APPENDIX. 165 



it, either in Poetry or Painting, muft of necerTity produce a 

 much greater: For both thefe arts, as I faid-before, are not 

 only true imitations of Nature, but of the. heft Nature, of that 

 which is wrought up to a nobler pitch.-- They prefent us 

 with images more perfect than the life in any individual ; and 

 we have the pleafure to fee all the feattered beauties of Nature 

 united by a happy Chemiftry without its deformities or faults. 

 They are imitations of the paflions which always move, and 

 therefore confequently pleafe; for without motion there can 

 be no delightj, which cannot be confidered but as an active 

 paffion. When -we view thefe elevated ideas of Nature, the 

 refult of that view- is 'Admiration, which, is always the caufe 

 of pleafure. 



This foregoing remark, which gives the reafon why Imita- 

 tion pleafes, was lent me by Mr. Walter Moyle, a moll in- 

 genious young Gentleman, converfant in all the ftudies of 

 Humanity, much above his years. He had alfo furnifhed me, 

 according to my --requefr, with all the particular paffages in 

 Ariftotle and Horace, . which are ufed by them to explain the 

 Art of Poetry by that of Painting; which, if ever I have 

 time to retouch this Ell ay, (hall be infer ted in their places. 

 Having thus fhewn- that Imitation pkafes, and why it pleafes 

 in both thefe arts, it follows, that fome rul-es of imitation are 

 neceffary to obtain the end;- for without ruks there can be no 

 art, any more than- there can be a houfe without a door to 

 cond.ua you into it* The principal, parts of Painting and 

 Poetry next follow. 



INVENTION is thenrft part, and abfolutely neceffary to them 

 both; yet no rule ever was or ever can be given how to coin- 

 pafs it. A happy Genius is the gift of Nature; it depends 

 on the influence of the ftarsy fay the Aftrologers ; on the or- 

 gans of the body, fay the NaturaH(h; it is the particular gift 



X 3 of 



