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on the heart, whatever be the subject. rangement; -- and here the author illuThe affections that prevail in the author Atrates, in a very agreeable and entertainhimself direct his attention to objects ing manner, what he had before remark congenial, and give a peculiar bias to his ed, viz. that the events of poetry must wiventive powers, and a peculiar colour be more compact, more clearly connectto his language. Hence his work, as ed with causes and consequences, and well as face, if Nature is permitted to unfolded in an order more flattering to exert herself freely in it, will exhibit the imagination, and more interesting to a picture of his mind, and awaken corre- the pallions, than the events of hiltors fpondent sympathies in the reader. When commonly are.” tock are favourable to virtue, which The fixth chapter contains remarks on they always ought to be, the work will Music;-and is divided into three secLave that weer pathos which Horace al- tions; the first of which is introduced ludes to in the paffage above mentioned; with some general observations on our and which we fo highly admire, and so natural propenfity to imitation, on the warmly approve, even in those parts of several causes which seem to co-operate the Gcorgic that describe inanimate na. in producing the pleasure which we take
in witnesling tragical imitations of huAll this appears to us pot only inge- man action, even while they move us to hogs, but ftrictly philosophical and just. pity and forrow; - on imitation's being Dy Beattie goes on to observe, that the a plentiful source of pleasure, &c. true poct must not only study nature, Imitative music extends, Dr Beatand know the reality of things, but muft tie says, to those natural founds and alo poftels fancy, to invent additional motions only, which are agreeable in decorations; judgement, to direct him themselves, consistent with melody and ia tbe choice of such as accord with ve- harmony, and affociated with agreeable riimilitude ; and fenfibility, to enter affections and fentiments. Its merit is with ardent emotions into every part of so incontiderable, he thinks, that music las subject, so as to transfuse into his purely instrumental is rather hurt than work a pathos and energy fufficient to improved by it; and vocal music emraike corresponding emotions in the read- ploys it only as an help to the expression, (7.-Poetical representations must be fra. except in some rare cases, where the i med after a pattern of the highest pro- mitation is itself expressive as well as abable perfe&ion that the genius of the greeable, and at the same time within work will admit;-external nature must the power of the human voice. It is be more picturesque than in reality ; ac- proper to observe, that by imitative mutipa more animated; sentiments more fic, our author mult always be underexpreffive of the feelings and character, stood to mean that which imitates natue and more suitable to the circumstances ral sounds and motione. of the Ipcaker; personages better accom. Mulic, according to Dr Beattie, is plished in those qualities that raise admi- plealing, not because it is imitative, but ration, pity, terror, and other ardent e- because certain melodies and harmonies motions; and events, more compact, have an aptitude to raise certain pallions, more clearly connected with causes and affections, and sentiments, in the soul; consequences, and unfolded in an order and, consequently, the pleasures we des more fiattering to the fancy, and more rive from melody and harmony are fel. interesting to the passions. If it be afk- dom or never refolvable into that delight
cd, Where is this pattern of perfection which the human mind receives from the ito be found our author answers, Not imitation of nature.
in real nature; otherwise hiftory, which in the fecond fection he inquires a
delineates real nature, would also deli- little into the nature of this aptitude; and i neate this pattern of perfection. It is to endeavours, from acknowledged princi
be found only in the mind of the poet ; ples of the human conftitution, to exand it is imagination, regulated by know- plain the cause of that pleasure which ledge, that enables him to form it. mankind derive from mutic. He does
The fourth chapter treats of Poetical pot attempt a complete investigation of Clirattars; and contains many ingenious the subject, nor indeed any thing more and pertinent remarks upon the charac- than a few cursory remarks; and having ters in Homer, Virgil, Milton, &c. no theory to support, and the topic, The subject of the fifth is, Pustical Ar thougl amusing, not being of any great