by this tule; it carries its own caution along with it. Becauſe 100 great a length in buildings deſtroys — neſs; which it was intended to promote; the perſpective will lefſen it in eee it gains in length; and will bring it at laſt to a point; turning the whole figure into a ſort of triangle, the pooreſt in its effect of almoſt any figure, that can be preſented to the eye. I have ever ob- ſerved, that colonnades and avenues of trees trees of a moderate length, were with- out compariſdn far grander, than when they were ſuffered to run to immenſe di- nerous deceit on the ſpectators, and ef- fect: PEI e e ay methods, aun — 08 f a c mon and ow i maꝑinatien. No work of art can be great, but as it; deceives 3 to otherwiſe is the prerogative; of nature 8 good eye will fx the medium —_— an, exceſſive length, or height. and a ee broken quantity 3 and per- rae degre of us it Was la 7 8 WOE > EO Is WS 2 WE $. ars of any art. OE) 9d oa bi ad gert r Saile Bongs WON JL] Kod 9 a.
meier net Soi Wit. NG 0 -:ENFINTTY-drd pleafng OBIEC TS.
ds bas h q en: no zibb euοονο 132 tllougk of anôther kind, Acai muchlef dur / pleaſure in agiec ablez>as wel g off dur Geligdir in ſublime anazzes The Spring is the Pleaſanteſt aß die Reaſchgz and the yeung of maſt anfthals, 'thoupteofar from being com- Ffheudy fafhiened, ed a müré agtee· able fonſation than che full growir; be- ods thi imagination is eiter timed with tis plomiſe of ſfmethiflg more,” and does notvcquieſce in tlie Preſeht 6bjett of the ſenſe? Th uhſlhiſheUfketches of Urawing. ay rb PRO believe Wende non, the ils 1 have . now * Be 8 wf © I 2 SECT, and BEAUTIFUL. 139 SEC. T.) MI.
DIFF Ng ETA 4 Diſs. em rout 2 hour to effect it, thetdpe:ioigrand.- Stont» ment,: has any' thing, admirable; but end} and} piled each on cthet; turn the: ifi n whe: ine wnGh hug obe dl. grandevir, A8 1,exchides, the idea job arty andaconttia vane: fot:deteity. produce another gart of effeck h is differen enough frem chis; ano eg wurf co Sidific 48 $4411 be e re doyig ei cod!
ar S Wind to mn ” 2 10 a no thidw db bneng ho niz ids Antes ſlur wy d o: ei lug þ buy hs SECT, hange, neithen for Ai pot Her or thoſe huge rude maſſes; of ſtone,: ſet on — og wn eoonagat ns PTC — — ä rr ge DB ns ac. nb bs ee Ss eo OILED e = xx r — 8 " HY are ſplendid or fion of | things Which On the SUB MAGNTFI © ENCE.
mere rag preſs profit valuable in themſelves, cis "pi 1 The ſtarry heaven, ae cee „ ee eee wer fails ; CO 2 i | fir "te arte ment erin, nap! mcence it — Bruddes — reckon — tage them. This gives * wotks öf art, of a ſort of infinity; In nſiſts in this kind of grandeur, =D. 2 uuc EN 888 ted n N OT HIT. COT meagre and BEAUTIFUL. 147 ted; becauſe, a profuſion of excellent things is not to be attained, or with too much difficulty; and, becauſe" in many caſes this ſplendid confuſion would deſtroy all uſe, which ſhould be attended to in moſt of the works of art with the great - eſt care; beſides it is to be conſidered, that unleſs you can produce an appear- ance of infinity by your diſdcddryyers-will have diſorder only without mag There are, however, a ſort rer and ſome other things, that in this way ſucceed well; and are truly grand. There are alſo many deſcriptions in the poets and orators which owe their ſublimity to a richneſs and profuſion of Images; in which the mind is ſo dazzled as to make it impoſſible to attend to that exact co- herence and agreement of the; alluſions, which we ſhould require om every other Oba. I do not now remember more ſtriking example of this, than the deſcription which is given of the king! 8 Why in the play of Henry the fourth; * Al } ' r . 7 — * f 1 .
