" A faint shadow of
uncertain
light, Like as lamp, whose life doth fade away; Or as the moon clothed with cloudy night
Doth show to him who walks in fear and great aff'right.
Doth show to him who walks in fear and great aff'right.
Edmund Burke
After a long succession of noises, as the fall of waters, or the beating of forge-hammers, the ham mers beat and the waters roar in the imagination long after the first sounds have ceased to affect it; and they die away at last by gradations which are scarcely perceptible.
Ifyou hold up a straight pole, with your eye to one end, it will seem extended to a
almost incredible? " Place a number of uni form and equi-distant marks on this pole, they will
cause the same deception, and seem multiplied with out end. The senses, strongly affected in 'some one manner, cannot quickly change their tenor, or adapt themselves to other things ; but they continue in their old channel until the strength of the first mover decays. This is the reason of an appearance very frequent in madmen ; that_they remain whole days and nights, sometimes whole years, in the constant repetition of some remark, some complaint, or song; which hav ing struck powerfully on their disordered imagination in the beginning of their frenzy, every repetition reinforces it with new strength, and the hurry of their spirits, unrestrained by the curb of reason, continues it to the end of their lives.
length
? SECTION SUCCESSION AND UNIFORMITY.
SUccEssIoN and uniformity of parts are what con stitute the artificial infinite. 1. Succession ; which is requisite that the parts may be continued so long and in such a direction, as by their frequent impulses on
* Part IV. sect. 13.
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the sense to impress the imagination with an idea of their progress beyond their actual limits. 2. Uni formity; because, if the figures of the parts should be changed, the imagination at every change finds a check ; you are presented at every alteration with the termination of one idea, and the beginning of an other ; by which means it becomes impossible to con tinue that uninterrupted progression, which alone can stamp on bounded objects the character of infinity. It is in this kind of artificial infinity, I believe, we ought to look for the cause why a rotund has such a noble effect. * For in a rotund, whether it be a build ing or a plantation, you can nowhere fix a boun dary; turn which way you will, the same object still seems to continue, and the imagination has no rest. But the parts must be uniform, as well as circularly
to give this figure its full. force; because any difference, whether it be in the disposition,'or in the figure, or even in the color of the parts, is highly prejudicial to the idea of infinity, which every change must check and interrupt, at every alteration com mencing a new series. On the same principles of succession and uniformity, the grand appearance of the ancient heathen temples, which were generally oblong forms, with a range of uniform pillars on every side, will be easily accounted for. From the same cause also may be derived the grand effect of the aisles in many of our own old cathedrals. The form of a cross used in some churches seems to me not so eligible as the parallelogram of the ancients ; at least, I imagine it is not so proper for the outside. For,
* Mr. Addison, in the Spectators concerning the pleasures of the imagination, thinks it is because in the rotund at one glance you see
do not imagine to be the real cause.
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supposing the arms of the cross every way equal, if you stand in a direction parallel to any of the side walls, or colonnades, instead of a deception that makes the building more extended than it is, you are cut oif from a considerable part (two thirds) of its actual length; and, to prevent all possibility of
progression,the arms of the cross taking a new direc tion, make a right angle with the beam, and thereby wholly turn the imagination from the repetition of the former idea. Or suppose the spectator placed where he may take a direct view of such a building, what will be the consequence? the necessary conse quence will be, that a good part of the basis of each angle formed by the intersection of the arms of the cross, must be inevitably lost; the whole must of course assume a broken, unconnected fig1u'e; the lights must be unequal, here strong, and there weak; without that noble gradation which the per spective always etfects on parts disposed uninterrupt edly in a right line. Some or all of these objections will lie against every figure of a cross, in whatever view you take it. I exemplified them in the Greek cross, in which these faults appear the most strongly; but they appear in some degree in all sorts of crosses. Indeed, there is nothing more prejudicial to the grandeur of buildings than to abound in angles; a fault obvious in many; and owing to an inordinate thirst for variety, which, whenever it prevails, is
sure to leave very little true taste.
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SECTION X. MAG'NITUDE. IN BUILDING.
T0 the sublime in building, greatness of dimension seems requisite; for on a few parts, and those small, the imagination cannot rise to any idea of infinity. N0 greatness in the manner can effectually compen sate for the want of proper dimensions. There is no danger of drawing men into extravagant designs by this rule; it carries its own caution along with it. Because too great a length in buildings destroys the purpose of greatness, which it was intended to pro mote; the perspective will lessen it in height as 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 observed, that col onnades and avenues of trees of a moderate length were, without comparison, far grander than when they were suffered to run to immense distances. A true artist should put a generous deceit 0n the spec tators, and effect the noblest designs by easy meth ods. Designs that are vast only by their dimensions are always the sign of a common and low imagina tion. N0 work of art can be great, but as it deceives ; to be otherwise is the prerogative of nature only. A good eye will fix the medium betwixt an excessive length or height (for the same objection lies against both), and a short or broken quantity: and perhaps it might be ascertained to a tolerable degree of ex
actness, if it was my purpose to descend far into the "
particulars of any art.
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SECTION XI. INFINITY IN PLEASING OBJECTS.
INFINITY, though of another kind, causes much of 0iu' pleasure in agreeable, as well as of our delight in sublime images. The spring is the pleasantest of the seasons ; and the young of most animals, though far from being completely fashioned, afford a more agree able sensation than the full-grown; because the imagi nation is entertained with the promise of something more, and does not acquiesce in the present object of the sense. In unfinished sketches of drawing, I have often seen something which pleased me beyond the best finishing; and this I believe proceeds from the cause I have just now assigned.
SECTION XII. DIFFICULTY.
ANOTHER source of greatness is diflicultg/. * When any work seems to have required immense force and labor to effect the idea grand. Stonehenge, neither for disposition nor ornament, has anything admirable; but those huge rude masses of stone, set on end, and piled each on other, turn the mind on the immense force necessary for such work. Nay, the rudeness of the work increases this cause of grandeur, as excludes the idea of art and contriv ance; for dexterity produces another sort of effect, which different enough from this.
* Part IV. sect. 6.
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SE CTION XIII. MAGNIFICENCE.
MAcNIFICENCE is likewise a source of the sublime. A great profusion of things, which are splendid or valuable in themselves, is magnificent. The starry heaven, though it occurs so very frequently to our view never fails to excite an idea of grandeur. This cannot be owing to the stars themselves, separately considered. The number is certainly the cause. The apparent disorder augments the grandeur, for the ap
of care is highly contrary to our ideas of magnificence. Besides, the stars lie in such appar ent confusion, as makes it impossible on ordinary oc casions to reckon them. This gives them the advan tage of a sort. of infinity. In works of art, this kind of grandeur which consists in multitude, is to be very cautiously admitted; because a profusion of excel lent things is not to be attained, or with too much difiiculty; and because in many cases this splendid confusion would destroy all use, which shou. ld be at tended to in most of the works of art with the greatest care; besides, it is to be considered, that unless you can produce an appearance of infinity by your disor der, you will have disorder only without magnificence. There are, however, a sort of fireworks, 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 coherence and agreement of the allusions,I which we should require on every other occasion.
