essayontaste00geraiala

8/12/2019 essayontaste00geraiala

1/331


2/331

THE LIBRARYOFTHE UNIVERSITYOF CALIFORNIALOS ANGELES


3/331


4/331


5/331


6/331


7/331

A NESS AYO NTASTE.B Y

ALEXANDER GERARD, M. A.Profefibr of Moral PHILOSOPHY and LOGIC, in

the MARISCHAL COLLEGE of Aberdeen.

WITHTHREE DISSERTATIONSOn the fame SUBJECT.

B YMr. De VOLTAIRE.

Mr. D ' A L E M B E R T, F. R. S.Mr. De M o N T E s o^u i E u.

Omnes tacito quodam fenfu, fine ulla arte aut ratione,quae fint in artibus ac rationibus rea et pravajud leant. Ci c. de Oratore, lib. iii.

LONDON,Printed for A. MILLAR in the Strand,A. KINCAID and J. BELL, in Edinburgh.M D C C L I X.


8/331


9/331

ADVERTISEMENT,'THEEDINBURGH SOCIETY

for the encouragement ofarts, fciences, ma-nufatfures, and agriculture propofed, in theyear i/55> a gold medal to thebeft ESSAYen T A s T E -, and, not having affigned it thatyear, repeated the propofal in 1756. Thisdetermined the author to enter on the followingenquiry into the nature of tfajle -, the generalprinciples ofwhich only he presented to the So-ciety, fufpefting that the whole might exceed thelimits which they had Jixed, by requiring aneffay. rfhe judges appointed for that fub-jeft, having been pleafed to ajfign the premiumto him, he is encouraged to offer the whole, asit was atfrjl compofed, to the public;

CON-

541036


10/331


11/331

[iii]

CONTENTS.INTRODUCTION. page I.

PART I.fajle refolded

into it'sfimple principles.SECT. I. Of the fenfe or tafle ofNovelty. 3;SECT. II. Ofthefenfe or tajle ofSublimity. 13.SECT. III. Oftbefenfe or tafle of Beauty. 3 1.SECT. IV. Ofthefenfeor tafle ofImitation. 49.

SECT. V. Of'the fenfe or tafle of Harmony. 59.SECT. VI. Oftbefenfe or tafle of Oddity andRidicule. - - 66.

SECT. VII. Ofthefenfeor tafle of Virtue. 74.

PART II.'fheformation of tafle by the union and improve-ment ofifsfimple principles.SECT. I. Of the union ofthe internalfenfes and

the ajjijlance they receive from delicacy ofpajjion. - - 79.

a 2 SECT.


12/331

CONTENTS. ill,SECT. II. Of the influence ofjudgment upon

tajle. - - 90.SECT. III. Tiajle improvable; how; and inwhat refpeffs. - - - 99.

SECT. IV. Offenfjbility offafle. 1 06.SECT. V. Of refinement ofTafle. 1 16.SECT. VI. Ofcorretfnefs of Tafte. 1 34.SECT. VII. Ofthe due proportion of the prin-

ciples of


13/331

AN

ESSAYO NT A S T E.AFINE tafle is neither wholly thegift of nature^ nor wholly the effectof art. It derives its origin fromcertain powers natural to the mind j but thefepowers cannot attain their full perfection,unlefs they be affifted by proper culture.Tafte confifts chiefly in the improvement ofthofe principles, which are commonly calledthe powers of imaginationt and are confideredby modern philofophers as internal or reflexfenfes (a) y fupplying us with finer and moredelicate perceptions, than any which can be

() Mr. Hutcbefon was the firft who confidered the powersof imagination as fo many fenfes. In his Enquiry concerningbeauty and virtue, and his E/ay en the fajfions, he calls theminternal fenfes. In his later works, he terms them fubfequentand reflex fenfes ; fubfequent, becaufe they always fuppofe(bme previous perception of the objects, about which they are


14/331

2 An Efftty on 'Tafte.properly referred to our external organs.Thefe are reducible to the following princi-ples; the fenfes of novelty, of fublimity, ofbeauty, of imitation, of harmony, of ridi-cule, and of virtue. With the explicationof thefe, we muft, therefore, begin our en-quiry into the nature of tafte. We mallnext endeavour to difcover, how thefe fenfesco-operate in forming tafte, what other pow-ers of the mind are combined with them intheir exertions, what conflitutes that refine-ment and perfection of them, which we'term good tafte, and by what means it is ob-tained. And laft of all, we (hall, by a re-view of the principles, operation, and fub-jedts of tafte, determine its genuine rankamong our faculties, its proper province, andreal importance.employed ; thus a perception of harmony prefuppofes ourhearing certain founds, and is totally diftinct from merely hear-ing them, fince many, who enjoy the external fenfe ofhearingin the greateft perfection, have no mufical ear ; reflex, be-caufe in order to their exertion, the mind reflects upon andtakes notice of fome circumftance or mode of the object thatwas perceived, befides thofe qualities, which offered them-felves to its attention at firft view. Thus the perception of anyobject does not give us the pleafant fentiment of novelty, tillwe have reflected on this circumftance, that we never perceivedit formerly. In the following Eflay the terms internal fenfeand reflex fenfe are ufed promifcuoufly. PART


15/331

( 3 )

PART I.Tafte refolded Into its Jimpk principles.

SECT. I.Of the fenfe or tajle of novelty. 'TH E mind receives pleafure or pain,not only from the impulfe of external

objects, but alfo from the confcioufnefs of itsown operations and difpofitions. When thefeare produced by external objects, the pleafureor the pain, which arifes immediately fromthe exertions of the mind, is afcribed to thofethings, which give occafion to them. Wehave a

pleafant fenfation,whenever the mind

is in a lively and elevated temper. It attainsthis temper, when it is forced to exert its ac-tivity, and put forth its ftrength, in order tofurmount any difficulty : and if its effortsprove fuccefsful, confcioufnefs of the iuccefsinfpires new joy. Hence moderate difficul-ty, fuch as exercifes the mind, without fa-tiguing it, is pleafant, and renders the object


16/331

4 Of the taftf of novelty. PART. I.by which it is produced agreeable. Evenplainnefs and perfpicuity becomes difpleafingin an Author, when it is carried to excefs,and leaves no room for exercifing the read-er's thought : and though great obfcuritydifgufts us, yet

we are highly gratified by de-licacy of fentiment, which always includesfome degree of it, occafions a fufpenfe ofthought, and leaves the full meaning to begueiTed at, and comprehended only on atten-tion [&]. The exercife of thought, which mo-

( >) Some critics have explained this gratification, either byftlppofing imaginary refinements of reflection, or by principleswhich are only confequences of the pleafure that attends themoderate exercife of thought. 'Ov vsain* iw' *p(2a? /*.-x^rr/o^y, AA* tnee. xctra^iretv, xj ru dx^xr^ aviiivoti, > Xoyi^sj'-6 f| atra* yvvieis yeig TO tXX;.9f JTTO era y'wrou tv/jki^'-Tff^-' TfiT&? yap ixwru Jox Jia a\ t TJ a^og^tr) trct-^n^K^Ta. cta-Tu TB avn'itou' TO ol mdvrot u$ a-t/ovra X^ynv, x.'ira.yivuffX.


17/331

SECT. I. Of tie tajle of novelty. 5derate difficulty produces, is a principal fourceof the pleafure we take in ftudy and invefti-gation of every kind ; for though the utilityof many fubjects enhances our fatisfaction,yet the former principle, without any aid fromthis, often renders very great labour, not onlyfupportable, but agreeable. Witnefs the de-light, with which antiquaries beftow indefa-tigable pains on recovering or illuftrating an-cient fragments, recommended only by theirage, and cbfcurity, and fcarce apprehendedto be, on any other account, of great impor-tance. This is in general the caufe of ourpleafure in all enquiries of mere curiofity.NOT only the performance of aclionr, but

alfo the conception of moft objects, to whichwe have not been accuftomed, is attendedwith difficulty. On this account, when newobjects are in themfelves indifferent, the ef-forts, that are necefiary for conceiving them,exalt and enliven the frame of the mind,make it receive a ftrong impreffion from them,and thus render them in fome meafure agree-able. When the objects are in themfelvesmais on fait naiftre dans fon cceur une indignation fccrettc, luydonnant fujet de croire qu'on fe dcfie de fa capacitc. Bouhourt,La man. de bien penf. Quatr. Dial.


18/331

6 ~ Of the tajte of novelty. PART. I.agreeable,

thefe efforts heighten our fatisfaotion. A fine country or ah agreeable pro-fpe


19/331

SECT. I. Of the tajle of novelty. yinto indolence and languor, without any thingto awaken our attention, or give play to ourfaculties. This flate is almoft unavoidable,when we are long confined to the contem-plation of a lingle object, or when the fameobject recurs very often to our view. In thiscafe, it foon becomes fo familiar, that theimpreffion, which it makes upon the mind,is too faint to give it any exercife. Memoryretains all the parts of the object fo distinctly,that it outruns fenfe, and, before we havefurveyed them, informs us, that we are. per-fectly acquainted with them already. Wefind ourfelves cloyed, and immediately turnfrom the object with difguft. Any new ob-ject will, in this fituation, be agreeable ; itoccurs opportunely to occupy the mind, whenit was at a lofs how to employ itfelf j itfrees us from the pain of fatiety and languor;it gives an impulfe to the mind, andputs it in motion. This is always pleafant,but its pleafure is greatly augmented by theuneafinefs from which it has relieved us.This is a pleafure which moft men tafte eve-ry day, by varying their fludies, their bufi-nefs, or their recreations. When genuineelegance in furniture or architecture hasbeen long the fafhion, men fometimes grow


20/331


21/331

SECT. I. Of the tafle of novelty. 9furprife, which augments our delight or un-eafinefs, by farther enlivening the thoughtand agitating the mind. For this reafon, thepoet and the orator, not only folicitouflyavoid fentiments and modes of expreflionwhich are trite and common, and fearchthrough all the {tores of nature for images,figures, and illuftrations, which have notbeen appropriated by their predeceflbrs ; butalfo ftudy to contrive the ftru&ure of theircompofitions in fuch a manner, that thecommonefl thoughts and arguments may fur-prife by the unexpedlednefs of their intro-duction (c). Even the hiftorian, who isconfined to known materials and facls, en-deavours to give them the appearance of no-velty, by the light in which he reprefentsthem, and by his own reflections on the cau-fes, the effe&s, and the nature of the tranf-actions he narrates. Novelty can beftowcharms on a monfter, and make things plea-fant, which have nothing to recommendthem but their rarity.

