An Essay on Taste

THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES A N ESS AY ON TASTE. B Y ALEXANDER GERARD, Profefibr of t...

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THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES

A N

ESS AY ON

TASTE. B Y

ALEXANDER GERARD, Profefibr of

the

M. A.

Moral PHILOSOPHY and LOGIC,

MARISCHAL COLLEGE

in

of Aberdeen.

WITH THREE DISSERTATIONS On

fame

the

B

Y

VOLTAIRE.

De

Mr.

SUBJECT.

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

M

Omnes quae

tacito fint

in

quodam artibus

S.

u.

fenfu, fine ulla arte aut ratione, et prava ac rationibus

rea

Ci

jud leant.

c.

de Oratore,

lib. iii.

LONDON, Printed

for

A.

MILLAR

A. KINCAID and

J.

BELL,

MDCCL

I

in

the

Strand,

in Edinburgh.

X.

ADVERTISEMENT, 'THEEDINBURGH SOCIETY for the encouragement of arts, fciences, maand agriculture propofed, in the

nufatfures,

a gold medal to thebeft ESSAY year i/55> E As T en and, not having affigned it that

T

-,

"This repeated the propofal in 1756. determined the author to enter on the following

year,

enquiry

the nature

into

which principles of

of tfajle

-,

the general

only he presented to the

So-

that the whole might exceed the ciety, fufpefting limits effay.

jeft,

which they had Jixed, by requiring an rfhe judges appointed for that fub-

having been pleafed

to

him, he

it

was atfrjl

is

encouraged

to ajfign the

premium

to offer the whole,

as

to the public; compofed,

CON-

541036 ENGLISH

[iii]

CONTENTS. INTRODUCTION.

PART into fajle refolded

I.

it's

fimple principles.

SECT. I. Of the fenfe or tafle of Novelty. SECT. II. Of the fenfe or tajle of Sublimity. SECT. III. Oftbefenfe or tafle of Beauty. SECT. IV. Ofthefenfeor tafle ofImitation. SECT. V. Of'the fenfe or tafle of Harmony. SECT. VI. Oftbefenfe or

SECT. VII. Ofthefenfeor

PART

3;

13. 3

1.

49. 59.

-

of Oddity and 66.

tafle

of Virtue. 74.

tafle

-

Ridicule.

I.

page

II.

of tafle by the union and improvement ofifsfimple principles.

'fhe formation

SECT. the

I.

Of the

union of the internal fenfes and

ajjijlance they receive

pajjion.

-

from

delicacy -

of

79.

a 2

SECT.

CONTENTS. SECT.

Of

II.

the

tajle.

SECT.

III. Tiajle

what

SECT. SECT. SECT. SECT.

influence -

ill,

of judgment upon -

90. improvable; how; and in -

-

-

refpeffs.

IV. Offenfjbility offafle.

V.

Of refinement

ofTafle.

1

99. 06.

1

16.

1 VI. Ofcorretfnefs of Tafte. 34. VII. Of the due proportion of the prin148. ciples of
PART

III.

The province and importance of SECT..

I.

How far

nation.

SECT.

&^,\i.V

Of the

II.

~

nius.

SECT.

III.

Of -

cifm.

*fajle.

fafle depends on the imagivs J <

59

connexion -

of fafte with Ge-

-

-

173.

the influence of J'afle on Criti181.

SECT. IV. Of the objects offafle. SECT. V Of the pleafures of Tofte. SECT. VI. Of the effects of Tafle on racter and pajjions.

1

VOLTAIRE'S D'ALEMBERT'S

Mr. De Mr.

Mr. .Dc

Mo N T E

s

QJJ

i

87.

192.

.

the cha-

196.

E/ay*

213-

E/ay.

223.

E u

'

s

4

EJfay.

257.

AN

ESSAY AN

O N

T A

A

FINE gift

T

S tafle

neither wholly the

is

of nature^ nor wholly the effect

of art.