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do not now remember a more -striking example of this, than the description which is given of the king's
army in the play of Henry IV.
"All furnished, all in arms, All plumed like ostriches that with the wind
Baited like eagles having lately bathed:
As full of spirit as the month of May,
And gorgeous as the sun in midsummer, Wanton as youthful goats, wild as young bulls. I saw young Harry with his beaver on
Rise from the ground like feathered Mercury; And vaulted with such ease into his seat,
As if an angel dropped down from the clouds To turn and wind a fiery Pegasus. "
In that excellent book, so remarkable for the vi vacity of its descriptions, as well as the solidity and penetration of its sentences, the Wisdom of the Son of Sirach, there is a noble panegyric on the high priest Simon the son of Onias ; and it is a very fine
example of the point before us : --
How was he honored in the midst of the people, in his
coming out of the sanctuary! He was as the morning star in the midst of a cloud, and as the moon at the full ;_ as the sun shining upon the temple of the llfost
lfigh, and as the rainbow giving light in the bright clouds: and as the flower of roses in the spring of the
year, as lilies by the rivers of waters, and as the frank inoense-tree in summer; as fire and incense in the cen ser, and as a vessel of gold set with precious stones ; as a_ fair olive-tree budding forth fruit, and as a cypress which groweth up to the clouds. When he put on the robe of honor, and was clothed with the perfection
of glory, when he went up to the holy altar, he made the garment of holiness honorable. He himself stood by the hearth of the altar, compassed with his brethren round
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about; as a young cedar in Libanus, and as palm-trees compassed they him about. So were all the sons of Aaron in their glory, and the oblations of the Lord in their hands, go.
SECTION XIV. LIGHT.
HAVING considered extension, so far as it is capable of raising ideas of greatness; color comes next under consideration. All colors depend on light. Light therefore ought previously to be examined ; and with it its opposite, darkness. With regard to light, to make it a cause capable of producing the sublime, it must be attended with some circumstances, besides its bare faculty of showing other objects. Mere light is too common a thing to make a strong impression on the mind, and without a strong impression noth ing can be sublime. But such a light as that of the sun, immediately exerted on the eye, as it overpowers the sense, is a very great idea. Light of an inferior strength to this, if it moves with great celerity, has the same power; for lightning is certainly productive of grandeur, which it owes chiefly to the extreme ve locity 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 so full was he of this idea, so en tirely 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 subject provokes him to
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pour outupon every side, he is far from forgetting the obscurity which surrounds the most incomprehensible of all beings, but
" With majesty of dark-ness round Circles his throne. "
And what is no less remarkable, our author had the secret of preserving this idea, even when he seemed to depart thegfarthest from when he describes the light and glory which flows from the Divine presence light which by its very excess converted into species of darkness -- _
" Dark with excessive liqht thy skirts appear. "
Here an idea not only poetical in high degree, but strictly and philosophically just. Extreme light,
overcoming the organs of sight, obliterates all ob jects, so as in its effect exactly to resemble darkness. After looking for some time at the sun, two black spots, the impression which 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 not the only instance wherein the opposite extremes oper ate equally in favor of the sublime, which in all
things abhors mediocrity. _
N_ xv. LIGHT IN BUTLDING
AS the management of light matter of impor tance in architecture, worth inquiring, how far this remark applicable to building. think, then,
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that all edifices calculated to produce an idea of the _sublime, ought rather to be dark and gloomy, and this for two reasons ; the first that darkness itself
on other occasions known by experience to have greater effect on the passions than light. The second that to make an object very striking, we should
make as different as possible from the objects with which we have been immediately conversant; when therefore you enter building, you canhot pass into
greater light than you had in the open air; to go into one some few degrees less luminous, can make only trifling change; but to make the transition thoroughly striking, you ought to pass from the great est light, to as much darkness as consistent with the uses of architecture. At night the contrary rule will hold, but for the very same reason; and the more highly room then illuminated, the grander will the passion be.
SECTION XVI.
COLOR CONSIDERED AS PRODUCTIVE OF THE SUBLIME.
AMONG colors, such as are soft or cheerful (except perhaps a strong red, which cheerful) are unfit to
? An immense mountain cov ered with shining green turf, nothing, in this
respect, to one dark and gloomy; the cloudy sky more grand than the blue; and night more sublime and solemn than day. Therefore in historical paint ing, a gay or gaudy drapery can never have happy effect: and in buildings, when the highest degree of the sublime intended, the materials and ornaments ought neither to be white, nor green, nor yellow, nor
produce grand images.
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blue, nor of a pale red, nor violet, nor spotted, but of
sad and fuscous colors, as black, or brown, or deep
purple, and the like. Much of gilding, mosaics, paint ing, or statues, contribute but little to the sublime. This rule need not be put in practice, except where an uniform degree of the most striking sublimity is to be produced, and that in every particular; for it ought to be observed, that this melancholy kind of greatness, though it be certainly the highest, ought not to be studied in all sorts of edifices, where yet grandeur must be studied ; in such cases the sublim
must be drawn from the other sources; with strict caution however against anything light and ant; as nothing so effectually deadens the whole taste of the sublime.
SECTION XVII. SOUND AND LOUDNESS
THE eye not the only organ of sensation by which sublime passion may be produced. Sounds have
great power in these as in most other passions. do not mean words, because words do not affect simply
their sounds, but by means altogether different. Excessive loudness alone sufficient to overpower the soul, to suspend its action, and to fill with terror. The noise of vast cataracts, raging storms, thunder, or artillery, awakes great and awful sensation in the mind, though we can observe no nicety or artifice
those sorts of music. The shouting of multitudes
? has similar effect; and
the sound, so amazes and confounds the imagina tion, that, in this staggering and hurry of the mind,
by the sole strength of
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the best established tempers can scarcely forbear be ing borne down, and joining in the common cry, and common resolution of the crowd.
SECTION XV III. sunnmmnss.
A SUDDEN beginning, or sudden cessation of sound of any considerable force, has the same power. The attention is 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 con sequently can be no cause of greatness. In every thing sudden and unexpected, we are apt to start; that we have perception of danger, and our na ture rouses (us to guard against it. It may be ob served that single sound of some strength, though but of short duration, repeated after intervals, has
grand effect. Few things are more awful than the striking of great clock, when _the silence of the night prevents the attention from being too much
? The same may be said of single stroke on drum, repeated with pauses and of the succes sive firing of cannon at distance. All the effects mentioned in this section have causes very nearly alike.
SECTION XIX. INTERMITTING.
LOW, tremulous, intermitting sound, though it seems, in some respects, opposite to that just men
dissipated.
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tioned, is productive of the sublime. It is worth
while to examine this a little. The fact itself must . be determined by every man 9s own experience and reflection. I have already observed, that night * increases our terror, more perhaps than anything else; it is our nature, when we do not know what
may happen to us, to fear the worst that can hap pen; and hence it is that uncertainty is so terrible, that we often seek to be rid of at the hazard of certain mischief. Now some . 1ow, confused, uncer tain sounds, leave us in the same fearful anxiety con cerning their causes, that no light, or an uncertain light, does concerning the objects that surround us.
Quale per inccrtam lunam sub luce maligna Est iter in sylvis.
