§ 9. Fancy is never serious.

seriousness the

time.

and for that which she chooses to dwell upon, the outside sign rather than the emotion. Note in Macbeth that brilliant instance:

"Where the Norweyan banners flout the sky

And fan our people cold."

The outward shiver and coldness of fear is seized on, and irregularly but admirably attributed by the Fancy to the drift of the banners. Compare Solomon's song, where the imagination stays not at the outside, but dwells on the fearful emotion itself.

"Who is she that looketh forth as the morning; fair as the moon, clear as the sun, and terrible as an army with banners?"

Now, if these be the prevailing characteristics of the two faculties, it is evident that certain other collateral differences will result from them. Fancy, as she stays at the externals, can never feel. She is one of the hardest hearted of the intellectual faculties, or rather one of the most purely and simply intellectual. She cannot be made serious1 -no edge-tools but she will play with; whereas the Imagination is in all things the reverse. She cannot be but serious; she sees too far, too darkly, too solemnly, too earnestly, ever to smile. There is something in the heart of everything, if we can reach it, that we § 10. What of shall not be inclined to laugh at. And thus there is reciprocal bar to high art action between the intensity of moral feeling and the power of imagi at the present nation; for, on the one hand, those who have keenest sympathy are those who look closest and pierce deepest, and hold securest; and, on the other, those who have so pierced and seen the melancholy deeps of things, are filled with the most intense passion and gentleness of sympathy. Hence, I suppose that the powers of the imagination may always be tested by accompanying tenderness of emotion; and thus (as Byron said), there is no tenderness like Dante's, neither any intensity nor seriousness like his, such seriousness that it is incapable of perceiving that which is common-place or ridiculous, but fuses all down into its own white-hot fire; and, on the other hand, I suppose the chief bar to the action of imagination, and stop to all greatness in this present age of ours, is its mean and shallow love of jest, so that if there be in any good and lofty work a flaw, failing, or undipped vulnerable part where

Fancy, in her third function may, however, become serious, and gradually rise into imagination in doing so. Compare Chap. IV. § 5.

sarcasm may stick or stay, it is caught at, and pointed at, and buzzed about, and fixed upon, and stung into, as a recent wound is by flies; and nothing is ever taken seriously nor as it was meant, but always, if it may be, turned the wrong way, and misunderstood; and while this is so, there is not, nor cannot be, any hope of achievement of high things; men dare not open their hearts to us, if we are to broil them on a thorn-fire.

the Fancy, restless.

This, then, is one essential difference between imagination and § 11. Imagination is quiet: fancy; and another is like it and resultant from it, that imagination being at the heart of things, poises herself there, and is still, quiet, and brooding, comprehending all around her with her fixed look; but the fancy staying at the outside of things, cannot see them all at once, but runs hither and thither, and round and about to see more and more, bounding merrily from point to point, and glittering here and there, but necessarily always settling, if she settle at all, on a point only, never embracing the whole. And from these single points she can strike out analogies and catch resemblances, which, so far as the point she looks at is concerned, are true, but would be false, if she could see through to the other side. This, however, she cares not to do; the point of contact is enough for her, and even if there be a gap left between the two things and they do not quite touch, she will spring from one to the other like an electric spark, and be seen brightest in her leaping.

tailing opera

Now these differences between the imagination and the fancy 12. The dehold, not only in the way they lay hold of separate conceptions, but tion of Fancy. even in the points they occupy of time; for the fancy loves to run hither and thither in time, and to follow long chains of circumstances from link to link; but the imagination, if it may, gets hold of a moment or link in the middle that implies all the rest, and fastens there. Hence Fuseli's aphorism, "Invention never suffers the action to expire, nor the spectator's fancy to consume itself in preparation, or stagnate into repose. It neither begins from the egg, nor coldly gathers the remains."

In Retsch's illustrations to Schiller's Kampf mit dem Drachen, we have an instance, miserably feeble indeed, but characteristic, and suited to our present purpose, of the detailing, finishing action of the fancy. The dragon is drawn from head to tail, vulture eyes,

§13. And suggestive, of the Imagination.

§14. This suggestiveness how opposed to vacancy.

serpent teeth, forked tongue, fiery crest, armour, claws, and coils as grisly as may be; his den is drawn, and all the dead bones in it, and all the savage forest country about it far and wide; we have him, from the beginning of his career to the end, devouring, rampant, victorious over whole armies, gorged with death; we are present at all the preparations for his attack, see him receive his death-wound, and our anxieties are finally becalmed by seeing him lie peaceably dead on his back.

