Coleridge, The Friend, s. 2, ess. 1. is ceaselessly progressing so far that fresh particles are continually being added; yet with this, there is a contemporary corresponding loss from the increasing decay or wearing out of parts, which takes place so as regards the progress and condition of certain arts, a large degree of invention is required merely to make up for the loss of productions which, from various causes, in the course of time perish; and in order to prevent any retrogression in relation to our position with respect to this pursuit. Those exercises of the mind which I have considered in this chapter as employed in the pursuit of the arts, are therefore the principal operations of the faculty of genius; although, both as a faculty of itself, and as regards the several capacities with which it is endowed, there are certain other studies to which they are capable of being applied, and their adaptation for which I pointed out when describing the nature of those capacities. Thus, origination or invention, as already demonstrated, may be used not only during efforts of the imagination, but also for resorting to new arguments in controversy, and for making fresh discoveries in science; and wit, for the purpose of exciting ridicule, as well as for producing effect. Taste is however but little, if at all, resorted to, except in artistical pursuits. Hence, as concerns not only those subjects which are within the province of art, but all other subjects whatsoever, the understanding is mainly exerted as regards their being; reason as regards their essence; and genius as regards their outward and ostensible qualities. Although to many persons the faculty of genius may appear at first sight to be rather ornamental than useful or practical, especially as contrasted with those of understanding and reason; yet, on the other hand, we should bear in mind in how vast a number of the arbitrary appliances of life we are indebted more or less, if not entirely, to the inventive efforts of this faculty. Thus, the division of times and seasons, and all the regulations effected by numbers, are of this class. And the various arts and contrivances to which origination has been applied in their progress, embracing nearly every domestic occupation, we owe mainly to the exertions of the last named capacity. The reason why in the history of the world, science steadily goes forward, while art is irregular in its movement, sometimes declining, sometimes advancing; is that when science has once established a foundation, it makes sure its ground, and never retrogrades from what it has gained, but continually makes new and steady advances from the post thus secured. Art, on the other hand, is eccentric and uncertain in its movements, leaping onward at one moment, and then CHARACTERISTIC DEFECT OF THIS FACULTY. 351 missing its footing, dependent for its progress on doubtful contingencies, being often thrown back by accident, and entirely losing the position it had so painfully and so tediously won.2 9. Extent and limit of the operations of Genius. Vast however in their extent, and various in their nature, as are the operations, and the creative efforts more especially, of the faculty of genius, and of its several capacities; these are nevertheless restrained in their range, both by the limits assigned to the exercise of this faculty in each person, however perfectly he may be endowed with it; and also by the characteristic defects to which certain persons are liable as regards their individual endowment with this faculty: which is however, essentially different to their being gifted with it in a scanty measure only. As regards the natural limits of this capacity, although, as I have shown, it can combine ideas of every variety in respect to their quality, and in every variety in respect to its own operation, producing in this manner an almost infinite diversity of new combinations; it can effect, after all, but combinations only. Its utmost range is, (as we have seen in the examination of the exercise of its power of imagination, which appears to be the most extensive as regards its sphere that it is able to exert), out of old materials to mould new forms. It is utterly incapable of making new materials, even of the commonest order, which is the province of that Being alone who created genius itself. The characteristic defect in the faculty of genius, is its occasional want of vigour, and force, and activity, to combine ideas one with another, so as efficiently whereby they may be severally blended toto consolidate them gether into one, and new and original combinations may be formed. Thus, the ideas intended to be united, are occasionally so incongruous or unsuitable that they fail to amalgamate; and they disagree with, and repel one another, instead of coinciding and harmonizing together. This defect is incident to each of the capacities of this faculty alike. From its existence, as from a want of sufficient heat in a furnace to melt metal, the ideas do not become well fused together, but Theory of the Arts, vol. i. c. iv. p. 130. 3 3 "The inventions of poetic genius are the suggestions of analogy; the prevailing suggestions of common minds are those of mere contiguity; it is this difference of the occasions of suggestion, not of the images suggested, which forms the distinctive superiority of original genius."Dr. Thomas Brown. Lectures on the Philosophy of the Mind, Lect. xxxvii. remain separate and uncombined. The above defect in this faculty may possibly originate in, and be caused by, some certain quality in the very essence of the soul itself. The possession, however, of force sufficient to combine ideas, is very different from the endowment with vigour sometimes possessed by genius, and occasionally by one of its capacities only, in so undue a proportion as to overwhelm and subject to its influence each of the other faculties and capacities of the mind; as we find to be the case with madmen, whose understanding and reason led astray by the impulses of the imagination, or the exercise of the capacity of origination. The defect here, however, is not in the origination being too vigorous, but in the understanding and the reason being too weak to exert their proper sway, and to maintain their rightful authority and legitimate influence." are Some of the most beautiful exhibitions in vegetation are said to be caused by a kind of disease which affects the plant, and are not the result of its natural development. So as regards the fructifications of the mind, it may be that some of its noblest efforts, and the sublimest flights of genius that have been attained, alike in poetry, in originality, and in invention, have been actually the result of what may be strictly determined to be a disordered or deformed mind; one particular capacity acquiring undue vigour and predominance, and rendering subject to its sway all the other active intellectual powers.' ▲ Vide ante, Prel. Diss. s. viii. a. 4, p. 160. 5 Vide ante, Prel. Diss. s. viii. a. 4, vol. i. p. 160. "The mind is such a slave to the imagination, that it always obeys when the imagination is overheated, and dares not answer when the same is incensed, because it meets with abuses when it resists, and is always rewarded with some pleasure when it humours that imperious faculty." -Malebranche. Search after Truth, b. v. c. xi. 7 Vide ante, Prel. Diss. s. viii. a. 4, vol. i. p. 160. The Rev. Derwent Coleridge, Rector of Hanwell, and Prebendary of St. Paul's, son of the distinguished philosopher and poet, has favoured me with the following very able and interesting note on this passage, in which he says:-" As in grafting, This is an art which doth mend nature, Change it rather; but the art itself is nature :' SO as regards disease in plants, the disease itself is natural, and works truly for its own end, which may be useful, or even beautiful-however injurious to the stock on which it grows, which is, as it were, subordinate to its parasite. There may be some analogy to this in certain developments of genius. Blake is perhaps an instance, though I myself think that disease did but stimulate the genius which it found, and which it certainly distorted. I have heard my father say (or perhaps it was from my brother Hartley) that genius was a form of scrofula; but, on the other hand, far more truly and wisely he denied that great wit was near allied to madness; that contrariwise it indicates, and requires, the highest sanity generally in body, always in mind. Think of Sophocles, and Plato, and |