have any concern in this Discourse, that they address themselves only to
two faculties of the mind, its imagination and its sensibility.

'All theories which attempt to direct or to control the Art, upon any
principles falsely called rational, which we form to ourselves upon a
supposition of what ought in reason to be the end or means of Art,
independent of the known first effect produced by objects on the
imagination, must be false and delusive. For though it may appear bold
to say it, the imagination is here the residence of truth. If the
imagination be affected, the conclusion is fairly drawn; if it be not
affected, the reasoning is erroneous, because the end is not obtained;
the effect itself being the test, and the only test, of the truth and
efficacy of the means.

'There is in the commerce of life, as in Art, a sagacity which is far
from being contradictory to right reason, and is superior to any
occasional exercise of that faculty which supersedes it and does not
wait for the slow progress of deduction, but goes at once, by what
appears a kind of intuition, to the conclusion. A man endowed with this
faculty feels and acknowledges the truth, though it is not always in his
power, perhaps, to give a reason for it; because he cannot recollect and
bring before him all the materials that gave birth to his opinion; for
very many and very intricate considerations may unite to form the
principle, even of small and minute parts, involved in, or dependent on,
a great many things:--though these in process of time are forgotten, the
right impression still remains fixed in his mind.

'This impression is the result of the accumulated experience of our
whole life, and has been collected, we do not always know how or when.
But this mass of collective observation, however acquired, ought to