Tacitus
for his displaying those outward Motives of Safety and
Interest, which give Birth to the whole Series of Transactions which he
relates.
He may likewise consider, how differently he is affected by the same
Thought, which presents it self in a great Writer, from what he is when
he finds it delivered by a Person of an ordinary Genius. For there is as
much Difference in apprehending a Thought cloathed in
Cicero's
Language,
and that of a common Author, as in seeing an Object by the Light of a
Taper, or by the Light of the Sun.
It is very difficult to lay down Rules for the Acquirement of such a
Taste as that I am here speaking of. The Faculty must in some degree be
born with us, and it very often happens, that those who have other
Qualities in Perfection are wholly void of this. One of the most eminent
Mathematicians of the Age has assured me, that the greatest Pleasure he
took in reading
Virgil
, was in examining
Æneas
his Voyage by the Map; as
I question not but many a Modern Compiler of History, would be delighted
with little more in that Divine Author, than in the bare Matters of
Fact.
But notwithstanding this Faculty must in some measure be born with us,
there are several Methods for Cultivating and Improving it, and without
which it will be very uncertain, and of little use to the Person that
possesses it. The most natural Method for this Purpose is to be
conversant among the Writings of the most Polite Authors. A Man who has
any Relish for fine Writing, either discovers new Beauties, or receives
stronger Impressions from the Masterly Strokes of a great Author every
time he peruses him; Besides that he naturally wears himself into the
same manner of Speaking and Thinking.
Conversation with Men of a Polite Genius is another Method for improving
our Natural Taste. It is impossible for a Man of the greatest Parts to
consider anything in its whole Extent, and in all its Variety of Lights.
Every Man, besides those General Observations which are to be made upon
an Author, forms several Reflections that are peculiar to his own Manner
of Thinking; so that Conversation will naturally furnish us with Hints
which we did not attend to, and make us enjoy other Men's Parts and
Reflections as well as our own. This is the best Reason I can give for
the Observation which several have made, that Men of great Genius in the
same way of Writing seldom rise up singly, but at certain Periods of
Time appear together, and in a Body; as they did at
Rome
in the Reign of
Augustus
, and in
Greece
about the Age of
Socrates
. I cannot think that
Corneille, Racine, Moliere, Boileau, la Fontaine, Bruyere, Bossu
, or the
Daciers
, would have written so well as they have done, had they not been
Friends and Contemporaries.
It is likewise necessary for a Man who would form to himself a finished
Taste of good Writing, to be well versed in the Works of the best
Criticks both Ancient and Modern. I must confess that I could wish there
were Authors of this kind, who beside the Mechanical Rules which a Man
of very little Taste may discourse upon, would enter into the very
Spirit and Soul of fine Writing, and shew us the several Sources of that
Pleasure which rises in the Mind upon the Perusal of a noble Work. Thus
although in Poetry it be absolutely necessary that the Unities of Time,
Place and Action, with other Points of the same Nature, should be
thoroughly explained and understood; there is still something more
essential to the Art, something that elevates and astonishes the Fancy,
and gives a Greatness of Mind to the Reader, which few of the Criticks
besides
Longinus
have considered.
Our general Taste in
England
is for Epigram, Turns of Wit, and forced
Conceits, which have no manner of Influence, either for the bettering or
enlarging the Mind of him who reads them, and have been carefully
avoided by the greatest Writers, both among the Ancients and Moderns. I
have endeavoured in several of my Speculations to banish this
Gothic
Taste, which has taken Possession among us. I entertained the Town, for
a Week together, with an
Essay upon Wit,
in which I endeavoured to
detect several of those false Kinds which have been admired in the
different Ages of the World; and at the same time to shew wherein the
Nature of true Wit consists. I afterwards gave an Instance of the great
Force which lyes in a natural Simplicity of Thought to affect the Mind
of the Reader, from such vulgar Pieces as have little else besides this
single Qualification to recommend them. I have likewise examined the
Works of the greatest Poet which our Nation or perhaps any other has
produced, and particularized most of those rational and manly Beauties
which give a Value to that Divine Work. I shall next Saturday enter upon
an Essay on the Pleasures of the Imagination, which, though it shall
consider that Subject at large, will perhaps suggest to the Reader what
it is that gives a Beauty to many Passages of the finest Writers both in
Prose and Verse. As an Undertaking of this Nature is entirely new, I
question not but it will be received with Candour.
