as he cannot be equally expert in every art or operation, he is frequently reduced to supply want of skill by thought and invention. Constant application, on the contrary, to a single ope-<194>ration, confines the mind to a single object, and excludes all thought and invention: in such a train of life, the operator becomes dull and stupid, like a beast of burden. The difference is visible in the manners of the people: in a country where, from want of hands, several occupations must be carried on by the same person, the people are knowing and conversable: in a populous country where manufactures flourish, they are ignorant and unsociable. The same effect is visible in countries where an art or manufacture is confined to a certain class of men. It is visible in Hindostan, where the people are divided into casts, which never mix even by marriage, and where every man follows his father’s trade. The Dutch lint-boors are a similar instance: the same families carry on the trade from generation to generation, and are accordingly ignorant and brutish even beyond other Dutch peasants. The inhabitants of Buckhaven, a sea-port in the county of Fife, were originally a colony of foreigners, invited hither to teach our people the art of fishing. They continue fishers to this day, marry among themselves, have little intercourse with their<195> neighbours, and are dull and stupid to a proverb.*
A gentleman of a moderate fortune passed his time while husbandry was asleep, like a Birmingham workman who hammers a button from morning to evening. A certain gentleman, for example, who lived on his estate, issued forth to walk as the clock struck eleven. Every day he trod the same path, leading to an eminence which opened a view of the sea. A rock on the summit was his seat, where, after resting an hour, he returned home at leisure. It is not a little singular, that this exercise was repeated day after day for forty-three years, without interruption for the last twenty years of the gentleman’s life. And though he has been long dead, the impression of his heels in the sod remains visible to this day. Men by inaction degenerate into oysters.10<196>
Progress of Taste and of the fine Arts.
The sense by which we perceive right and wrong in actions, is termed the moral sense: the sense by which we perceive beauty and deformity in objects, is termed taste. Perfection in the moral sense consists in perceiving the minutest differences between right and wrong: perfection in taste consists in perceiving the minutest differences between beauty and deformity; and such perfection is termed delicacy of taste (a).
The moral sense is born with us; and so is taste: yet both of them require much cultivation. Among savages, the moral sense is faint and obscure; and taste still more so.* Even in the most enlightened ages, it requires in a judge both education and experience to perceive accurately<197> the various modifications of right and wrong: and to acquire delicacy of taste, a man must grow old in examining beauties and deformities. In Rome, abounding with productions of the fine arts, an illiterate shopkeeper is a more correct judge of statues, of pictures, and of buildings, than the best educated citizen of London(b). Thus taste goes hand in hand with the moral sense in their progress toward maturity; and they ripen equally by the same sort of culture. Want, a barren soil, cramps the growth of both: sensuality, a soil too fat, corrupts both: the middle state, equally distant from dispiriting poverty and luxurious sensuality, is the soil in which both of them flourish.
As the fine arts are intimately connected with taste, it is impracticable, in tracing their progress, to separate them by accurate limits. I join therefore the progress of the fine arts to that of taste, where the former depends entirely on the latter; and I handle separately the progress of the fine arts, where that progress is influenced by other circumstances beside taste.<198>
During the infancy of taste, imagination is suffered to roam, as in sleep, without control. Wonder is the passion of savages and of rustics; to raise which, nothing is necessary but to invent giants and magicians, fairy-land and inchantment. The earliest exploits recorded of warlike nations, are giants mowing down whole armies, and little men overcoming giants; witness Joannes Magnus, Torfeus, and other Scandinavian writers. Hence the absurd romances that delighted the world for ages, which are now sunk into contempt every where. The more supernatural the facts related are, the more is wonder raised; and in proportion to the degree of wonder, is the tendency to belief among the vulgar(a). Madame de la Fayette led the way to novels in the present mode. She was the first who introduced sentiments instead of wonderful adventures, and amiable men instead of bloody heroes. In substituting distresses to prodigies, she made a discovery, that persons of taste and feeling are more attached by compassion than by wonder.<199>
By the improvement of our rational faculties, truth and nature came to bear sway: incredible fictions were banished: a remaining bias, however, for wonder paved the way to bombast language, turgid similes, and forced metaphors. The Song of Solomon, and many other Asiatic compositions, afford examples without end of such figures. These are commonly attributed to force of imagination in a warm climate; but a more extensive view will show this to be a mistake. In every climate, hot and cold, the figurative style is carried to extravagance, during a certain period in the progress of writing; a style that is relished by all at first, and continues to delight many, till it yield to a taste polished by long experience(b). Even in the bitter-cold country of Iceland, we are at no loss for examples. A rainbow is termed Bridge of the gods: gold, Tears of Frya: the earth is termed Daughter of Night, the vessel that floats upon Ages; and herbs and plants are her hair, or her fleece. Ice is termed the great bridge: a ship, horse of the floods. Many authors foolishly conjecture, that the Hurons and some other<200> neighbouring nations, are of Asiatic extraction; because, like the Asiatics, their discourse is highly figurative.
The national progress of morality is slow: the national progress of taste is slower. In proportion as a nation polishes and improves in the arts of peace, taste ripens. The Chinese had long enjoyed a regular system of government, while the Europeans were comparatively in a chaos; and accordingly literary compositions in China were brought to perfection more early than in Europe. In their poetry they indulge no incredible fables, like those of Ariosto or the Arabian Tales; but commonly select such as afford a good moral. Their novels, like those of the most approved kind among us, treat of misfortunes unforeseen, unexpected good luck, and persons finding out their real parents. The Orphan of China, composed in the fourteenth century, surpasses far any European play of that early period. But good writing has made a more rapid progress with us; not from superiority of talents, but from the great labour the Chinese must undergo, in learning to read and write their own language. The Chinese<201> tragedy is indeed languid, and not sufficiently interesting, which M. Voltaire ascribes to want of genius. With better reason he might have ascribed it to the nature of their government, so well contrived for preserving peace and order, as to afford few examples of surprising events, and little opportunity for exerting manly talents.
A nation cannot acquire a taste for ridicule till it emerges out of the savage state. Ridicule, however, is too rough for refined manners: Cicero discovers in Plautus a happy talent for ridicule, and peculiar delicacy of wit; but Horace, who figured in the court of Augustus, eminent for delicacy of taste, declares against the low roughness of that author’s raillery(a). The same Cicero, in a letter to Papirius Poetus, complains that by the influx of foreigners the true Roman humour was lost. It was not the influx of foreigners, but the gradual progress of manners from the rough to the polished.11 The high burlesque style prevails commonly in the period between barbarity and politeness, in<202> which a taste somewhat improved discovers the ridicule of former manners. Rabelais in France, and Butler in England, are illustrious examples. Dr. Swift is our latest burlesque writer, and probably is the last.
Emulation among a multitude of small states in Greece, was enflamed by their public games: by that means taste ripened, and the fine arts were promoted. Taste refines gradually, and is advanced toward perfection by a diligent study of beautiful productions. Rome was indebted to Greece for that delicacy of taste which figured during the reign of Augustus, especially in literary compositions. But taste could not long flourish in a despotic government: so low had the Roman taste fallen in the reign of the Emperor Hadrian, that nothing would please him but to suppress Homer, and in