* 7 .
f 1 j F: ©; 9 i 1 8 RRR &, en doo at. er eee IE or +) wn — Ie * All fur mhedy, al in ar. Stuz2d; bs o M1 plumgd life Mriches that with the wind.. 66105 y Baited lite pagles having lately bathed 5\,' 88 125 A fall af ſpirit as td momtbigf M Mt 1 Anti ee, wu ls » Heanton as youthful goats, wild as goung bulls. | ay young Harry with his beaver, en io te mls eue eres. Und ex lla ivitii iir h eaſe inte hin ſt:: often agel ur ed drum from the cla = eee d In chat excellent 3 fo, remarkable for e of its deforiptionse, 95. rell 8g the Wiſdamof he ſon of: Sirach, there isa noble Nane Tie, on;the-high prieſt Simon the ſon of; Qniass and iti is a very fine example of the point befare. us.
Have dag hebe in the migſt of the peoples inchis. coming out: ofthe ſandtuary l He was'os tbe morning ſian in ibe midſi of a glaull. and at tbe moon at the full: as the eu Shining upon the, temple f the Maſt High, and;BEAUTIF UL. 161 High, and as the rainbow giving light in the bright clouds: and as be flower of roſes in the ſpring of the year; as lillies by the rivers of waters, and as the frankincenſe tree in ſummer; as fire. and incenſe in the cenſer;, and ar 4 veſſel. of "gold ſet go precious ſtones 3 as d. fair, olive tree Gu forth fruit, and as a cypreſs which, grows, eth up tothe clouds. When be put on the robe of. honour and was clothed with. rde Perfection of: glory, when \be.; Went, up ta the holy altar, he made the garment. of bes wat 4 linefs honourabje., He binfelf. food by:the hearth of the altar. compaſfed with his Aren thren| rund about, at a; young cedar in Libanus,' and as palm trees compaſſed- they, bim about. So were all the: ſans. of Aaron, - in their. glory, and. the lathe, e an ben Landi, GW. anon 144 On the SUBLIME TY. AVING: conſidered based 1 1 far as it is capable of raiſing ideas of greatneſs; colour oomes next under conſideration. | All colours depend” on Abt. Light therefore ought previouſly to be examined, and with it, its oppo-.
fite, \darknefs.> With regard to light; to make it a cauſe capable of producing the fublime, it muſt be attended with ſome nſtances; beſides its bare faculty of ſhewing'other objects. Mere light is too common a ching to make a ſtrong im- preſſon on the mind, and without a ſtrong impreſſion nothing can be ſublime. But ſuch a light as that of the ſun, immediately exerted on the eye, as it over- powers the ſenſe, is a very great idea. Light of an inferior ſtrength to this, if it moves "with great celerity, has the Y_ 9 | ſame and BEAUTIFUL. 145 fame power; for lightning is certainly productive of grandeur, which it owes chiefly to the extreme velocity of its motion. A quick tranſition from light to darkneſs, or from darkneſs to light, has yet a greater effect. But darkneſs is more productive of ſublime ideas than light. Our great poet was convinced of this; and indeed fo full was he of this idea, ſo entirely poſſeſſed with the power of a well managed darkneſs, that, in deſcribing the appearance of the Deity, amidſt that profuſion of magnificent images, which the grandeur of his ſub- je& provokes him to pour out upon every fide, he is far from forgetting the obſcu- rity which ſurrounds the moſt incompre- henſible of all beings, but ib the majefly of darkneſs rum Circles his throne.
And what is no leſs remarkable, our au- thor had the ſecret of preſerving this idea, ; even =: 1 4 146 On the SUBLIME even when he ſeemed to depart the fartheſt from it, when he deſcribes the light and glory which flows from the di- vine preſence; a light which by its very excels is converted into a ſpecies of dark- neſs, | Dark with exceſſive light thy ſkirts appear.
