Sir Joshua Reynolds' Discourses: Edited, with an Introduction, by Helen ZimmernReynolds, Joshua, Sir
General
Sir Joshua Reynolds' Discourses: Edited, with an Introduction, by Helen Zimmern
Reynolds, Joshua, Sir
Art
Thus, in regard to ornaments,--it would be unjust to conclude, that,
because they were at first arbitrarily contrived, they are therefore
undeserving of our attention; on the contrary, he who neglects the
cultivation of those ornaments acts contrary to nature and reason. As
life would be imperfect without its highest ornaments, the Arts, so
these arts themselves would be imperfect without _their_ ornaments.
Though we by no means ought to rank with these positive and
substantial beauties, yet it must be allowed that a knowledge of both
is essentially requisite towards forming a complete, whole, and
perfect taste. It is in reality from their ornaments that arts receive
their peculiar character and complexion; we may add, that in them we
find the characteristical mark of a national taste; as, by throwing up
a feather in the air, we know which way the wind blows, better than by
a more heavy matter.
The striking distinction between the works of the Roman, Bolognian,
and Venetian schools consists more in that general effect which is
produced by colours than in the more profound excellencies of the art;
at least it is from thence that each is distinguished and known at
first sight. Thus it is the ornaments rather than the proportions of
architecture which at the first glance distinguish the different
orders from each other; the Doric is known by its triglyphs, the Ionic
by its volutes, and the Corinthian by its acanthus.
What distinguishes oratory from a cold narration is a more liberal,
though chaste, use of those 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.
Public-domain text, read in full here on John Shaqi.
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