O.
See note on p. 620, ante [
of
]. This fine taste was the
cultismo
the taste for false concepts, which Addison condemns.
Contents
|
Friday, June 20, 1712 |
Tickell |
Dum foris sunt, nihil videtur Mundius,
Nec magis compositum quidquam, nec magis elegans:
Quæ, cum amatore suo cum coenant, Liguriunt,
Harum videre ingluviem, sordes, inopiam:
Quam inhonestæ solæ sint domi, atque avidæ cibi,
Quo pacto ex Jure Hesterno panem atrum varent.
Nosse omnia hæc, salus est adolescentulis.
Tert.
translation
Will. Honeycomb
, who disguises his present Decay by visiting the Wenches
of the Town only by Way of Humour, told us, that the last rainy Night he
with Sir
Roger De Coverly
was driven into the Temple Cloister, whither
had escaped also a Lady most exactly dressed from Head to Foot.
Will
,
made no Scruple to acquaint us, that she saluted him very familiarly by
his Name, and turning immediately to the Knight, she said, she supposed
that was his good Friend, Sir
Roger De Coverly
: Upon which nothing less
could follow than Sir
Roger's
Approach to Salutation, with,
Madam the
same at your Service
. She was dressed in a black Tabby Mantua and
Petticoat, without Ribbons; her Linnen striped Muslin, and in the whole
in an agreeable Second-Mourning; decent Dresses being often affected by
the Creatures of the Town, at once consulting Cheapness and the
Pretensions to Modesty. She went on with a familiar easie Air.
Your
Friend, Mr. Honeycomb, is a little surprized to see a Woman here alone
and unattended; but I dismissed my Coach at the Gate, and tripped it
down to my Council's Chambers, for Lawyer's Fees take up too much of a
small disputed Joynture to admit any other Expence but meer Necessaries.
Mr.
Honeycomb
begged they might have the Honour of setting her down, for
Sir
Roger's
Servant was gone to call a Coach. In the Interim the Footman
returned, with no Coach to be had; and there appeared nothing to be done
but trusting herself with Mr.
Honeycomb
and his Friend to wait at the
Tavern at the Gate for a Coach, or to be subjected to all the
Impertinence she must meet with in that publick Place. Mr.
Honeycomb
being a Man of Honour determined the Choice of the first, and Sir
Roger
,
as the better Man, took the Lady by the Hand, leading through all the
Shower, covering her with his Hat, and gallanting a familiar
Acquaintance through Rows of young Fellows, who winked at Sukey in the
State she marched off,
Will. Honeycomb
bringing up the Rear.
Much Importunity prevailed upon the Fair one to admit of a Collation,
where, after declaring she had no Stomach, and eaten a Couple of
Chickens, devoured a Trusse of Sallet, and drunk a full Bottle to her
Share, she sung
the Old Man's Wish
to Sir
Roger
. The Knight left the
Room for some Time after Supper, and writ the following Billet, which he
conveyed to Sukey, and Sukey to her Friend
Will. Honeycomb. Will
. has
given it to Sir
Andrew Freeport
, who read it last Night to the Club.
Madam,
I am not so meer a Country-Gentleman, but I can guess at the
Law-Business you had at the Temple. If you would go down to the
Country and leave off all your Vanities but your Singing, let me know
at my Lodgings in Bow-street Covent-Garden, and you shall be
encouraged by
Your humble Servant,
Roger De Coverly.
My good Friend could not well stand the Raillery which was rising upon
him; but to put a Stop to it I deliverd
Will. Honeycomb
the following
Letter, and desired him to read it to the Board.
Mr. Spectator,
Having seen a Translation of one of the Chapters in the Canticles into
English Verse inserted among your late Papers, I have ventured to send
you the 7th Chapter of the Proverbs in a poetical Dress. If you think
it worthy appearing among your Speculations, it will be a sufficient
Reward for the Trouble of
Your constant Reader,
A. B.
My Son, th' Instruction that my Words impart,
Grave on the Living Tablet of thy Heart;
And all the wholesome Precepts that I give,
Observe with strictest Reverence, and live.
Let all thy Homage be to Wisdom paid,
Seek her Protection and implore her Aid;
That she may keep thy Soul from Harm secure,
And turn thy Footsteps from the Harlot's Door,
Who with curs'd Charms lures the Unwary in,
And sooths with Flattery their Souls to Sin.