IN like manner, any agreeable paflion oremotion, which a new objedt happens to

(c) Eft epim grata in eloquendo novitas et commutatio, etjnagis inopinata deledant. >uint. Injl. Otat. lib. viii. cap. 6.


22/331

lo Of the tajle of novelty. PART. I.produce, will run into the pleafant fentimentthat naturally arifes from its novelty, and willaugment it. A new fuit gives pleafure to achild, by its being different from his former;it likewife excites his pride, and gives him anexpectation

ofattracting

the notice of hiscompanions. It gratifies the vanity of a finelady, to be among the firft in a fafbion ; itfeems to proclaim her rank, to diftinguimher from the vulgar, and to commandrefpect.

THE pleafure of novelty is fometimes alfoheightened by reflection. When the con-ception of an object is attended with veryconfiderable difficulty, the pleafure whichwe feel in the exertion of mind, neceflaryfor overcoming this difficulty, is increafed bythe joy, with which we reflect on our fuc-cefs in having furmounted it. When objectsare of fuch a nature that we reckon our ac-quaintance with them an acquifition in know-ledge, the pleafure of their novelty arifes inpart from the fatisfaction, with which wereflect on our having made this acquifition.Both thefe circumftances, the concioufnefsof fuccefs, and the opinion of improvement,contribute to that delight, which a mathema-

tician


23/331

SECT. I. Of tie tafte of novelfy. i rtician enjoys, the firft time that he compre-hends a difficult and curious demonftration.

IT may be farther obferved, that noveltyin the works of genius and art derives addi-tional charms from another principle, to beexplained afterwards, the ingenuity which itiliews. To flrike out a new track, to exe-cute what was not attempted before, difplaysoriginal genius, which we always obfervewith pleafure.

SECT.


24/331


25/331

SECT. II.Of the fenfe or tafte of grandeur and

fublimity.

GRANDEUR or fublimity gives us aftill higher and nobler pleafure, bymeans of a fenfe appropriated to the percep-tion of it j while meannefs renders any ob-ject, to which it adheres, difagreeable anddiftafteful. Objects are fublime, which pof-fefs quantity or amplitude, and fmplicity inconjunction (d).

CONSIDERABLE magnitude or largenefs ofextenfion, in objects capable of it, is neceflaryto produce fublimity. It is not on a fmallrivulet, however tranfparent and beautifullywinding; it is not on a narrow valley, thoughvariegated with flowers of a thoufand pleafinghues ; it is not on a little hill, though cloath-ed with the moft delightful verdure, that we

(


26/331

J4 Of the tajte of PART. I.beftow the epithet fublime : but on the Alps,the Ni/e, the ocean, the wide expanfe of hea-ven, or the immenfity of fpace uniformly ex-tended, without limit or termination (e).

WE always contemplate objects and ideaswith a difpofition fimilar to their nature.When a large object is prefented, the mindexpands itfelf to the extent of that object,and is filled with one grand fenfation, whichtotally pofleffing it, compofes it into a folemnfedatenefs, and ftrikes it with deep filentwonder and admiration : it finds fuch a diffi-culty in fpreading itfelf to the dimenfions ofits object, as enlivens and invigorates itsframe : and having overcome the oppofitioriwhich this occafions, it fometimes imaginesitfelf prefent in every part of thefcene, whichit contemplates ; and, from the fenfe of thisimmenfity, feels a noble pride, and entertainsa lofty conception of its own capacity (f).

: ttiUtcH *av A ov Ta> iixet oi$-rix

LARGE


27/331

SE cT . 1 1. grandeur and fublitnity. iLARGE objects can fcarce indeed producetheir full effect, unlefs they are alfo/w/>&, .ormade up of parts, in a great meafure fimilar.Innumerable little iflands fcattered in theocean, and breaking the profpect, greatly di-minim the grandeur of the fcene. A va-riety of clouds, diverfifying the face of theheavens, may add to their beauty, but muftdetract from their grandeur (g).

OBJECTS cannot poflefs that largenefs,which is neceffary for infpiring a fenfation ofthe fublime, without fimplicity. Wherethis is wanting, the mind contemplates, notone large , but many fmall objects (b) : it is

(g) It is not meant that, in thefe cafes, the fublimity of theocean, or of the heavens, is deftroyed ; it is only affertedthat it is diminifhed. A confiderable degree of fublimity willremain, on account of the fimilarity, that ftill fubfifts amongthe parts.

(b) Simplicity is recommended, by an antient critic, as re-quifite to fublimity in painting, on the very principle hereafligned, which muft render its ncceffity univerfal, as it ex-tends equally to every other fubjeft. Nxue? y o

^. AHMHT. OAA. vt^l sepv. or. It is on the fame princi-ple that Longinus accounts for the production of the fublime,by expreffing in the fingular, what is ordinarily exprefled inthe plural. To yap /x ru XtygiifAtiwr s; rai wvptvct i-jriFvrzQa*

Qr. rit^i V$>. TfC*| *''


28/331

1 6 Of the to/It of PART I.pained with the labour requtfite to creepfrom one to another ; and is difgufted with theimperfection of the idea, with which, evenafter all this toil, it muft remain contented.But we take in, with eafe, one entire con-ception of a fimple object, however large : inconfequence of this facility, we naturally ac-count it one : the view of any (ingle partfuggefts the whole, and enables fancy to ex-tend and enlarge it to infinity, that it may fillthe capacity of the mind.

MANY things are indeed denominated fub-lime, which, being deftitute of extenfion,feem incapable of amplitude, the firft and fun-damental requifite of the fublime. But fuchobjects will be found, on examination, topoffefs qualities, which have the fame powerto exalt the difpofition of the obferver.Length of duration ; prodigious numbers ofthings fimilar united, or fo related, as to con-ftitute a whole, partake of the nature of quan-tity, and, as well as extenfion, enlarge andelevate the mind, which contemplates them.Eternity is an object, which fills the wholecapacity of the foul, nay exceeds its compre-henfion ; and ftrikes it with aftonimment andadmiration. We cannot furvey a vaft army

or


29/331

SECT. II. grandeur and fublimity. 17or navy, without being fenfible of their gran-deur ; which arifes, not fo much from thelargenefs of the fpace they occupy, as fromthe numbers of men or {hips, which are inthem united under one direction, and co-ope-rate to a common end ; the union and fimi-litude of the parts adding fmplicity to thetyaftnefi of their number. Hence too is de-rived the fublime of fcience, which lies inuniverfal principles and general theorems,from which, as from an inexhauftible fource,flow multitudes of corollaries and fubordinatetruths.

BUT do not we attribute grandeur andfublimity to fame things, which are deftituteof quantity of every kind ? What can be moreremote from quantity, than the pafiions andaffections of the foul ? Yet the moft imperfectand uncultivated tafle is fenfible of a fubli-mity in heroifm, in magnanimity, in a con-tempt of honours, of riches, of power, in anoble fuperiority to things external, in pa-triotifm, in univerfal benevolence. To ac-count for this, we muft obferve, that, asno pafllon can fubfift without its caufes, itsobjects, and its effects, fo, in forming theidea of any pafiion, we do net latisfy our-


30/331

l8 Of the tafte of PA*T t.felves with conceiving it as a fimple emotionin the mind, but we run over, in thought,the objects about which it is employed, thethings by which it is produced, and the ef-fects by which it difcovers itfelf. And asthefe always enter into our conception of thepaffion, and are often connected with quan-tity, they naturally render the paffion fub-lime. What wonder that we efteem hero-ifm grand, when, in order to imagine it, wei'uppofe a mighty conqueror, in oppolitionto the moft formidable dangers, acquiringpower over multitudes of nations, fubjedtingto his dominion wide extended countries, andpurchafing renown, which reaches to theextremities of the world, and ihall continuethrough all the ages of futurity ? What canbe more truly great than the object of thatbenevolence, which, unconfined by the nar-row limits of

vicinityor relation, compre-hends multitudes, grafps whole large focie-

ties, and even extends from pole to pole ?

IT muft alfo be remarked, that whateverexcites in the mind a fenfation or emotionilmilar to what is excited by vaft objects ison this account denominated fublimej it be-ing natural to reduce to the fame fpecies, to


31/331

SECT. II. grandeur and fubllmlty. 19exprefs by

the fame name, and even fre-quently to confound together thofe objefts,which we contemplate with the fame or alike difpofhion. Hence the raging of thefea in a ftorm, and the loud roaring thunder,which infpire an awful fedatenefs, are termedfublime. Objects exciting terror are, forthis reafbn, in general fublime ; for terroralways implies aftoniihment, occupies thewhole foul, and fufpends all its motions.

IN like manner, we admire as fublime fu-perior excellence of many kinds j fuch emi-nence in ftrength, or power, or genius, dsis uncommon, and overcomes difficulties,which are infurmouhtable by lower degreesof ability ; fuch vigour of mind, as indicatesthe abfence of low and groveling paflions, andenables a perfon to defpife honours, riches,power, pain, death ; fetting him abovethofe enjoyments, on which men generallyput an high value, and thofe fufferings,which they think intolerable. Such degreesof excellence excite wonder and aftonimment,the fame emotion which is produced by am-plitude. A great degree of quality has herethe fame effecl: upon the mind, as vaftnefs of

and that the fame by


32/331

20 Of the tafle of PART Iftretching and elevating the mind in the con-ception of it.

WE (hall but juft obferve that the fublimepaffions, habitually prevailing in the temper,and uniformly difplaying themfelves in fuita-ble expreffions and effeds, conftitute dignityand fublimity of character.

