The second passion belonging to society is imitation, or, if you will, a desire of imitating, and consequently a pleasure in it. This passion arises from much the same cause with sympathy. For as sympathy makes us take a concern in whatever men feel, so this affection prompts us to copy whatever they do; and consequently we have a pleasure in imitating, and in whatever belongs to imitation merely as it is such, without any intervention2 of the reasoning faculty3, but solely4 from our natural constitution, which Providence5 has framed in such a manner as to find either pleasure or delight, according to the nature of the object, in whatever regards the purposes of our being. It is by imitation far more than by precept6, that we learn everything; and what we learn thus, we acquire not only more effectually, but more pleasantly. This forms our manners, our opinions, our lives. It is one of the strongest links of society; it is a species of mutual7 compliance8, which all men yield to each other, without constraint9 to themselves, and which is extremely flattering to all. Herein it is that painting and many other agreeable arts have laid one of the principal foundations of their power. And since, by its influence on our manners and our passions, it is of such great consequence, I shall here venture to lay down a rule, which may inform us with a good degree of certainty when we are to attribute the power of the arts to imitation, or to our pleasure in the skill of the imitator merely, and when to sympathy, or some other cause in conjunction, with it. When the object represented in poetry or painting is such as we could have no desire of seeing in the reality, then I may be sure that its power in poetry or painting is owing to the power of imitation, and to no cause operating in the thing itself. So it is with most of the pieces which the painters call still-life. In these a cottage, a dung-hill, the meanest and most ordinary utensils10 of the kitchen, are capable of giving us pleasure. But when the object of the painting or poem is such as we should run to see if real, let it affect us with what odd sort of sense it will, we may rely upon it that the power of the poem or picture is more owing to the nature of the thing itself than to the mere1 effect of imitation, or to a consideration of the skill of the imitator, however excellent. Aristotle has spoken so much and so solidly upon the force of imitation in his Poetics, that it makes any further discourse11 upon this subject the less necessary.
点击收听单词发音
1 mere | |
adj.纯粹的;仅仅,只不过 | |
参考例句: |
|
|
2 intervention | |
n.介入,干涉,干预 | |
参考例句: |
|
|
3 faculty | |
n.才能;学院,系;(学院或系的)全体教学人员 | |
参考例句: |
|
|
4 solely | |
adv.仅仅,唯一地 | |
参考例句: |
|
|
5 providence | |
n.深谋远虑,天道,天意;远见;节约;上帝 | |
参考例句: |
|
|
6 precept | |
n.戒律;格言 | |
参考例句: |
|
|
7 mutual | |
adj.相互的,彼此的;共同的,共有的 | |
参考例句: |
|
|
8 compliance | |
n.顺从;服从;附和;屈从 | |
参考例句: |
|
|
9 constraint | |
n.(on)约束,限制;限制(或约束)性的事物 | |
参考例句: |
|
|
10 utensils | |
器具,用具,器皿( utensil的名词复数 ); 器物 | |
参考例句: |
|
|
11 discourse | |
n.论文,演说;谈话;话语;vi.讲述,著述 | |
参考例句: |
|
|
欢迎访问英文小说网 |