Once from my Window as I cast mine Eye
On those that pass'd in giddy Numbers by,
A Youth among the foolish Youths I spy'd,
Who took not sacred Wisdom for his Guide.
Just as the Sun withdrew his cooler Light,
And Evening soft led on the Shades of Night,
He stole in covert Twilight to his Fate,
And pass'd the Corner near the Harlot's Gate
When, lo, a Woman comes!—
Loose her Attire, and such her glaring Dress,
As aptly did the Harlot's Mind express:
Subtle she is, and practisd in the Arts,
By which the Wanton conquer heedless Hearts:
Stubborn and loud she is; she hates her Home,
Varying her Place and Form; she loves to roam;
Now she's within, now in the Street does stray;
Now at each Corner stands, and waits her Prey.
The Youth she seiz'd; and laying now aside
All Modesty, the Female's justest Pride,
She said, with an Embrace, Here at my House
Peace-offerings are, this Day I paid my Vows.
I therefore came abroad to meet my Dear,
And, Lo, in Happy Hour I find thee here.
My Chamber I've adornd, and o'er my Bed
Are cov'rings of the richest Tapstry spread,
With Linnen it is deck'd from Egypt brought,
And Carvings by the Curious Artist wrought,
It wants no Glad Perfume Arabia yields
In all her Citron Groves, and spicy Fields;
Here all her store of richest Odours meets,
Ill lay thee in a Wilderness of Sweets.
Whatever to the Sense can grateful be
I have collected there—I want but Thee.
My Husband's gone a Journey far away, }
Much Gold he took abroad, and long will stay, }
He nam'd for his return a distant Day. }
Upon her Tongue did such smooth Mischief dwell,
And from her Lips such welcome Flatt'ry fell,
Th' unguarded Youth, in Silken Fetters ty'd,
Resign'd his Reason, and with Ease comply'd.
Thus does the Ox to his own Slaughter go,
And thus is senseless of th' impending Blow.
Thus flies the simple Bird into the Snare,
That skilful Fowlers for his Life prepare.
But let my Sons attend, Attend may they
Whom Youthful Vigour may to Sin betray;
Let them false Charmers fly, and guard their Hearts
Against the wily Wanton's pleasing Arts,
With Care direct their Steps, nor turn astray,
To tread the Paths of her deceitful Way;
Lest they too late of Her fell Power complain,
And fall, where many mightier have been Slain.
T.
Contents
|
Saturday, June 21, 1712 |
Addison |
Avia Pieridum peragro loca, nullius ante
Trita solo; juvat integros accedere fonteis;
Atque haurire:—
Lucr.
translation
Our Sight is the most perfect and most delightful of all our Senses. It
fills the Mind with the largest Variety of Ideas, converses with its
Objects at the greatest Distance, and continues the longest in Action
without being tired or satiated with its proper Enjoyments. The Sense of
Feeling can indeed give us a Notion of Extension, Shape, and all other
Ideas that enter at the Eye, except Colours; but at the same time it is
very much streightned and confined in its Operations, to the number,
bulk, and distance of its particular Objects. Our Sight seems designed
to supply all these Defects, and may be considered as a more delicate
and diffusive kind of Touch, that spreads it self over an infinite
Multitude of Bodies, comprehends the largest Figures, and brings into
our reach some of the most remote Parts of the Universe.
It is this Sense which furnishes the Imagination with its Ideas; so that
by the Pleasures of the Imagination or Fancy (which I shall use
promiscuously) I here mean such as arise from visible Objects, either
when we have them actually in our View, or when we call up their Ideas
in our Minds by Paintings, Statues, Descriptions, or any the like
Occasion. We cannot indeed have a single Image in the Fancy that did not
make its first Entrance through the Sight; but we have the Power of
retaining, altering and compounding those Images, which we have once
received, into all the varieties of Picture and Vision that are most
agreeable to the Imagination; for by this Faculty a Man in a Dungeon is
capable of entertaining himself with Scenes and Landskips more beautiful
than any that can be found in the whole Compass of Nature.