Here is an idea not only poetical inanhigh degree, but ſtrictly and philoſophically juſt. Extreme light, by overcoming the organs of ſight, obliterates all objects, fo as in its effect exactly to reſemble dark- neſs. After looking for ſome time at the ſun, two black ſpots, the impreſſion which it leaves, ſeem to dance before our eyes. Thus are two ideas as oppoſite as can be imagined reconciled in the extremes of both; and both in ſpite of their oppoſite nature brought to concur in producing the ſublime. And this is not the only inſtance wherein the op- abs: polite A, — ww and BEAUTIFUL 147 _ polite extremes operate equally in favour of the ſublime, which in all things ab Hove mediocrity.: Sig 8 E CT. XV. 8 the management of light is a matter of importance in architecture, it is worth enquiring, how far this remark is applicable to building. I think then, that all edifices calculated to pro-: duce an idea of the ſublime, ought ra- ther to be dark and gloomy, and this for two reaſons; the firſt is, that darkneſs itſelf on other occaſions is known by ex- perience to have a greater effect on the paſſions than light. The ſecond is, that to make an object very ſtriking, we ſhould make it as different as poſſible from the objects with which we have been immediately converſant z when L 2 therefore n PP ö 148 On the SUBLIME therefore you enter a building, you can- not pals into a greater light than you had in the open air; to go into one ſome few degrees leſs luminous, can make only a trifling change; but to make the tranſi- tion thoroughly ſtriking, you ought to paſs from the greateſt light, to as much dark- neſs as is conſiſtent with the uſes of ar- chitecture. At night the contrary rule will hold, but for the very ſame reaſon; and the more highly a room is then illu- minated, the grander will the paſſion SECT, [4 y * by 1 1 bo : ind BEAUTIFUL. 149 SECT. XVI.
COLOUR confidered as Tu RR oP the SU * LIME.
XN MON G colours, ſuch as are ſoft, . or cheerful, (except perhaps a ſtrong red which is cheerful) are unfit to produce grand images. An immenſe mountain covered with a ſhining green turf, is nothing in this reſpect, to one dark and gloomy; the cloudy ſky is more grand than the blue; and night more ſublime and ſolemn than day. Therefore in hiſtorical painting, a gay or gaudy drapery, can never have a happy effect: and in buildings, when the higheſt de- gree of the ſublime is intended, the ma- terials and ornaments ought neither'to be white, nor green, nor yellow, nor blue, nor of a pale red, nor violet, nor ſpotted, but of ſad and fuſcous colours, as black, or brown, or deep purple, and the like. L 3 Much 1% On the SUBLIME Much of gilding, moſaics, painting or ſtatues, contribute but little to the ſub- lime. This rule need not be put in prac- tice, except where an uniform degree of the moſt ſtriking ſublimity is to be pro- duced, and that in every particular; for it ought to be obſerved, that this melan- choly kind of greatneſs, though it be cer- tainly the higheſt, ought not to be ſtudied in all forts of edifices, where yet gran- deur muſt be ſtudied; in ſuch caſes the ſublimity muſt be drawn from the other ſources; with a ſtrict caution however againſt any thing light and riant; as no- thing ſo effectually deadens the whole tate of the ſublime.
s E C 7. xn SOUND and LOUDNESS! 1 eye is not the only organ of © ſenſation, by which a ſublime paſ- fon OT be e Sounds have a great and BEAUTIFUL. 151 great power in theſe as in moſt other paſſions. I do not mean words, becauſe words do not affect ſimply by their ſounds, but by means altogether different. Ex- ceſſive loudneſs alone is ſufficient to over- power the ſoul, to ſuſpend its action, and to fill it with terror. The noiſe of vaſt cataracts, raging ſtorms, thunder, or ar- tillery, awakes a great and aweful ſenſa- tion in the mind, though we can obſerve no nicety or artifice in thoſe ſorts of mu- fic. The ſhouting of multitudes has a ſimilar effect; and by the ſole ſtrength of the ſound, fo amazes and confounds the imagination, that in this ſtaggering, and hurry of the mind, the beſt eſtabliſhed tempers can ſcarcely forbear being born down, and joining in the common cry, and common reſolution of the croud.
