ccasion. We cannot indeed have a single Image in the Fancy that did not
make its first Entrance through the Sight; but we have the Power of
retaining, altering and compounding those Images, which we have once
received, into all the varieties of Picture and Vision that are most
agreeable to the Imagination; for by this Faculty a Man in a Dungeon is
capable of entertaining himself with Scenes and Landskips more beautiful
than any that can be found in the whole Compass of Nature.

There are few Words in the English Language which are employed in a more
loose and uncircumscribed Sense than those of the Fancy and the
Imagination. I therefore thought it necessary to fix and determine the
Notion of these two Words, as I intend to make use of them in the Thread
of my following Speculations, that the Reader may conceive rightly what
is the Subject which I proceed upon. I must therefore desire him to
remember, that by the Pleasures of the Imagination, I mean only such
Pleasures as arise originally from Sight, and that I divide these
Pleasures into two Kinds: My Design being first of all to Discourse of
those Primary Pleasures of the Imagination, which entirely proceed from
such Objects as are [before our [1]] Eye[s]; and in the next place to
speak of those Secondary Pleasures of the Imagination which flow from
the Ideas of visible Objects, when the Objects are not actually before
the Eye, but are called up into our Memories, or formed into agreeable
Visions of Things that are either Absent or Fictitious.

The Pleasures of the Imagination, taken in the full Extent, are not so
gross as those of Sense, nor so refined as those of the Understanding.
The last are, indeed, more preferable, because they are founded on some
new Knowledge or Improvement in the Mind of Man; yet it must be confest,
that those of the Imagination are as great and as transporting as the
other. A beautiful Prospect delights the Soul, as much as a
Demonstration; and a Description in Homer has charmed more Readers than
a Chapter in Aristotle. Besides, the Pleasures of the Imagination have
this Advantage, above those of the Understanding, that they are more
obvious, and more easie to be acquired. It is but opening the Eye, and
the Scene enters. The Colours paint themselves on the Fancy, with very
little Attention of Thought or Application of Mind in the Beholder. We
are struck, we know not how, with the Symmetry of any thing we see, and
immediately assent to the Be