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though chaste use of these ornaments which go under the name of
figurative and metaphorical expressions； and poetry distinguishes itself
from oratory by words and expressions still more ardent and glowing。
What separates and distinguishes poetry is more particularly the ornament
of VERSE； it is this which gives it its character； and is an essential；
without which it cannot exist。 Custom has appropriated different metre to
different kinds of composition； in which the world is not perfectly agreed。
In England the dispute is not yet settled which is to be preferred； rhyme or
blank verse。 But however we disagree about what these metrical
ornaments shall be； that some metre is essentially necessary is universally
acknowledged。
In poetry or eloquence； to determine how far figurative or
metaphorical language may proceed； and when it begins to be affectation
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or beside the truth； must be determined by taste； though this taste we must
never forget is regulated and formed by the presiding feelings of mankind；
by those works which have approved themselves to all times and all
persons。
Thus； though eloquence has undoubtedly an essential and intrinsic
excellence； and immovable principles common to all languages； founded
in the nature of our passions and affections； yet it has its ornaments and
modes of address which are merely arbitrary。 What is approved in the
Eastern nations as grand and majestic； would be considered by the Greeks
and Romans as turgid and inflated； and they； in return； would be thought
by the Orientals to express themselves in a cold and insipid manner。
We may add likewise to the credit of ornaments； that it is by their
means that art itself accomplishes its purpose。 Fresnoy calls colouring；
which is one of the chief ornaments of painting； lena sororis； that which
procures lovers and admirers to the more valuable excellences of the art。
It appears to be the same right turn of mind which enables a man to
acquire the TRUTH； or the just idea of what is right in the ornaments； as
in the more stable principles of art。 It has still the same centre of
perfection； though it is the centre of a smaller circle。
To illustrate this by the fashion of dress； in which there is allowed to
be a good or； bad taste。 The component parts of dress are continually
changing from great to little； from short to long； but the general form still
remains； it is still the same general dress which is comparatively fixed；
though on a very slender foundation； but it is on this which fashion must
rest。 He who invents with the most success； or dresses in； the best taste；
would probably； from the same sagacity employed to greater purposes；
have discovered equal skill； or have formed the same correct taste in the
highest labours of art。
I have mentioned taste in dress； which is certainly one of the lowest
subjects to which this word is applied； yet； as I have before observed；
there is a right even here； however narrow its foundation respecting the
fashion of any particular nation。 But we have still more slender means of
determining； in regard to the different customs of different ages or
countries； to which to give the preference； since they seem to be all
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SEVEN DISCOURSES ON ART
equally removed from nature。
If an European； when he has cut off his beard； and put false hair on his
head； or bound up his own natural hair in regular hard knots； as unlike
nature as he can possibly make it； and having rendered them immovable
by the help of the fat of hogs； has covered the whole with flour； laid on by
a machine with the utmost regularity； if； when thus attired he issues forth；
he meets a Cherokee Indian； who has bestowed as much time at his toilet；
and laid on with equal care and attention his yellow and red ochre on
particular parts of his forehead or cheeks； as he judges most becoming；
whoever despises the other for this attention to the fashion of his country；
whichever of these two first feels himself provoked to laugh； is the
barbarian。
All these fashions are very innocent； neither worth disquisition； nor
any endeavour to alter them； as the change would； in all probability； be
equally distant from nature。 The only circumstances against which
indignation may reasonably be moved； are where the operation is painful
or destructive of health； such as is practised at Otahaiti； and the straight
lacing of the English ladies； of the last of which； how destructive it must
be to health and long life； the professor of anatomy took an opportunity of
proving a few days since in this Academy。
It is in dress as in things of greater consequence。 Fashions originate
from those only who have the high and powerful advantages of rank； birth；
and fortune； as many of the ornaments of art； those at least for which no
reason can be given； are transmitted to us； are adopted； and acquire their
consequence from the company in which we have been used to see them。
As Greece and Rome are the fountains from whence have flowed all kinds
of excellence； to that veneration which they have a right to claim for the
pleasure and knowledge which they have afforded us； we voluntarily add
our approbation of every ornament and every custom that belonged to
them； even to the fashion of their dress。 For it may be observed that； not
satisfied with them in their own place； we make no difficulty of dressing
statues of modern heroes or senators in the fashion of the Roman armour
or peaceful robe； we go so far as hardly to bear a statue in any other
drapery。
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The figures of the great men of those nations have come down to us in
sculpture。 In sculpture remain almost all the excellent specimens of
ancient art。 We have so far associated personal dignity to the persons
thus represented； and