152 On the SUBLIME SECT. XVII. SUDDENNESS.
Sudden beginning, or ſudden ceſ- ſation of ſound of any conſiderable force, has the ſame power. The atten- tion 1s rouſed by this; and the faculties driven forward, as it were, on their guard. Whatever either in ſights or ſounds makes the tranſition from one extreme to the other eaſy, cauſes no terror, and conſequently can be no cauſe of greatneſs. In every thing ſudden and unexpected, we are apt to ſtart; that is, we have a per- ceptian of danger, and our nature rouſes us to guard againſt it. It may be obſerved, that a ſingle ſound. of ſome ſtrength, though but of ſhort duration, if repeated after intervals, has a grand effect. Few things are more aweful than the ſtriking of a great clock, when the filence of the night prevents the attention from being too 4 and BEAUTIFUL. 153 too much diſſipated. The ſame may be ſaid of a fingle ſtroke on a drum, repeated with pauſes; and of the ſucceſſive firing of cannon at a diſtance; all the effects mentioned in this ſection have cauſes very nearly alike.
SE CT. XX. INTERMITTING.
A LOW, tremulous, intermitting ſound, though it ſeems in ſome reſpects oppoſite to that juſt mentioned, is productive of the ſublime. It is worth while to examine this a little. The fact itſelf muſt be determined by every man's own experience, and reflection. I have already obſerved, that “ night in- creaſes our terror more perhaps than any thing elſe; it is our nature, that, when we do not know what may happen to us, to fear the worſt that can ä us; *Sect. 3.
and 154 On the SUBLIME and hence it is, that uncertainty is fo ter- rible, that we often ſeek to be rid of it, at the hazard of a certain miſchief. Now ſome low, confuſed, uncertain ſounds, leave us in the ſame fearful anxiety concerning their cauſes, that no light, or an uncertain light does concerning the objects that furround us.
ER iter in ſiluis.— I faint fradnu of uncertain light, Like as a lamp, whoſe Iife deth fade away z Or as the moon cloathed with cloudy night | Doth ſhew to himwho walks in fear and great affright. SPENSER, But a light now. appearing, and now leay- ing us, and ſo off and on, is even more terrible than total darkneſs; and a ſort of uncertain ſounds are, when the neceſſary _ diſpoſitions concur, more alarming than a total filence.
. SECT.
F and BEAUTIFUL. 135 The cries of ANIMALS.
YUCH 8 as imitate a natural inarticulate voices of men, or any.
animals in pain or danger, are capable of conveying great ideas; unleſs it be the well known voice of ſome creature, on which we are uſed to look with contempt. The angry tones of wild beaſts are equally capable of cauſing a a and aweful ſenſation.
Hinc exaudiri gemitus, irægue leonum Jincla recuſantum, et ſera ſub nocte rudentum; Setigerigue ſues, atgue in preſepibus urſi Sævire; et e magnorum ululare luporum.
Tt might * that theſe modulations of ſound carry ſome connection with the na- ture of the things they repreſent, and are not merely arbitrary; becauſe the natu- B — ral 156 On the SUBLIME ral cries of all animals, even of thoſe ani- mals with whom we have not been ac- quainted, never fail to make themſelves ſufficiently underſtood; this cannot be faid of language. The modifications of ſound, which may be productive of the ſublime, are almoſt infinite. Thoſe I have mentioned, are only a few inſtances to ſhew, on what principle they are all SET SMELL and TASTE. BIT T ERS and STENCHES.
