But, though it should be allowed that books may produce some poets, I fear they will never be the poets who charm our cares to sleep, or extort admiration. They may diffuse taste, and polish the language; but I am inclined to conclude that they will seldom rouse the passions, or amend the heart.
And, to return to the first subject of discussion, the reason why most people are more interested by a scene described by a poet, than by a view of nature, probably arises from the want of a lively imagination. The poet contracts the prospect, and, selecting the most picturesque part in his camera, the judgment is directed, and the whole force of the languid faculty turned towards the objects which excited the most forcible emotions in the poet's heart; the reader consequently feels the enlivened description, though he was not able to receive a first impression from the operations of his own mind.
Besides, it may be further observed, that gross minds are only to be moved by forcible representations. To rouse the thoughtless, objects must be presented, calculated to produce tumultuous emotions; the unsubstantial, picturesque forms which a contemplative man gazes on, and often follows with ardour till he is mocked by a glimpse of unattainable excellence, appear to them the light vapours of a dreaming enthusiast, who gives up the substance for the shadow. It is not within that they seek amusement; their eyes are seldom turned on themselves; consequently their emotions, though sometimes fervid, are always transient, and the nicer perceptions which distinguish the man of genuine taste, are not felt, or make such a slight impression as scarcely to excite any pleasurable sensations. Is it surprising then that they are often overlooked, even by those who are delighted by the same images concentrated by the poet?
But even this numerous class is exceeded, by witlings, who, anxious to appear to have wit and taste, do not allow their understandings or feelings any liberty; for, instead of cultivating their faculties and reflecting on their operations, they are busy collecting prejudices; and are predetermined to admire what the suffrage of time announces as excellent, not to store up a fund of amusement for themselves, but to enable them to talk.
These hints will assist the reader to trace some of the causes why the beauties of nature are not forcibly felt, when civilization, or rather luxury, has made considerable advances—those calm sensations are not sufficiently lively to serve as a relaxation to the voluptuary, or even to the moderate pursuer of artificial pleasures. In the present state of society, the understanding must bring back the feelings to nature, or the sensibility must have such native strength, as rather to be whetted than destroyed by the strong exercises of passion.
That the most valuable things are liable to the greatest perversion, is however as trite as true:—for the same sensibility, or quickness of senses, which makes a man relish the tranquil scenes of nature, when sensation, rather than reason, imparts delight, frequently makes a libertine of him, by leading him to prefer the sensual tumult of love a little refined by sentiment, to the calm pleasures of affectionate friendship, in whose sober satisfactions, reason, mixing her tranquillizing convictions, whispers, that content, not happiness, is the reward of virtue in this world.