BUT in order to comprehend the wholeextent of the fublime, it is proper to take no-tice that objects, which do not themfelvespofiefs that quality, may neverthelefs acquireit, by ajficiation with fuch as do. It is thenature of afTociation to unite different ideas& clofely, that they become in a mannerone. In that fituation, the qualities of onepart are naturally attributed to the whole, orto the other part. At leaft aflbciation ren-ders the tranfition of the mind from one ideato another fo quick and eafy, that we con-template both with the fame difpofition, andare therefore fimilarly affected by both.Whenever, then, any object uniformly andconftantly introduces into the mind the ideaof another that is grand, it will, by its con-nexion with the latter, be itfelf renderedgrand. Hence words and phrafes are deno-minate


33/331

SECT. II. grandeur and fublimity* 21minated lofty and majeftic. Sublimity ofilyle arifes, not fo much from the found ofthe words, though that doubtlefs may havefome influence, as from the nature of theideas, which we are accuftomed to annex tothem, and the character of the perfons,among whom they are in moft common ufe.This too is the origin of the grandeur we af-cribe to objects high and elevated in place;of the veneration, with which we regardthings in any direction diftant ; and of thefuperior admiration excited by things remotein time \ efpecially in antiquity or pail du-ration (/).

(/) The author of a Treatife of Human Nature has very in-genioufly reduced thefe phenomena into the principle of affo-ciation. B. ii. P. 3,S. g. The fum of his reafoning, fo faras it is neceffary tc take notice of it here, is as follows. Be-caufe we are accuftomed every moment to obferve the difficultywith which things are raifed in oppofuion to the impulfe ofgravity ; the idea of afcending always implies the notion offorce exerted in overcoming this difficulty ; the conception ofwhich invigorates and elevates the thought, after the famemanner as a vaft object, and thus gives a diftance above usmuch more an appearance of greatr.eft, than the fame fpacecould have in any other direction. The fenfation of ampli-tude, which by this means comes to attend the interpofeddiflance, is transferred to, and confidcred as excited by the oh-jeft that is eminent and above us ; and that object, by thi*transference, acquires grandeur and fublimhy. And here wemay obferve in paflmg, that this natural tendency to affociatrideas of grandeur with things above us is the reafon, \?hy theC 3 Bur


34/331

22 Of the tajle of PART I.

BUT the fine arts prefent the moft nume-rous examples of grandeur produced by aflb-ciation. In all of them, the lublime is at-tained, chiefly by the artift's exciting ideas offublime objecls ; and in fuch as are mimical,this quality is chiefly owing to our being ledby the exaclnefs of the imitation to formideas and conceive images of fublime originals.

, Thought is a lefs intenfe energy than fenfe :Yet ideas, efpecially when lively, never failto be contemplated with fome degree of thefame emotion, which attends their originalfenfations j and often yield almoft equal plea-fure to the reflex fenfes, when impreffed up-on the mind by a fkilful imitation.term fublime * metaphorically applied to excellence of anykind, efpecially to that fpecies of it, which elates the mindwith noble pride in the conception. To our transferring, inlike manner, the interpofed fpace, and its attendant fenfation,to the diftant objeft, is owing the veneration, with which weregard, and the value we fet upon things remote in place.And becaufe we find greater difficulty, and muft employ fu-perior energy, in running over theparts of duration, thanthofe of fpace ; and in afcending through paft duration, thanin defcending through what is future j therefore we value higher,and contemplate with greater veneration things diftant in timethan things remote in fpace, and the perfons and objefts ofantiquity, than thofe which we figure to ourfelves in the agesf futurity, . GRANDEUR


35/331

SECT. II. grandeur andfublimity. 23GRANDEUR in works of architecture may,in fome inilaaces, arife from their largenefs :

for we generally eftimate the magnitude ofthings, by comparifon with thofe of thefame fpecies : and though no edifice is equalin quantity to many works of nature by nomeans accounted great ; yet lofty palaces andpyramids, far exceeding the bulk of otherbuildings, have a comparative magnitude, whichhas the fame influence upon the mind, as ifhey had been abfolutely large. But (till theprincipal fource of grandeur in architectureis affociatlon^ by which the columns fuggedideas of ftrength and durability, and thewhole ftrufture introduces the fublime ideasof the riches and magnificence of the owner,

IN painting, fublimity is fometimes intro-duced by an artful kind of difproportion,which affigns to fome well chofen member agreater degree of quantity than it commonlyhas (k) : but chiefly thole performances aregrand, which either by 'the artful difpofitionof colours, light, and (hade, reprefent fub-

() Thus, according to Hogartl, the inexpreflible grcatnefsof the Apollo Belvidere arifes from the uncommon length ofdie legs and thighs. Anahfi* of Beauty, ch. 1 1. lime


36/331

24 Of the tajle of . PART I.lime natural objects, and fuggeft ideas ofthem (/) j or, by the exprefiivenefs of thefeatures and attitudes of the figures, lead usto conceive fublime paffions operating in theoriginals. And fo complete is the power ofaffociation, that a fkillful painter can exprefsany degree of fublimity in the fmalleft, aswell as in the largefl compafs. It appearsin the miniatures of Julio C/ovio, as really asin the paintings of Titian or Michelangelo.

THE fublime of thofe arts, in which theinftrument of imitation is language, muftevidently arife entirely from affociation ; as itis the only principle, from which words de-rive their force and meaning. And in thefe

(/) It may be here obferved that, though the figures, inpainting, can feldom have fo great quantity, as is Aifficient ofitfelf to produce fublimity ; yet the comparative magnitude,and alfo the JimpJieitj of the figures, parts, and members, areamong the principal means by which a work fuggefts fublimeideas, and thus becomes itfelf fublime. The prefervation ofmagnitude and fimplicity is therefore recommended as funda-.mental to fublimity, in the art of painting.

Laevia, plana,Magnaque figna.Ex longo dedufta fluant, non fefla minutint,Quippe folet rerum nimio difyerfa tumultaMajeftate carere gravi .PR ESN. de arte graph, ver, 108. 156. 204. 419.

arts,


37/331


38/331

26 Of the tajh of PAI*T I,THE fublimity cf the rival fentiments ofthe two latin poets, with refpett to Cafot

arifes in like manner from the grandeur ofthe fubjecT:, from the dignity of the characterdeicribed.

Et cunfta terrarum fubaRaPrater atrocem animum Catonis. HOR,

Secretofqut pios, bis dantemjura Catonem. VIRG.ON account of the fuperior grandeur of

the fubject, the latter claims an undoubtedpreference. The former indeed derives ad-ditional force from the art of the compofition,by means of which the firft hint of an excep-tion from Ctefars power occafions a fufpenfe ofthought, a kind of anxious expectation, which,mixing with the fublime fenfation, heightensit. Subjects thus grand in themfelves mudbeftow fublimity on a compofition, wheneverthey are defcribed in fuch a manner, as con-veys entire, or augments, the feeling, whichthey naturally excite.

IF an author's main fubject is deftitute ofinnate grandeur, it may be rendered grand,by comparing or fomeway afTociating it with

objecls


39/331

SECT. II. grandeur and fublimlty. 27objects naturally fuch. By the fame meansthe real greatnefs of a fubjeft is increafed.Hence metaphor, comparifon, and imageryare often productive of (ublimity (n). Ciceroraifes Ctefars idea of clemency, by reprefent-ing it as godlike (o). Seneca (p) gives a fub-lime idea of Cicero's genius, by comparing itwith the majefty and extent of the Romanempire. The effect of the comparifon isfometimes augmented, by the writer's infinu-ating

thefuperiority

of his fubjecT: to that,with whkh he compares it, and artfully an-nexing fome circumftances to the latter,which, without rendering it mean (for thatwould deftroy the effect: of the comparifon)yet deprefs it below the former. In this wayHomer contrives to give a great idea of theGrecian army, by introducing Priam fpeak-ing magnificently of the armies he had for-merly feen in Phrygia, but at the fame timeacknowledging it far fuperior to them (q),

() AHMHT. AA. J. v( .(0} Homines ad Deos nulla re propius acccdunt, quam ft-

lutehominibusdanda. Pro Ligar.(/)

Illud ingcnium, quod folum populus Romanus par ia*perio fuo habuit. Controv. lib. i.(q) *HJ>) cj ^gvynjn tK7XuSc a/?riXoiarar,

' l.xSa i'd'or Tftetra, Oft/yac , citigs atXo7rJ?>4{t?- ^ Mv7?t>- oe'mSfcio,By


40/331

- 28 Of the tajle of PART I.By the fame means, an Italian poet reprefentsVenice^ which he celebrates, as greater thanRome.

Sipelago I'yberim prefers, urbem adfpicc utramqite ;Illam homines dices^ bane poftiiffe Deos.SANAZAR.

Venice becomes grand by the metaphori-cal ufe of pelagus, and by the relation, whichit is faid to bear to the Gods ; and its grand-eur is increafed, by companion with Rometacknowleged great, but at the fame time pur-pofely degraded, by the oppofition of fyberto pelagitSy and its relation to men. Thepower of imparting fublimity to objects which

. naturally have it not, by giving them a rela-tion to others, is an advantage peculiar to thearts, which imitate by language ; for the reftcan attain the fublime, only by copying fuchobjects as are themfelves poffefled of thatquality (r).

*Oi gat TOT' irpatTsWlo itct o^Saj Eayyaj^js,Kati yetg lyuv lirixu%&' etv ptTci n


41/331

SECT. II. gffindcur and fublimity. 29.6yu ir* retWYI. In this latitude he explains it, treating of the neryoui,the vehement, and even the beautiful and elegant.

die


42/331

3& ' Of the tafle of, &cT ' PART 1the orders below them; or the defect offublimity in compofitions of art or genius,which propofe to imitate originals or treatfubje&s confefledly noble, gives us diftafteand infpires contempt. Meannefs arifes oftenlikewife from aflbciation, when low arid gro-veling ideas are fuggefted ; as when imagesand fimiles, taken from mean objedts, areapplied to an important fubjeft. Thus alib,words and phrafes become mean, when theyexcite mean ideas, either by their proper fig-nification, or by their being ordinarily ufedonly by thofe of inferiour rank.