ELLE, and Taftes, have ſome ſhare too, in ideas of greatneſs; but it is a ſmall one, weak in its nature, and confined in its operations. I ſhall only obſerve, that no ſmells or taſtes can pro- duce a grand enſation, except exceſſive bitters, and intolerable ſtenches. It is true, that theſe affections of the ſmell and ? taſte.
and BEAUTIFUL. 157 taſte, when they are in their full force, and lean directly upon the ſenſory, are ſimply painful, and accompanied with no ſort of delight; but when they are mo- derated; as in a deſcription or narrative, they become ſources of the ſublime as genuine as any other, and upon the very ſame principle of a moderated pain. A cup of bitterneſs;” to drain the bitter cup of fortune; the bitter apples of « Sodom.” Theſe are all ideas ſuitable to a ſublime deſcription. Nor is this paſ- ſage of Virgil without ſublimity, where the ſtench of the vapour in Albunea con- ſpires ſo happily with the ſacred horror and gloomineſs of that prophetic foreſt.
At rex ſollicitus monſirorum oraculi fauni Patidici genitoris adit, Iucoſque ſub alta | Conſulit Albunea, nemorum que maxima ſacro Fonte ſonat; ſævamque exhalat opaca Mephitim.
In the ſixth book, and in a very ſublime Ln a: » the poiſonous exhalation of Acheron 158 On the SUBLIME Acheron is not forget, nor does it at all difagree with the other images amongſt which it-is introduced.
_» Spehunca alta fuit, vaſtoque immanis hiatu. | Scrupea, tuta lacu nigro, nemorumgue tenebris uam ſuper haud ullæ poterant impune volantes Tiundire iter penis, talis ſeſe halitus atris Faucibus effundens ſupera ad convexa ferchat.
I have added theſe examples, becauſe ſome friends, for whoſe judgment I have great deference, were of opinion, that if the ſentiment ſtood nakedly by itſelf, it would be ſubject. at firſt view to bur- leſque and ridicule; but this 1 imagine would principally ariſe from conſidering the bitterneſs and ſtench in company with mean and contemptible ideas, with which it muſt be owned they are often united; ſuch an union degrades 1 the ſublime. in all other inſtances as well as in thoſe. But 4t- is one of the. teſts. by which the ſubli- Win oc; «a Lnage is to be tried, not-whe- 8 ther and BEAUTIFUL. 159 ther it becomes mean when aſſociated with mean ideas; but whether, when united with images of an allowed gran- deur, the whole compoſition is ſupported with dignity. Things which are terrible are always great; but when things poſſeſs difagreeable qualities, or ſuch as have in- deed ſome degree of danger, but of a - danger eaſily overcome, they are merely odious, as toads and ſpiders, SECT; XXII. FEELING. PAIN.
F Feeling little more can be faid, than that the idea of bodily pain, in all the modes and degrees of labour, pain, anguiſh, torment, is productive of the ſublime; and nothing elſe in this ſenſe can produce it. I need not give here any freſh inſtances, as thoſe given in the former ſections abundantly illuſtrate a re- mark, that in reality wants only an at- tention 160 On the SUBLIME tention to nature, to be made by every body.
Having thus ran through the cauſes of the ſublime with reference to all the ſenſes, my firſt obſervation, (ſect. 7.) will be found very nearly true; that the ſub- lime is an idea belonging to ſelf-preſerva- tion. That it is therefore one of the moſt affecting we have. That its ſtrongeſt emotion is an emotion of diſtreſs, and that no þ pleaſure from a poſitive cauſe belongs to it. Numberleſs examples be- fides thoſe mentioned, might be brought in ſupport of theſe truths, and many perhaps uſeful conſequences drawn from Sed fugit interea, fugit irrevocabile tempus, a Singula dum capti circumuectamur amore.
+ Vide ſect. 6. part I.
PART A Philoſophical Enquiry INTO THE: Oxr16iN Gon IDEAS QF THE SUBLIME and BEAUTIFUL. PAR. M4 | SE CT..
of BEAUTY.