It derives

powers natural to the powers cannot attain their

certain

unlefs

they

be

affifted

thofe principles,

which

are

of imagination

t

by modern philofophers fenfes (a) y

its

origin

mind full

j

from

but thefe

perfection,

by proper culture. the improvement of

Tafte confifts chiefly in the powers

E.

commonly

called

and are confidered as internal or

reflex

fupplying us with finer and

more

delicate perceptions,

than any which can be

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

internal fenfes.

and

reflex fenfes

B

properly

An

2

referred

properly

Thefe

Efftty

on

'Tafte.

our

to

external

organs.

are reducible to the following princi-

of ples; the fenfes of novelty, of fublimity, beauty, of imitation, of harmony, of ridiWith the explication cule, and of virtue.

of

thefe,

we

muft, therefore, begin our enmall nature of tafte.

We

into the

quiry

next endeavour to difcover,

how

thefe fenfes

what other powtafte, mind are combined with them in their exertions, what conflitutes that refinement and perfection of them, which we 'term good tafte, and by what means it is obco-operate in forming

ers of the

And

tained.

view of the jedts

of

among

laft

we

all,

(hall,

operation,

by a reand fub-

its genuine rank proper province, and

determine

tafte,

our

of

principles,

faculties,

its

real importance. thus a perception of harmony prefuppofes our ; hearing certain founds, and is totally diftinct from merely hearing them, fince many, who enjoy the external fenfe of hearing in the greateft perfection, have no mufical ear ; reflex, be-

employed

caufe in order to their exertion, the mind reflects upon and mode of the object that

takes notice of fome circumftance or

was perceived, felves to

its

befides thofe qualities,

attention at

firft

view.

Thus

which offered themthe perception of any

object does not give us the pleafant fentiment of novelty,

we it

have reflected on

formerly.

and

this circumftance, that

we

In the following Eflay the terms internal

reflex fenfe are ufed

promifcuoufly.

till

never perceived fenfe

PART

(

3

)

PART Tafte refolded

Into its

Jimpk principles.

SECT. Of

I.

I.

'

the fenfe or tajle of novelty.

TH

E mind receives pleafure or pain, not only from the impulfe of external objects, but alfo from the confcioufnefs of its When

own operations and difpofitions. thefe are produced by external objects, the pleafure or the pain, which arifes immediately from the exertions of the mind,

is

afcribed to thofe

We

things, which give occafion to them. have a pleafant fenfation, whenever the mind is in a It attains lively and elevated temper. this

temper, when it and put forth

tivity,

furmount any

is

forced to exert

its

difficulty

:

and

its

ac-

in order to

ftrength, if

its

efforts

prove fuccefsful, confcioufnefs of the iuccefs Hence moderate difficulinfpires new joy. ty,

fuch as exercifes the mind,

tiguing

it,

is

without

fa-

and renders the object pleafant, B 2 by

4

Of

by which

PART.

the taftf of novelty. is

it

I.

Even

produced agreeable.

plainnefs and perfpicuity becomes difpleafing in an Author, when it is carried to excefs,

and leaves no room

for exercifing the

read-

and though great obfcurity difgufts us, yet we are highly gratified by delicacy of fentiment, which always includes er's

:

thought

fome degree of

occafions a fufpenfe

it,

of

thought, and leaves the full meaning to be gueiTed at, and comprehended only on atten-

The

tion [&].

exercife of thought,

which mo-

Some critics have explained this gratification, either by (!>) ftlppofing imaginary refinements of reflection, or by principles which are only confequences of the pleafure that attends the moderate exercife of thought. x^rr/o^y, 6

f|

AA*

atra*

tnee.

xctra^iretv, xj

yvvieis yeig TO

'Ov vsain* iw'

ru

tXX;.9f

dx^xr^ JTTO era

*p(2a?

aviiivoti,

y'wrou

>

/*.-

Xoyi^sj'tv/jki^'-

Tff^-' TfiT&? yap ixwru Jox Jia a\ t TJ a^og^tr) trct-^n^K^Ta. ctaTu TB avn'itou' TO ol mdvrot u$ a-t/ovra X^ynv, x.'ira.yivuffX.<,vT:i !'OJKE

AHMHT. 4>AA. vrt i-py. cx. o-X. L'homme ax^inS. naturellement fi amoreux de ce qu'il produit, et cette action de noftre aime qui contrefait le creation, 1'eblouit, et la 1-5

eft

trompe

fi

infenfiblement et

fi

doucement

;

que

les efprits judi-

qu'un des plus feurs nnoycns de plaire, n'eft pas tant de dire et de penfer, comme de faire penfer, et de Ne faifant qu'ouvrir 1'efprit du ledleur, vous luy faire dire. donnez lieu de le faire agir ; ct il attribue ce qu'il penfe et ce cieux

otjfervei'it,

qu'il produit

a un

effet

de fon genie et de fon habilete: bien

quece ne foitqu'une fuite de 1'addrefle de Tauteur, qui ne fait que lui expofer fes images et luy preparer de quoy produire et de quoy raifonner. Que fi au contraire on veutdire tout, non foalement on luy ofte un plaifir qui le charme, et qui 1'attire :

derate

SECT.