" A faint shadow of uncertain light, Like as lamp, whose life doth fade away; Or as the moon clothed with cloudy night
Doth show to him who walks in fear and great aff'right. " Sraxsan.
But light now appearing, and now leaving us, and so 0if and on, even more terrible than total darkness and sort of uncertain sounds are, when the neces sary dispositions concur, more alarming than total silence.
N XX. run CRIES or ANIMALS.
SUCH sounds as imitate the natural
voices of men, or any animals in pain or danger, are capable of conveying great ideas; unless be the well-known voice of some creature, on which we are used to look with contempt. The angry tones of wild
" Sect. 3.
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beasts are equally capable of causing a great and awful sensation.
Hinc cxaudiri gemitus, iraequc leonum
Vincla recusantu|n, ct sera sub nocte rudentum ; Sctigerique sues, _atque in prmscpibus ursi
S? BvlI'8 ; ct formw magnorum ululare lupornm.
It might seem that these modulations of sound carry some connection with the nature of the things they represent, and are not merely arbitrary ; because the natural cries of all animals, even of those animals with whom we have not been acquainted, never fail to make themselves sufficiently understood ; this can not be said 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 show on what principles they are all
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SECTION XXI.
SMELL AND TASTE. -- BITTERS AND srnuCmIzs.
SMELLS and tastes 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 ob serve that no smells or tastes can produce a grand sensation, except excessive bitters, and 'intolerable stenches. It is true that these affections of the smell and 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 moderated, 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 moder
ated pain. " A cup of bitterness " ; " to drain the bit
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ter cup of fortune " ; " the bitter apples of Sodom " ; these are all ideas suitable to a sublime description. Nor is this passage of Vi1gil without sublimity, where the stench of the vapor in Albunea conspires so hap pily with the sacred horror and gloominess of that
prophetic forest:
At i-ex sollicitus monstris oracula Fauni
Fatidici genitoris adit, lucosque sub alta Consulit Albunca, nemorum qum maxima sacro Fonte sonar; sazvamque exhalet apaca Illephitim.
In the sixth book, and in a very sublime description, the poisonous exhalation of Acheron is not forgot ten, nor does it at all disagree with the other images amongst which it is introduced:
Spelunca alta fuit, vastoque immanis hiatu
Scrupea, tuta la/:u nfgro, nemornmque tenebris; Quam super hand ulla: poterunt impnne volantes Tenderc itcr pennis : talis sese halitus atria
Faucibus eflizndens supera ad convezraferebat.
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 burlesque and ridicule; but this I imagine would principally arise from considering the bitterness and stench in com pany with mean and contemptible ideas, with which it must be owned they are often united ; such an union degrades the sublime in all other instances as well as in those. But it is one of the tests by which the sub limity of an image is to be tried, not whether it be comes mean when associated with mean ideas; but whether, when united with images of an allowed grandeur, the whole composition is supported with dignity. Things which are terrible are always great;
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but when things possess disagreeable qualities, or such as have indeed some degree of danger, but of a danger easily overcome, they are merely odious; as toads and spiders.
SECTION XXII. FEELING. --PAIN.
OF feeling little more can be said than that the idea of bodily pain, in all the modes and degrees of labor, 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 remark that, in reality, wants only an attention to nature, to be made by everybody.
Having thus run 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 sublime is an idea belonging to self-preservation ; that it is, therefore, one of the most affecting we have; that its strongest emotion is an emotion of dis tress; and that no pleasure* from a positive cause belongs to it. Numberless examples, besides those mentioned, might be brought in support of these truths, and many perhaps useful consequences drawn from them--
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* Vide Part I. sect. 6.
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PART III.
SECTION I. or BEAUTY.
I65
Ir is my design to consider beauty as distinguished from the sublime; and, in the course of the inquiry, to examine how far it is consistent with it. But pre
vious to this, we must take a short review of the opin ions already entertained of this quality; which I think are hardly to be reduced to any fixed princi ples ; because men are used to talk of beauty in a figurative manner, that is to say, in a manner ex
tremely uncertain, and indeterminate. By beauty, I mean that quality, or those _qualities in bodies, by which they cause love, or some passion similar to it. I confine this definition to the merely sensible quali ties 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 distinguish love, (by which I mean that sat isfaction which arises to the mind upon contemplating anything 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 by means altogether different. We shall have a strong desire for a woman of no remarkable beauty; whilst the greatest beauty in men, or in other animals,
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though it causes love, yet excites nothing at all of desire. Which shows that beauty, and the passion caused by beauty, which I call love, is different from desire, though desire may sometimes operate along with it ; but it is to this latter that we must attribute those violent and tempestuous passions, and the con sequent emotions of the body which attend what is called love in some of its ordinary acceptations, and not to the effects of beauty merely as it is such.
SECTION II.
PROPORTION NOT THE cAUsE 0F BEAUTY IN VEGETABLES.
'BEAUTY hath usually been said to consist in certain proportions of 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 convenience, as every idea of order seems to do; and it must therefore be considered as a creature of the understanding, rather than a pri mary cause acting on the senses and imagination. It is not by the force of long attention and inquiry that we find any object to be beautiful; beauty demands no assistance from our reasoning; even the will is unconcerned ; the appearance of beauty as effectually causes some degree of love in iis, as the application 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 understand very clearly the force of the term, nor to have very distinct ideas concerning the thing itself. Proportion is the measure of rela
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tive quantity. Since all quantity is divisible, it is evident that everydistinct 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 discovered mensuration, and they are the objects of mathemati cal inquiry. But whether any part of any determi nate quantity 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 tranquillity of the mind, that mathematical speculations derive some of their most considerable advantages; because there is noth ing to interest the imagination; because the judg ment sits free and unbiassed to examine the point. All proportions, every arrangement of quantity, 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 anything to'do with calculation and geometry. If it had, we might then point out some certain measures which we could demonstrate to be beautiful, either as simply considered, or as related to others; and we could call in those natural objects, for whose beauty we have no voucher but the sense, to this happy stand ard, and confirm the voice of our passions by the determination of our reason. But since we have not this help, let us see whether proportion can in any sense be considered as the cause of beauty, as hath been so generally, and, by some, so confidently af firmed. If proportion be one of the constituents of
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beauty, it must derive that power either from some natural properties inherent in certain measures,
which operate mechanically; 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 inquire, whether the parts of those objects, which are found beautiful in the vegetable or animal kingdoms, are constantly so formed according to such certain measures, as may serve to satisfy us that their beauty results from those measures, on the principle of a natural mechanical
cause ; or from custom; or, in fine, from their fitness for any determinate purposes. I intend to examine this point under each of these heads in their order. But before I proceed further, I hope it will not be thought amiss, if I lay down the rules which governed me in this inquiry, and which have misled me in
have gone astray. If two bodies produce the same or similar effect on the mind, and on exami nation they are found to agree in some of their prop erties, and to differ in others; the common efifect
to be attributed to the properties in which they agree, and not to those in which they differ. 2. Not to ac count for the effect of natural object from the effect of an artificial object. 3. Not to account for the
etfect of any natural object from conclusion of our reason concerning its uses, natural cause may be assigned. 4. Not to admit any determinate quantity, or any relation of quantity, as the cause of certain effect, the effect produced by different or opposite measures and relations or these measures and relations may exist, and yet the effect may not be pro duced. These are the rules which have chiefly fol lowed, whilst examined into the power of proportion
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considered 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 in quire, in the first place, in what things we find this quality of beauty; next, to see whether in these we can find any assignable proportions in such a manner as ought to convince us that our idea of beauty re sults from them. We shall consider this pleasing power as it appears in vegetables, in the inferior ani mals, and in man. Turning our eyes to the vegeta ble creation, we find nothing there so beautiful as flowers; but flowers are almost of every sort of
and of every sort of disposition; they are turned and fashioned 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 discover 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 beautiful flower; and can we undertake to say that it does not owe a great deal of its beauty even to that disproportion ; the rose is a large flower, yet it grows upon a small shrub; the flower of the
apple is very small, and 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 proportion between the
height, the breadth, or anything else concerning the dilnensions of the whole, or concerning the relation
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of the particular parts to each other. I grant that we may observe in many flowers something of a reg ular figure, and of a methodical disposition of the leaves. The rose has such a figure and such a dispo sition 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 beauty ; the rose is even more beautiful before it is full blown ; in the bud; before this exact figure is formed; and this is not the only instance wherein method and exactness, the soul of proportion, are found rather prejudicial than serviceable to the cause of beauty.