SECT.


43/331

1 31]

SECT. III.Of the fenfe or tafle of Beauty*

BEAUTIFUL objeds are of differentkinds, and produce pleafure by meansof different principles of human nature.

THE firft fpecies of beauty is that otfigure*and belongs to objects pofleffed of uniformity^variety', and proportion. Each of thefe qua-lities pleafes in fome degree j but all of themunited give exquifite fatisfaction.

FACILITY in the conception of an object,if it is moderate, gives us pleafure : the mindthinks well of itfelf, when it is able to formit's conception without pain or labour. Thisconftitutes the value of perfpicuity of thoughtand language, which is agreeable in oppoii-tion to obfcurity, as this occafions an uneafyfearch into the meaning of the parts or thetendency of the whole, which requires greaterlabour than we are willing to beftow. Hencetoo it is that uniformity and fimpllclty becomeagreeable. Objects endued with thefe qua-*


44/331


45/331

SECT. III. Of the tafle ofbeauty. 3 3as in a fide view of a human face, the atti-tude of the body, or the profile of a build-ing ; yet ftill it muft be fo contrived, that,though it does not exhibit a fenfation, it maynotwithstanding, according to the rules ofperfpe&ive, fuggeft

the idea of exacl uni-formity. To beftow fimplicity upon a mul-titude of feparate phenomena, the philofo-pher traces them up to common qualities;and general caufes ; and it is only when hehas done fo, that the beauty of fcience be-gins (/)

BUT uniformity, when perfect and Un-mixed, is apt to pall upon the fenfe, to growlanguid, and to fink the mind into an uneafyftate of indolence. It cannot therefore aloneproduce pleafure, either very high, or of verylong duration. Variety is neceflary to enli-ven it. Where this is wanting, uniformitydegenerates into dull formality. Variety irifome meafurc gratifies the fenfe of novelty,as our ideas vary in pafiing from the contem-plation of one part to that of another. This

(/) Uniformity and Tim;, licity are, flriflly fpeafdhg, diftinftideas ; the former implying the fimilarity of the correspondentparts ; the latter the fcwnef. of linhke parts in the whole ob-jett. But as both pleafe by the fame principle, it was? judgeduoneceflary precifdy to diftingaifl) them here.


46/331

34 Of the tajle ofbeauty. PART I.tranlition puts the mind in action, and givesit employment, the confcioufnefs of which isagreeable ().

IN the works of nature we find varietyftudioufly fought after,

as in the uneven fur-face of the globe ; the infinity of fhapes andhues in the flowers that adorn it ; the intri-cate windings of rivers ; the wildneffes of na-ture, which we even fet ourfelves to copy byartj and in ten thoufand other inftances.To procure it, the Architect enriches hisbuildings with ornaments of different forms.In all works of tafte, too great uniformity isavoided by numberlefs graceful attitudes, byvarying of members, and by contrafting theparts (x).

(a) Intricacy, which often greatly contributes tcf beauty,may be confidered as a fpecies of variety ; at lead its agreea_blenefs is derived from the fame caufe ; and variety is moflBaturalJy combined with uniformity, intricacy with fimplici-'y-

(*) Inque Figurarum cumulis non omnibus idemCorporis inflexus, motufque ; vel artubus omnesConverfis pariter non connitantur eodem ;Sed quasdam in diverfa trahant contraria membra,Tranfverfeque aliis pugnent, et czetera frangant.

^, FRESN. de Art. Graph, ver. 137.So great is the power of variety in producing beauty, that aamgenious artift, who has lately anatyeJit, not altogether witli-

i WERE


47/331

SECT. III. Of the tajle ofbeauty. jWERE the variety indeed boundlefs, themind would be fatigued and pained with con-

tinual (hitting from part to part, without the;profpect of any end of its labour : it wouldbe difpleafed and difgiifted, when it foundthat, after numberlefs efforts to conceivethe object, the endlefs diflimilitude and per-plexed comppfition of the parts ftill baffledits endeavours, and hindered it from perfect-ing

its idea. A certaindegree

ofuniformitymufl therefore be blended with the variety of

objects; otherways this variety, inftead ofproducing moderate energy, would fubject usto infurmountable toil, which would makeour pleafure foon degenerate into pain*4

THESE two qualities, by thus moderatingthe effects of one another, increafe the plea-out reafon, refolves almoft the whole of it into that principleand defines the art of compoftng to be nothing elfe but th* art of varying well. He holds uniformity no further ne-teflary, than it is requifite to convey the idea of reft or motion,without poffibility of falling. But here he goes too far. Itwere eafy to point out inftances, where uniformity is ftudied,though it cannot have any degree of this effeft : and he ac-knowleges that beauty refides only in a comfofed variety ; whichneceflarily implies a mixture of uniformity. He indeed fuf-ficiently proves that uniformity is not the only, or chief princi-ple of perfeft beauty. Yet it often by itfdf conftitutes fomef


48/331


49/331

SECT. III. Of the tafle of beauty. 37appear through their fmallnefs, when wecontemplate the whole ; and when none ofthem are fo large, that, when we fix ourview on them, we cannot diftinctly perceiveat the fame time their relation to the whole,and to the other parts. Figures, whofe fidesare very numerous, lofe a great part of thebeauty, which would arife from this variety,by the want of proportion between the fidesand the diameter. Works in the Gothictafte, crowded with minute ornaments, fall asmuch fhort of perfect beauty, by their dif-proportion, as by their deviation from fimplicity.

As nothing gives us greater pleafure, thanwhat leads us to form a lofty conception ofour own faculties, fo nothing is more difa-greeable, than what reminds us of their im-perfection. On this account it is, that thewant of this kind of proportion difgufts us.It leads us to entertain a low, and of confe-quence ungrateful, opinion of our capacity,by rendering it impoflible to form one entireconception of the object. The variety of itsparts may amufe us, and keep us from at-tempting to comprehend the whole ; and$hen, efpecially if it be joined with uniform-


50/331

3 8 Of tie tajle of beauty PART I.- ity, it will yield us fome degree of pleafure,and conftitute an inferior and imperfect fpe-cies of beauty. But ftill proportion is necef-fary for perfecting the beauty, and fully gra-tifying a correct and improved tafte.

THUS the abfence of any one of thefe in-gredients, the want either of uniformity, ofvariety, or of proportion, diminifhes the beau-ty of objects : but where all of them arewanting, deformity muft prevail. Figuresjnay be defirable or valuable on other aocounts ; but without thefe qualities they can-not be beautiful.

UTILITY, or the fanefs of things for an-fwering their ends (#), conftitutes anotherfpecies of beauty, diftindl from that of figure,It is of fo great importance that, though con-venience is fometimes in lefTer inftances facri*ficed to regularity, yet a great degree of in*convenience generally deftroys all the plea-i-fure, which mould have arifen from the fym-metry and proportion of the parts. It is thepeculiar excellence of nature's works, that, at

(a) This, which is the principle of a diftinfl order of beau.ty, is confounded with uniformity, which is but one ingredientin that of figure?, by CROUSAZ j Traite du Beau, paffirn.

toft


51/331

SECT .III. Of tie tafte of beauty. 39leaft in the nobleft of them, the moft perfectfitnefs for their refpective ends is united andrendered confident with the great elegance ofform (a]. We pay a very great regard tofitnefs and utility, in eftablifhing the ftandardof beauty and proportion in the feveral kinds.And though the moft perfect art fails infinite-ly fhort of nature, in combining the ufefulwith the regular; yet none of its productionsis reckoned a mafter-piece, in which thefeexcellencies do not meet (b] ; and to obtainutility, forms of inferior beauty are, for par-ticular purpofes, conftantly preferred, evenwhere beauty is far from being neglected.The cube, not any of the more varied poly-gons, is chofen for a pedeftal, on account ofits {lability. Utility has determined, thoughwith confiderable latitude, the dimenfions andgeneral form of moft inftruments and works,without adhering to which, the greateft pro-fulion of decoration cannot render them beau-tiful in the kind. Unfitnefs renders orna-ments difpleafing when wrong applied, which,in their proper place, might be truly elegant.

(a)In plcrifque rebus incredibilher hoc natura eft ipfa fa.bricata, ut ea, quoe maximam utilitatem in fe continerent,

eadem haberent plurimum vel dignitatis, vel fsepe etiam ve-nuftatis. Cic. dt Orat. lib. iii.

(i>) Cic. ibid. D The


52/331

49 Of the tajle of beauty. PART I,The fplendor of a finglc figure in hiftory-painting will but augment its faultinefs, if ittakes off the eye from what ought to be theprincipal, and obftructs the effect whichfhould be produced by the whole. In com-pofition the moft refined reflections, the moftelaborate defcriptions, the warmeft pathosdifpleafe j if they break the unity, if they donot promote, much more if they retard, themain defign, to which all the parts mould befubordinate f

Sed nunc non trat his locus .

The impropriety of their pofition whollydefaces their intrinfic beauty. In general,it is from the end and defign of works of ge-nius that their peculiar rules can be deduced :this directs the author in the choice, difpo-fition, and embellishment of the parts : and bythis the critic muft regulate his judgment.It is from the relation they bear to differentends, that narration, poetry, and eloquenceare fubject to very different laws : and fromthe fame fource is derived the diverfity of therules belonging to the fubordinate branches ofeach. Could fitnefs be difpenfed with, a col-lection of fine fentiments and figures cloathed


53/331

SECT. III. Of the tqfle of beauty. 41in agreeable language, might fully gratifyour tafte, however unconnected with oneanother.