There are few Words in the English Language which are employed in a more
loose and uncircumscribed Sense than those of the Fancy and the
Imagination. I therefore thought it necessary to fix and determine the
Notion of these two Words, as I intend to make use of them in the Thread
of my following Speculations, that the Reader may conceive rightly what
is the Subject which I proceed upon. I must therefore desire him to
remember, that by the Pleasures of the Imagination, I mean only such
Pleasures as arise originally from Sight, and that I divide these
Pleasures into two Kinds: My Design being first of all to Discourse of
those Primary Pleasures of the Imagination,
entirely proceed from
such Objects as are
before our
Eye
s
; and in the next place to
speak of those Secondary Pleasures of the Imagination which flow from
the Ideas of visible Objects, when the Objects are not actually before
the Eye, but are called up into our Memories, or formed into agreeable
Visions of Things that are either Absent or Fictitious.
The Pleasures of the Imagination, taken in the full Extent, are not so
gross as those of Sense, nor so refined as those of the Understanding.
The last are, indeed, more preferable, because they are founded on some
new Knowledge or Improvement in the Mind of Man; yet it must be confest,
that those of the Imagination are as great and as transporting as the
other. A beautiful Prospect delights the Soul, as much as a
Demonstration; and a Description in
Homer
has charmed more Readers than
a Chapter in
Aristotle
. Besides, the Pleasures of the Imagination have
this Advantage, above those of the Understanding, that they are more
obvious, and more easie to be acquired. It is but opening the Eye, and
the Scene enters. The Colours paint themselves on the Fancy, with very
little Attention of Thought or Application of Mind in the Beholder. We
are struck, we know not how, with the Symmetry of any thing we see, and
immediately assent to the Beauty of an Object, without enquiring into
the particular Causes and Occasions of it.
A Man of a Polite Imagination is let into a great many Pleasures, that
the Vulgar are not capable of receiving. He can converse with a Picture,
and find an agreeable Companion in a Statue. He meets with a secret
Refreshment in a Description, and often feels a greater Satisfaction in
the Prospect of Fields and Meadows, than another does in the Possession.
It gives him, indeed, a kind of Property in every thing he sees, and
makes the most rude uncultivated Parts of Nature administer to his
Pleasures: So that he looks upon the World, as it were in another Light,
and discovers in it a Multitude of Charms, that conceal themselves from
the generality of Mankind.
There are, indeed, but very few who know how to be idle and innocent, or
have a Relish of any Pleasures that are not Criminal; every Diversion
they take is at the Expence of some one Virtue or another, and their
very first Step out of Business is into Vice or Folly. A Man should
endeavour, therefore, to make the Sphere of his innocent Pleasures as
wide as possible, that he may retire into them with Safety, and find in
them such a Satisfaction as a wise Man would not blush to take. Of this
Nature are those of the Imagination, which do not require such a Bent of
Thought as is necessary to our more serious Employments, nor, at the
same time, suffer the Mind to sink into that Negligence and Remissness,
which are apt to accompany our more sensual Delights, but, like a gentle
Exercise to the Faculties, awaken them from Sloth and Idleness, without
putting them upon any Labour or Difficulty.
We might here add, that the Pleasures of the Fancy are more conducive to
Health, than those of the Understanding, which are worked out by Dint of
Thinking, and attended with too violent a Labour of the Brain.
Delightful Scenes, whether in Nature, Painting, or Poetry, have a kindly
Influence on the Body, as well as the Mind, and not only serve to clear
and brighten the Imagination, but are able to disperse Grief and
Melancholy, and to set the Animal Spirits in pleasing and agreeable
Motions. For this Reason
Sir Francis Bacon
, in his
Essay upon Health
,
has not thought it improper to prescribe to his Reader a Poem or a
Prospect, where he particularly dissuades him from knotty and subtile
Disquisitions, and advises him to pursue Studies that fill the Mind with
splendid and illustrious Objects, as Histories, Fables, and
Contemplations of Nature.
I have in this Paper, by way of Introduction, settled the Notion of
those Pleasures of the Imagination which are the Subject of my present
Undertaking, and endeavoured, by several Considerations, to recommend to
my Reader the Pursuit of those Pleasures. I
, in my next Paper,
examine the several Sources from whence these Pleasures are derived
.
O.
present to the
From a MS. Note-book of Addison's, met with in 1858, Mr. J.
