Grammar of Assent

I have hitherto been adducing instances from (for the most part) objects of sight; but the memory preserves the impress, though not so vivid, of the experiences which come to us through our other senses also. The memory of a beautiful air, or the scent of a particular flower, as far as any remembrance remains of it, is the continued presence in our minds of a likeness of it, which its actual presence has left there. I can bring before me the music of the Adeste Fideles, as if I were actually hearing it; and the scent of a clematis as if I were in my garden; and the flavour of a peach as if it were in season; and the thought I have of all these is as of something individual and from without,—as much as the things themselves, the tune, the scent, and the flavour, are from without,—though, compared with the things themselves, these images (as they may be called) are faint and intermitting.

Nor need such an image be in any sense an abstraction; though I may have eaten a hundred peaches in times past, the impression, which remains on my memory of the flavour, may be of any of them, of the ten, twenty, thirty units, as the case may be, not a general notion, distinct from every one of them, and formed from all of them by a fabrication of my mind.

And so again the apprehension which we have of our past mental acts of any kind, of hope, inquiry, effort, triumph, disappointment, suspicion, hatred, and a hundred others, is an apprehension of the memory of those definite acts, and therefore an apprehension of things; not to say that many of them do not need memory, but are such as admit of being actually summoned and repeated at our will. Such an apprehension again is elicited by propositions embodying the notices of our history, of our pursuits and their results, of our friends, of our bereavements, of our illnesses, of our fortunes, which remain imprinted upon our memory as sharply and deeply as is any recollection of sight. Nay, and such recollections may have in them an individuality and completeness which outlives the impressions made by sensible objects. The memory of countenances and of places in times past may fade away from the mind; but the vivid image of certain anxieties or deliverances never.

And by means of these particular and personal experiences, thus impressed upon us, we attain an apprehension of what such things are at other times when we have not experience of them; an apprehension of sights and sounds, of colours and forms, of places and persons, of mental acts and states, parallel to our actual experiences, such, that, when we meet with definite propositions expressive of them, our apprehension cannot be called abstract and notional. If I am told "there is a raging fire in London," or "London is on fire," "fire" need not be a common noun in my apprehension more than "London." The word may recall to my memory the experience of a fire which I have known elsewhere, or of some vivid description which I have read. It is of course difficult to draw the line and to say where the office of memory ends, and where abstraction takes its place; and again, as I said in my first pages, the same proposition is to one man an image, to another a notion; but still there is a host of predicates, of the most various kinds, "lovely," "vulgar," "a conceited man," "a manufacturing town," "a catastrophe," and any number of others, which, though as predicates they would be accounted common nouns, are in fact in the mouths of particular persons singular, as conveying images of things individual, as the rustic in Virgil says,—

"Urbem, quam dicunt Romam, Melibœe, putavi,
Stultus ego, huic nostræ similem."

And so the child's idea of a king, as derived from his picture-book, will be that of a fierce or stern or venerable man, seated above a flight of steps, with a crown on his head and a sceptre in his hand. In these two instances indeed the experience does but mislead, when applied to the unknown; but it often happens on the contrary, that it is a serviceable help, especially when a man has large experiences and has learned to distinguish between them and apply them duly, as in the instance of the hero "who knew many cities of men and many minds."

Further, we are able by an inventive faculty, or, as I may call it, the faculty of composition, to follow the descriptions of things which have never come before us, and to form, out of such passive impressions as experience has heretofore left on our minds, new images, which, though mental creations, are in no sense abstractions, and though ideal, are not notional. They are concrete units in the minds both of the party describing and the party informed of them. Thus I may never have seen a palm or a banana, but I have conversed with those who have, or I have read graphic accounts of it, and, from my own previous knowledge of other trees, have been able with so ready an intelligence to interpret their language, and to light up such an image of it in my thoughts, that, were it not that I never was in the countries where the tree is found, I should fancy that I had actually seen it. Hence again it is the very praise we give to the characters of some great poet or historian that he is so individual. I am able as it were to gaze on Tiberius, as Tacitus draws him, and to figure to myself our James the First, as he is painted in Scott's Romance. The assassination of Cæsar, his "Et tu, Brute?" his collecting his robes about him, and his fall under Pompey's statue, all this becomes a fact to me and an object of real apprehension. Thus it is that we live in the past and in the distant; by means of our capacity of interpreting the statements of others about former ages or foreign climes by the lights of our own experience. The picture, which historians are able to bring before us, of Cæsar's death, derives its vividness and effect from its virtual appeal to the various images of our memory.

This faculty of composition is of course a step beyond experience, but we have now reached its furthest point; it is mainly limited as regards its materials, by the sense of sight. As regards the other senses, new images cannot well be elicited and shaped out of old experiences. No description, however complete, could convey to my mind an exact likeness of a tune or an harmony, which I have never heard; and still less of a scent, which I have never smelt. Generic resemblances and metaphorical substitutes are indeed producible; but I should not acquire any real knowledge of the Scotch air "There's nae luck" by being told it was like "Auld lang syne," or "Robin Gray;" and if I said that Mozart's melodies were as a summer sky or as the breath of Zephyr, I should be better understood by those who knew Mozart than by those who did not. Such vague illustrations suggest intellectual notions, not images.