Of

I.

tie tajle of novelty.

5

derate difficulty produces, is a principal fource of the pleafure we take in ftudy and invefti-

gation of every kind

for

;

though the

utility

many fubjects enhances our fatisfaction, former principle, without any aid from the yet of

this, often renders

very great labour, not only but Witnefs the deagreeable. fupportable, which with antiquaries beftow indefalight, tigable pains on recovering or illuftrating ancient fragments, recommended only by their

and fcarce apprehended age, and cbfcurity, to be, on any other account, of great imporThis is in general the caufe of our tance. pleafure in

all

enquiries of

mere

curiofity.

NOT

only the performance of aclionr, but the alfo conception of moft objects, to which we have not been accuftomed, is attended

with

difficulty.

On

this account,

when new

themfelves indifferent, the efobjects forts, that are necefiary for conceiving them, exalt and enliven the frame of the mind, are in

make it able.

from them, fome meafure agree-

receive a ftrong impreffion

and thus render them

When

in

the objects are in

themfelves

mais on fait naiftre dans fon cceur une indignation donnant fujet de croire qu'on fe dcfie de fa

fccrettc,

capacitc.

La

man. de bien

penf.

luy

Bouhourt,

Quatr. Dial.

B

3

agreeable,

~

6

the tajte

Of

of

novelty.

PART.

I.

our fatisfao agreeable, thefe efforts heighten fine country or ah agreeable protion.

A

fpe
is

It to' a ftranger. cxercife to the mind, to

doubly beautiful

gives confiderable

obferve every part of it, and to conceive the iituation of the feveral objects, which it in-

A

cludes.

new

performance

tisfaction,

with

frem difcovery

it,

in

fcience,

or a

in the arts gives greater fa-

when we become firft acquainted The firft time that after.

than ever

we

ftudy a philofophical theory, the mind runs through it with eagernefs, that it may get a view of

all

its

parts,

is

conftantly en-

gaged in tracing the connection of the arguments, in examining therr force, in conceiving what objections can be formed againft

them, and

is

by

means affected with an which ceafes, after repeat-

this

agreeable agitation,

ed perufals have rendered the theory 'familiar to us. A poem or a picture is examined, with a fimilar ardour and unremitted exertion of mind, by a perfon

who has

not feen

it

for-

merly.

THOUGH

a

new

object be fo fimple as to be there are difficulty,

conceived without any

fome fituations, in which it will give exercife to the mind, and will, for this reafon, be agreeable. It is extremely difagreeable, to be funk into

SECT.

Of

I.

the tajle of novelty.

y

into indolence and languor, without any thing to awaken our attention, or give play to our

This

almoft unavoidable, to the contemconfined long of a or when the fame plation lingle object, recurs often to view. In this our object very

faculties.

when we

flate is

are

becomes fo familiar, that the which it makes upon the mind, impreffion, is too faint to it give any exercife. Memory cafe,

foon

it

retains all the parts of the object fo distinctly, that it outruns fenfe, and, before we have

furveyed them, informs

us, that

we

are.

per-

We

fectly acquainted with them already. find ourfelves cloyed, and immediately turn

from the object with ject will,

in

difguft.

