We are often tempted into these boundless regions of ignorance or conjecture, by a fancy which delights in creating rather than in merely retaining the forms which are presented before it: we are the dupes of a subtilty, which promises to supply every defect of our knowledge, and, by filling up a few blanks in the story of nature, pretends to conduct our apprehension nearer to the source of existence. On the credit of a few observations, we are apt to presume, that the secret may soon be laid open, and that what is termed wisdom in nature, may be referred to the operation of physical powers. We forget that physical powers, employed in succession, and combined to a salutary purpose, constitute those very proofs of design from which we infer the existence of God; and that this truth being once admitted, we are no longer to search for the source of existence; we can only collect the laws which the author of nature has established; and in our latest as well as our earliest discoveries, only come to perceive a mode of creation or providence before unknown.
We speak of art as distinguished from nature; but art itself is natural to man. He is in some measure the artificer of his own frame, as well as his fortune, and is destined, from the first age of his being, to invent and contrive. He applies the same talents to a variety of purposes, and acts nearly the same part in very different scenes. He would be always improving on his subject, and he carries this intention where-ever he moves, through the streets of the populous city, or the wilds of the forest. While he appears equally fitted to every condition, he is upon this account unable to settle in any. At once obstinate and fickle, he complains of innovations, and is never sated with novelty. He is perpetually busied in reformations, and is continually wedded to his errors. If he dwell in a cave, he would improve it into a cottage; if he has already built, he would still build to a greater extent. But he does not propose to make rapid and hasty transitions; his steps are progressive and slow;and his force, like the power of a spring, silently presses on every resistance; an effect is sometimes produced before the cause is perceived; and with all his talent for projects, his work is often accomplished before the plan is devised. It appears, perhaps, equally difficult to retard or to quicken his pace; if the projector complain he is tardy, the moralist thinks him unstable. and whether his motions be rapid or slow, the scenes of human affairs perpetually change in his management: his emblem is a passing stream, not a stagnating pool. We may desire to direct his love of improvement to its proper object, we may wish for stability of conduct; but we mistake human nature, if we wish for a termination of labour, or a scene of repose.
The occupations of men, in every condition, bespeak their ******* of choice, their various opinions, and the multiplicity of wants by which they are urged: but they enjoy, or endure, with a sensibility, or a phlegm, which are nearly the same in every situation. They possess the shores of the Caspian, or the Atlantic, by a different tenure, but with equal ease. On the one they are fixed to the soil, and seem to be formed for settlement, and the accommodation of cities: The names they bestow on a nation, and on its territory, are the same. On the other they are mere animals of passage, prepared to roam on the face of the earth, and with their herds, in search of new pasture and favourable seasons, to follow the sun in his annual course.
Man finds his lodgment alike in the cave, the cottage, and the palace; and his subsistence equally in the woods, in the dairy, or the farm. He assumes the distinction of titles, equipage, and dress; he devises regular systems of government, and a complicated body of laws: or, naked in the woods, has no badge of superiority but the strength of his limbs and the sagacity of his mind; no rule of conduct but choice; no tie with his fellow-creatures but affection, the love of company, and the desire of safety. Capable of a great variety of arts, yet dependent on none in particular for the preservation of his being; to whatever length he has carried his artifice, there he seems to enjoy the conveniencies that suit his nature, and to have found the condition to which he is destined. The tree which an American, on the banks of the Oroonoko,(3*) has chosen to climb for the retreat, and the lodgement of his family, is to him a convenient dwelling. The sopha, the vaulted dome, and the colonade, do not more effectually content their native inhabitant.
If we are asked therefore, Where the state of nature is to be found? we may answer, It is here; and it matters not whether we are understood to speak in the island of Great Britain, at the Cape of Good Hope, or the Straits of Magellan. While this active being is in the train of employing his talents, and of operating on the subjects around him, all situations are equally natural.
If we are told, That vice, at least, is contrary to nature; we may answer, It is worse; it is folly and wretchedness. But if nature is only opposed to art, in what situation of the human race are the footsteps of art unknown? In the condition of the savage, as well as in that of the citizen, are many proofs of human invention; and in either is not any permanent station, but a mere stage through which this travelling being is destined to pass. If the palace be unnatural, the cottage is so no less; and the highest refinements of political and moral apprehension, are not more artificial in their kind, than the first operations of sentiment and reason.
If we admit that man is susceptible of improvement, and has in himself a principle of progression, and a desire of perfection, it appears improper to say, that he has quitted the state of his nature, when he has begun to proceed; or that he finds a station for which he was not intended, while, like other animals, he only follows the disposition, and employs the powers that nature has given.