Dykes Campbell printed at Glasgow, in 1864, 250 copies of some portions
of the first draught of these papers on Imagination with the
Essay on
Jealousy
([Volume 1 link:
]) and that on Fame (
). The MS. was an old calf
bound 8vo volume obtained from a dealer. There were about 31 pages
written on one side of each leaf in a beautiful print-like hand, which
contained the Essays in their first state. Passages were added by
Addison in his ordinary handwriting upon the blank pages opposite to
this carefully-written text, and there are pieces in a third
hand-writing which neither the keeper of the MSS. Department of the
British Museum nor the Librarian of the Bodleian could identify. The
insertions in this third hand form part of the paper as finally
published. Thus in the paper on Jealousy ([Volume 1 link:
]) it wrote the English
verse translation added to the quotation from Horace's
Ode
I. xiii. The
MS. shows with how much care Addison revised and corrected the first
draught of his papers, especially where, as in the series of eleven upon
Imagination
here commenced, he meant to put out all his strength. In
Blair's
Rhetoric
four Lectures (20-23) are given to a critical
Examination of the Style of Mr. Addison
in Nos.
,
,
, and
of the
Spectator
. Akenside's poem on the
Pleasures of the Imagination
,
published in 1744, when he was 23 years old, was suggested by these
papers. Many disquisitions upon Taste were written towards the close of
the last century. They formed a new province in literature, of which
Addison here appears as the founder and first lawgiver.
Contents
|
Monday, June 23, 1712 |
Addison |
I shall first consider those Pleasures of the Imagination, which arise
from the actual View and Survey of outward Objects: And these, I think,
all proceed from the Sight of what is Great, Uncommon, or Beautiful.
There may, indeed, be something so terrible or offensive, that the
Horror or Loathsomeness of an Object may over-bear the Pleasure which
results from its Greatness, Novelty, or Beauty; but still there will be
such a Mixture of Delight in the very Disgust it gives us, as any of
these three Qualifications are most conspicuous and prevailing.
By Greatness, I do not only mean the Bulk of any single Object, but the
Largeness of a whole View, considered as one entire Piece. Such are the
Prospects of an open Champain Country, a vast uncultivated Desart, of
huge Heaps of Mountains, high Rocks and Precipices, or a wide Expanse of
Waters, where we are not struck with the Novelty or Beauty of the Sight,
but with that rude kind of Magnificence which appears in many of these
stupendous Works of Nature. Our Imagination loves to be filled with an
Object, or to grasp at any thing that is too big for its Capacity. We
are flung into a pleasing Astonishment at such unbounded Views, and feel
a delightful Stillness and Amazement in the Soul at the Apprehension[s]
of them. The Mind of Man naturally hates every thing that looks like a
Restraint upon it, and is apt to fancy it self under a sort of
Confinement, when the Sight is pent up in a narrow Compass, and shortned
on every side by the Neighbourhood of Walls or Mountains. On the
contrary, a spacious Horizon is an Image of Liberty, where the Eye has
Room to range abroad, to expatiate at large on the Immensity of its
Views, and to lose it self amidst the Variety of Objects that offer
themselves to its Observation. Such wide and undetermined Prospects are
as pleasing to the Fancy, as the Speculations of Eternity or Infinitude
are to the Understanding. But if there be a Beauty or Uncommonness
joined with this Grandeur, as in a troubled Ocean, a Heaven adorned with
Stars and Meteors, or a spacious Landskip cut out into Rivers, Woods,
Rocks, and Meadows, the Pleasure still grows upon us, as it rises from
more than a single Principle.
Every thing that is new or uncommon raises a Pleasure in the
Imagination, because it fills the Soul with an agreeable Surprize,
gratifies its Curiosity, and gives it an Idea of which it was not before
possest. We are indeed so often conversant with one Set of Objects, and
tired out with so many repeated Shows of the same Things, that whatever
is new or uncommon contributes a little to vary human Life, and to
divert our Minds, for a while, with the Strangeness of its Appearance:
It serves us for a kind of Refreshment, and takes off from that Satiety
we are apt to complain of in our usual and ordinary Entertainments. It
is this that bestows Charms on a Monster,
makes even the
Imperfections of Nature
please
us. It is this that recommends
Variety, where the Mind is every Instant called off to something new,
and the Attention not suffered to dwell too long, and waste it self on
any particular Object. It is this, likewise, that improves what is great
or beautiful, and make it afford the Mind a double Entertainment.
