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may combine things in more pleasing groups than they often appear in nature; but that very grouping must represent something real, however uncommonsomething that can be conceived of as existing, out of the picture, and to which the picture corresponds. The arabesques found upon ceilings, upon illuminated pages of books, etc., are the ornaments of the ceilings or pages upon which they occur; but they can not be introduced into an intelligent picture, except as constituting part of the expression of the represented idea." In painting there is properly no place for ornament. For it would be destructive of truth.

In a statue of the human figure can anything be properly introduced which is foreign to the actual human figure? If it is, then the statue is not a correct representation of its subject, and so far faulty: while to include every thing necessary to the perfection of the subject, is nothing more than the proper work of the art. The whole work of statuary is confined within the limits of relative truth. Whatever it attempts, more than that, is a blemish; and of course it has no place for ornament.

In literature, all critics agree that whatever does not effect a full expression of the intended idea, is faulty, and that whatever is more than sufficient is a fault. No room can, therefore, be left for ornament in this art either. Because its whole object is to embody, or express, the author's thoughts and feelings on separate and determinate points.

I think, then, we may depend upon the correctness of this rule, that all arts having for their object the representation, or embodying of any other thing, whether of external nature, or of the human spirit, in other words, relative truth, are incapable of ornament: and that those of absolute design admit ornament as far as consistent with their design and the nature of their materials. Architecture admits it to considerable extent; gardening more sparingly, because to some degree imitative; while painting, statuary, and literature exclude it entirely, or admit it only to their injury. Due attention to this principle would, I think, sufficiently guard against the tawdry style of those, who

"With gold and jewels cover every part,
And hide with ornament their want of art;"

and which, though often condemned, is perpetually returning and obtruding itself upon the student. Unless the error can be proved by a fair exposition of the principle upon which ornament is admissible, it is difficult for the young mind, enamoured of beauty in all its forms, to withstand the allurements of that meretricious style.

But some, who will readily admit the correctness of our conclusion, as far as respects other arts, may reject its application to literature, because learned men have been in the habit of talking of ornament in literary

productions, as something admissible. By way of reply, I would request an objector to point out a passage in any writer, which can be called ornament, in the sense in which the word is properly understood. He will not find it impossible. There are too many such in some productions. But as soon as he has found one, and examined it, together with the connection in which it stands, he will discover it to be a blemish. If, for an ornament, he pitches upon some passage really beautiful, he will learn, upon examination of its nature and relations to the subject, that it is not ornament, but essential to the full utterance of the author's conception. What looks to the casual glance more like ornament than that celebrated simile, in which Ossian says, that "The music of Caryl was like the memory of joys that are past, pleasant and mournful to the soul"? Yet when compared with the connection and the object for which it was written, nothing can be farther from being a mere additional grace. It is expressive of deep feeling, and tells the character of the music more clearly and fully than any arrangement or choice of technical words could describe it to the common understanding. The poet, might, indeed, have told us in what mode the music was, and in what key; but even then, not musicians themselves could have had so distinct a conception of its nature, or of the peculiar feeling which it awakened, as every man receives who ponders the comparison, "like the memory of joys that are past."

The beauty of the figure lies in the fullness, clearness, and appropriateness with which it conveys the meaning not only to the understanding, but also to the heart.

Even rhyme and measure in poetry must appear as essential to the adequate utterance of the idea and feeling which they contain, or they become intolerable. Whoever would attain to excellence in literature, must abandon all designs upon ornament, and think only of the most effective manner of uttering the conceptions within him, so that they may move the hearts of those who read, and achieve a valuable result in the well-being of his fellow men.

CHAPTER III.

OF CRITICAL AUTHORITY.

ONE other question demands a reply under this head:-Whence does criticism derive its authority? From the dictatorial style of the anonymous and mysterious reviewers of recent times, one is haunted with the impression that they must be something more than men, enjoying revelations on the subject of taste, which it must be impious to controvert. All the leading reviews of the day are addressed to such an impression. Taking for granted that they alone are correct, and that none other has a right to any opinion at all, they never manifest the shadow of a suspicion that they can, by any possibility, be guilty of a mistake. Behind the screen of the review, and the editorial we, the critic, no matter how ignorant or stupid, assumes to himself infallibility, and writes as one having authority. Constituting himself a judge, and regarding the author as a culprit arraigned at his bar, he proceeds in the awful majesty of office, to pronounce that sentence which he deems must be final-incontrovertible, because he has said it. Very rarely is there any, the

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