ITI is my deſign to conſider beauty as [| diſtinguiſhed from the ſublime; and in the courſe of the enquiry, to exa- mine how far it is conſiſtent with it. But previous to this, we mult take a ſhort review of the opinions already entertain- ed of this quality; which I think are hardly to be reduced to any fixed prin- 4 M ciples; 162 On the SUBLIME ciples; becauſe men are uſed to talk of beauty in a figurative manner, that is to ſay, in a manner extremely uncertain, and indeterminate. By beauty I mean, that quality or thoſe qualities in bodies by which they cauſe love, or ſome paiſion ſimilar to it. I confine this definition to the merely ſenſible qualities of things, for the ſake of preſerving the utmoſt ſimplicity in a ſubject which muſt always diſtract us, whenever we take in thoſe various cauſes of ſympa- thy which attach us to any perſons or things from ſecondary conſiderations, and not from the direct force which they have merely on being viewed. I likewiſe di- ſtinguiſh love, by which I mean that fa- tisfaction which ariſes to the mind up- on contemplating any thing beautiful, of whatſoever nature it may be, from deſire or luſt; which is an energy of the mind, that hurries us on to the poſſeſſion of certain objects, that do not affect us as they are beautiful, but and BEAUTIFUL. 163 by means altogether different. We ſhall have a ſtrong defire for a woman of no remarkable beauty; whilſt the greateſt beauty in men, or in other animals, though it cauſes love, yet excites nothing at all of deſire. Which ſhews that beau- ty, and the paſſion cauſed by beauty, which I call love, is different from de- fire, though defire may ſometimes ope- rate along with it; but it is to this latter that we muſt attribute thoſe violent and tempeſtnous paſſions, and the conſequent emotions of the body which attend what is called love in ſome of its ordinary ac- ceptations, and not to the effects of beau- ty merely as it is ſuch.
SRO T. F Proportion not the cauſe of BEAUTY in VEGETABLES.
DDEAUTY hath uſually been faid to conſiſt in certain proportions of 2 parts.
164 On the SUBLIME parts. On conſidering the matter, I have great reaſon to doubt, whether beauty be at all an idea belonging to proportion. Proportion relates almoſt wholly to con- venience, as every idea of order ſeems to do; and it muſt therefore be confidered as a creature of the underſtanding, rather than a primary cauſe acting on the ſenſes and imagination. It is not by the force of long attention and enquiry that we find any object to be beautiful; beauty demands no aſſiſtance from our reaſon- ing; even the will is unconcerned; the appearance of beauty as effectually cauſes ſome degree of love in us, as the appli- cation of ice or fire produces the ideas of heat or cold. To gain ſomething like a ſatisfactory concluſion in this point, it were well to examine, what proportion is; ſince ſeveral who make uſe of that word, do not always ſeem to under- ſtand very clearly the force of the term, nor to have very diſtinct ideas con- cerning the thing itſelf. Proportion is the and BEAUTIFUL, 163 and BEAUTIFUL, 163 the meaſure of relative quantity. Since all quantity is diviſible, it is evident that every diſtinct part into which any quan- tity is divided, muſt bear ſome relation to the other parts or to the whole. Theſe relations give an origin to the idea of proportion. They are diſcover- ed by menſuration, and they are the ob- jects of mathematical enquiry. But whe- ther any part of any determinate quan- tity be a fourth, or a fifth, or a ſixth, or a moiety of the whole; or whether it be of equal length with any other part, or double its length, or but one half, is a matter merely indifferent to the mind; it ſtands neuter in the queſtion: and it is from this abſolute indifference and tranquility of the mind, that mathematical ſpeculations derive ſome of their | moſt conſiderable advantages; becauſe there is nothing to intereſt the imagination; be- cauſe the judgment fits free and un- biaſſed to examine the point. All proportions, every arrangement of quantity o 166 On the SUBLIME is alike to the underſtanding, becauſe the ſame truths reſult to it from all; from greater, from leſſer; from equality and inequality. But ſurely beauty is no idea belonging to menſuration; nor has it any thing to do with calculation and geo- metry. If it had, we might then point out ſome certain meaſures which we could demonſtrate to be beautiful, either as fimply conſidered, or as related to others; and we could call in thoſe na- tural objects, for whoſe beauty we have no voucher but the ſenſe, to this happy ſtandard, and confirm the voice of our paſſions by the determination of our rea- ſon. But fince we have not this help, let us ſee whether proportion can in any ſenſe be conſidered as the cauſe of ; beauty, as hath been fo generally, and by ſome ſo confidently affirmed. If pro- portion be one of the conſtituents of þeauty, it muſt derive that power either from ſome natural properties inherent in na meaſures, which operate mechanically 3 and BEAUTIFUL. 