The History of Rasselas, Prince of Abyssinia, Samuel Johnson [13 inch ebook reader .txt] 📗

possession of the most striking objects for description and the most probable occurrences for fiction, and left nothing to those that followed them but transcription of the same events and new combinations of the same images. Whatever be the reason, it is commonly observed that the early writers are in possession of nature, and their followers of art; that the first excel in strength and invention, and the latter in elegance and refinement.

“I was desirous to add my name to this illustrious fraternity. I read all the poets of Persia and Arabia, and was able to repeat by memory the volumes that are suspended in the mosque of Mecca. But I soon found that no man was ever great by imitations. My desire of excellence impelled me to transfer my attention to nature and to life. Nature was to be my subject, and men to be my auditors. I could never describe what I had not seen. I could not hope to move those with delight or terror whose interests and opinions I did not understand.

“Being now resolved to be a poet, I saw everything with a new purpose; my sphere of attention was suddenly magnified; no kind of knowledge was to be overlooked. I ranged mountains and deserts for images and resemblances, and pictured upon my mind every tree of the forest and flower of the valley. I observed with equal care the crags of the rock and the pinnacles of the palace. Sometimes I wandered along the mazes of the rivulet, and sometimes watched the changes of the summer clouds. To a poet nothing can be useless. Whatever is beautiful and whatever is dreadful must be familiar to his imagination; he must be conversant with all that is awfully vast or elegantly little. The plants of the garden, the animals of the wood, the minerals of the earth, and meteors of the sky, must all concur to store his mind with inexhaustible variety; for every idea is useful for the enforcement or decoration of moral or religious truth, and he who knows most will have most power of diversifying his scenes and of gratifying his reader with remote allusions and unexpected instruction.

“All the appearances of nature I was therefore careful to study, and every country which I have surveyed has contributed something to my poetical powers.”

“In so wide a survey,” said the Prince, “you must surely have left much unobserved. I have lived till now within the circuit of the mountains, and yet cannot walk abroad without the sight of something which I had never beheld before, or never heeded.”

“This business of a poet,” said Imlac, “is to examine, not the individual, but the species; to remark general properties and large appearances. He does not number the streaks of the tulip, or describe the different shades of the verdure of the forest. He is to exhibit in his portraits of nature such prominent and striking features as recall the original to every mind, and must neglect the minuter discriminations, which one may have remarked and another have neglected, for those characteristics which are alike obvious to vigilance and carelessness.

“But the knowledge of nature is only half the task of a poet; he must be acquainted likewise with all the modes of life. His character requires that he estimate the happiness and misery of every condition, observe the power of all the passions in all their combinations, and trace the changes of the human mind, as they are modified by various institutions and accidental influences of climate or custom, from the sprightliness of infancy to the despondence of decrepitude. He must divest himself of the prejudices of his age and country; he must consider right and wrong in their abstracted and invariable state; he must disregard present laws and opinions, and rise to general and transcendental truths, which will always be the same. He must, therefore, content himself with the slow progress of his name, contemn the praise of his own time, and commit his claims to the justice of posterity. He must write as the interpreter of nature and the legislator of mankind, and consider himself as presiding over the thoughts and manners of future generations, as a being superior to time and place.

“His labour is not yet at an end. He must know many languages and many sciences, and, that his style may be worthy of his thoughts, must by incessant practice familiarise to himself every delicacy of speech and grace of harmony.”

XI Imlac’s History Continued⁠—A Hint of Pilgrimage

Imlac now felt the enthusiastic fit, and was proceeding to aggrandise his own profession, when the Prince cried out: “Enough! thou hast convinced me that no human being can ever be a poet. Proceed with thy narration.”

“To be a poet,” said Imlac, “is indeed very difficult.”

“So difficult,” returned the Prince, “that I will at present hear no more of his labours. Tell me whither you went when you had seen Persia.”

“From Persia,” said the poet, “I travelled through Syria, and for three years resided in Palestine, where I conversed with great numbers of the northern and western nations of Europe, the nations which are now in possession of all power and all knowledge, whose armies are irresistible, and whose fleets command the remotest parts of the globe. When I compared these men with the natives of our own kingdom and those that surround us, they appeared almost another order of beings. In their countries it is difficult to wish for anything that may not be obtained; a thousand arts, of which we never heard, are continually labouring for their convenience and pleasure, and whatever their own climate has denied them is supplied by their commerce.”

“By what means,” said the Prince, “are the Europeans thus powerful? or why, since they can so easily visit Asia and Africa for trade or conquest, cannot the Asiatics and Africans invade their coast, plant colonies in their ports, and give laws to their natural princes? The same wind