an enquiry concerning human understanding-第5节

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would　lead　us　into　many　useless　subtilties；　we　shall
consider　some　of　the　effects　of　this　connection　upon　the
passions　and　imagination；　where　we　may　open　up　a　field　of
speculation　more　entertaining；　and　perhaps　more　instructive；
than　the　other。

　　　　　As　man　is　a　reasonable　being　and　is　continually　in
pursuit　of　happiness；　which　he　hopes　to　find　in　the
gratification　of　some　passion　or　affection；　he　seldom　acts
or　speaks　or　things　without　a　purpose　and　intention。　He　has
still　some　object　in　vies；　and　however　improper　the　means
may　sometimes　be　which　he　chooses　for　the　attainment　of　his
end；　he　never　loses　view　of　an　end；　nor　will　he　so　much　as
throw　away　his　thoughts　or　reflections　where　he　hopes　not　to
reap　any　satisfaction　from　them。

　　　　In　all　compositions　of　genius；　therefore；　it　is　requisite　that　the　
writer　have　some　plan　or　object；　and　though　he　may　be　hurried　
from　this　plan　by　the　vehemence　of　thought；　as　in　an　ode；　
or　drop　it　carelessly；　as　in　an　epistle　or　essay；　there　must　
appear　some　aim　or　intention　in　his　first　setting　out；　if　not　in　the　
composition　of　the　whole　work。　A　production　without　a　design　
would　resemble　more　the　ravings　of　a　madman　than　the　sober　
efforts　of　genius　and　learning。

　　　　　As　this　rule　admits　of　no　exception；　it　follows　that　in
narrative　compositions　the　events　or　actions　which　the
writer　relates　must　be　connected　together　by　some　bond　or
tie：　They　must　be　related　to　each　other　in　the　imagination；
and　form　a　kind　of　　which　may　bring　them　under　one
plan　or　view；　and　which　may　be　the　object　or　end　of　the
writer　in　his　first　undertaking。

　　　　　This　connecting　principle　among　the　several　events
which　form　the　subject　of　a　poem　or　history　may　be　very
different　according　to　the　different　designs　of　the　poet　or
historian。　O/VID　has　formed　his　plan　upon　the　connecting
principles　of　resemblance。　Every　fabulous　transformation
produced　by　the　miraculous　power　of　the　gods　falls　within
the　compass　of　his　work。　There　needs　but　this　one
circumstance；　in　any　event；　to　bring　it　under　his　original
plan　or　intention。

　　　　　An　annalist　or　historian　who　should　undertake　to　write
the　history　or　Europe　during　any　century　would　be　influenced
by　the　connection　of　contiguity　in　time　or　place。　All　events
which　happen　in　that　portion　of　space　and　period　of　time　are
comprehended　in　his　design；　though　in　other　respects
different　and　unconnected。　They　have　still　a　species　of
unity　amidst　all　their　diversity。

　　　　　But　the　most　usual　species　of　connections　among　the
different　events　which　enter　into　any　narrative　composition
is　that　of　cause　and　effect；　while　the　historian　traces　the
series　of　actions　according　to　their　natural　order；　remounts
to　their　secret　springs　and　principles；　and　delineates　their
most　remote　consequences。　He　chooses　for　his　subject　a
certain　portion　of　that　great　chain　of　events　which　compose
the　history　of　mankind：　Each　link　in　this　chain　he
endeavours　to　touch　in　his　narration；　sometimes　unavoidable
ignorance　renders　all　his　attempts　fruitless；　sometimes　he
supplies　by　conjecture　what　is　wanting　in　knowledge；　and
always　he　is　sensible　that　the　more　unbroken　the　chain　is
which　he　presents　to　his　readers；　the　more　perfect　is　his
production。　He　sees　that　the　knowledge　of　causes　is　not　only
the　most　satisfactory；　this　relation　or　connection　being　the
strongest　of　all　others；　but　also　the　most　instructive；
since　it　is　by　this　knowledge　alone　we　are　enabled　to
control　events　and　govern　futurity。

　　　　　Here；　therefore；　we　may　attain　some　notion　of　that
　of　　about　which　all　critics　after　Aristotle
have　talked　so　much；　perhaps　to　little　purpose；　which　they
directed　not　their　taste　or　sentiment　by　the　accuracy　of
philosophy。　It　appears　that　in　all　productions；　as　well　as
in　the　epic　and　tragic；　there　is　a　certain　unity　required；
and　that　on　no　occasion　our　thoughts　can　be　allowed　to　run
at　adventures　if　we　would　produce　a　work　that　will　give　any
lasting　entertainment　to　mankind。　It　appears；　also；　that
even　a　biographer　who　should　write　the　life　of　Achilles
would　connect　the　events　by　showing　their　mutual　dependence
and　relation；　as　much　as　a　poet　who　should　make　the　anger　of
that　hero　the　subject　of　his　narration。＇10＇　Not　only　in　any
limited　portion　of　life　a　man's　actions　have　a　dependence　on
each　other；　but　also　curing　the　whole　period　of　his　duration
from　the　cradle　to　the　grave；　nor　is　it　possible　to　strike
off　one　link；　however　minute；　in　this　regular　chain　without
affecting　the　whole　series　of　events　which　follow。　The　unity
of　action；　therefore；　which　is　to　be　found　in　biography　or
history　differs　from　that　of　epic　poetry；　not　in　kind；　but
in　degree。　In　epic　poetry；　the　connection　among　the　events
is　more　close　and　sensible；　the　narration　is　not　carried　on
through　such　a　length　of　time；　and　the　actors　hasten　to　some
remarkable　period　which　satisfies　the　curiosity　of　the
reader。　this　conduct　of　the　epic　poet　depends　on　that
particular　situation　of　the　imagination　and　of　the　passions
which　is　supposed　in　that　production。　The　imagination　both
of　writer　and　reader　is　more　enlivened；　and　the　passions
more　inflamed　than　in　history；　biography；　or　any　species　of
narration　that　confine　themselves　to　strict　truth　and
reality。　Let　us　consider　the　effect　of　these　two
circumstances　of　an　enlivened　imagination　and　inflamed
passions　which　belong　to　poetry；　especially　the　epic　kind；
above　any　other　species　of　composition；　and　let　us　see　for
what　reason　they　require　a　stricter　and　closer　unity　in　the
fable。

