Conjectures on original composition (1759)

Abstract

The mind of a man of genius is a fertile and pleasant field, pleasant as Elysium, and fertile as Tempe; it enjoys a perpetual spring. Of that spring, originals are the fairest flowers: imitations are of quicker growth, but fainter bloom. Imitations are of two kinds; one of nature, one of authors: the first we call originals, and confine the term imitation to the second. I shall not enter into the curious enquiry of what is, or is not, strictly speaking, original, content with what all must allow, that some compositions are more so than others; and the more they are so, I say, the better. Originals are, and ought to be, great favourites, for they are great benefactors; they extend the republic of letters, and add a new province to its dominion: imitators only give us a sort of duplicates of what we had, possibly much better, before; increasing the mere drug of books, while all that makes them valuable, knowledge and genius, are at a stand. The pen of an original writer, like Armida's wand, out of a barren waste calls a blooming spring: out of that blooming spring an imitator is a transplanter of laurels, which sometimes die on removal, always languish in a foreign soil. But suppose an imitator to be most excellent (and such there are), yet still he but nobly builds on another's foundation; his debt is, at least, equal to his glory; which therefore, on the balance, cannot be very great.

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