THAT we may comprehend the nature ofthat pleafure which is produced by fitnefs, itmuft be obferved, that, whenever we difcoverin effects a greater degree of uniformity orwell adapted complication, than could be ex-pected from the laws of chance ; efpeciallywhen we recognize a fitnefs for anfwering animportant end; we then infer, not only in-tention, but art and fkill in the cauie : whichimplying mental excellence and perfection,the view of it gives a noble fatisfaction ; ason the other hand faultinefs of contrivance,by fuggefting imperfect fkill and want of ge-nius, difpleafes us greatly. When thereforewe fee a work, it leads us by a natural aflb-ciation to conceive its end j prone to com-parifon, we examine the propriety of theparts in relation to this end 3 if any of themare prejudicial to it, we are difgufted withthe want of fkill, which this imperfection be-trays. We dwell in imagination on the in-conveniences which muft arife from the un-fitnefs of the ftructure ; we form ftrong ideasof them, which almoft the fame un-


54/331


55/331

SECT. III. Of the 'tajle of beauty. 43BUT the beauty of colours is, in moft in-

ftances, refolvable into affectation -, thofe beingapproved, which, either by a natural refem-blance, or by cuftom, or opinion, introduceandare connected with agreeable ideas of any fort ;and thofe being difapproved, which have anyway become related to difagreeable ones. Theverdure of the fields is delightful, not only bybeing inoffenfive to the eye, but chiefly byits fuggefting the pleafant idea of fertility.Heath in bloom would form a carpet agree-able enqugh to fight, if we could feparatefrom its appearance the idea of the barren-nefs of the mountains and wilds it covers. Indrefs colours are either beautiful or the con-trary, according to the nature of the ideawhich they lead us to form of the ftation, fen-rtiments, and character of the wearer.

IN fome cafes, a particular drefs, in con-fequence of eftablifhed manners, fuggefls tothe generality nearly the fame idea. Where-*ever this general connection takes place, itforms a kind of ftandard in drefs, for perfonsin certain ftations or profeflions. We come toperceive a propriety in conforming to it ; andwo


56/331

44 Oftbt tafle of beauty. PART I.we are difpleafed with the indecency of devi-ating remarkably from it.WHEN the idea fuggefted by drefs is dif-

ferent in different perions, fo alfo is the relifhfor the colour -, what fuggefts to one a live-linefs and vivacity of turn, gives another theidea of gaudinefs and levity ; the fame drefsmay convey to fome the idea of gravity andfedatenefs, to others that of dullnefs and au-fterity.

COLOURS, as applied in painting, come un-der confideration here only in refpedl of theirdelicacy or vivacity j which, however efti-mable, are not yet of fo great importance, asthe power they have of reprefenting grandeuror beauty of figure, or of exhibiting folid bo-dies, by fuch an artful and ingenious imita-tion, as itfelf delights us, in a way hereafterto be explained.THE beauty of colours may be heightened

by the addition of variety^ a circumftancewhich beftows fome charms on the moft ir-regular mixture of them, provided they be ofthemfelves agreeable, efpecially if they be fo

dif-


57/331

SECT. III. Of the tafle of beauty. 45difpofed as to fet off to advantage the feparatcbrightnefs or beauty of each other.

THERE is perhaps no term ufed in a looferfenfe than beauty, which is applied to almoltevery thing that pleafes us.. Though thisufage is doubtlefs too indefinite, we may,without a faulty deviation from precifion, ap-ply this epithet to every pleafure which isconveyed by the eye, and which has not gota proper and peculiar name j to the pleafurewe receive, either when an object of fightfuggefts pleafant ideas ofother fenfes ; or wheathe ideas fuggefled are agreeable ones form-ed, from the fenfations of fight j or whenboth thefe circumflances concur. In allthefe cafes, beauty is, at leaft in part, refolva-ble into afTociation.

THE firft method of effecting beauty, wehave already feen exemplified in colours,which are themfelves objects of light introdu-cing pleafant ideas not derived from fight.Thus alfo the ftructure of a human face oftenindicates good mental difpofitions, which arenot only themfelves approved as virtuous, butby being fo, diffufe a beauty over the coun-tenance in which they are imprinted : but


58/331

46 Of the tajle ofbeauty. PART I.-

bad affections, exprefled in the look, throwdeformity upon the fineft features.

> ^IN the fecorid way is produced the onlybeauty of thought or fentiment, which comesproperly under the prefent head j that beautywhich arifes, when the fubject defcribed isagreeable to fight, as light, flowers, fields,meadows, groves -, or when it is illuftrated byimages from things that are fo agreeable.This is one great part of the beauty of pafto-ral ; and enters in fome degree into everykind of poetry (c).

To the third caufe, or the union of boththe former, imitations of beautiful originals,by figure and colour, owe their beauty. Itis obfervable that the arts which ufe the/e in-ftruments have greater advantages for imitat-ing beauty than fublimity. This they canreprefent, as we have feen, only by fuggeftingideas of grand objects ; but the copies wouldnot, if confidered as originals, be grand ;fince they are almoft ever deftitute of magni-tude, its moft efTential requifite, But imita-

(f) The other qualities which render fentiments beautifulor agreeable, as metaphor, fable, antithefls morality, elev**tiou, &c. belong to other clafles.


59/331

SECT. III. Of the tafte of beauty. 47tions of beautiful originals, independent oftheir refemblance to thefe, are beautiful ;fmce they cannot otherways exhibit theirbeauties to the thought, than by themfelvespoflefling them in fome degree : and oftenthey poffefs them as perfectly as their arche-types. A ftatue has the fame regularity andproportion as its original. A painting mayequal the object it reprefents, not only infymmetry and propriety, but in colour.THE clafTes of beauty, which we have

been explaining, are diftinct in their princi-ples, though by reafon of the fimilitude oftheir feeling, they are reduced to the famegenus. But they are often in things variouflyunited, and by their union they render ourfatisfaction more intenfe. In a fine face allthe principles of beauty are combined. Toan exact fymmetry and regular proportion ofvaried features, and parts nicely adapted totheir feveral purpofes, is fuperadded complex-ion, compofed of white and red, colours beau-tiful in themfelves rendered ftill more fo bythe artful manner in which they are difpofed,and by their indicating health and frefbnefs ;and the grace of the whole is heightened by

a quick


60/331

48 C)f the tajle of beauty. PART 1*a quick expreflivenefs of afpecl, which forcesus inftantaneoufly to perceive acutenefs, faga-city, fedatenefs, fweetnefs, or the like amiablequalities, in the mind which animates the ele-gant form j while the approbation attendingthis

perceptionis refkdled back upon thgface which gave occafion to it.

SECT,


61/331

t49 J

SECT. IV.Of the fenfe or tafte of imitation*

EXACTNESS and livelinefs of imita-tion fupply us with another pleafurcof tafte, which, as it has no peculiar name, iscommonly exprefled by that of beauty ; andis by fome termed relative or fecondary, todiftinguifh it from the kinds above explained,which are called abfolute or primary (d).We have a natural fenfe, which is highlygratified by a defigned refemblance, thoughthere be nothing agreeable in the original.Similitude is a very powerful principle of aflb-ciation, which, by continually connectingthe ideas in which it is found, and leadingour thoughts from one of them to the other,produces

in mankind a ftrong tendency tocomparifon. As comparifon implies in thevery acl: a gentle exertion of the mind, it ison that account agreeable. As a farther ener-gy is requifite for difcovering the original bythe copy ; and as this difcovery produces agrateful confcioufnefs of our own difcern-

(J) See HUTCH ESON'S Enquiry into the original of oucideas of beauty and virtue. Treat. I. Seft. iv.


62/331

50 Of the ta/lc of imitation. Part I.ment and fagacity, and includes the pleafantfeeling of fuccefsj the recognizing refem-blance, in confequence of comparifon, aug-ments our pleafure (e). And when the imi-tation is intended, our admiration of the (killand ingenuity of the artifl diffufes itfelf overthe effect from which that Ikill is inferred,and compleats the delight which the workinfpires.

HENCE the rapture with whichaconnoifleurbeholds the capital performances of the emi-nent matters in painting or fculpture. Hencethe main excellence of poetical or eloquentdefcriptions j the characteriftical perfectionof which arifes from the author's judiciouflyfelecting the mod efTential and ftriking qua-lities of his fubject, and combining them in-to fuch a picture as quickly revives in thereader, and ftrongly imprefles on his minda lively idea of the original. The fundamen-tafceauty of metaphor and allegory lies in theirinunuating the analogies of things -, that of fimi-litude and comparifon in their more explicitlypropofing thefe analogies. By this they com-

( e) Ates yei(> rwro jgaijyTi rxf ttKorxt ygutTe(f CTJ ffvf*^i?t&aireti xati ffvHwyifafyau, TI tuotfott API2TOT.xtp. y. municatc


63/331

Sett. IV. Of tie tafle of imitation. 5 1municate finenefs to a fentiment. Moft ofthe figures and tropes of eloquence derivetheir grace from their being fo employed, asto correfpond with the natural expreffions orobjects of thofe paffionsandfentiments, whichactuate the orator, or which he would infpireinto his audience. Improbability, which isa want of refemblance to natural things, al-ways renders a fable or ftory lefs entertaining jand if the improbability be very great, or ex-tend to the material parts, it often makes itwholly naufeous.