167 nically; from the operation of cuſtom; or from the fitneſs which ſome meaſures have to anſwer ſome particular ends of conveniency. Our buſineſs therefore is to enquire, whether the parts of thoſe objects which are found beautiful in the vegetable or animal kingdoms, are con- ſtantly ſo formed according to ſuch cer- tain meaſures, as may ſerve to ſatisfy us that their beauty reſults from thoſe mea- ſures, on the principle of a natural me- chanical cauſe; or from cuſtom; or in fine; from their fitneſs for any determi- | nate purpoſes. I intend to examine this point under each of theſe heads in their order. But before I proceed further, 1 hope it will not be thought amiſs, if 1 lay down the rules which governed me in this enquiry, and which have miſled me in it if I have gone aſtray. 1. If two bodies produce the ſame or a fimilar effect on the mind, and on examination they are found to agree in ſome of their properties, and to differ in others; the M 4 | common 168 On the SUBLIME common effect is to be attributed to the properties in which they agree, and not to thoſe in which they differ. 2. Not to account for the effect of a natural object from the effect of an artificial object. 3. Not to account for the effect of any natural object from a concluſion of our reaſon. concerning its uſes, if -a natural cauſe may be aſſigned. 4. Not to ad- mit any determinate quantity, or any re- lation of quantity, as the cauſe of a cer- tain effect, if the effect is produced by different or - oppoſite meaſures and rela- tions; or if theſe meaſures and relations may exiſt, and yet the effect may not be produced, Theſe are the rules which I have chiefly followed, whilſt I examin- ed into the power of proportion conſider- ed as a natural cauſe; and theſe, if he thinks them juſt, I requeſt the reader to carry with him throughout the following diſcuſſion; whilſt we enquire in the firſt place, in what things we find this qua- lity of beauty; next, to ſee whether in N theſe, and BEAUTIFUL. 169 theſe, we can find any aſſignable propor- tions, in ſuch a manner as ought to con- vince us, that our idea of beauty reſults from them. We ſhall conſider this pleaſing power, as it appears in vegeta- bles, in the inferior animals, and in man. Turning our eyes to the vegetable crea- tion, we find nothing there ſo beautiful as flowers; but flowers are almoſt of every ſort of ſhape, and of every ſort of diſpoſition; they are turned and faſhion- ed into an infinite variety of forms; and from theſe forms, botaniſts have given them their names, which are almoſt as various. What proportion do we diſco- ver between the ſtalks and the leaves of flowers, or between the leaves and the piſtils? How does the ſlender ſtalk of the roſe agree with the bulky head under which it bends? but the roſe is a beauti- ful flower; and can we undertake to ſay that it does not owe a great deal of its beauty even to that diſproportion? the roſe 1s a large flower, yet it grows upon a ſmall — 150 On the SUBLIME a ſmall ſhrub; the flower of the apple is very ſmall, and it grows upon a large tree; yet the roſe and the apple bloſſom are both beautiful, and the plants that bear them are moſt engagingly attired notwithſtanding this diſproportion. What by general conſent is allowed to be a more beautiful object than an orange tree, flouriſhing at once with its leaves, its bloſſoms, and its fruit? but it is in vain that we ſearch here for any propor- tion between the height, the breadth, or any thing elſe concerning the dimenſions of the whole, or concerning the relation of the particular parts to each other. I grant that we may obſerve in many flowers, ſomething of a regular figure, and of a methodical diſpoſition of the leaves. The roſe has ſuch a figure and ſuch a diſpoſition of its petals; but in an oblique view, when this figure is in a good meaſure loſt, and the order of the leaves confounded, it yet retains its beau- ty; the roſe is even more beautiful be- fore and BEAUTIFUL. 171 fore it is full blown; in the bud; be- fore this exact figure is formed; and this is not the only inſtance wherein method and exactneſs, the ſoul of proportion, are 2 found rather prejudicial than ſerviceable Þ to the cauſe of beauty.
