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    is produced by a wonderful degree of penetration and - adroit * ness in the magician ; sometimes assisted by the coincidence of a confederate boy ; sometimes by a more than usual sim * tilicity , unsuspiciousness , or slowness of perception in the

    magician's client . Secondly , That the magician , having a shrewd eye at a guess , after the almanack fashion , or else being previously and surreptitiously apprised of the question and of his man , shall also possess a great power of influencing the imagination either of the boy , ox the querist , or both simul- * taneously . Lastly , That the countless failures not being re- »

    corded , the few wonderful and startling coincidences of truth are taken as general effects , these same coincidences being solvable by no known laws , and to be considered as the wandering gleams of equally profound yet vague revelations of man ' s elemental nature . It is easy to settle the matter off-hand by saying that the whole affair is absurd or false , and to wonder

    that anybody in his senses should listen to it for a moment We do not wish to attempt seeing farther into a millstone thah other people , but we do say that " there are more things in heaven and earth than are dreamt of in any philosophy / ' and that we are very far from having mastered all the mysteries of the five senses .

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    [ Continued from the Last Number . ] The grand division of the emotions of imagination is into those of beauty and its varieties , as prettiness , picturesqueness ,

    gracefulness , elegance , &c , which are produced by , or rather consist in , associations of ideas of pleasure ; and the pleasures of sublimity , arising from associations of ideas of pain—their pungency being modified by the absence of any apprehension of occurrence . *

    Now it must result in theory , from the subordination whicn we have seen of the associations of imagination to those ot passion , and it will be found actually to obtain , —that ihe ctiarac-* But in this grand division we ought not to forget the pleasurable , emotions derived from the exquisitely " ridiculous / ' which must also be included in the

    standard , not even omitting the peculiarly ugly , which , under given modification ^ produces pleasure . Otherwise , what would become of many of the admirable ton , ** racters of Butler , Swift * Shakspeare , Rabelais , MolieYe , &c . ; how would Hudibras and Caliban exclaim against the unjust exclusion , while some of the heads of Rembrandt * and bthfcr Dutch masters * looked unutterable things \* - * EcL

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    Is tke * e u Standard ofTahte f 91

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    IS THERE A STANDARD OF TASTE ?

• Citation
  • Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), Feb. 1, 1837, page 91, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/mruc/issues/vm2-ncseproduct1828/page/44/