Such very strong tastes as impart a high and perennial zest to one's life are merely the special direction of a natural exuberance of feeling or emotion. A spare and thin emotional temperament will undoubtedly have preferences, likings and dislikings, but it can never supply the material for fervour or enthusiasm in anything.
The early determining of natural tastes is a subject of high practical interest. We shall only remark at present that a varied and broad groundwork of early education is the best known device for this end.
[RELATION OF FEELINGS TO IMAGINATION.]
III. A third error, deserving of brief comment, is a singular inversion of the relationship of the Feelings to the Imagination. It is frequently affirmed, both in criticism and in philosophy, that the Feelings depend upon, or have their basis in, the Imagination.
An able and polished writer, discussing the character of Edmund Burke, remarks: "The passions of Burke were strong; this is attributable in great measure to the intensity of the imaginative faculty". Again, Dugald Stewart, observing upon the influence of the Imagination on Happiness, says: "All that part of our happiness or misery which arises from our hopes or our fears derives its existence entirely from the power of imagination". He even goes the length of affirming that "cowardice is entirely a disease of the imagination". Another writer accounts for the intensity of the amatory sentiments in Robert Burns by the strength of his imagination.
[IMAGINATION GROUNDED IN FEELING.]
Now, I venture to affirm that this view very nearly reverses the fact. The Imagination is determined by the Feelings, and not the Feelings by the Imagination. Intensity of feeling, emotion, or passion, is the earlier fact: the intellect swayed and controlled by feeling, shaping forms to correspond with an existing emotional tone, is Imagination. It was not the imaginative faculty that gave Wordsworth, Byron, Shelley, and the poets generally, their great enjoyment of nature; but the love of nature, pre-existing, turned the attention and the thoughts upon nature, filling the mind as a consequence with the impressions, images, recollections of nature; out of which grew the poetic imaginings. Imagination is a compound of intellectual power and feeling. The intellectual power may be great, but if it is not accompanied with feeling, it will not minister to feeling; or it will minister to many feelings by turns, and to none in particular. As far as the intellectual power of a poet goes, few men have excelled Bacon. He had a mind stored with imagery, able to produce various and vivid illustrations of whatever thought came before him; but these illustrations touched no deep feeling; they were fresh, original, racy, fanciful, picturesque, a play of the head that never touched the heart. The man was by nature cold; he had not the emotional depth or compass of an average Englishman. Perhaps his strongest feeling of an enlarged or generous description was for human progress, but it did not rise to passion; there was no fervour, no fury in it. Compare him with Shelley on the same subject, and you will see the difference between meagreness and intensity of feeling. What intellect can be, without strong feeling, we have in Bacon; what intellect is, with strong feeling, we have in Shelley. The feeling gives the tone to the thoughts; sets the intellect at work to find language having its own intensity, to pile up lofty and impressive circumstances; and then we have the poet, the orator, the thoughts that breathe, and the words that burn. Bacon wrote on many impressive themes—on Truth, on Love, on Religion, on Death, and on the Virtues in detail; he was always original, illustrative, fanciful; if intellectual means and resources could make a man feel in these things, he would have felt deeply; yet he never did. The material of feeling is not contained in the intellect; it has a seat and a source apart. There was nothing in mere intellectual gifts to make Byron a misanthrope: but, given that state of the feelings, the intellect would be detained and engrossed by it; would minister to, expand, and illustrate it; and intellect so employed is Imagination.
Burke had indisputably a powerful imagination. He had both elements:—the intellectual power, or the richly stored and highly productive mind; and the emotional power, or the strength of passion that gives the lead to intellect. His intellectual strength was often put forth in the Baconian manner of illustration, in light and sportive fancies. There were many occasions where his feelings were not much roused. He had topics to urge, views to express, and he poured out arguments, and enlivened them with illustrations. He was, on those occasions, an able expounder, and no more. But when his passions were stirred to the depths by the French Revolution, his intellectual power, taking a new flight, supplied him with figures of extraordinary intensity; it was no longer the play of a cool man, but the thunders of an aroused man; we have then "the hoofs of the swinish multitude,"—"the ten thousand swords leaping from their scabbards". Such feelings were not produced by the speaker's imagination: they were produced by themselves; they had their independent source in the region of feeling: coupled with adequate powers of intellect, they burst out into strong imagery.[3]
The Orientals, as a rule, are distinguished for imaginative flights. This is apparent in their religion, their morality, their poetry, and their science. The explanation is to be sought in the strength of their feelings, coupled with a certain intellectual force. The same intellect, without the feelings, would have issued differently. The Chinese are the exception. They want the feelings, and they want the imagination. They are below Europeans in this respect. When we bring before them our own imaginative themes, our own cast of religion, accommodated as it is to our own peculiar temperament, we fail in the desired effect. Our august mysteries are responded to, not with reverential regard, but with, cold analysis.
The Celt and the Saxon are often contrasted on the point of imagination; the prior fact is the comparative endowment for emotion.
[HOW HAPPINESS SHOULD BE AIMED AT.]
IV. There is a fallacious mode of presenting the attainment of happiness; namely, that happiness is best secured by not being aimed at. We should be aiming always at something else.
When examined closely, the doctrine resolves itself into a kind of paradox. All sorts of puzzles come up when we attempt to follow it to its consequences.
We might ask, first, whether there is any other object of pursuit in the same predicament—wealth, health, knowledge, fame, power. These are, every one, a means or instrument of happiness, if not happiness itself. Must we, then, in the case of each, avoid aiming straight at the goal? must we look askance in some other direction?
Next, in the case of happiness proper, are we to aim at nothing at all, to drift at random; or may we aim at a definite object, provided it is not happiness; or, lastly, is there one side aim in particular that we must take? The answer here would probably be—Aim at duty in general, and at the good of others in particular. These ends are not the same as happiness, yet by keeping them steadily in the view, and not thinking of self at all, we shall eventually realise our greatest happiness.
Without, at present, raising any question as to the fact alleged, we must again remark that the prescription seems to contradict itself. Moralists of the austere type will never allow us to pursue happiness at all; we must never mention the thing to ourselves: duty or virtue is the one single aim and end of being. Such teachers may be right or they may be wrong, but they do not contradict themselves. When, however, we are told that by aiming at virtue, we are on the best possible road to happiness, this is but another way of letting us into the secret of happiness, of putting us on the right, instead of on the wrong, track, to attain it. Our teacher assumes that we are in search of happiness, and he tells us how we are to proceed; not by keeping it straight in the view, but by keeping virtue straight in the view. Instead of pointing us to the vulgar happiness-seeker who would take the goal in a line, he