290 NOTES AND QUERIES. [i2s.vm. APRIL 9, {921. Reality produces more delight than fiction
- and those faculties which bring perception
of reality to spirit and cause delight are of | greater moment than the deductive. The theory approximates to impressionism and not to imagination in art registration of the effects produced in us directly by reality rather than surrender to an imagined series of effects. Pallavicino then touches on the faculty which unites impressions or perceptions, a faculty synthetic rather than analytic ; ingegno or genius. It collects details into connected impressions joins up the ves- tiges of relationship hidden in hostility, the unity of resemblance hidden beneath dissimilarity.* Ingegno has administrative value and contributes directly to creation even if not of the creative faculty. From this Pallavicino illustrates diversity, of perceptions and judgments : " I do not say that perfection of intellect lies in perception and not rather in judgment : but I say that the diversity of judgments arises from different perceptions and that the natural ability to perceive well and much is all that can lead one to judge well and much. . . .Hence the -one efficacy of voice and action (in a drama) is to awaken by means of hearing and sight in our fancy the images of several objects and to unite them in such a way that this or that per- ception results. For all that happens afterwards in the mind books are no guide, discussion useless : but Nature does it herself, "f A sufficiently noteworthy conclusion ! In this insistence on the value of nature and the natural impulse Pallavicino stands .alone in the Seicento and even during the Settecento such a doctrine appears revolu tionary. " It has been recognized that Nature is not a retailer of lies to the intelligence and that good philosophy should devote its labour alone to clear explanation of what is already known naturally, but confusedly, to everyone: in this way it repeats and comments on the lesson and text inculcated in every man by Nature."^ In the definition, however of fantasia or the imaginative power Pallavicino precedes Huiatori and even the Trattato delta fantasia of the latter only repeats what has been explained by the seventeenth century critic. His most important contribution to literary theory lies in this, and just as the interpretation of ingegno differs absolutely from that current .during the Seicento, so does this interpre- tation anticipate that held by the Settecento, notably by Antonio Conti. Coleridge's
- Ibid., pp. 470-472.
t Ibid., p. 472. j Ibid. p. 155. " exemplastic power" is precisely similar to
- he potenza immaginativa of Pallavicino.
" It must be known that there is in man, >eyond the intellect which judges and examines hings and remains immortal after death, a econd power which is called by the Greek word fantasia ' and more commonly ' immaginativa ' >r imagination and represents objects to us of a piritual type under corporal images : for it is orporal and does not survive the body. I shall nclude the perceptive faculties (potenze conos- ntive) under this universal word, imagination or ancy*. .. .After the work of the senses the mage of the object must pass to the fancy and orm, so to speak, a finer and more polished portrait before it may reach the intellect, "f Ingegno and fancy have similar functions : ngegno takes up sensual perceptions, binds hem together in some relationship an 3asses them to the judgment working o ^mpressions and sensual peicoptions, an shuffling them into position. Fanoy takes impressions or images direct from reality and remodelling or polishing them forms something new and passes that new image or series of images to the intellect. Ingegno leads to judgment, fancy to imaginative perception and both are united in intellect. Pallavicino does not deny creative power to fancy, but maintains that fancy has two functions a mechanical transmission of perceptions to intellect and the ability to give a peculiar attraction which influences the intellect. " Thus a fine reason, delivered to the intellect by the fancy in an uncertain, wavering and poor light, excites it no more than the contour of a beautiful countenance shown in a dull shadow while the same reason, coloured by fancy to represent a vivid, sparkling and clear image, moves the intellect to appreciation. "J This second function is sensual as in the representation of a tragedy ; the art of the composer and actor moves the fancy so intensely as to draw tears of joy or sorrow ; Pallavicino describes something not unlike poetic, creative fancy which works from imagination to imagination and only depends on reality for stimulus and not for material. The action is circular : the object is per- ceived by the senses, borne to the fancy, the fancy in turn influences the senses and the double influence of sense and fancy suffices often to sway the intellect. " In dramatic representations, when the actor bewails his fictitious sorrows on the stage, the audience believes for a moment they are not
- 'Arte della perfezion cristiaha,' p. 21.
f Ibid., p. 22. J Ibid., p. 23. Ibid., p. 24.