WHEN excellent originals are imitated, thecopies derive their charms, not merely fromexactnefs of imitation, but alfo from the ex-cellence which they reprefent; and the grati-fication which thefe copies afford may almoftas properly be afcribed to beauty or fublimityas to imitation. As the beauty here is com-plicated in it's principles, it will of confequencebe alfo compounded in its effect, and will ra-vifh the mind much more than either of its con-ftituents alone. An Hercitlesy exhibiting pro-portion, ftrength, and fortitude in perfection,muftbe a finerftatue than the exadeft imitationof a ^berfitei vrSilenus. The works of Pc/ygno-tus, which reprefented beautiful objects, were


64/331

52 Of the tafte ofimitation. Part Ldoubtlefs more delightful than the pictures ofDionyfius or Paufon, however Skillfully theymight reprefent ordinary or faulty objects (f).The ancient Greek, or the modern Italianpainters will always be preferable to the Fle-mijh, who, though they imitate wellt do notmake a judicious choice of fuch beauties of na-ture as deferveto be imitated (g). TheMargitesof Homer could not have given us fo high en-tertainment as we receive from the Iliad. Acomparifon^however nicely fuited to the fubject,will pleafe ftill more, if it is taken from whatconveys no ideas, but fuch as are noble andagreeable : and indeed by fuggefting fuch asare ftrongly the reverfe, it will be fuffi-

(f) Tlokvyiurot pit KWr?ot, Tlctvjui $e ^a'got/f, A


65/331

SECT. VI. Ofthe tafle of imitation. 53cient to turn the mod magnificent fubjedtinto ridicule. '

BUT (till the force of imitation is moflconfpicuous, when no other principles con-cur to heighten its effect : for as it is thenpure and unmixed, we cannot queftion,that the whole pleafure of the fentiment pro-duced is owing to it alone. Its power is in-deed fo great, that it not only, without theafliftance of other principles, produces a con-fiderable degree of pleafure; but often re-commends and gains the preference toimperfect or faulty originals ; and makesthings grateful when reflected by it, whichwould be very ungrateful, if viewed directly.The rudeft rocks and mountains j the ob-jects that in nature are mod deformed j evendifeafe and pain, acquire beauty when fkill-fully imitated in painting (/&). It is chieflyby copying imperfections and abfurdities thatmimicry and humour pleafe. A perfectimitation of characters morally evil, can makeus dwell with pleafure on them,notwithftand-ing the uneafy fentiments of difapprobation

( >>) A yaif avrct Xt, 7T)? ojwfAii1 , THTcji1 Ta?riK'-iow/Aj'i'ac, ^ottfciA-n Sittftimf tier iit\uv ft (ta,Tut xai ffxpwr. ATlZT. rip VQHT. xtp. if.


66/331

54 Of tie tajle of imitation. PART I.and abhorrence which they excite. Thecharacter of lago is deteftable, but we ad-mire Shakefpear's reprefentation of it. Nayimperfect and mixt characters are, in allkinds of writing, preferred to faultlefs ones,as being jufter copies of real nature. Thepleafant fenfation refulting from the imita-tion is fo intenfe, that it overpowers and con-verts into delight even the uneafy impreflions,which fpring from the objects imitated.There can be no ftronger proof of the forceof imitation in conferring on its effects thepower of pleafing, than its rendering thofepaffions agreeable, when excited by it, which,when produced in the natural way, are pureand unmixt pain. Sufpenfe, anxiety, terror,when produced in Tragedy, by imitation oftheir objects and caufes, and infufed by fym-pathy, afford not only a more ferious, but amuch intenfer and nobler fatisfaction, thanall the laughter and joy, which farce or co-medy can infpire, When thus fecondarilyproduced, they agitate and employ the mind,and roufe and give fcope to its greatefl activi-ty ; while at the fame time our implicitknowledge that the occafion is remote or fic-titious, enables the pleafure of imitation to

relieve


67/331

SECT. IV. Of the tafte of imitation. 55relieve the pure torment, which would at-tend their primary operation.j;iftc/,,;,- rt*-FROM what has been faid, it is obvious

that the pleafure of imitation arifes from acombination of caufes. Befides the aft ofcomparifon, which is the fame in all inftan-ces, the exaclnefs of the refemblance, ourdifcovery of it, and the art we conceive ne-ceflary for producing it, concur to make upour gratification.

EXACTNESS of refemblance is fcarce fartherapproved, than as it evidences fkill and ena-bles us to to difcover the original. Ca-ravaggio is cenfurable for too clofely follow-ing the life, as well as Giofeppino for wanton-ly deviating from it into fantaflical extrava-gances. Among the antient ftatuaries like-wife, Demetrius is cenfured for being tooftudious of likenefs, and facrificing beauty toit j and is on this account reckoned inferiorto Lyjtppus and Praxiteles, who, at the fametime that they excelled in producing like-nefs, carried it no farther than was confidentwith beauty (/), Exadtnefs of refemblance may

{) Ad veritatem Li/ippum et Praxitelem acceffific optimeaffirm ant. Nam Demetrius tanquam nimius in ea reprehen-


68/331

56 Of the fafte of imitation. PART I.be carried fo far in any work of genius, asto degenerate into difagreeable fervility ; andis eafily difpenfed with, when the deviationfrom fimilitude appears to be the refult of fu-perior art. However, thatinftrument of imi-tation is doubtlefs the mofl perfect, which iscapable of producing the moil perfect likenefs.Among the fine arts, this preeminence, inmoft fubjects, belongs to fculpture ; andmore to painting, in fubjecls perfectly adaptedto it, than to poetry.BUT even the imperfection of the inftru-ment of imitation may fometimes add merit

to the effect. Though it renders the refem-blance lefs accurate, this very circumftanceenhances the pleafure, by producing a con-fcioufnefs of greater fagacity in difcoveringthe original j at the fame time that the pro-duction of likenefs with unapt materials, im-plying greater difficulty, gives rife to an high-er approbation of the ingenuity of the artift.In this refpect painting is more artificial thanftatuary. For that reafon a fine picture willinfpire full as great pleafure as a ftatue. Itsreprefenting folid bodies, only by the difpo-fition oflight andfhade,tho' itfelf a plane, is aditnr, et fuit fimilitudinis quam pulchritudim's amantior.


69/331

SECT. IV. Of the ftfjleof imitation. 57proof of the higheft (kill. And could a per-fon be formed to delicacy of tafte, and yetkept from feeing a picture till he were adult ;it is fcarce conceivable what rapture he mouldfeel, when he fir ft difcovered it to be but aplane varioufly (haded, after Jiaving firmlybelieved, that, like the objects he had beenaccuftomed to, it had itfelf the prominencesand cavities which it reprefents (k). Andas every difficulty of execution heightens ouridea of the fkill by which it is furrnounted,not only the importance ofthe work, but alfo thedifficulty ofreprefenting paffion and character byfigure and colour, increafe the beauty of hifto-ry-painting. In this view poetry, imitating byinftituted fymbols, noways refembling things,is on moft fubjects more imperfectly mimeticthan the other arts : but this imperfection givesit a kind of merit, as that art is able notwith-Handing to fugged very lively ideas of its objects. But what conflitutes its unqueftionable

(k} Hence in the celebrated contcft between a painter and aftatuary, concerning the merit of their arts, both argued fromreal principles of excellence ; the lUtuary pleading the per-fection of refemblance in his art ; the painter the fuperior in-genuity wLich his difcovered. The blind man gave the pre-ference to the latter. The controverfy cannot b determined,till it is previoufly fixed, which principle is, on the whole,eligible.


70/331


71/331

( 59 )

SECT. V.Of the fenfe or tafte of harmony.

TH E fenfe of harmony, which confersa kind of beauty upon found, notonly is converfant in all the arts which employlanguage, but itfelf lays the fole foundationof the art of mufic. By it the ear derivesfrom its objects a pleafure fimilar to what theeye receives from forms. This pleafure isrefolvable into the agreeablenefs of Jinglefounds, and into the charms and energy of afkillful

complicationof them.

SINGLE founds are either loud or low,acute or grave, (lender or full, even or bro-ken. To theie qualities attention muft bepaid, if we would pleafe the ear. If foundsare too lew, they do not ftrike with forceenough to gratify: if too loud, they confoundus. Great acutenefs lacerates the organ : andan excefs of gravity renders the impreffiontoo dull and fpiritlefs to pleafe. Exility hin-ders founds from fufficiently filling the ear,1and thence is attended with a perception ofmeannefs


72/331

60 Of the tajle of imitation. PART. IVmeannefs and futility : but full and fwellingnotes, by occupying its whole expansion, ac-quire grandeur and infpire delight. Brokenfounds grate the ear, by their harm inequa-lities : fmoothnefs and evennefs is neceflary toprevent their being difagreeable.HARMONY prefuppofes the agreeablenefs

of the feparate notes, but it is produced onlyby a combination of founds. The differentcompofitions of articulate founds, added tothe feparate qualities of each, render fomewords harmonious, others harfb. Some ar-ticulate founds do not eafily concur ; thetranfition from one configuration of the or-gans of fpeech to the other, is difficult anduneafy j and the hearer is led by a delicatefympathy with the fpeaker, to feel this painand labour. It is the frequency of fuch com-binations, that prevents euphony in anytongue 5 and renders fome languages lefsfmooth and harmonious than others. In fen-tences, periods, and difcourfes, the harmonyer the afperity of ftyle arifes from the repe-tition of founds and combinations

feparatelyagreeable or difagreeable : and the harmonyis rendered more delightful, by the varietywhich the length of the competition admits.The


73/331

SEGT. IV. Of tbe tafte of barwny. 6 1The importance of variety we (hall acknow-ledge, if we but reflect how tirefome fame-nefs of cadence is. The fuperior harmonyof Poetry is produced by the greater facilityof its combinations, joined to a considerabledegree of uniformity, and a regular proportionin time; the proper method of obtainingwhich, in every language, determines its prof-cdy : and the variety of the means to beemployed for this end in different languagesintroduces a fimiiar variety in the genius andmeafure of their ycrfe.

WHENEVER our pleafure arifes from a fuc-cefiion of founds, it is a perception of a com-plicated nature j made up of zfenfation of theprefent found or note, and an idea or remem-brance ofthe foregoing, which by their mixtureand concurrence, produce fuch amyfterigus de-light, as neither could have produced alone.And it is often heightened by an anticipationof the fucceeding notes. Hence it proceedsin part, that we are in general beft pleafedwith pieces of mulic, which we are acquaint-ed with : our underdanding them more tho-roughly counterbalances the power of novelty.Hence too it is, that we often acquire in time

a fond-


74/331


75/331

SHCT. I. Of tie tafte of harmony. 63tions are all in themfelves agreeable, fuch asare taken in by the ear with eafe, and are fub-ordinate to the key which governs the whole,

THE fame principles are not lefs obvious inharmony-, the fuperior delight of which fpriogsfrom no other cauie, but its poilefling fomeof thefe qualities in greater perfection. Theuniformity is preferved almofl undiminifhed ;the different parts being fo combined, that nodiflbnance is occafioned by their multiplicity ;but the concordant notes, melted into one ano-ther, ftrike the ear together without confu-flon or diffraction. With this fimplicity, animmenfe variety is made confident ; each le-parate part being a diftinct feries of artfullyvaried founds ; the melody of all the partsbeing enjoyed at once : the vibrations of theconcords coinciding not always, but at regu-lar periods ; the diverfity of the concords andtheir fucceffions producing a great diverfity ofharmonies j and the judicious intermixtureof difcords preventing the fenfe from beingcloyed with fymphony too long continued.At the fame time, the proportion is renderedmore confpicuous and artful, by its beingpreferved in all the parts j and a new kind

of


76/331

64 QJ the tajle of harmony. PART I.of it is introduced by their comparativefirength. So great is the efficacy of thefeprinciples, that they alone produce very highpleafure, though no paffion is excited by themufic.