Groves, Fields, and Meadows, are at any Season of the Year pleasant to
look upon, but never so much as in the Opening of the Spring, when they
are all new and fresh, with their first Gloss upon them, and not yet too
much accustomed and familiar to the Eye. For this Reason there is
nothing that more enlivens a Prospect than Rivers, Jetteaus, or Falls of
Water, where the Scene is perpetually shifting, and entertaining the
Sight every Moment with something that is new. We are quickly tired with
looking upon Hills and Vallies, where every thing continues fixed and
settled in the same Place and Posture, but find our Thoughts a little
agitated and relieved at the Sight of such Objects as are ever in
Motion, and sliding away from beneath the Eye of the Beholder.
But there is nothing that makes its Way more directly to the Soul than
Beauty, which immediately diffuses a secret Satisfaction and Complacency
through the Imagination, and gives a Finishing to any thing that is
Great or Uncommon. The very first Discovery of it strikes the Mind with
an inward Joy, and spreads a Chearfulness and Delight through all its
Faculties. There is not perhaps any real Beauty or Deformity more in one
Piece of Matter than another, because we might have been so made, that
whatsoever now appears loathsome to us, might have shewn it self
agreeable; but we find by Experience, that there are several
Modifications of Matter which the Mind, without any previous
Consideration, pronounces at first sight Beautiful or Deformed. Thus we
see that every different Species of sensible Creatures has its different
Notions of Beauty, and that each of them is most affected with the
Beauties of its own Kind. This is no where more remarkable than in Birds
of the same Shape and Proportion, where we often see the Male determined
in his Courtship by the single Grain or Tincture of a Feather, and never
discovering any Charms but in the Colour of its Species.
Scit thalamo servare fidem, sanctasque veretur
Connubii leges, non illum in pectore candor
Sollicitat niveus; neque pravum accendit amorem
Splendida Lanugo, vel honesta in vertice crista,
Purpureusve nitor pennarum; ast agmina latè
Fœminea explorat cautus, maculasque requirit
Cognatas, paribusque interlita corpora guttis:
Ni faceret, pictis sylvam circum undique monstris
Confusam aspiceres vulgò, partusque biformes,
Et genus ambiguum, et Veneris monumenta nefandæ.
Hinc merula in nigro se oblectat nigra marito,
Hinc socium lasciva petit Philomela canorum,
Agnoscitque pares sonitus, hinc Noctua tetram
Canitiem alarum, et glaucos miratur ocellos.
Nempe sibi semper constat, crescitque quotannis
Lucida progenies, castos confessa parentes;
Dum virides inter saltus lucosque sonoros
Vere novo exultat, plumasque decora Juventus
Explicat ad solem, patriisque coloribus ardet2
There is a second Kind of Beauty that we find in the several Products of
Art and Nature, which does not work in the Imagination with that Warmth
and Violence as the Beauty that appears in our proper Species, but is
apt however to raise in us a secret Delight, and a kind of Fondness for
the Places or Objects in which we discover it. This consists either in
the Gaiety or Variety of Colours, in the Symmetry and Proportion of
Parts, in the Arrangement and Disposition of Bodies, or in a just
Mixture and Concurrence of all together. Among these several Kinds of
Beauty the Eye takes most Delight in Colours. We no where meet with a
more glorious or pleasing Show in Nature than what appears in the
Heavens at the rising and setting of the Sun, which is wholly made up of
those different Stains of Light that shew themselves in Clouds of a
different Situation. For this Reason we find the Poets, who are always
addressing themselves to the Imagination, borrowing more of their
Epithets from Colours than from any other Topic. As the Fancy delights
in every thing that is Great, Strange, or Beautiful, and is still more
pleased the more it finds of these Perfections in the same Object, so is
it capable of receiving a new Satisfaction by the Assistance of another
Sense. Thus any continued Sound, as the Musick of Birds, or a Fall of
Water, awakens every moment the Mind of the Beholder, and makes him more
attentive to the several Beauties of the Place that lye before him. Thus
if there arises a Fragrancy of Smells or Perfumes, they heighten the
Pleasures of the Imagination, and make even the Colours and Verdure of
the Landskip appear more agreeable; for the Ideas of both Senses
recommend each other, and are pleasanter together than when they enter
the Mind separately: As the different Colours of a Picture, when they
are well disposed, set off one another, and receive an additional Beauty
from the Advantage of their Situation.