against its nature and tendency. This will be the more requisite, as it will afford me an opportunity of entering more minutely into the spirit of so interesting a science.
By mentioning science, a word which many will think improperly applied, I am apprehensive of exposing this subject to one of the most formidable objections, its want of a solid foundation. Knowing no certain principles, it is alledged, by which to estimate the merit of a single work of taste, how much less shall we be able to establish a general theory for the fine arts! Though with a view to effect this, numberless works have been written; though in all ages, mankind, speaking of a general taste, have endeavoured to point out its rules; though a modern nation has given to this science a new appellation[1]: yet many, I doubt not, regarding such attempts as frivolous, deny the reality of a general taste, consider rules rather as the shackles than as the guides of genius, and ridicule that credulity which eagerly grasps at a shadow. Let it however be our endeavour to pass a more equitable sentence.
Previously to define Taste and Polite Literature would be inconsistent with our intentions. If the essay which I meditate should be fortunate enough to find readers, at least they shall not accuse me of obtruding my own opinions. Aspiring to nothing further than to direct the reader to exercise his sensibility and judgment, I shall only premise, that,
- ↑ The Theory of Belles Lettres and the Fine Arts is called in Germany Æsthotic, i. e. applying to the feelings.