BUT ftill the chief excellence of Mufic liesin its expreffion. By this quality, mufic is ap-plied to a determinate Aibject : by this it ac-quires a fitnefs, becomes adapted to an end,and agitates the (oul with whatever paffionthe artift choofes (n). Its power to operateon the paffions is its moft important virtue*And indeed as all fenfations and emotions re-fembling in their feeling, tend to introduceeach other into the mind ; mufic, producingby its harmony a pleafant difpofition of foul,renders us peculiarly prone to every agreeableafFe&ion. But it makes ufe too of other in-ftruments. By the natural fitneis of foundfor accomplifiiing an imitation of, or afTocia-

(n) Hence different kinds of mufic may, in a confiitencewith their being all agreeable, anfwer different and even oppb.fite purpofes. KaXoc fx.lv \v TTO^W T9 o^Siov, xaXoK $} & ffv^v(,alkito Tra-fsuw' xai xaXov pit Aaxe?*i,%cioi; TO l/Xj2aT>j3j6, xaAov oiA&WIMip TO xvxXiov' xdit xahcr pit it Siu%et TO iyxt^rndn, xa}.o*of i> Qvyy TO ctixxhimx. 'HAE^IA^ ^croc. fi.wjfftt, aM* ri r^

ofuiw VA9H. MAS. TIP.' >.-y. filion

i


77/331

SECT. V. Of the tafte of harmony. 65tion with their objedls and natural expref-fions, it infufes into the breaft paffions corre-fpondent ; fettles into calm ferenity, melts in-to tendernefs or pity, finks into forrow, foothsinto melancholy, agitates with terror, elevateswith j.oy, excites to courage, or enraptureswith devotion ; and thys inexpreffibly delightsthe foul.

SECT.


78/331

( 66 )

SECT. VI.Of the fenfe or tajle of Ridicule.

IN our enumeration of the fimple powerswhich conftitute Tafte, we muft notomit that fenfe, which perceives, and is gra-tified by the odd, the ridiculous, the humo-rous, the witty 3

and whofegratification

of-ten produces, and always tends to mirth,laughter, and amufement. Though inferiorin dignity to the reft, it is far from being de-fpicable. It has a province, lefs importantindeed than that of the others, yet both ufe-ful and agreeable. As they judge of graveand momentous fubjeds, it claims the folejurifdidtkm over fuch as are more ludicrous,

ITS object is in general incongruity-, or afurprifing and uncommon mixture of relationand contrariety in things. More explicitely;it is gratified by an inconfiftence and diffonanceof circumftances in the fame object ; or inobjects nearly related in the main ; or by aJimilitude or relation unexpected betweenthings on the whole oppofite and unlike.

JARRING


79/331

SECT. VI. Of the tqfte of ridicule. 67

JARRING and incongruous clrcumilancesmeeting in the fame fubject form an abiur-dity, with which we are apt to be diverted.Such are cowardice in a boafter ; ignorancein a man of what he ought or pretends toknow ; dignity of any kind blended withmeannefs ; fentiments or ftyle in compofitionunfuitable to the fubject. We are difpofedto combine the parts of things into a whole,and to beflow upon them unity and intimaterelation j we expect that they mould be allconfident, fuitable, and of a piece ; and whenwe find them otherways, we pronounce themridiculous and abfurd.

WE compare in this light not only thequalities of the fame fubjecl:, but alfo of fub-jecls refembling or orherways nearly connec-ted ; and their contrariety affects us with afimilar fenfation. An oppofition of charac-ters and behaviour in different perfons, efpe-cially of the fame family or profeffion, oftenforms a diverting contraft. A paflion intenfein its feeling, excited by

atrifling caufe,moves our laughter. A glaring difpropor-

tion betwixt the means and the end, whenthe means are cither unequal to its attain-F 2


80/331

63 Ofthe tafte of ridicule. PART .ment, or too laborious and expenfive for itsimportance, is on the fame principle ridicu-lous.

So excurfive is the human fancy, that itcontinually leads us to compare things themoft diffimilar ; and as on the former com-parifons the appearance of incongruity, fo onthis the difcovery of unlocked for likenefles,analogies, and relations, proves a fource ofpleafure and amufement. Inferior animalsprovoke our mirth, whenever they mimicthe actions or fagacity of human creatures.

OBJECTS, conceived to be in any of thefeways incongruous, always gratify the fenfe ofTidicule : but they may excite at the fametime a more important feeling, which, byoccupying the mind prevents our attendingto the incongruity, or extinguishes the fenti-ment thence refulting, as foon as it begins torife. Enormous vice, though of all thingsthe mod incongruous to the natural fyftem

/ of our minds, is never efleemed ridiculous (0).(p) Nee injjgnis improbitas, et fcelere junfta, nee rurfus mi-

feria infignis agitata ridetur : facinorofos majore quadam vi,quam ridiculi, vulnerari volunt ; miferos illudi nolunt, niii feforte jadant. Cic. deQrat* lib. ii.


81/331

SECT. VI. Of the tafte of ridicule. 69Pain or miiery is never in itfelf ridiculous;it can become fuch only by being accidental-ly connected with unfuitable circumftances,and by failing to excite pity fo intenfe as mayfvvallow up the ludicrous fenfation.

WIT, Humour', and Ridicule (p) are (kill-ful imitations of odd and incongruous origi-nals ; which pleafe us not only by (hewingthem often more perfectly than we couldhave ourfelves obferved them ; but alfo byfuperadding the gratification which refultsfrom imitation. This gratification is in its.own nature feribus, but is altered by the fen-timent which attends the objeds imitated,and only ferves to heighten the contempt oramufement which they produce.

(/>) The author is well award that thefe three modes- ofimitation are widely different. It would be a very curiouswork to afcertain the peculiar nature of each, and to markits real diftinftion from the reft. But as the fubjeft is in agreat meafure new, it could not be examined with accuracy, orfo as to produce convidion of the juftnefs of the theory, in avery narrow compafs. And a large difquifition would bemore than falls to i's fhare in an enquiry concerning tafte ingeneral. It was therefore judged proper to be contented withpointing out what is common to wit, humour, and ridicule;and with giving examples which fhew that the theory hereeftablifhed extends to all of them.V F 3 In


82/331


83/331

SECT. VI. Of the tajle of ridicule. 7 13ng them, drawn from the loweft inftances (r).A hofe ufed for a cupboard, the bafket-hiltofafwordfor holding broth, a dagger forcleaning (hoes, or toafting cheefe to bait amoufe-trap, prefent ideas ftrikingly heteroge-neous (s). A fword and a dagger are fo un-like to a knight errant and his dwarf ; a ref-tive horfe to an unmanageable body politic ;courage whetted by martial muiiCj to ale

(r) He was in Logic a great critic,Profoundly {killed in Analytic, &c.He'd undertake to prove by forceOf argument a man's no horfe ;He'd prove a buzzard is no fowl,And that a Lord may be an owl ;A calf an Alderman, a goofe a Juflice,Arid rooks committee-men and truftees, &c. Cant. i. vcr.65.For Rhetoric, he could not opeHis mouth, but out there flew a trope, Sec. ver. 81, &c.In Mathematics he was greater, &c. ver. 119 188.

(j) Wken of his hofe we come to treat,The cup-board where he kept his meat. ver. 303.His puifiant fword unto his fide,Near his undaunted heart was tied ;With BaCcet-bilt that would hold broth,And ferve for fight and dinner both. ver. 351.When it had ftabb'd or broke a head,Jt would fcrape trenchers, or chip bread,Toaft cheefe or bacon, tho' it wereTo bait a moufetrap, 'twould not care.'Twould make clean {hoes, and in the earthSet Jcelts and onions, and fo forth, ver, 381.F 4 turned


84/331

72 Of the tafte of ridicule. PART I.turned four by thunder ;

torn breeches to aleaky veffel ; the dawning of the day to thechange of colour in boiling a lobfter ; thatwhen they are brought into view at once bycomparifon, metaphor, insinuation, or al-lufion, their unexpected fimilitude in fomecircumftances produces mirth (t). In Addi-foris humourous reprefentation of 'Tinfel'sterror, it is the oddity and prepofterous na-ture of the paffion that diverts us j it is con-trary to his profefled principles and pretendedfortitude, and it rifes to a violent panic on a

(/) This fword a dagger had his page,That was but little for his age : .And therefore waited on him fo,As dwarfs upon knights errant do. ver. 375. 920, 931.Inftead of trumpet and of drum,Which makes the warrior's ftomach come,Whofe noife whets valour (harp, like beerBy thunder turn'd to vinegar. Cant. ii. ver. 107.My Galligafkins that have long withftoodThe winter's fury and encroaching frofts,By time fubdu'd, (what will not time fubdue ^An horrid chafm difclofe, &c.

Thus a well-fraught (hip, &c.Spltndid Shilling.The fun had long fince in the lap

Of Tbttit taken out his nap,And, like a lobfter boil'd, the mornFrom black to red began to turn. HUD. Par. H. Cant2. ver. 29.

trifling


85/331

SECT. VI. Of the tajle of ridicule. 73trifling occafion, When Swift ridicules hu-man foibles, whether he makes the attack bywit or by humour, he paints their incongru-ity and abfurdity. Attempts to produce learn-ed volumes by the motions of a mechanicalengine; to extract funbeams from a cucum-ber ; to build houfes downward from theroof j to improve cobwebs into (ilk ; to foft-en marble for pillows and pinculhions j topropagate a breed of naked meep; are pal-pably impoffible or ufelefs, or both at once.

