ploying general terms, we use words or names only, or whether there is in nature any thing corresponding to what we mean by a general idea. It is well designed by Mr. Stewart as "one of the most curious events which occur in the history of the human mind."

The question is one of no practical importance, and when it is cleared from its connexion with the ancient doctrine of ideas, appears to be one of no difficulty. Without supposing that there is in nature any actual essence corresponding to a general idea, the truth seems to be, that we do form a certain notion or conception of a quality in which several substances agree, distinct from any one substance to which the quality belongs. Hence some have proposed the term Notionalist, or Conceptualist, as designating opinions distinct from those both of the Nominalists and Realists. But, according to the principles of modern science, we cannot consider the discussion as any thing more than an ingenious arguing on points of no real importance. The process which the mind really carries on in that mental operation to which these remarks have referred, consists simply in tracing relations or points of resemblance in which certain individual things agree, though they may in others be remarkably different. We then give a name to this common quality, and thus form the individuals into a class of which this quality is the distinguishing character. Thus we may take a number of animals differing remarkably from each other, and say they are all quadrupeds. We may take a number of substances very dissimilar in their external and mechanical properties, and say they are all acids. Some of these substances are solid, some fluid, and some gaseous; but the property of acidity is common to them all, and this accordingly becomes the name and the distinguishing character of the class into which we now arrange them.

SECTION III.

IMAGINATION.

In the exercise of IMAGINATION, we take the component elements of real sceres, events, or characters, and combine them anew by a process of the mind itself, so as to form compounds which have no existence in nature. A painter, by this process, depicts a landscape combining the beauties of various real landscapes, and excluding their defects. A poet or a novelist, in the same manner, calls into being a fictitious character, endowed with those qualities with which it suits his purpose to invest him, places him in contact with other beings equally imaginary, and arranges, according to his will, the scenes in which he shall bear a part, and the line of conduct which he shall follow. The compound in these cases is entirely fictitious and arbitrary; but it is expected that the individual elements shall be such as actually occur in nature, and that the combination shall not differ remarkably from what might really happen. When this is not attended to, as in a picture or a novel, we speak of the work being extravagant, or out of nature. But, avoiding combinations which are grossly at variance with reality, the framer of such a compound may make it superior to any thing that actually occurs. A painter may draw a combination of beauties in a landscape superior to any thing that is actually known to exist; and a novelist may delineate a more perfect character than is met with in real life. It is remarked by Mr. Stewart, that Milton in his Garden of Eden has "created a landscape more perfect, probably, in all its parts, than has ever been realized in nature, and

certainly very different from any thing that this country exhibited at the time when he wrote." "It is a curious remark of Mr. Walpole," he adds, "that Milton's Eden is free from the defects of the Old English Garden, and is imagined on the same principles which it was reserved for the present age to carry into execution.”

The mode of artificial combination which results from the exercise of imagination is applicable chiefly to four kinds of composition.

1. Fictitious narrative, in which the author delineates imaginary scenes or transactions; and paints imaginary characters, endowing them with such qualities as may suit the purpose which he has in view.

2. Composition or verbal address, directed to the passions, and intended to excite particular mental emotions. To this head are referable many of the combinations of the poet, and addresses calculated to operate upon the feelings of a popular assembly; also, those which derive their character from the language of trope and metaphor. The genius of the orator, and the inventive powers of the poet, are exhibited in the variety and the novelty of the analogies, resemblances, illustrations, and figures, which he thus brings to bear upon his subject.

3. Those unexpected and peculiar associations which form the basis of wit and humour.

4. Combinations of objects of sense, calculated to produce mental emotions of a pleasurable or painful kind, as our impressions of the sublime, the beautiful, the terrible, or the ludicrous. The combinations of this class are chieflv referable to the head of objects of taste, or the fine arts; and are exemplified in the inventions of the painter and the statuary, in decorative architecture and artificial gardening,-we may add, theatrical exhibitions and music.

The facility of rapidly forming in these several

departments combinations calculated to produce the effect which is intended, constitutes what we call inventive genius. Similar powers of invention, founded on an exercise of imagination, may also be applied to the investigations of science. It may be employed, for example, in the contrivance of experiments calculated to aid an investigation or to illustrate a doctrine; and in the construction of those legitimate hypotheses which have often led to the most important discoveries.

The union of elements, in all such productions of the imagination, is regulated by the knowledge, the taste, and the intellectual habits of the author; and, we must add, by his moral principles. According to the views, the habits, and the principles of him who frames them, therefore, they may either contribute to moral and intellectual improvement, or they may tend to mislead the judgment, vitiate the taste, and corrupt the moral feelings.

Similar observations apply to the conduct of the imagination in individuals, and its influence in the cultivation of moral and intellectual character. There is certainly no power of the mind that requires more cautious management and stern control; and the proper regulation of it cannot be too strongly impressed upon the young. The sound and proper exercise of it may be made to contribute to the cultivation of all that is virtuous and estimable in human character. It leads us, in particular, to place ourselves in the situation of others, to enter into their feelings and wants, and to participate in their distresses. It thus tends to the cultivation of sympathy and the benevolent affections; and promotes all those feelings which exert so extensive an influence in the duties of friendship and the harmonies of civil and social intercourse. We may even say that we exercise imagination when we endeavour to act upon that high standard of morals which requires us "to do to

others as we would that they should do unto us:" for in this mental act we must imagine ourselves in the situation of other men, and, in their character, judge of our own conduct towards them. Thus a man deficient in imagination, though he may be free from any thing unjust or dishonourable, is apt to be cold, contracted, and selfish,-regardless of the feelings and indifferent to the distresses of others. Further, we may be said to exercise imagination when we carry our views beyond present and sensible objects, and endeavour to feel the power of "things which are not seen," and the reality of scenes and times which are yet to come. On the other hand, imagination may be employed for calling into being evils which have no existence, or for exaggerating those which are real; for fostering malevolent feelings, and for imputing to those with whom we are connected motives and intentions which have no foundation in truth. Finally, an ill-regulated imagination may be employed in occupying the mind with waking dreams and vain delusions, to the exclusion of all those high pursuits which ought to employ the faculties of a rational being.

There has been considerable difference of opinion in regard to the effects produced upon the mind by fictitious narrative. Without entering minutely upon the merits of this controversy, I think it may be contended, that two evils are likely to arise from much indulgence in works of fiction. The one is a tendency to give way to the wild play of the imagination; a practice most deleterious, both to the intellectual and moral habits. The other is a disruption of the harmony which ought to exist between the moral emotions and the conduct,-a principle of extensive and important influence. In the healthy state of the moral feelings, for example, the emotion of sympa thy excited by a tale of sorrow ought to be followed by some efforts for the relief of the sufferer. When such relations in real life are listened from time