SECTION III.
PROPORTION NOT THE Cnus]: or BEAUTY IN ANIMALS.
THAT proportion has but a small share in the for
mation of beauty is full as evident among animals.
Here the greatest variety of shapes and dispositions of parts are well fitted to excite this idea. The swan, confessedly a beautiful 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 say to the peacock, who has comparatively but a short neck, with a tail longer than the neck and the rest of the body taken together? How many birds are there that vary infi nitely from each of these standards, 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, ri priori, to say what
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the others ought to be, nor indeed to guess anything about them, but what experience might show to be full of disappointment and mistake. And with re gard to the colors either of birds or flowers, for there is something similar in the coloring of both, whether they are considered in their extension or gradation, there is nothing of proportion to be observed. Some
are of but one single color ; others have all the colors of the rainbow ; some are of the primary colors, others are of the mixed ; in short, an attentive observer may soon conclude that there is as little of proportion in the coloring as in the shapes of these objects. Turn next to beasts ; examine the head of a beauti ful horse; find what proportion that bears to his
and to his limbs, and what relation these have to each other; and when you have settled 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 individ uals, found in a great many species so differing, that
have a very striking beauty. Now, if it be allowed that very different, and even contrary forms and dispositions are consistent with beauty, it amounts I
believe to a concession, that no certain measures, operating from a natural principle, are necessary to produce it; at least so far as the brute species is
concerned.
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SECTION IV.
PROPORTION NOT THE CAUSE OF BEAUTY IN THE HUMAN SPECIES.
THERE 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 efficient cause of beauty lies in these, it must be shown that, wherever these are found exact, the person to whom they be long 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 likewise shown, that these parts stand in such a relation to each other, that the comparison between them may be easily made, and that the affection of the mind may naturally result from it. For my part, I have at several times very carefullyexamined 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 very beautiful, and the other very remote from beauty. With regard to the parts which are found so proportioned, they are often so remote from each other, in situation, nature, and office, that I cannot see how they admit of any comparison, nor
? how any effect owing to proportion can result from them. The neck, say they, in beautiful
bodies, should measure with the calf of the leg; it should likewise be twice the circumference of the wrist. And an infinity of observations of this kind are to be found in the writings and conversations of
consequently
But what relation has the calf of the leg to the_neck ; or either of these parts to the wrist?
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These proportions are certainly to be found in hand some bodies. They are as certainly in ugly ones; as any whO will take the pains to try may find. Nay, I do not know but they may be least perfect in some of the most beautiful. You may assign any proportions you please to every part of the human body; and I undertake that a painter shall religiously observe them all, and notwithstanding produce, if he pleases, a very ugly figure. The same painter shall consider ably deviate from these proportions, and produce a very beautiful one. And, indeed, it may be observed in the masterpieces of the ancient and modern statu ary, that several of them differ very widely from the
proportions of others, in parts very conspicuous and of great consideration; and that they differ no less from the proportions we find in living men, of forms extremely striking and agreeable. And after all, how are the partisans of proportional beauty agreed amongst themselves about the proportions of the
human body? Some hold it to be seven heads; some make it eight; whilst others extend it even to ten : a vast difference in such a small number of divisions! Others take other methods of estimating the proportions, and all with equal success. But are these proportions exactly the same in all handsome men? or are they at all the proportions found in beautifi1l women? Nobody will say that they are;
yet both sexes are undoubtedly capable of beauty, and the female of the greatest; which advantage I be lieve will hardly be attributed to the superior exact ness of proportion in the fair sex. Let us rest a moment on this point; and consider how much dif
ference there is between the measures that prevail in many similar parts of the body, in the two sexes of
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this single species only. If you assign any determi nate proportions to the limbs of a man, and if you limit human beauty to these proportions, when you find a woman who differs in the make and measures of almost every part, you must conclude her not to be beautiful, in spite of the suggestions of yo1u' imagi nation; or, in obedience to your imagination,
must renounce your rules; you must lay by the scale and compass, and look out for some other cause of beauty. For if beauty be attached to certain measures which operate from a principle in nature, why should similar parts with diiferent measures of proportion be found to have beauty, and this too in the very' same species? But to open our view a little, it is worth observing, that almost all animals have parts of very much the same nature, and destined nearly to the same purposes; a head, neck, body, feet, eyes, ears, nose, and mouth; yet Providence, to provide in the best manner for their several wants, and to display the riches of his wis dom and goodness in his creation, has worked out of these few and similar organs, and members, a diver sity hardly short of infinite in their disposition, meas ures and relation. But, as we have before observed, amidst this infinite diversity, one particular is com mon to many species: several of the individuals which compose them are capable of affecting us with a sense of loveliness: and whilst they agree in pro ducing this effect, they differ extremely in the rela tive measures of those parts which have produced it. These considerations were sufiicient to induce me to reject the notion of any particular proportions that operated by nature to produce a pleasing eifect ; but those who will agree with me with regard to a par
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ticular proportion, are strongly prepossessed in favor of one more indefinite. They imagine, that although beauty in general is annexed to no certain measures common to the several kinds of pleasing plants and animals; yet that there is a certain proportion in each species absolutely essential to the beauty of that particular kind. If we consider the animal world in general, we find beauty confined to no certain meas ures ; but as some peculiar measure and relation of parts is what distinguishes each' peculiar class of ani mals, it must of necessity be, that the beautiful in each kind will be found in the measures and propor tions of that kind; for otherwise it would deviate from its proper species, and become in some sort monstrous : however, no species is so strictly confined
to any certain proportions, that there is not a consider able variation amongst the individuals ; and as it has been shown of the human, so it may be shown of the brute kinds, that beauty is found indifferently in all the
? which each kind can admit, without quit ting its common form ; and it is this idea of a com mon form that makes the proportion of parts at all regarded, and not the operation of any natural cause : indeed a little consideration will make it appear, that
it is not measure, but manner, that creates all the beauty which belongs to shape. What light do we borrow from these boasted proportions, when we study ornamental design?
almost incredible? " Place a number of uni form and equi-distant marks on this pole, they will
cause the same deception, and seem multiplied with out end. The senses, strongly affected in 'some one manner, cannot quickly change their tenor, or adapt themselves to other things ; but they continue in their old channel until the strength of the first mover decays. This is the reason of an appearance very frequent in madmen ; that_they remain whole days and nights, sometimes whole years, in the constant repetition of some remark, some complaint, or song; which hav ing struck powerfully on their disordered imagination in the beginning of their frenzy, every repetition reinforces it with new strength, and the hurry of their spirits, unrestrained by the curb of reason, continues it to the end of their lives.
length
? SECTION SUCCESSION AND UNIFORMITY.
