2. On the other hand, when this negligent simplicity of thinking and speaking gives way to the utmost polish and refinement in both, we are then to expect it, for the contrary reason. For the more obvious and natural forms of writing being, now, grown common, are held insipid, and the public taste demands to be gratified by the seasoning of a more studied and artificial expression. It is not enough to please, the writer must find means to strike and surprize. And hence the antithesis, the remote allusion, and every other mode of affected eloquence. But of these the first that prevails, is the application of the double sense. For the general use justifying it, it easily passes with the reader and writer too, for natural expression; and yet as splitting the attention suddenly, and at once, on two different views, carries with it all the novelty and surprize, that are wanted. When the public taste is not, yet, far gone in this refinement, and the writer hath himself the truest taste (which was Virgil’s case) such affectations will not be very common; or, when they do occur, will, for the most part, be agreeably softened. As in the instance of retroque pedem cum voce repressit; where, by making voce immediately dependent on the preposition, and remotely on the verb, he softens the harshness of the expression, which seems much more tolerable in this form, than if he had put it, pedem vocemque repressit. So again in the line,
Crudeles aras trajectaque pectora ferro
Nudavit,
the incongruity of the two senses in nudavit, is the less perceived from its metaphorical application to one of them.
But the desire of pleasing continually, which, in the circumstance supposed, insensibly grows into a habit, must, of necessity, betray writers of less taste and exactness into the frequent commission of this fault. Which, as Mr. Addison takes notice, was remarkably the case with Ovid.
The purpose of all this is to shew, that the use of this form of speaking arose from negligence, or affectation, never from judgment. And such being the obvious, and, it is presumed, true account of the matter, the learned Animadvertor on Chariton is left, as I said, to make the best of his authorities; or, even to enlarge his list of them with the Centuries[48] of his good friends, at his leisure. For till he can tell us of a writer, who, neither in careless, nor ambitious humours, is capable of this folly, his accumulated citations, were they more to his purpose, than many of them are, will do him little service. Unless perhaps we are to give up common sense to authority, and pride ourselves on mimicking the very defects of our betters. And even here he need not be at a loss for precedents. For so the disciples of Plato, we are told, in former times, affected to be round-shouldered, in compliment to their master; and Aristotle’s worshipers, because of a natural impediment in this philosopher’s speech, thought it to their credit to turn Stammerers. And without doubt, while this fashion prevailed, there were critics, who found out a Je ne sçai quoi in the air of the one party, and in the eloquence of the other.
97. Suspendit picta vultum mentemque tabella;] Horace judiciously describes painting by that peculiar circumstance, which does most honour to this fine art. It is, that, in the hands of a master, it attaches, not the eyes only, but the very soul, to its representation of the human affections and manners. For it is in contemplating subjects of this kind, that the mind, with a fond and eager attention, hangs on the picture. Other imitations may please, but this warms and transports with passion. And, because whatever addresses itself immediately to the eye, affects us most; hence it is, that painting, so employed, becomes more efficacious to express the manners and imprint characters, than poetry itself: or rather, hath the advantages of the best and usefullest species of poetry, the dramatic, when enforced by just action on the stage.
Quintilian gives it the like preference to Oratory. Speaking of the use of action in an orator, he observes, “Is [gestus] quantum habeat in oratore, momenti; satis vel ex eo patet, quod pleraque, etiam citra verba, significat. Quippe non manus solum, sed nutus etiam declarant nostram voluntatem, et in mutis pro sermone sunt: et salutatio frequenter sine voce intelligitur atque afficit, et ex ingressu vultuque perspicitur habitus animorum: et animantium quoque, sermone carentium, ira, laetitia, adulatio, et oculis et quibusdam aliis corporis signis deprehenditur. Nec mirum, si ista, quae tamen aliquo sunt posita motu, tantum in animis valent: quum pictura, tacens opus, et habitûs semper ejusdem, sic intimos penetret affectus, ut ipsam vim dicendi nonnunquam superare videatur[49].”
We see then of what importance it is, since affections of every kind are equally within his power, that the painter apply himself to excite only those, which are subservient to good morals. An importance, of which Aristotle himself (who was no enthusiast in the fine arts) was so sensible, that he gives it in charge, amongst other political instructions, to the governors of youth, “that they allow them to see no other pictures, than such as have this moral aim and tendency; of which kind were more especially those of Polygnotus.” [Polit. lib. viii. c. 5.]
For the manner, in which this moral efficacy of picture is brought about, we find it agreeably explained in that conversation of Socrates with Parrhasius in the Memorabilia of Xenophon. The whole may be worth considering.