Any new ob-

be agreeable ; it occupy the mind, when

this fituation,

occurs opportunely to it was at a lofs how to employ itfelf j it frees us from the pain of fatiety and languor; it

an

gives it

in

to impulfe This motion.

the

mind,

and

is

always pleafant, but its pleafure is greatly augmented by the uneafinefs from which it has relieved us. puts

This

is

a pleafure

which moft men

tafte eve-

ry day, by varying their fludies, their bufiWhen genuine nefs, or their recreations.

elegance

in

furniture

or

architecture

has

been long the fafhion, men fometimes grow weary of it, and imitate the Chinefe, or revive

B 4

the

8

Of

the Gothic receive

PART.

the tafte of novelty. tafte,

merely

from what

for the pleafure

I.

they

thofe things, accuftomed to fee.

unlike to

is

which they have been

The pleafure of novelty is, ferred to that which refults fome no degree of produces IF there are

in this cafe,

from

pre-

real beauty.

whofe novelty pleafure, it arifes from things,

at all enlivening the thought, or If their novelty is even mind. the exercifing

their

not

from their exciting fome painful, it proceeds other fenfation, which deflroys the pleafure The exnaturally attendant on the novelty. ercife

of mind, which the conception of

new

objects occafions, though it be pleafant in its own nature, renders a difagreeable object more

difagreeable at

firft

:

for the

-mod

oppofite

produced by the fame caufe, and

fenfations

exifting in the mind at once, are eafily transfufed into one another, and, by their compofition

form one more

violent,

which

al-

follows the nature of the ingredient that

ways was moft

intenfe.

SOMETIMES

the elevation and exertion of

mind, which fprings from the mere difficulty of conceiving a new object, or from the livelinefs

of a

new

perception,

is

attended with furprife,

SECT.

Of the tafle of novelty. 9 which or our unaugments delight furprife, eafinefs, by farther enlivening the thought and agitating the mind. For this reafon, the I.

poet and the orator, avoid fentiments and

which are through figures,

trite

not only folicitoufly

modes of expreflion

and common,

and fearch

the {tores of nature for images,

all

and

illuftrations,

which have not

been appropriated by their predeceflbrs ; but alfo ftudy to contrive the ftru&ure of their compofitions in fuch a

that

the

commonefl thoughts and arguments may

fur-

manner,

by the unexpedlednefs of

prife

duction

(c).

confined to

Even

known

their intro-

the hiftorian,

who

materials and facls,

is

en-

deavours to give them the appearance of novelty, by the light in which he reprefents

them, and by

his

own

reflections

on the cau-

fes, the effe&s, and the nature of the tranfactions he narrates. Novelty can beftow

charms on a monfter, and make things pleawhich have nothing to recommend fant,

them but IN

their rarity.

like

manner, any agreeable paflion or a new objedt happens to

emotion, which (c)

Eft epim grata in eloquendo novitas et commutatio, et >uint. Injl. Otat. lib. viii. cap. 6.

jnagis inopinata deledant.

.

produce,

lo

Of

the tajle

of

PART.

novelty.

I.

produce, will run into the pleafant fentiment that naturally arifes from its novelty, and will

augment it. A new fuit gives pleafure to a child, by its being different from his former; it

likewife excites his pride, and gives him an the notice of his

expectation of attracting It

companions. lady,

to be

gratifies the vanity

among

the

of a fine

a fafbion

in

firft

;

it

feems to proclaim her rank, to diftinguim her from the vulgar, and to command refpect.

THE

pleafure of novelty

is

heightened by ception of an object

is

fometimes alfo

When

reflection.

the con-

attended with very the pleafure which

confiderable difficulty, we feel in the exertion of mind, neceflary for overcoming this difficulty, is increafed by

the joy, with

which we

having furmounted are of fuch a nature that

cefs in

reflect it.

on our fuc-

When

we reckon

objects

our ac-

quaintance with them an acquifition in knowledge, the pleafure of their novelty arifes in part from reflect

Both of

the fatisfaction, with which

on our having made thefe

fuccefs,

this

circumftances, the

we

acquifition.

concioufnefs

and the opinion of improvement,

contribute to that delight,

which

a

mathematician

SECT.

Of

I.

the

tician enjoys,

hends a

tie tafte

difficult

firft

of

novelfy.

i r

time that he compre-

and curious demonftration.

IT may be farther obferved, that novelty works of genius and art derives additional charms from another principle, to be explained afterwards, the ingenuity which it in the

iliews.

To

flrike

out a

new

track,

to exe-

cute what was not attempted before, difplays original genius, which we always obferve

with pleafure.

SECT.

SECT.

Of

the fenfe or

tafte

II.

of grandeur and

fublimity. or fublimity gives us a nobler pleafure, by

GRANDEUR higher and ftill

means of a

fenfe appropriated to the percep-

tion of

while meannefs renders any ob-

ject,

to

it j

which

it

adheres, difagreeable

and

Objects are fublime, which pofquantity or amplitude, and fmplicity in

diftafteful. fefs

conjunction (d).

