The Pleasures of Imagination - The Third Book - The Argument

ARGUMENT OF THE THIRD BOOK.

Pleasure in observing the tempers and manners of men, even where vicious or absurd. The origin of vice, from false representations of the fancy, producing false opinions concerning good and evil. Inquiry into ridicule. The general sources of ridicule in the minds and characters of men, enumerated. Final cause of the sense of ridicule. The resemblance of certain aspects of inanimate things to the sensations and properties of the mind. The operations of the mind in the production of the works of imagination, described. The secondary pleasure from imitation. The benevolent order of the world illustrated in the arbitrary connexion of these pleasures with the objects which excite them. The nature and conduct of taste. Concluding with an account of the natural and moral advantages resulting from a sensible and well-formed imagination.

Mark Akenside

Mark Akenside was an 18th-century English poet and physician best known for his poem 'The Pleasures of Imagination,' which was first published in 1744. He was born on November 9, 1721, in Newcastle upon Tyne and received his education at the Royal Grammar School, Newcastle, and the University of Edinburgh. Akenside's work was deeply influenced by the Enlightenment and classical antiquity. He also pursued a successful medical career, becoming a fellow of the Royal College of Physicians in 1753. Akenside died on June 23, 1770.

Mark Akenside

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English

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The Pleasures of Imagination - The Third Book - The Argument

ARGUMENT OF THE THIRD BOOK.

Pleasure in observing the tempers and manners of men, even where vicious or absurd. The origin of vice, from false representations of the fancy, producing false opinions concerning good and evil. Inquiry into ridicule. The general sources of ridicule in the minds and characters of men, enumerated. Final cause of the sense of ridicule. The resemblance of certain aspects of inanimate things to the sensations and properties of the mind. The operations of the mind in the production of the works of imagination, described. The secondary pleasure from imitation. The benevolent order of the world illustrated in the arbitrary connexion of these pleasures with the objects which excite them. The nature and conduct of taste. Concluding with an account of the natural and moral advantages resulting from a sensible...

Mark Akenside

The Pleasures of Imagination - The Second Book - The Argument

ARGUMENT OF THE SECOND BOOK.

The separation of the works of imagination from philosophy, the cause of their abuse among the moderns. Prospect of their re-union under the influence of public liberty. Enumeration of accidental pleasures, which increase the effect of objects delightful to the imagination. The pleasures of sense. Particular circumstances of the mind. Discovery of truth. Perception of contrivance and design. Emotion of the passions. All the natural passions partake of a pleasing sensation; with the final cause of this constitution illustrated by an allegorical vision, and exemplified in sorrow, pity, terror, and indignation.

Mark Akenside

The Pleasures of Imagination - The Second Book - The Argument

ARGUMENT OF THE SECOND BOOK.

The separation of the works of imagination from philosophy, the cause of their abuse among the moderns. Prospect of their re-union under the influence of public liberty. Enumeration of accidental pleasures, which increase the effect of objects delightful to the imagination. The pleasures of sense. Particular circumstances of the mind. Discovery of truth. Perception of contrivance and design. Emotion of the passions. All the natural passions partake of a pleasing sensation; with the final cause of this constitution illustrated by an allegorical vision, and exemplified in sorrow, pity, terror, and indignation.

Mark Akenside

The Pleasures of Imagination - The Second Book - The Argument

THE ARGUMENT.

Introduction to this more difficult part of the subject. Of truth and its three classes, matter of fact, experimental or scientifical truth, (contradistinguished from opinion) and universal truth: which last is either metaphysical or geometrical, either purely intellectual or perfectly abstracted. On the power of discerning truth depends that of acting with the view of an end; a circumstance essential to virtue. Of virtue, considered in the divine mind as a perpetual and universal beneficence. Of human virtue, considered as a system of particular sentiments and actions, suitable to the design of providence and the condition of man; to whom it constitutes the chief good and the first beauty. Of vice and its origin. Of ridicule: its general nature and final cause. Of the passions; particularly of those which relate ...

Mark Akenside

The Pleasures of Imagination - The First Book - The Argument

THE ARGUMENT.

The subject proposed. Dedication. The ideas of the supreme being, the exemplars of all things. The variety of constitution in the minds of men; with its final cause. The general character of a fine imagination. All the immediate pleasures of the human imagination proceed either from greatness or beauty in external objects. The pleasure from greatness; with its final cause. The natural connection of beauty with truth and good. The different orders of beauty in different objects. The infinite and all-comprehending form of beauty, which belongs to the divine mind. The partial and artificial forms of beauty, which belong to inferior intellectual beings. The origin and general conduct of beauty in man. The subordination of local beauties to the beauty of the universe. Conclusion.

Mark Akenside

The Pleasures of Imagination - The General Argument

THE GENERAL ARGUMENT.

The pleasures of the imagination proceed either from natural objects, as from a flourishing grove, a clear and murmuring fountain, a calm sea by moon-light; or from works of art, such as a noble edifice, a musical tune, a statue, a picture, a poem. In treating of these pleasures, we must begin with the former class; they being original to the other; and nothing more being necessary, in order to explain them, than a view of our natural inclination toward greatness and beauty, and of those appearances, in the world around us, to which that inclination is adapted. This is the subject of the first book of the following poem. But the pleasures which we receive from the elegant arts, from music, sculpture, painting, and poetry, are much more various and complicated. In them (besides greatness and beauty, or form...

Mark Akenside