SUccEssIoN and uniformity of parts are what con stitute the artificial infinite. 1. Succession ; which is requisite that the parts may be continued so long and in such a direction, as by their frequent impulses on
* Part IV. sect. 13.
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the sense to impress the imagination with an idea of their progress beyond their actual limits. 2. Uni formity; because, if the figures of the parts should be changed, the imagination at every change finds a check ; you are presented at every alteration with the termination of one idea, and the beginning of an other ; by which means it becomes impossible to con tinue that uninterrupted progression, which alone can stamp on bounded objects the character of infinity. It is in this kind of artificial infinity, I believe, we ought to look for the cause why a rotund has such a noble effect. * For in a rotund, whether it be a build ing or a plantation, you can nowhere fix a boun dary; turn which way you will, the same object still seems to continue, and the imagination has no rest. But the parts must be uniform, as well as circularly
to give this figure its full. force; because any difference, whether it be in the disposition,'or in the figure, or even in the color of the parts, is highly prejudicial to the idea of infinity, which every change must check and interrupt, at every alteration com mencing a new series. On the same principles of succession and uniformity, the grand appearance of the ancient heathen temples, which were generally oblong forms, with a range of uniform pillars on every side, will be easily accounted for. From the same cause also may be derived the grand effect of the aisles in many of our own old cathedrals. The form of a cross used in some churches seems to me not so eligible as the parallelogram of the ancients ; at least, I imagine it is not so proper for the outside. For,
* Mr. Addison, in the Spectators concerning the pleasures of the imagination, thinks it is because in the rotund at one glance you see
do not imagine to be the real cause.
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supposing the arms of the cross every way equal, if you stand in a direction parallel to any of the side walls, or colonnades, instead of a deception that makes the building more extended than it is, you are cut oif from a considerable part (two thirds) of its actual length; and, to prevent all possibility of
progression,the arms of the cross taking a new direc tion, make a right angle with the beam, and thereby wholly turn the imagination from the repetition of the former idea. Or suppose the spectator placed where he may take a direct view of such a building, what will be the consequence? the necessary conse quence will be, that a good part of the basis of each angle formed by the intersection of the arms of the cross, must be inevitably lost; the whole must of course assume a broken, unconnected fig1u'e; the lights must be unequal, here strong, and there weak; without that noble gradation which the per spective always etfects on parts disposed uninterrupt edly in a right line. Some or all of these objections will lie against every figure of a cross, in whatever view you take it. I exemplified them in the Greek cross, in which these faults appear the most strongly; but they appear in some degree in all sorts of crosses. Indeed, there is nothing more prejudicial to the grandeur of buildings than to abound in angles; a fault obvious in many; and owing to an inordinate thirst for variety, which, whenever it prevails, is
sure to leave very little true taste.
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SECTION X. MAG'NITUDE. IN BUILDING.
T0 the sublime in building, greatness of dimension seems requisite; for on a few parts, and those small, the imagination cannot rise to any idea of infinity. N0 greatness in the manner can effectually compen sate for the want of proper dimensions. There is no danger of drawing men into extravagant designs by this rule; it carries its own caution along with it. Because too great a length in buildings destroys the purpose of greatness, which it was intended to pro mote; the perspective will lessen it in height as 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 observed, that col onnades and avenues of trees of a moderate length were, without comparison, far grander than when they were suffered to run to immense distances. A true artist should put a generous deceit 0n the spec tators, and effect the noblest designs by easy meth ods. Designs that are vast only by their dimensions are always the sign of a common and low imagina tion. N0 work of art can be great, but as it deceives ; to be otherwise is the prerogative of nature only. A good eye will fix the medium betwixt an excessive length or height (for the same objection lies against both), and a short or broken quantity: and perhaps it might be ascertained to a tolerable degree of ex
actness, if it was my purpose to descend far into the "
particulars of any art.
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SECTION XI. INFINITY IN PLEASING OBJECTS.
INFINITY, though of another kind, causes much of 0iu' pleasure in agreeable, as well as of our delight in sublime images. The spring is the pleasantest of the seasons ; and the young of most animals, though far from being completely fashioned, afford a more agree able sensation than the full-grown; because the imagi nation is entertained with the promise of something more, and does not acquiesce in the present object of the sense. In unfinished sketches of drawing, I have often seen something which pleased me beyond the best finishing; and this I believe proceeds from the cause I have just now assigned.
SECTION XII. DIFFICULTY.
ANOTHER source of greatness is diflicultg/. * When any work seems to have required immense force and labor to effect the idea grand. Stonehenge, neither for disposition nor ornament, has anything admirable; but those huge rude masses of stone, set on end, and piled each on other, turn the mind on the immense force necessary for such work. Nay, the rudeness of the work increases this cause of grandeur, as excludes the idea of art and contriv ance; for dexterity produces another sort of effect, which different enough from this.
* Part IV. sect. 6.
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SE CTION XIII. MAGNIFICENCE.
MAcNIFICENCE is likewise a source of the sublime. A great profusion of things, which are splendid or valuable in themselves, is magnificent. The starry heaven, though it occurs so very frequently to our view never fails to excite an idea of grandeur. This cannot be owing to the stars themselves, separately considered. The number is certainly the cause. The apparent disorder augments the grandeur, for the ap
of care is highly contrary to our ideas of magnificence. Besides, the stars lie in such appar ent confusion, as makes it impossible on ordinary oc casions to reckon them. This gives them the advan tage of a sort. of infinity. In works of art, this kind of grandeur which consists in multitude, is to be very cautiously admitted; because a profusion of excel lent things is not to be attained, or with too much difiiculty; and because in many cases this splendid confusion would destroy all use, which shou. ld be at tended to in most of the works of art with the greatest care; besides, it is to be considered, that unless you can produce an appearance of infinity by your disor der, you will have disorder only without magnificence. There are, however, a sort of fireworks, 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 coherence and agreement of the allusions,I which we should require on every other occasion.
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do not now remember a more -striking example of this, than the description which is given of the king's
army in the play of Henry IV.
