magination, and on their natural and moral usefulness in life. Concerning the manner or turn of compofition which prevails in this piece, little can be faid with propriety by the author. He had two models; that antient and fimple one of the first Grecian poets, as it is refin'd by by Virgil in the Georgics, and the familiar epiftolary way of Horace. This latter has Jeveral advantages. It admits of a greater variety of ftile; it more readily engages the generality of readers, as partaking more of. the air of converfation; and especially with the affiftance of rhyme, leads to a clefer and more concife expreffion. Add to this the example of the most perject modern poets, who has fo happily applied this manner to the nobleft parts of philofophy, that the public tafte is in a great measure form'd to it alone. Yet, ajter all, the Jubject before us tending almost conftantly to admiration and enthusiasm, Seem'd rather to demand a more open, pathetic and figur'd file. This to appear more natural, as the author's aim was not fo much to give formal precepts, or enter into the way of direct argumentation, as by exhibiting the most engaging profpects of nature, to enlarge and harmonize the imagination, and by that means infenfibly difpofe the minds of men to the fame dignity of tafte in religion, morals, and civil life. 'Tis on this account that he is fo careful to point the benevolent intention of the author of nature in every principle of the haman conftitution bere infifted on; and alfo to unite the moral excellencies of life in the fame point of view with the meer external objects of good taste; thus recommending them in common to our natural propensity for admiring what is beautiful and lovely. The jame views have alfo led him to introduce fome fentiments which may perhaps be look'd upon as not quite direct to the fubject; but Since fince they bear an obvious relation to it, the authority of Virgil, the faultless model of the didactic poetry, will beft Support him in this particular. For the fentiments themfelves he makes no apology. ARGUMENT'of the FIRST BOOK. THE fubject propos'd; verse 1. to 30. Difficulty of treating it poetically; v. 45. The ideas of the divine mind, the origin of every quality pleafing to the imagination; v. 56. to 78. The natural variety of conftituon in the minds of men, with it's final caufe; to v. 96. The idea of a fine imagination, and the ftate of the mind in the enjoyment of those pleafures which it affords; v. 100, to 132. All the primary pleafures of imagination refult from the perception of greatness or wonderfulness, or beauty in objects; V. 145. The pleasure from greatness with it's final caufe; V. 151. to 221. Pleasure from novelty or wonderfulness, with it's final caufe; V. 222. to 270. Pleafare from beauty, with it's final caufe; v. 275. to 372. The connexion of beauty with truth and good, ap plied 8 Argument of the FIRST Book. plied to the conduct of life; v. 384. Invitation to the Study of moral philofophy; to 428. The different degrees of beauty in different fpecies of objects; v. 448. Colour, Shape, natural concretes; vegetables; animals; the mind; v. 445. to 475. The sublime, the fair, the wonderful of the mind; v. 497. to 526. The connexion of the imagination and the moral faculty; v. 557. Conclufion THE PLEASURES O F IMAGINATION. Book the FIRST. WITH what attractive charms this goodly frame nature touches, the confenting hearts Of Of Avon, whence thy rofy fingers cull Fresh flow'rs and dews to sprinkle on the turf Be present all ye GENII who conduct The wand'ring footsteps of the youthful bard, New to your springs and shades: who touch his ear The bloom of nature, and before him turn OFT have the laws of each poetic strain 20 25 30 35 Of high Parnaffus. Nature's kindling breath Muft fire the chofen genius; nature's hand Muft point the path, and imp his eagle-wings Ex |