CONSIDERABLE magnitude or largenefs of extenfion, in objects capable of it, is neceflary to produce fublimity. It is not on a fmall however tranfparent and beautifully winding; it is not on a narrow valley, though rivulet,

variegated with flowers of a thoufand pleafing hues ; it is not on a little hill, though cloath-

ed with the moft delightful verdure, that

we

Moft of the fpecies of fublimity are explained, nearly (<*) from the principles here afligned, in An E/ay on the fublime,

by Dr. BaUlie.

beftow

Of

J4

PART.

the tajte of

I.

beftow the epithet fublime : but on the Alps, the Ni/e, the ocean, the wide expanfe of heaven, or the immenfity of fpace uniformly extended, without limit or termination (e).

WE always with a

When

contemplate objects and ideas fimilar

difpofition

to

their

nature.

prefented, the mind extent of that object,

a large object

is

expands itfelf to the and is filled with one grand fenfation, which it into a folemn totally pofleffing it, compofes fedatenefs,

and

ftrikes

wonder and admiration

it it

:

with deep

filent

finds fuch a diffi-

culty in fpreading itfelf to the dimenfions of its object, as enlivens and invigorates its frame : and having overcome the oppofitiori

which

it fometimes imagines every part of thefcene, which it contemplates ; and, from the fenfe of this immenfity, feels a noble pride, and entertains

this occafions,

itfelf prefent in

a lofty conception of :

its

ttiUtcH *a

v

own

A"

ov Ta>

capacity (f). iixet

<47

SctvjLx^o-

ev (uxsavoc. AOTFIN. wtpi o-^a:. T^r^. Xi. (/) Longinus contents himfelf with refolving the fenfation of fublimhy into the laft of thefe principles, without inveftigat-

ing the others, of which

// is

iVa-Ti

but a confequence. -vr x &v YI

TI r,.vt

*MW y

?

vc

fi a>oi$-rix

LARGE

SE c T

.

grandeur and

1 1.

LARGE

i

fublitnity.

objects can fcarce indeed produce

their full effect, unlefs they are alfo/w/>&, .or made up of parts, in a great meafure fimilar. Innumerable little iflands fcattered in the

ocean, and breaking the profpect, greatly diminim the grandeur of the fcene. va-

A

clouds, diverfifying the face of the

riety of

heavens, detract

may

from

add to their beauty, but muft

their

grandeur (g).

OBJECTS cannot which the

is

poflefs that largenefs, neceffary for infpiring a fenfation of

fublime,

Where

without fimplicity.

wanting, the mind contemplates, one large , but many fmall objects (b) : this

not

is

it

is

(g) It is not meant that, in thefe cafes, the fublimity of the ocean, or of the heavens, is deftroyed ; it is only afferted that it is diminifhed. A confiderable degree of fublimity will remain, on account of the fimilarity, that ftill fubfifts among the parts. (b)

Simplicity

is

recommended, by an antient critic, as repainting, on the very principle here

quifite to fublimity in

afligned,

which muft render

its

ncceffity univerfal,

tends equally to every other fubjeft.

Nxue?

y

as

it

ex-

o

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

rit^i V$>. TfC*|

*''

pained

1

6

PART

Of the to/It of

I.

pained with the labour requtfite to creep from one to another ; and is difgufted with the imperfection of the idea, with which, even it muft remain contented.

after all this toil,

But we take

with

in,

eafe,

ception of a fimple object,

one entire con-

however

large

:

in

confequence of this facility, we naturally acthe view of any (ingle part count it one :

and enables fancy to exfuggefts the whole, tend and enlarge it to infinity, that the capacity of the mind.

MANY

it

may

fill

things are indeed denominated fub-

which, being deftitute of extenfion, feem incapable of amplitude, the firft and funBut fuch damental requifite of the fublime.

lime,

objects will

on examination, to which have the fame power

be

found,

poffefs qualities,

to

the

exalt

difpofition

Length of duration

;

of

the obferver.

prodigious numbers of

things fimilar united, or fo related, as to conftitute a whole, partake of the nature of quantity,

as well as

and,

extenfion,

enlarge

and

which contemplates them. an object, which fills the whole

elevate the mind,

Eternity

is

capacity of the foul, nay exceeds its comprehenfion ; and ftrikes it with aftonimment and admiration.