All the time we have never got into the dragon heart, we have never once felt real pervading horror, nor sense of the creature's being; it is throughout nothing but an ugly composition of claw and scale. Now take up Turner's Jason, Liber Studiorum, and observe how the Imagination can concentrate all this, and infinitely more, into one moment. No far forest country, no secret paths, nor cloven hills; nothing but a gleam of pale horizontal sky, that broods over pleasant places far away, and sends in, through the wild overgrowth of the thicket, a ray of broken daylight into the hopeless pit. No flaunting plumes nor brandished lances, but stern purpose in the turn of the crestless helmet, visible victory in the drawing back of the prepared right arm behind the steady point. No more claws, nor teeth, nor manes, nor stinging tails. We have the dragon, like everything else, by the middle. We need see no more of him. All his horror is in that fearful, slow, griding upheaval of the single coil. Spark after spark of it, ring after ring, is sliding into the light, the slow glitter steals along him step by step, broader and broader, a lighting of funeral lamps one by one, quicker and quicker; a moment more, and he is out upon us, all crash and blaze, among those broken trunks; but he will be nothing then to what he is now.

Now, it is necessary here very carefully to distinguish between that character of the work which depends on the imagination of the beholder, and that which results from the imagination of the artist; for a work is often called imaginative when it merely leaves room for the action of the imagination; whereas though nearly all imaginative works do this, yet it may be done also by works that have in them no imagination at all. A few shapeless scratches or accidental stains on a wall; or the forms of clouds, or any other complicated accidents, will set the imagination to work to coin something out of them;

and all paintings in which there is much gloom or mystery, possess therein a certain sublimity owing to the play given to the beholder's imagination, without, necessarily, being in the slightest degree imaginative themselves. The vacancy of a truly imaginative work results not from absence of ideas, or incapability of grasping and detailing them, but from the painter having told the whole pith and power of his subject and disdaining to tell more; and the sign of this being the case is, that the mind of the beholder is forced to act in a certain mode, and feels itself overpowered and borne away by that of the painter, and not able to defend itself, nor go which way it will: and the value of the work depends on the truth, authority, and inevitability of this suggestiveness. Now observe in this work of Turner that the whole value of it depends on the character of curve assumed by the serpent's body; for had it been a mere semicircle, or gone down in a series of smaller coils, it would have been in the first case, ridiculous, as unlike a serpent, or in the second, disgusting, nothing more than an exaggerated viper: but it is that coming straight at the right hand which suggests the drawing forth of an enormous weight, and gives the bent part its springing look, that frightens us. Again, remove the light trunk' on the left, and observe how useless all the gloom of the picture would have been, if this trunk had not given it depth and hollowness. Finally and chiefly, observe that the painter is not satisfied even with all the suggestiveness thus obtained, but to make sure of us, and force us, whether we will or not, to walk his way, and not ours, the trunks of the trees, on the right are all cloven into yawning and writhing heads and bodies, and alive with dragon energy all about us; note especially the nearest with its gaping jaws and claw-like branch at the seeming shoulder; a kind of suggestion which in itself is not imaginative, but merely fanciful (using the term fancy in that third sense not yet explained, corresponding to the third office of imagination); but it is imaginative in its present use and application, for the painter addresses thereby that morbid and fearful condition of mind which he has endeavoured to excite in the spectator, and which in reality would have seen in every trunk and bough, as it penetrated into the deeper thicket, the object of its terror.

I am describing from a proof: in bad impressions this trunk is darkened.

tion addresses

nation :

§ 15. Imagina- It is nevertheless evident, that however suggestive the work or itself to Imagi- picture may be, it cannot have effect unless we are ourselves both watchful of its very hint, and capable of understanding and carrying it out; and although I think that this power of continuing or accepting the direction of feeling given is less a peculiar gift, like that of the original seizing, than a faculty dependent on attention, and improvable by cultivation; yet, to a certain extent, the imaginative work will not, I think, be rightly esteemed except by a mind of some corresponding power; not but that there is an intense enjoyment in minds of feeble yet right conception in the help and food they get from those of stronger thought; but a certain imaginative susceptibility is at any rate necessary, and above all things, earnestness and feeling; so that assuredly a work of high conceptive dignity will be always incomprehensible and valueless except to those who go to it in earnest and give it time and this is peculiarly the case when the imagination acts not merely on the immediate subject, nor in giving a fanciful and peculiar character to prominent objects, as we have just seen, but busies itself throughout in expressing occult and far-sought sympathies Instances from in every minor detail; of which action the most sublime instances are found in the works of Tintoret, whose intensity of imagination is such that there is not the commonest subject to which he will not attach a range of suggestiveness almost limitless; nor a stone, leaf, or shadow, nor anything so small, but he will give it meaning and oracular voice.

the works of Tintoret.

$16. The Entombment.

In the centre of the gallery at Parma, there is a canvass of Tintoret's whose sublimity of conception and grandeur of colour are seen in the highest perfection, by their opposition to the morbid and vulgar sentimentalism of Correggio. It is an entombment of Christ, with a landscape distance, of whose technical composition and details I shall have much to say hereafter; at present I speak only of the thought it is intended to convey. An ordinary or unimaginative painter would have made prominent, among his objects of landscape, such as might naturally be supposed to have been visible from the sepulchre, and shown with the crosses of Calvary, some portion of Jerusalem: but Tintoret has a far higher aim. Dwelling on the peculiar force of the event before him, as the fulfilment of the final prophecy respecting the passion, "He made his grave with