l not make him a great descriptive poet, till he has
looked with attention on the face of nature; or a great dramatist,
till he has felt and witnessed much of the influence of the passions.
Information and experience are, therefore, necessary; not for the
purpose of strengthening the imagination, which is never so strong as in
people incapable of reasoning--savages, children, madmen, and
dreamers; but for the purpose of enabling the artist to communicate his
conceptions to others.

In a barbarous age the imagination exercises a despotic power. So strong
is the perception of what is unreal that it often overpowers all the
passions of the mind and all the sensations of the body. At first,
indeed, the phantasm remains undivulged, a hidden treasure, a wordless
poetry, an invisible painting, a silent music, a dream of which the
pains and pleasures exist to the dreamer alone, a bitterness which the
heart only knoweth, a joy with which a stranger intermeddleth not. The
machinery, by which ideas are to be conveyed from one person to another,
is as yet rude and defective. Between mind and mind there is a great
gulf. The imitative arts do not exist, or are in their lowest state.
But the actions of men amply prove that the faculty which gives birth
to those arts is morbidly active. It is not yet the inspiration of poets
and sculptors; but it is the amusement of the day, the terror of the
night, the fertile source of wild superstitions. It turns the clouds
into gigantic shapes, and the winds into doleful voices. The belief
which springs from it is more absolute and undoubting than any which can
be derived from evidence. It resembles the faith which we repose in our
own sensations. Thus, the Arab, when covered with wounds, saw nothing
but the dark eyes and the green kerchief of a beckoning Houri. The
Northern warrior laughed in the pangs of death when he thought of the
mead of Valhalla.

The first works of the imagination are, as we have said, poor and rude,
not from the want of genius, but from the want of materials. Phidias
could have done nothing with an old tree and a fish-bone, or Homer with
the language of New Holland.

Yet the effect of these early performances, imperfect as they must
necessarily be, is immense. All deficiencies are supplied by the
susceptibility of those to whom they are addressed. We all know what
pleasure a wooden doll, which may be bought for sixpence, will afford
to a little girl. She will require no