"All furnished, all in arms, All plumed like ostriches that with the wind
Baited like eagles having lately bathed:
As full of spirit as the month of May,
And gorgeous as the sun in midsummer, Wanton as youthful goats, wild as young bulls. I saw young Harry with his beaver on
Rise from the ground like feathered Mercury; And vaulted with such ease into his seat,
As if an angel dropped down from the clouds To turn and wind a fiery Pegasus. "
In that excellent book, so remarkable for the vi vacity of its descriptions, as well as the solidity and penetration of its sentences, the Wisdom of the Son of Sirach, there is a noble panegyric on the high priest Simon the son of Onias ; and it is a very fine
example of the point before us : --
How was he honored in the midst of the people, in his
coming out of the sanctuary! He was as the morning star in the midst of a cloud, and as the moon at the full ;_ as the sun shining upon the temple of the llfost
lfigh, and as the rainbow giving light in the bright clouds: and as the flower of roses in the spring of the
year, as lilies by the rivers of waters, and as the frank inoense-tree in summer; as fire and incense in the cen ser, and as a vessel of gold set with precious stones ; as a_ fair olive-tree budding forth fruit, and as a cypress which groweth up to the clouds. When he put on the robe of honor, and was clothed with the perfection
of glory, when he went up to the holy altar, he made the garment of holiness honorable. He himself stood by the hearth of the altar, compassed with his brethren round
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about; as a young cedar in Libanus, and as palm-trees compassed they him about. So were all the sons of Aaron in their glory, and the oblations of the Lord in their hands, go.
SECTION XIV. LIGHT.
HAVING considered extension, so far as it is capable of raising ideas of greatness; color comes next under consideration. All colors depend on light. Light therefore ought previously to be examined ; and with it its opposite, darkness. With regard to light, to make it a cause capable of producing the sublime, it must be attended with some circumstances, besides its bare faculty of showing other objects. Mere light is too common a thing to make a strong impression on the mind, and without a strong impression noth ing can be sublime. But such a light as that of the sun, immediately exerted on the eye, as it overpowers the sense, is a very great idea. Light of an inferior strength to this, if it moves with great celerity, has the same power; for lightning is certainly productive of grandeur, which it owes chiefly to the extreme ve locity 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 so full was he of this idea, so en tirely 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 subject provokes him to
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pour outupon every side, he is far from forgetting the obscurity which surrounds the most incomprehensible of all beings, but
" With majesty of dark-ness round Circles his throne. "
And what is no less remarkable, our author had the secret of preserving this idea, even when he seemed to depart thegfarthest from when he describes the light and glory which flows from the Divine presence light which by its very excess converted into species of darkness -- _
" Dark with excessive liqht thy skirts appear. "
Here an idea not only poetical in high degree, but strictly and philosophically just. Extreme light,
overcoming the organs of sight, obliterates all ob jects, so as in its effect exactly to resemble darkness. After looking for some time at the sun, two black spots, the impression which 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 not the only instance wherein the opposite extremes oper ate equally in favor of the sublime, which in all
things abhors mediocrity. _
N_ xv. LIGHT IN BUTLDING
AS the management of light matter of impor tance in architecture, worth inquiring, how far this remark applicable to building. think, then,
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that all edifices calculated to produce an idea of the _sublime, ought rather to be dark and gloomy, and this for two reasons ; the first that darkness itself
on other occasions known by experience to have greater effect on the passions than light. The second that to make an object very striking, we should
make as different as possible from the objects with which we have been immediately conversant; when therefore you enter building, you canhot pass into
greater light than you had in the open air; to go into one some few degrees less luminous, can make only trifling change; but to make the transition thoroughly striking, you ought to pass from the great est light, to as much darkness as consistent with the uses of architecture. At night the contrary rule will hold, but for the very same reason; and the more highly room then illuminated, the grander will the passion be.
SECTION XVI.
COLOR CONSIDERED AS PRODUCTIVE OF THE SUBLIME.
AMONG colors, such as are soft or cheerful (except perhaps a strong red, which cheerful) are unfit to
? An immense mountain cov ered with shining green turf, nothing, in this
respect, to one dark and gloomy; the cloudy sky more grand than the blue; and night more sublime and solemn than day. Therefore in historical paint ing, a gay or gaudy drapery can never have happy effect: and in buildings, when the highest degree of the sublime intended, the materials and ornaments ought neither to be white, nor green, nor yellow, nor
produce grand images.
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blue, nor of a pale red, nor violet, nor spotted, but of
sad and fuscous colors, as black, or brown, or deep
purple, and the like. Much of gilding, mosaics, paint ing, or statues, contribute but little to the sublime. This rule need not be put in practice, except where an uniform degree of the most striking sublimity is to be produced, and that in every particular; for it ought to be observed, that this melancholy kind of greatness, though it be certainly the highest, ought not to be studied in all sorts of edifices, where yet grandeur must be studied ; in such cases the sublim
must be drawn from the other sources; with strict caution however against anything light and ant; as nothing so effectually deadens the whole taste of the sublime.
SECTION XVII. SOUND AND LOUDNESS
THE eye not the only organ of sensation by which sublime passion may be produced. Sounds have
great power in these as in most other passions. do not mean words, because words do not affect simply
their sounds, but by means altogether different. Excessive loudness alone sufficient to overpower the soul, to suspend its action, and to fill with terror. The noise of vast cataracts, raging storms, thunder, or artillery, awakes great and awful sensation in the mind, though we can observe no nicety or artifice
those sorts of music. The shouting of multitudes
? has similar effect; and
the sound, so amazes and confounds the imagina tion, that, in this staggering and hurry of the mind,
by the sole strength of
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the best established tempers can scarcely forbear be ing borne down, and joining in the common cry, and common resolution of the crowd.
SECTION XV III. sunnmmnss.
A SUDDEN beginning, or sudden cessation of sound of any considerable force, has the same power. The attention is 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 con sequently can be no cause of greatness. In every thing sudden and unexpected, we are apt to start; that we have perception of danger, and our na ture rouses (us to guard against it. It may be ob served that single sound of some strength, though but of short duration, repeated after intervals, has
grand effect. Few things are more awful than the striking of great clock, when _the silence of the night prevents the attention from being too much
? The same may be said of single stroke on drum, repeated with pauses and of the succes sive firing of cannon at distance. All the effects mentioned in this section have causes very nearly alike.
SECTION XIX. INTERMITTING.
LOW, tremulous, intermitting sound, though it seems, in some respects, opposite to that just men
dissipated.
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tioned, is productive of the sublime. It is worth
while to examine this a little. The fact itself must . be determined by every man 9s own experience and reflection. I have already observed, that night * increases our terror, more perhaps than anything else; it is our nature, when we do not know what
may happen to us, to fear the worst that can hap pen; and hence it is that uncertainty is so terrible, that we often seek to be rid of at the hazard of certain mischief. Now some . 1ow, confused, uncer tain sounds, leave us in the same fearful anxiety con cerning their causes, that no light, or an uncertain light, does concerning the objects that surround us.
Quale per inccrtam lunam sub luce maligna Est iter in sylvis.
" A faint shadow of uncertain light, Like as lamp, whose life doth fade away; Or as the moon clothed with cloudy night
Doth show to him who walks in fear and great aff'right. " Sraxsan.
But light now appearing, and now leaving us, and so 0if and on, even more terrible than total darkness and sort of uncertain sounds are, when the neces sary dispositions concur, more alarming than total silence.
