The three Essentials for Composing are — FIRST. To have something which is to be told. THIRD. To stop when it has been told. 3. We shall use the term Genius to name that development and discipline of the mental powers, which enable their possessor to think correctly in regard to a given subject; to draw new truths from those already known-in short, to invent or originate. a. Some mean by Genius a natural and unaccountable mental development, which enables its possessor to do, without application, that which, if accomplished at all by others, must be the result of labor. If there be such geniuses, they are manifestly exceptions to the great mass of mankind, and hence, not entitled to consideration in a work designed expressly for the generality, rather than for the exceptions. We venture to predict, that the number of geniuses, in our sense of the term, will increase in direct proportion as the constitution of the human mind, and the laws of its development come to be understood, and regarded in teaching, as teaching itself comes to be regarded as a means of development, instead of being esteemed an end of labor. (See extract, "Patience and Labor.") 4. The mental act, which distinguishes the proper from the improper, the natural from the unnatural, the true, the fitting, and the agreeable, from the untrue, the unfitting, and the disagreeable, is called Taste. a. Taste is here used figuratively, and includes; first, the state of mental development; and, second, the harmonious action of the mental powers. It includes all that we have said concerning mental development in Chapter VI., concerning External Knowledge. Taste is one of those terms, which it is difficult to define, and yet can be correctly used and understood by all. 5. The natural order of things, and the general opinions of those best qualified to examine, and to judge, constitute what is called, the Standard of Taste. a. In the last definition, we refer to the Standard of Taste in Literary matters; not to what is called the Standard of Taste, or "the Fash ions," in dress, equipage, &c. 6. One, who can judge according to the Standard of Taste, is said to have Good Taste; one, who judges incorrectly, to have Bad Taste; and one, who can not judge at all, to be without Taste in that matter. a. In regard to the most of those natural objects, by which we are surrounded, it is probable that the majority of mankind have no taste; and hence, are excluded from that, which was designed as a primary source of gratification and instruction, and still higher, an incentive to study, and development. Who is responsible for this perversion? b. From what is shown in this and, also, in Chapter VI., we perceive that Taste depends on cultivation, or development. Who, that has applied himself to any pursuit; as, music, drawing, &c., has not found his capacity to discriminate, and to enjoy new beauties gradually becoming more and more developed until distinctions were made almost unconsciously, which at first could only be made with difficulty, if made at all? 7. The chief Characteristics of Good Taste are Delicacy and Correctness. a. Delicacy of Taste is the ability to distinguish and appreciate all the finer, or more minute excellences of an object, or of a composition. b. Correctness of Taste is the ability to distinguish between what is true, and what is false; what is appropriate and befitting, and what is inappropriate, and unbefitting; between real and false ornamentation. c. Delicacy of Taste mainly depends on the natural temperament, or feeling; Correctness on the cultivation of the mental powers, or de. velopment. The former is more the gift of nature; the latter, the result of art. They are so intimately connected, that one can scarcely exist without the other. 8. The mental ability or capacity to appreciate the works and opinions of others is called Talent. a. Genius invents, taste discovers, and talent appreciates; hence, every individual has access to the knowledge of all the others. The talented may understand and enjoy the works of the ingenious, and the criticisms of the tasteful; while the ingenious and the tasteful are incited to new efforts by the hope of winning the appreciation of the talented. "The next thing to possessing genius ourselves is the ability [talent] to appreciate it in others." b. It must not, for an instant, be supposed, that one of these attri butes can be possessed without some goodly portions of the others. A man of genius, must also possess taste and talent; and, in like manner, a man of taste must possess, to some good degree, the originative and the appreciative. According to which of these is most conspicuous, its possessor is said to be a genius, or tasteful, or talented. 9. The objects, with which Genius, Taste, and Talent are mainly concerned, are commonly known as the "Works of Nature," and the "Works of Art." a The first, and greatest source of pleasure, is in the Sublimity or Grandeur of objects. It elevates and expands the soul, filling it with a degree of wonder and astonishment, which can not be expressed. This emotion is of a serious nature, and, at its height, awful and solemn even to a severity, which serves to distinguish it from the livelier emotions produced by beautiful objects. 