An Abridgment of Elements of Criticism

Questions have been attached to the whole work, with a view to direct the attention of the student to the leading principles and their illustrations. Some instructers, of course, will dispense with these in examining their pupils, and question them, in their own way, on the text: but it is presumed that the value of the work will not be diminished, even for these instructers, by the addition of the questions.

The mode, in which the examples are to be recited, and their fitness pointed out, by the pupil, must of course be left to the judgment of the instructer.

The Editor indulges the hope, that the present attempt to bring a standard work of criticism within reach of the inmates of our common schools and academies, may meet with the approbation of those of his fellow-citizens who feel interested in the important subject of general

education.

Kames Elemelet

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CONTENTS.

CHAP. 1. Association of Ideas..

2. Emotions and passions.

Part 1. Causes unfolded of the Emotions and Passions:

Sect. 1. Difference between Emotion and Passion.-

Causes that are the most common and the most

general. Passion considered as productive of

Action....

2. Power of Sounds to raise Emotions and Passions

3. Causes of the Emotions of Joy and Sorrow.....

4. Sympathetic Emotion of Virtue, and its Cause..

5. In many instances one Emotion is productive of

another. The same of Passions..

Page
11

ib.

6. Causes of the Passions of Fear and Anger......

7. Emotions caused by Fiction...

Part 2. Emotions and Passions as pleasant and painful,

agreeable and disagreeable.-Modification of

these Qualities...

18. Beauty of Language..

133

Sect. 1. Beauty of Language with respect to Sound..... ib.

2. Beauty of Language with respect to Significa-

tion.

134

3. Beauty of Language from a resemblance between

Sound and Signification.

145

5. A Figure, which, among relative objects, extends

INTRODUCTION.

THE design of the present undertaking is, to examine the sen-
sitive branch of human nature, to trace the objects that are natu-
rally agreeable, as well as those that are naturally disagreeable;
and by these means to discover, if we can, what are the genuine
principles of the fine arts. The man who aspires to be a critic
in these arts, must pierce still deeper: he must acquire a clear
perception of what objects are lofty, what low, what proper or
improper, what manly, and what mean or trivial. Hence a foun-
dation for reasoning upon the taste of any individual, and for
passing sentence upon it. Where it is conformable to principles,
we can pronounce with certainty that it is correct; otherwise,
that it is incorrect, and perhaps whimsical. Thus the fine arts,
like morals, become a rational science; and, like morals, may be
cultivated to a high degree of refinement.

Manifold are the advantages of criticism, when thus studied as
a rational science. In the first place, a thorough acquaintance
with the principles of the fine arts, redoubles the pleasure we
derive from them. To the man who resigns himself entirely to
sentiment or feeling, without interposing any sort of judgment,
poetry, music and painting, are mere pastime: in the prime of life,
indeed, they are delightful, being supported by the force of novelty
and the heat of imagination: but in time they lose their relish,
and are generally neglected in the maturity of life, which dis-
poses to more serious and more important occupations. To those
who deal in criticism as a regular science, governed by just prin-
ciples, and giving scope to judgment as well as to fancy, the fine
arts are a favorite entertainment; and in old age they maintain that
relish which they produce in the morning of life.

In the next place, a philosophic inquiry into the principles of
the fine arts, inures the reflecting mind to the most enticing sort
of logic: the practice of reasoning upon subjects so agreeable,
tends to a habit; and a habit, strengthening the reasoning facul-
ties, prepares the mind for entering into subjects more intricate
and abstract. To have, in that respect, a just conception of the
importance of criticism, we need but reflect upon the common
method of education; which, after some years spent in acquiring
languages, hurries us, without the least preparatory discipline,

CHAP. 12. Ridicule...

13. Wit.

14. Custom and Habit..

15. External Signs of Emotions and Passions

16. Sentiments....

17. Language of Passion.

18. Beauty of Language...

Sect. 1. Beauty of Language with respect to Sound.

2. Beauty of Language with respect to Significa-

tion.....

3. Beauty of Language from a resemblance between
Sound and Signification...

4. Versification....