N XX. run CRIES or ANIMALS.
SUCH sounds as imitate the natural
voices of men, or any animals in pain or danger, are capable of conveying great ideas; unless be the well-known voice of some creature, on which we are used to look with contempt. The angry tones of wild
" Sect. 3.
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beasts are equally capable of causing a great and awful sensation.
Hinc cxaudiri gemitus, iraequc leonum
Vincla recusantu|n, ct sera sub nocte rudentum ; Sctigerique sues, _atque in prmscpibus ursi
S? BvlI'8 ; ct formw magnorum ululare lupornm.
It might seem that these modulations of sound carry some connection with the nature of the things they represent, and are not merely arbitrary ; because the natural cries of all animals, even of those animals with whom we have not been acquainted, never fail to make themselves sufficiently understood ; this can not be said 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 show on what principles they are all
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SECTION XXI.
SMELL AND TASTE. -- BITTERS AND srnuCmIzs.
SMELLS and tastes 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 ob serve that no smells or tastes can produce a grand sensation, except excessive bitters, and 'intolerable stenches. It is true that these affections of the smell and 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 moderated, 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 moder
ated pain. " A cup of bitterness " ; " to drain the bit
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ter cup of fortune " ; " the bitter apples of Sodom " ; these are all ideas suitable to a sublime description. Nor is this passage of Vi1gil without sublimity, where the stench of the vapor in Albunea conspires so hap pily with the sacred horror and gloominess of that
prophetic forest:
At i-ex sollicitus monstris oracula Fauni
Fatidici genitoris adit, lucosque sub alta Consulit Albunca, nemorum qum maxima sacro Fonte sonar; sazvamque exhalet apaca Illephitim.
In the sixth book, and in a very sublime description, the poisonous exhalation of Acheron is not forgot ten, nor does it at all disagree with the other images amongst which it is introduced:
Spelunca alta fuit, vastoque immanis hiatu
Scrupea, tuta la/:u nfgro, nemornmque tenebris; Quam super hand ulla: poterunt impnne volantes Tenderc itcr pennis : talis sese halitus atria
Faucibus eflizndens supera ad convezraferebat.
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 burlesque and ridicule; but this I imagine would principally arise from considering the bitterness and stench in com pany with mean and contemptible ideas, with which it must be owned they are often united ; such an union degrades the sublime in all other instances as well as in those. But it is one of the tests by which the sub limity of an image is to be tried, not whether it be comes mean when associated with mean ideas; but whether, when united with images of an allowed grandeur, the whole composition is supported with dignity. Things which are terrible are always great;
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but when things possess disagreeable qualities, or such as have indeed some degree of danger, but of a danger easily overcome, they are merely odious; as toads and spiders.
SECTION XXII. FEELING. --PAIN.
OF feeling little more can be said than that the idea of bodily pain, in all the modes and degrees of labor, 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 remark that, in reality, wants only an attention to nature, to be made by everybody.
Having thus run 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 sublime is an idea belonging to self-preservation ; that it is, therefore, one of the most affecting we have; that its strongest emotion is an emotion of dis tress; and that no pleasure* from a positive cause belongs to it. Numberless examples, besides those mentioned, might be brought in support of these truths, and many perhaps useful consequences drawn from them--
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Sed fugit interea, fugit irrevocabile tempus, Singula dum capti circumvectamur amore.
* Vide Part I. sect. 6.
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PART III.
SECTION I. or BEAUTY.
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Ir is my design to consider beauty as distinguished from the sublime; and, in the course of the inquiry, to examine how far it is consistent with it. But pre
vious to this, we must take a short review of the opin ions already entertained of this quality; which I think are hardly to be reduced to any fixed princi ples ; because men are used to talk of beauty in a figurative manner, that is to say, in a manner ex
tremely uncertain, and indeterminate. By beauty, I mean that quality, or those _qualities in bodies, by which they cause love, or some passion similar to it. I confine this definition to the merely sensible quali ties 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 distinguish love, (by which I mean that sat isfaction which arises to the mind upon contemplating anything 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 by means altogether different. We shall have a strong desire for a woman of no remarkable beauty; whilst the greatest beauty in men, or in other animals,
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though it causes love, yet excites nothing at all of desire. Which shows that beauty, and the passion caused by beauty, which I call love, is different from desire, though desire may sometimes operate along with it ; but it is to this latter that we must attribute those violent and tempestuous passions, and the con sequent emotions of the body which attend what is called love in some of its ordinary acceptations, and not to the effects of beauty merely as it is such.
SECTION II.
PROPORTION NOT THE cAUsE 0F BEAUTY IN VEGETABLES.
'BEAUTY hath usually been said to consist in certain proportions of 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 convenience, as every idea of order seems to do; and it must therefore be considered as a creature of the understanding, rather than a pri mary cause acting on the senses and imagination. It is not by the force of long attention and inquiry that we find any object to be beautiful; beauty demands no assistance from our reasoning; even the will is unconcerned ; the appearance of beauty as effectually causes some degree of love in iis, as the application 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 understand very clearly the force of the term, nor to have very distinct ideas concerning the thing itself. Proportion is the measure of rela
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tive quantity. Since all quantity is divisible, it is evident that everydistinct 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 discovered mensuration, and they are the objects of mathemati cal inquiry. But whether any part of any determi nate quantity 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 tranquillity of the mind, that mathematical speculations derive some of their most considerable advantages; because there is noth ing to interest the imagination; because the judg ment sits free and unbiassed to examine the point. All proportions, every arrangement of quantity, 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 anything to'do with calculation and geometry. If it had, we might then point out some certain measures which we could demonstrate to be beautiful, either as simply considered, or as related to others; and we could call in those natural objects, for whose beauty we have no voucher but the sense, to this happy stand ard, and confirm the voice of our passions by the determination of our reason. But since we have not this help, let us see whether proportion can in any sense be considered as the cause of beauty, as hath been so generally, and, by some, so confidently af firmed. If proportion be one of the constituents of
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beauty, it must derive that power either from some natural properties inherent in certain measures,
which operate mechanically; 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 inquire, whether the parts of those objects, which are found beautiful in the vegetable or animal kingdoms, are constantly so formed according to such certain measures, as may serve to satisfy us that their beauty results from those measures, on the principle of a natural mechanical
cause ; or from custom; or, in fine, from their fitness for any determinate purposes. I intend to examine this point under each of these heads in their order. But before I proceed further, I hope it will not be thought amiss, if I lay down the rules which governed me in this inquiry, and which have misled me in
have gone astray. If two bodies produce the same or similar effect on the mind, and on exami nation they are found to agree in some of their prop erties, and to differ in others; the common efifect
to be attributed to the properties in which they agree, and not to those in which they differ. 2. Not to ac count for the effect of natural object from the effect of an artificial object. 3. Not to account for the
etfect of any natural object from conclusion of our reason concerning its uses, natural cause may be assigned. 4. Not to admit any determinate quantity, or any relation of quantity, as the cause of certain effect, the effect produced by different or opposite measures and relations or these measures and relations may exist, and yet the effect may not be pro duced. These are the rules which have chiefly fol lowed, whilst examined into the power of proportion
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considered 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 in quire, in the first place, in what things we find this quality of beauty; next, to see whether in these we can find any assignable proportions in such a manner as ought to convince us that our idea of beauty re sults from them. We shall consider this pleasing power as it appears in vegetables, in the inferior ani mals, and in man. Turning our eyes to the vegeta ble creation, we find nothing there so beautiful as flowers; but flowers are almost of every sort of
and of every sort of disposition; they are turned and fashioned 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 discover 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 beautiful flower; and can we undertake to say that it does not owe a great deal of its beauty even to that disproportion ; the rose is a large flower, yet it grows upon a small shrub; the flower of the
apple is very small, and 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 proportion between the
height, the breadth, or anything else concerning the dilnensions of the whole, or concerning the relation
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of the particular parts to each other. I grant that we may observe in many flowers something of a reg ular figure, and of a methodical disposition of the leaves. The rose has such a figure and such a dispo sition 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 beauty ; the rose is even more beautiful before it is full blown ; in the bud; before this exact figure is formed; and this is not the only instance wherein method and exactness, the soul of proportion, are found rather prejudicial than serviceable to the cause of beauty.