10. Natural Causes of Sublime emotions. First. Vastness produces sublime emotions. Vast space, especially if it be in height, or in depth. A boundless plain may be a grand object, but it does not impress us as a high mountain, or an awful precipice. The boundless extent of the firmament, joined to its great height, renders it exceedingly grand; and so also, is the vast extent of the ocean, in its endless swell, and in the vast force of its waters. Remove all bounds from space, and it becomes sublime; hence, endless numbers, eternal duration, and infinite space, create emotions, which are sublimely pleasing. Second. Greatness is a source of the sublime. Great noises; as, thunder, the roar of artillery, or of a mighty cataract. "I heard the voice of a great multitude, as the sound of many waters, and of mighty thunderings, saying, Allelujah." An engagement between two mighty armies combines all the elements of grandeur, vastness, noise, great strength and power, and hence, "has always been considered one of the most sublime spectacles, that can be presented to the eye, or pictured to the imagination." Third. Ideas of a solemn, or awful kind, even those bordering on the terrible; such as, darkness, solitude, silence, &c. "He maketh darkness his pavilion; he dwelleth in the thick cloud." Fourth. Obscurity also contributes to sublimity. "It is one thing to make an idea clear, and another to make it affect the imagination, and the imagination may be, and often is strongly affected by objects, of which we have no clear conception." "In thoughts from the visions of the night, when deep sleep falleth upon men, fear came upon me, and trembling, which made all my bones to shake. Then a spirit passed before my face; the hair of my flesh stood up; it stood still, but I could not discern the form thereof." Fifth. Deeds of virtue, heroism, magnanimity, self-denial; in short, any deed arising from great and noble feelings. These give rise to what are called the Sentimental, or Morally Sublime Emotions. The finest examples of this are to be found in the records of Christianity, Our Saviour, the Christian Martyrs; men and women sealing their faith with their lives. Next to these, we place those, who have struggled for freedom, and have preferred death to ignominious servitude; and those, who have labored to sustain great social reforms. First Suggestion. When reviewing, it would be well to read Blair's Lectures on this subject. They are too extended for our space to be given in full, and their utility would be materially injured by an abridgment. 11. Elements of Sublimity in Writing, or Com position. First. The foundation of the Sublime in writing must always be in the nature of the object described. Unless it be such an object as, if presented to our eyes, or in reality, would raise sublime emotions, the description can not become sublime, no matter what other good qualitics it may possess. Second. The subject must be presented so as to give us a Sublime impression of it. The language must be strong, concise, and simple. (See p. 424.) Very seldom, if ever, can figurative language be used without destroying the sublimity of the composition, which must not be confounded with the sublime style of writing. "God said, I am, that I am." This is a sublime idea. The language is simple, plain, and concise; but let it be expressed in the sublime style, and it fails to create sublime emotions. "I am the same being, that I have been, and words fail to describe what a majestic and glorious being, I now am Third. The narrator must be filled with those Sublime emotions, which are caused by his subject, and which he would excite in the hearer, or reader. No one can produce a sublime feeling in another, unless he first has that feeling in himself; mere words can not excite it. The less improved states of society are commonly supposed to be the most favorable for producing emotions of sublimity, as men's minds are then more exercised with objects, which occasion admiration, and astonishment. The imagination is aroused, and actions, and passions are less restrained; hence, imagination is more active, thought is bolder, and language is simpler. "How was it in that earlier time, While nature yet was young; Earth's wandering race, Not as we see, beheld her face. Art had not changed those mighty scenes, Which met their wondering eyes. Unpeopled kingdoms lay And the bright Day-star, from his burning throne, Shone o'er a thousand shores, untrodden, voiceless, lone." Of all writings, the Sacred Scriptures afford the highest instances of the sublime. This arises from the individual characters, and the nature of the subjects discussed. Deity, Angels, Evil Spirits; eternity, heaven, hell; each has all the elements of sublimity, which we have enumerated above. "In the beginning, God created the heaven and the earth." Again; "Then the earth shook and trembled; the foundations also of the hills were moved; because he was wroth. He bowed the heavens, and came down, and darkness was under his feet; and he did ride upon a Cherub, and did fly; yea, he did fly upon the wings of the wind. He made darkness his secret place; his pavilion round about him were dark waters, and thick clouds of the sky." Examples of the sublime are scattered in profusion throughout the Bible; but above all, is that noblest example of Moral Sublimity that has ever been recorded, "Father, forgive them !" No writer is continuously sublime. There will be occasions when the subject loses its interest, or the narrator fails to be incited by it; or, by a wrong selection of words, fails to arouse the proper emotion. Indeed, it is unnatural to expect that the state of mental excitement, cn which the sublime depends, should be abiding. In mind, as in matter, action and reaction are equal, and it is only natural to suppose that the mind, after having been aroused by a sublime emotion, should tend to its opposite state of depression with the greater force. b. The second source of pleasure is in the emotions excited by what is beautiful. This is next in degree to that arising from sublimity. It produces livelier emotions in the mind, than those caused by the sublime, and extends to a greater variety of objects, which differ very greatly from each other both in degree and in quality. Hence, no word in the language is used in a more vague sense than beauty. It is applied to |