In truth, while that virtue which consists in the mere
avoidance of vice appeals directly to the understanding, and can
thus be circumscribed in rule, the loftier virtue, which flames in
creation, can be apprehended in its results alone. Rule applies but to
the merits of denial- to the excellencies which refrain. Beyond these,
the critical art can but suggest. We may be instructed to build a
"Cato," but we are in vain told how to conceive a Parthenon or an
"Inferno." The thing done, however; the wonder accomplished; and the
capacity for apprehension becomes universal. The sophists of the
negative school who, through inability to create, have scoffed at
creation, are now found the loudest in applause. What, in its
chrysalis condition of principle, affronted their demure reason, never
fails, in its maturity of accomplishment, to extort admiration from
their instinct of beauty.
"The author's observations on the artificial style," continued
Ellison, "are less objectionable. A mixture of pure art in a garden
scene adds to it a great beauty. This is just; as also is the
reference to the sense of human interest. The principle expressed is
incontrovertible- but there may be something beyond it. There may be
an object in keeping with the principle- an object unattainable by the
means ordinarily possessed by individuals, yet which, if attained,
would lend a charm to the landscape-garden far surpassing that which a
sense of merely human interest could bestow.
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