SECTION III.
PROPORTION NOT THE Cnus]: or BEAUTY IN ANIMALS.
THAT proportion has but a small share in the for
mation of beauty is full as evident among animals.
Here the greatest variety of shapes and dispositions of parts are well fitted to excite this idea. The swan, confessedly a beautiful 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 say to the peacock, who has comparatively but a short neck, with a tail longer than the neck and the rest of the body taken together? How many birds are there that vary infi nitely from each of these standards, 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, ri priori, to say what
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the others ought to be, nor indeed to guess anything about them, but what experience might show to be full of disappointment and mistake. And with re gard to the colors either of birds or flowers, for there is something similar in the coloring of both, whether they are considered in their extension or gradation, there is nothing of proportion to be observed. Some
are of but one single color ; others have all the colors of the rainbow ; some are of the primary colors, others are of the mixed ; in short, an attentive observer may soon conclude that there is as little of proportion in the coloring as in the shapes of these objects. Turn next to beasts ; examine the head of a beauti ful horse; find what proportion that bears to his
and to his limbs, and what relation these have to each other; and when you have settled 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 individ uals, found in a great many species so differing, that
have a very striking beauty. Now, if it be allowed that very different, and even contrary forms and dispositions are consistent with beauty, it amounts I
believe to a concession, that no certain measures, operating from a natural principle, are necessary to produce it; at least so far as the brute species is
concerned.
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SECTION IV.
PROPORTION NOT THE CAUSE OF BEAUTY IN THE HUMAN SPECIES.
THERE 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 efficient cause of beauty lies in these, it must be shown that, wherever these are found exact, the person to whom they be long 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 likewise shown, that these parts stand in such a relation to each other, that the comparison between them may be easily made, and that the affection of the mind may naturally result from it. For my part, I have at several times very carefullyexamined 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 very beautiful, and the other very remote from beauty. With regard to the parts which are found so proportioned, they are often so remote from each other, in situation, nature, and office, that I cannot see how they admit of any comparison, nor
? how any effect owing to proportion can result from them. The neck, say they, in beautiful
bodies, should measure with the calf of the leg; it should likewise be twice the circumference of the wrist. And an infinity of observations of this kind are to be found in the writings and conversations of
consequently
But what relation has the calf of the leg to the_neck ; or either of these parts to the wrist?
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These proportions are certainly to be found in hand some bodies. They are as certainly in ugly ones; as any whO will take the pains to try may find. Nay, I do not know but they may be least perfect in some of the most beautiful. You may assign any proportions you please to every part of the human body; and I undertake that a painter shall religiously observe them all, and notwithstanding produce, if he pleases, a very ugly figure. The same painter shall consider ably deviate from these proportions, and produce a very beautiful one. And, indeed, it may be observed in the masterpieces of the ancient and modern statu ary, that several of them differ very widely from the
proportions of others, in parts very conspicuous and of great consideration; and that they differ no less from the proportions we find in living men, of forms extremely striking and agreeable. And after all, how are the partisans of proportional beauty agreed amongst themselves about the proportions of the
human body? Some hold it to be seven heads; some make it eight; whilst others extend it even to ten : a vast difference in such a small number of divisions! Others take other methods of estimating the proportions, and all with equal success. But are these proportions exactly the same in all handsome men? or are they at all the proportions found in beautifi1l women? Nobody will say that they are;
yet both sexes are undoubtedly capable of beauty, and the female of the greatest; which advantage I be lieve will hardly be attributed to the superior exact ness of proportion in the fair sex. Let us rest a moment on this point; and consider how much dif
ference there is between the measures that prevail in many similar parts of the body, in the two sexes of
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this single species only. If you assign any determi nate proportions to the limbs of a man, and if you limit human beauty to these proportions, when you find a woman who differs in the make and measures of almost every part, you must conclude her not to be beautiful, in spite of the suggestions of yo1u' imagi nation; or, in obedience to your imagination,
must renounce your rules; you must lay by the scale and compass, and look out for some other cause of beauty. For if beauty be attached to certain measures which operate from a principle in nature, why should similar parts with diiferent measures of proportion be found to have beauty, and this too in the very' same species? But to open our view a little, it is worth observing, that almost all animals have parts of very much the same nature, and destined nearly to the same purposes; a head, neck, body, feet, eyes, ears, nose, and mouth; yet Providence, to provide in the best manner for their several wants, and to display the riches of his wis dom and goodness in his creation, has worked out of these few and similar organs, and members, a diver sity hardly short of infinite in their disposition, meas ures and relation. But, as we have before observed, amidst this infinite diversity, one particular is com mon to many species: several of the individuals which compose them are capable of affecting us with a sense of loveliness: and whilst they agree in pro ducing this effect, they differ extremely in the rela tive measures of those parts which have produced it. These considerations were sufiicient to induce me to reject the notion of any particular proportions that operated by nature to produce a pleasing eifect ; but those who will agree with me with regard to a par
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ticular proportion, are strongly prepossessed in favor of one more indefinite. They imagine, that although beauty in general is annexed to no certain measures common to the several kinds of pleasing plants and animals; yet that there is a certain proportion in each species absolutely essential to the beauty of that particular kind. If we consider the animal world in general, we find beauty confined to no certain meas ures ; but as some peculiar measure and relation of parts is what distinguishes each' peculiar class of ani mals, it must of necessity be, that the beautiful in each kind will be found in the measures and propor tions of that kind; for otherwise it would deviate from its proper species, and become in some sort monstrous : however, no species is so strictly confined
to any certain proportions, that there is not a consider able variation amongst the individuals ; and as it has been shown of the human, so it may be shown of the brute kinds, that beauty is found indifferently in all the
? which each kind can admit, without quit ting its common form ; and it is this idea of a com mon form that makes the proportion of parts at all regarded, and not the operation of any natural cause : indeed a little consideration will make it appear, that
it is not measure, but manner, that creates all the beauty which belongs to shape. What light do we borrow from these boasted proportions, when we study ornamental design?
