diftinguish the pleafures of food having, in feveral languages, given rise to the word Tate in the metaphorical meaning under which we now confider it. However, as, in all fubjects which regard the operations of the mind, the inaccurate use of words is to be carefully avoided, it muft not be inferred from what I have faid, that Reafon is entirely excluded from the exertions of Taste. Though Taite, beyond doubt, be ultimately founded on a certain natural and instinctive fenfibility to beauty, yet Reafon, as I fhall fhew hereafter, affifts Tafte in many of its operations, and ferves to enlarge its power.

IMPROVEMENT OF OUR FACULTIES.

REFLECT firft upon that great law of our

nature, that exercise is the chief fource of improvement in all our faculties. This holds both in our bodily, and in our mental powers. It holds even in our external fenfes; although these be less the subject of cultivation than any of our other faculties. We fee how acute the fenfes become in perfons whofe trade or bufinefs leads to nice exertions of them. Touch, for inftance, becomes infinitely more exquifite in men whofe employment requires them to examine the

polish of bodies, than it is in others. They who deal in microscopical obfervations, or are accuftomed to engrave on precious ftones, acquire furprifing accuracy of fight in difcerning the minutest objects; and practice in attending to different flavours and taftes of liquors, wonderfully improves the power of diftinguishing them, and of tracing their compofition. Placing internal Tafte therefore on the footing of a fimple fenfe, it cannot be doubted that frequent exercife, and curious attention to its proper objects, muft greatly heighten its power. Of this we have one clear proof in that part of Tafte, which is called an ear for mufic. Experience every day fhews, that nothing is more improveable. Only the fimpleft and plaineft compofitions are relished at firft; ufe and practice extend our pleasure; teach us to relifh finer melody, and by degrees enable us to enter into the intricate and compounded pleafures of harmony. So an eye for the beauties of painting is never all at once acquired. It is gradually formed by being converfant among pictures, and ftudying the works of the beft mafters.

Precifely in the fame manner, with respect to the beauty of compofition and difcourfe, attention to the most approved models, ftudy of the best authors, comparisons of lower and higher degrees

of

of the fame beauties, operate towards the refinement of Tafte. When one is only beginning his acquaintance with works of genius, the fentiment which attends them is obfcure and confused. He cannot point out the feveral excellencies or blemishes of a performance which he perufes ; he is at a lofs on what to reft his judgment; all that can be expected is, that he fhould tell in general whether he be pleafed or not. But allow him more experience in works of this kind, and his Taste becomes by degrees more exact and enlightened. He begins to perceive not only the character of the whole, but the beauties and defects of each part; and is able to defcribe the peculiar qualities which he praises or blames. The mift is diffipated which feemed formerly to hang over the object; and he can at length pronounce firmly, and without hesitation, concerning it. Thus in Tafte, confidered as mere fenfibility, exercise opens a great fource of improve

ment.

TRUE

OF CRITICISM.

The

RUE Criticism is the application of Taste and of good fense to the fine arts. object which it propofes is, to distinguish what

is beautiful and what is faulty in every perform ance; from particular inftances to ascend to general principles; and fo to form rules or conclufions concerning the feveral kinds of beauty inworks of Genius.

The rules of Criticifm are not formed by any induction, à priori, as it is called; that is, they are not formed by a train of abstract reasoning, independent of facts and obfervations. Criticifm is an art founded wholly on experience; on the obfervation of fuch beauties as have been found to please mankind most generally. For example; Ariftotle's rules concerning the unity of action in dramatic and epic compofition, were not rules first discovered by logical reafoning, and then applied to poetry; but they were drawn from the practice of Homer and Sophocles: they were founded upon obferving the fuperior pleasure which we receive from the relation of an action which is one and entire, beyond what we receive from the relation of fcattered and unconnected facts. Such obfervations taking their rife at first from feeling and experience, were found on examination to be fo confonant to reafon, and to the principles of human nature, as to pass into eftablished rules, and to be conveniently applied for judging of the excellency of any performance.

This

This is the most natural account of the origin

of Criticism.

TASTE AND GENIUS DISTINGUISHED.

ASTE and Genius are two words frequently

TAS

joined together; and therefore, by inaccurate thinkers, confounded. They fignify however two quite different things. The difference between them can be clearly pointed out; and it is of importance to remember it. Taste confifts in the power of judging: Genius, in the power of executing. One may have a confiderable degree of Tafte in Poetry, Eloquence, or any of the fine arts, who has little or hardly any Genius for compofition or execution in any of these arts; but Genius cannot be found without including Tafte alfo. Genius, therefore, deferves to be confidered as a higher power of the mind than Taste. Genius always imports fomething inventive or creative; which does not reft in mere fenfibility to beauty where it is perceived, but which can, moreover, produce new beauties, and exhibit them in fuch a manner as strongly to im prefs the minds of others. Refined Taste forms a good critic; but Genius is farther neceffary to form the poet, or the orator.

OF