r, Wh Proportion not the cauſe of BEAUTY in ANIMALS.
TVHAT proportion has but a ſmall 1 ſhare in the formation of beauty, is full as evident among animals. Here the greateſt variety of ſhapes, and diſpo- ſitions of parts are well fitted, to excite this idea. The ſwan, confeſſedly a beau tiful bird, has a neck longer than the reſt of his body, and but a very ſhort tail; is this a beautiful proportion? we muſt allow that it is. But then what ſhall we fay to the peacock, who has comparatively but a ſhort neck, with a tail longer than 172 On the SUBLIME the neck and the reſt of the body taken together? How many birds are there that vary infinitely from each of theſe ſtan- dards, and from every other which you can fix, with proportions different, and often directly oppoſite to each other! and yet many of theſe birds are extremely beautiful; when upon conſidering them we find nothing in any one part that might determine us, @ priori, to ſay * what the others ought to be, nor indeed to gueſs any thing about them, but what experience might ſhew to be full of diſ- appointment and miſtake. And with regard to the colours either of birds or flowers, for there is ſomething ſimilar in the colouring of both, whether they are conſidered in their extenſion or gradation, there is nothing of proportion to be ob- ſerved, Some are of but one ſingle co- Jour; others have all the colours of the rainbow; ſome are of the primary co- lours, others are of the mixt; in ſhort, an attentive obſerver may ſoon conclude, that and BEAUTIFUL. 173 that there is as little of proportion in the colouring as in the ſhapes of theſe ob- jets. Turn next to beaſts; examine the head of a beautiful horſe; find what proportion that bears to his body, and to his limbs, and what relation' theſe have to each other; and when you have ſet- tled theſe proportions as a ſtandard of beauty, then take a dog or cat, or any other animal, and examine how far the ſame proportions between their heads and their necks, between thoſe and the body, and ſo on, are found to hold; I think we may ſafely ſay, that they differ in every ſpecies, yet that there are individuals found in a great meny ſpecies fo differ- ing, that have a very ſtriking beauty. Now if it be allowed that very dif- ferent, and even contrary forms and diſ- _ poſitions are conſiſtent with beauty, it amounts I believe to a conceſſion, that no certain meaſures operating from a natural principle, are neceſſary to produce 174 On the SUBLIME duce it, at leaſt ſo far as the brute ſpecies is concerned.
SEET. I Proportion not the cauſe of BEAUTY in the human ſpecies.
HERE are ſome parts of the human body, that are obſerved to hold certain proportions to each other; but before it can be proved, that the ef- ficient cauſe of beauty lies in theſe, it muſt be ſhewn, that wherever theſe are found exact, the perſon to whom they belong is beautiful. I mean in the effect produced on the view, either of any member diſtinctly conſidered, or of the whole body together. It muſt be like- wiſe ſhewn, that theſe parts ſtand in ſuch a relation to each other, that the com- pariſon between them may be / cafily made, and that the affection of the mind may naturally reſult from it. For my and BEAUTIFUL. 175 my part, I have at. ſeveral times very carefully examined many of thoſe proportions, and found them hold very nearly, or altogether alike in many ſubjects, which were not only very different from one another, but where one has been