　　　　　；　all　poetry；　being　a　species　of　painting；
approaches　us　nearer　to　the　objects　than　any　other　species
of　narration；　throws　a　stronger　light　upon　them；　and
delineates　more　distinctly　those　minute　circumstances　which；
though　to　the　historian　they　seem　superfluous；　serve
mightily　to　enliven　the　imagery　and　gratify　the　fancy。　If　it
be　not　necessary；　as　in　the　；　to　inform　us　each　time
the　hero　buckles　his　shoes　and　ties　his　garters；　it　will　be
requisite；　perhaps；　to　enter　into　a　greater　detail　than　in
the　；　where　the　events　are　run　over　with　such
rapidity　that　we　scarce　have　leisure　to　become　acquainted
with　the　scene　or　action。　Were　a　poet；　therefore；　to
comprehend　in　his　subject　any　great　compass　of　time　or
series　of　events；　and　trace　up　the　death　of　Hector　to　its
remote　causes　in　the　rape　of　Helen　or　the　judgment　of　Paris；
he　must　draw　out　his　poem　to　an　immeasurable　length　in　order
to　fill　this　large　canvass　with　just　painting　and　imagery。
The　reader's　imagination；　inflamed　with　such　a　series　of
poetical　descriptions；　and　his　passions；　agitated　by　a
continual　sympathy　with　the　actors；　must　flag　long　before
the　period　of　narration　and　must　sink　into　lassitude　and
disgust　from　the　repeated　violence　of　the　same　movements。

　　　　　；　that　an　epic　poet　must　not　trace　the　causes
to　any　great　distance　will　further　appear　if　we　consider
another　reason；　which　is　drawn　from　a　property　of　the
passions　still　more　remarkable　and　singular。　It　is　evident
that　in　a　just　composition　all　the　affections　excited　by　the
different　events　described　and　represented　add　mutual　force
to　each　other；　and　that；　while　the　heroes　are　all　engaged　in
one　common　scene；　and　each　action　is　strongly　connected　with
the　whole；　the　concern　is　continually　awake；　and　the
passions　make　an　easy　transition　from　one　object　to　another。
The　strong　connection　of　the　events；　as　it　facilitates　the
passage　of　the　thought　or　imagination　from　one　to　another；
facilitates　also　the　transfusion　of　the　passions　and
preserves　the　affection　still　in　the　same　channel　and
direction。　Our　sympathy　and　concern　for　Eve　prepares　the　way
for　a　like　sympathy　with　Adam：　The　affection　is　preserved
almost　entire　in　the　transition；　and　the　mind　seizes
immediately　the　new　object　as　strongly　related　to　that　which
formerly　engaged　its　attention。　But　were　the　poet　to　make　a
total　digression　from　his　subject　and　introduce　a　new　actor
no　way　connected　with　the　personages；　the　imagination；
feeling　a　breach　in　the　transition；　would　enter　coldly　into
the　new　scene；　would　kindle　by　slow　degrees；　and　in
returning　to　the　main　subject　of　the　poem　would　pass；　as　it
were；　upon　foreign　ground　and　have　its　concern　to　excite
anew　in　order　to　take　party　with　the　principal　actors。　The
same　inconvenience　follows　in　a　lesser　degree　where　the　poet
traces　his　events　to　too　great　a　distance　and　binds　together
actions　which；　though　not　altogether　disjoined；　have　not　so
strong　a　connection　as　is　requisite　to　forward　the
transition　of　the　passions。　Hence　arises　the　artifice　of
oblique　narration　employed　in　the　　and　　
where　the　hero　is　introduced；　at　first；　near　the　period　of
his　designs；　and　afterwards　shows　us；　as　it　were　in
perspective；　the　more　distant　events　and　causes。　By　this
means；　the　reader's　curiosity　is　immediately　excited；　the
events　follow　with　rapidity；　and　in　a　very　close　connection；
and　the　concern　preserved　alive；　and　continually　increases
by　means　of　the　near　relation　of　the　objects；　from　the
beginning　to　the　end　of　the　narration。

　　　　　The　same　rule　takes　place　i