SECT.


86/331

[74]

SECT. VII.Of the fenfe or tafle of virtue.

TH E moral fenfe is not only itfelf atafte of a fuperior order, by which inchara&ers and condudl we diftinguim be-tween the right and the wrong, the excel-lent and the faulty ; but it alfo fpreads itsinfluence over all the moft confiderable worksof art and genius. It is never unregarded inferious performances, and it enters even intothe moft ludicrous. It claims a joint autho-rity with the other principles of Tafte ; itrequires an attachment to morality in theepos and the drama, and it pronounces thequickeft flights of wit, without it, phrenfyand diftraftion. Something moral has in-finuated itfelf, not only into the ferious defignsof Raphael, but alfo into the humourous re-prefentations of Hogarth.

NAY our moral fenfe claims authority fu-perior to all the reft. It renders moralitythe chief requifite ; and where this is in any

degree


87/331

SECT. VII. Of the tafte of virtue'. 75degree violated, no other qualities can attoncfor the tranfgrefiion. Particular beautiesmay be approved , but the work is, on thewhole, condemned.

How great a part of the fentiments pro-duced by works of genius ariies from theexertion of this fenfe, approving or condemn-ing, is too obvious to require our dwelling onit. The nobleft and moft delightful fubjedtsof imitation are affections, characters, andactions : and their peculiar merit arifes almoflentirely from their continually drawing outand employing the moral faculty. By itsapprobation, more effectually than by anyother means, we become interefted for fome ofthe perfons reprefented, and fympathife withevery change in their condition. It fills us withjoyful approbation ofthe virtuouscharacter,'andwith abhorrence, not ungrateful when thus ex-cited, of the vicious. When profperityand fuc-cefs attend the former, we feel his good defert,we rejoice to find it meet its due reward, weare compofed into delightful ferenity, compla-cence and affiance in righteous providence :when he is funk into difappointment and ad-verfity, we are fenfible that he deferved itnot, and tafte the plcafurable pain of com-


88/331

j6 Of tie taftg of virtue. PART I,,paffion for his fufferings, and virtuous re-fentment againft the authors of them. Whenthe vicious man is profperous, \ve glow withindignation, we feel a kind of melancholy de-fpondence : when he fuffers, we becomefenfible to the danger of vice, to the terrorsof guilt ; we allow his ill defert, but mix pitywith our blame. We are thus agitated bythofe moft important paffion s ; the infufionof which conftitutes the higheft entertainmentthat works of tafte can give.BUT what extenfive influence the moral

fenfe has on tafte of every kind, it will beunnecefFary particularly to defcribe, if weonly recollect: the various perceptions whichit conveys. To it belongs our perception ofthe fairnefs, beauty, and lovelinefs of vir-tue, of the uglinefs, deformity, and hateful-nefs of vice, produced by the native qualitiesof each confidered fimply. From it is deri-ved our perception of decency, fitnefs, andcongruity in the former; of incongruity, inde^cency and unfitnefs in the latter ; which arifesfrom implicit comparifon of them, with theftructure and conftitution of the mind. Byit we perceive that virtue is obligatory, right,and due ; and that vice is undue, unlawful,

and


89/331


90/331

78 Of the tajle of virtue. PART. are, with few exceptions, affected by thequalities, we have inveftigated : but thefequalities themfelves are, without any excep-tion, the conftituents of excellence or faulti-nefs in the feveral kinds. What is neceffaryfor perceiving them with perfect relifh, wefhall next examine.

PART


91/331

[79

PART II.'The formation of T'a/ie ly the unionand improvement of its fimpk Prin-

ciples.

SECT. I.Of the union of the internal fenfes, and the affif-lance they receivefrom delicacy ofpaffion.

ANY one of the internal fenfes, exiftingin vigor and perfection, forms a par-ticular branch of tafte, and enables a man tojudge in ibrne one fubjec t of art or genius :but all of them muft at once be vigorous, inorder to conftitute Tafte in its juft extent.This union is neceffary, not only for giving ita proper compafs, but alfo for perfecting eachof its exertions.

OUR fentiments and emotions receive animmenfe addition of ftrength from their reci-procal influence on one another. Concomi*tant emotions, related by their feeling, their

direction,


92/331

80 Of the union of PART II.direction, or their objects, or even withoutany relation exifting in the mind together,run into one, and by their mixture producean intenfe ienfation. Hence different grati-fications, either of the fame or diverfe fenfes,occurring to the mind at once, give it a com-plicatecl joy. The ftillnefs and ferenity of afummer morning, the fweet fragrance offlowers, the mufic of birds, and a thoufandother agreeable circumftances are even com-monly obferved to beflow extraordinary forceon the grandeur or beauty of rural fcenes.

THO' each object of tafte has fomc lead-Ing character by which it is peculiarly fittedto produce one principal fenfation, it may atthe fame time, by \tsfubordinate qualities pro-duce attendant feelings, which will renderthe principal one higher and more intenfe, bytheir confpiring with it. But if the princi-ples of Tafte, adapted to thefe, are weak ordeficient, we not only lofe entirely feme ofthe pleafures, which the object might con-vey ; but cannot even enioy any of them withperfect relifh, as we are infenfible to theheightenings, which each receives from itsconnection with the reft. NONE


93/331

SECT. I. the internal fe?ifes. 8 1

NONE of our fenfations is more able tofup-port itfelf, without foreign aid, than that ofgrandeur; of which a great critic reckons it anecefTary character, that it pleafe dill morethe oftener it is examined (/). Yet everyone is fenfible how much more intenfe it is ren-dered by novelty j how weakly the fublimeftobjects often ftrike us, when by long cuftomthey have become familiar. The fublimityof the heavens could not fail to enrapture oneunaccuftomed to the glorious fpectacle. Tho*the fentiment of fublimity fills, and almoffcexceeds the capacity of the mind, we can yetreceive along with it other p'leafurable feel-ings. which will increafe it by their conjunc-tion. _^The moft elevating objects in naturemay be rendered more delightful by theirbeauty and utility. The moft extenfive powermay be rendered more fublime, by its beingexercifed in fuch a manner as to producemoral approbation. Virgil gives a fublimeVidea of the Romans, when he reprefents them

>f Jiav\< tTTi

tin. Aorr. Trj* u


94/331

2 Of the Union of PART II.as deflined for

Empire univerfal,as prefcri-

bing laws at pleafure, and forcing into fub-jection the moft haughty oppofers. But heartfully renders it more fublime, by infinua-ting that they exercifed their power in cle-mency to willing fubjects (u). This pro-cures our moral approbation, and augmentsthe fentiment of grandeur, which it accom-panies. In architecture, the feparate plea-fures, arifing from the beauty, proportion, fit-cefs, and ornaments of the parts, heightenthe fublime. In painting the fublime is ge-nerally attended by the graceful.POETRY is a complication of beauties, re-

flecting by their union additional luftre on oneanother. The fublime, the new, the ele-gant, the natural, the virtuous, are oftenblended in the imitation j brighten'd by thepower of fiction, and the richeft variety ofimagery ; and rendered more delightful bythe harmony of numbers. When Poetry isfet to well adapted mufic, both gain newpower by their alliance. The mufic, by() Tu regcre imperio populos, Romane, memento.

Hae tibi erunt artes j pacifque imponere morem,Parcere fuljeflif, et debellare fuperbos.

./Ex. vi. ver. 847.


95/331

SECT. I. the internal fejifes 83exciting the requifite affe&ions, puts themind in a difpofition to conceive ideas fuitedto them with peculiar facility, vivacity, andpleafure. Thefe ideas the Poet raifes : andthey, in their turn, enliven the affections,and preferve them from languishing or ex-piring, by rendering their objects more de-terminate. But in order to experience thiscompound pleafure, both a mufical ear anda poetic tafte are requifite: the want ofeither extinguishes one part of the delight,and very much diminimes the other.THE degree offeree with which objects

flrike us, has a great dependence on the pre-vailing difpofition of the mind. Things of-ten affect us deeply, when we are in an hu-mour fuited to them, tho' at another timethey would make fmallimpreffion. Thefmal-left injury may produce fury in a perfon na-turally paffionate, or by accident chagrined.When the temper of the mind is fuch, as*gives it an habitual turn to one kind of fen-timents and affections, it enters into them,whenever they occur, with extraordinary fpi-rit. As they fall in with its predominantbent, no force is required to -adapt it to theperception of them j it fpontancouily, and


96/331

84 Pf the union of PART II.even eagerly embraces them, as perfectly con-formable to its frame.

Now as all the objects of the fame inter-nal fenfe, however various, have their com-mon qualities, j fo all thefe fenfes are analo-gous in their principles and feeling. Thefame turn of mind is, on this account, con-gruous to them all. The prevalence and ex-ercife, of any one of them difpofes and at-tunes the mind to all the reft. And this pre-vious difpofition to them beftows ftrengthand vigour on all their exertions. In fad :,the kindred powers of tafte are feldom difu-nited. Where all of them have confiderablevigour, one may be, in comparifon with thereft, predominant? either by the natural con-ftrudtion of the mind, or by peculiar culture.But where one of them is remarkably dull,or altogether wanting, the others fcarce everappear in full perfection.

THE union of thefe powers has a fartherinfluence in forming tafte, as that union opensa new field, in which tafte may exercife it-felf and gather flowers to adorn the nativebeauty of its objects. As the fine arts aretruly fifters, derived from the fame common


97/331

SECT. I. the internal fcnfes. 85parent Nature^ they bear to one another, andto their original various fimilitudes, relations,and analogies (#). Thefe one, who pofleflesall the internal fenfes vigorous, and has em-ployed them all about their various objecls,is able to trace out. They have charmedevery genuine critic ; and every reader oftafte is delighted with the m

essayontaste00geraiala

Documents