第7章

Of the Association of Ideas.

I/T is evident that there is a principle of connexion between the different thoughts or ideas of the mind, and that in their appearance to the memory or imagination, they introduce each other with a certain degree of method and regularity. In our more serious thinking or discourse this is so observable that any particular thought, which breaks in upon the regular tract or chain of ideas, is immediately remarked and rejected. And even in our wildest and most wandering reveries, nay in our very dreams, we shall find, if we reflect, that the imagination ran not altogether at adventures, but that there was still a connexion upheld among the different ideas, which succeeded each other. Were the loosest and freest conversation to be transcribed, there would immediately be observed something which connected it in all its transitions. Or where this is wanting, the person who broke the thread of discourse might still inform you, that there had secretly revolved in his mind a succession of thought, which had gradually led him from the subject of conversation. Among different languages, even where we cannot suspect the least connexion or communication, it is found, that the words, expressive of ideas, the most compounded, do yet nearly correspond to each other: Acertain proof that the simple ideas, comprehended in the compound ones, were bound together by some universal principle, which had an equal influence on all mankind.

Though it be too obvious to escape observation, that different ideas are connected together; I do not find that any philosopher has attempted to enumerate or class all the principles of association; a subject, however, that seems worthy of curiosity. To me, there appear to be only three principles of connexion among ideas, namely, , in time or place, and or .

That these principles serve to connect ideas will not, I believe, be much doubted. A picture naturally leads our thoughts to the original:[5] the mention of one apartment in a building naturally introduces an enquiry or discourse concerning the others:[6] and if we think of a wound, we can scarcely forbear reflecting on the pain which follows it.[7]

But that this enumeration is complete, and that there are no other principles of association except these, may be difficult to prove to the satisfaction of the reader, or even to a man's own satisfaction. All we can do, in such cases, is to run over several instances, and examine carefully the principle which binds the different thoughts to each other, never stopping till we render the principle as general as possible.[8] The more instances we examine, and the more care we employ, the more assurance shall we acquire, that the enumeration, which we form from the whole, is complete and entire.[9]

Instead of entering into a detail of this kind, which would lead us into many useless subtilties, we shall consider some of the effects of this connection upon the passions and imagination; where we may open up a field of speculation more entertaining, and perhaps more instructive, than the other.

As man is a reasonable being and is continually in pursuit of happiness, which he hopes to find in the gratification of some passion or affection, he seldom acts or speaks or things without a purpose and intention. He has still some object in vies; and however improper the means may sometimes be which he chooses for the attainment of his end, he never loses view of an end, nor will he so much as throw away his thoughts or reflections where he hopes not to reap any satisfaction from them.

In all compositions of genius, therefore, it is requisite that the writer have some plan or object; and though he may be hurried from this plan by the vehemence of thought, as in an ode, or drop it carelessly, as in an epistle or essay, there must appear some aim or intention in his first setting out, if not in the composition of the whole work. A production without a design would resemble more the ravings of a madman than the sober efforts of genius and learning.

As this rule admits of no exception, it follows that in narrative compositions the events or actions which the writer relates must be connected together by some bond or tie: They must be related to each other in the imagination, and form a kind of which may bring them under one plan or view, and which may be the object or end of the writer in his first undertaking.

This connecting principle among the several events which form the subject of a poem or history may be very different according to the different designs of the poet or historian. O/VID has formed his plan upon the connecting principles of resemblance. Every fabulous transformation produced by the miraculous power of the gods falls within the compass of his work. There needs but this one circumstance, in any event, to bring it under his original plan or intention.

An annalist or historian who should undertake to write the history or Europe during any century would be influenced by the connection of contiguity in time or place. All events which happen in that portion of space and period of time are comprehended in his design, though in other respects different and unconnected. They have still a species of unity amidst all their diversity.