We

cannot furvey a vaft army or

SECT.

II.

grandeur and fublimity.

17

or navy, without being fenfible of their grandeur ; which arifes, not fo much from the largenefs of the fpace they occupy, as from men or {hips, which are in

the numbers of

them united under one rate to a

common

end

direction, ;

and co-ope-

the union and fimi-

of the parts adding fmplicity to the of their number. Hence too is detyaftnefi litude

which

rived the fublime of fcience,

in

lies

principles and general theorems, from which, as from an inexhauftible fource, flow multitudes of corollaries and fubordinate

univerfal

truths.

BUT do

not

we

attribute

and

grandeur

fublimity to fame things, which are deftitute of quantity of every kind ? What can be more

remote from quantity, affections of the foul

and uncultivated

?

than the pafiions and Yet the moft imperfect

tafle

is

fenfible of a fubli-

magnanimity, in a contempt of honours, of riches, of power, in a

mity

noble

in heroifm,

in

fuperiority to things external, in pain univerfal benevolence. ac-

To

triotifm,

count for

no

this,

we muft

pafllon can fubfift

obferve, that, as

without

its

caufes,

its

objects, and its effects, fo, in forming the idea of any pafiion, we do net latisfy our-

C

fclvcs

l8

Of

the tafte

PA*T

of

t.

with conceiving it as a fimple emotion in the mind, but we run over, in thought,

felves

the objects about which

which it by which it

things by fects

is

it is employed, the produced, and the ef-

difcovers

itfelf.

And

as

thefe always enter into our conception of the paffion, and are often connected with quan-

they naturally render the paffion fubWhat wonder that we efteem hero-

tity,

lime.

ifm grand, when,

in order to

imagine

we

it,

in oppolition i'uppofe a mighty conqueror, to the moft formidable dangers, acquiring

power over

multitudes of nations, fubjedting

dominion wide extended countries, and purchafing renown, which reaches to the extremities of the world, and ihall continue to his

through all the ages of futurity ? What can be more truly great than the object of that benevolence, which, unconfined by the narrow limits of vicinity or relation, compre-

hends ties,

multitudes,

grafps

whole large

and even extends from pole

IT muft

alfo

focie-

to pole

?

be remarked, that whatever

mind a fenfation or emotion what is excited by vaft objects is

excites in the

ilmilar to

on

this

account denominated fublimej

ing natural to reduce to the

fame

it

fpecies,

beto

exprefs

SECT.

grandeur and fubllmlty. 19 fame name, and even fre-

II.

by the

exprefs

quently to confound together thofe objefts, which we contemplate with the fame or a like difpofhion. Hence the fea in a ftorm, and the loud

raging

of the

roaring thunder,

which

infpire an

awful fedatenefs, are termed

fublime.

Objects exciting terror are, for this reafbn, in general fublime ; for terror

always implies aftoniihment, occupies the whole foul, and fufpends all its motions.

IN

like

we admire

manner,

perior excellence of

nence is

in

ftrength,

uncommon, and

which

fublime fu-

as

kinds

many

fuch emi-

j

or power, or genius, ds

overcomes

are infurmouhtable

difficulties,

by lower degrees

of ability ; fuch vigour of mind, as indicates the abfence of low and groveling paflions, and enables a perfon to defpife honours, riches, fetting him above power, pain, death ; thofe enjoyments,

on which

men

generally

put an high value, and thofe fuffe rings, which they think intolerable. Such degrees

of excellence excite wonder and aftonimment, the fame emotion which is produced by amplitude.

the fame

A

great degree of quality has here

upon the mind, and that by the fame quantity, effecl:

C

2

as vaftnefs

principles,

of

by

flretching

20

PART

the tafle of

Of

ftretching and elevating the mind

ception of

WE

I

con-

it.

(hall

paffions,

in the

but juft obferve that the fublime

habitually prevailing in the temper,

and uniformly difplaying themfelves in fuitable expreffions and effeds, conftitute dignity

and fublimity of character.

BUT

in

order to comprehend the whole it is proper to take no-

extent of the fublime,

which do

tice that objects,

not themfelves

may neverthelefs acquire It is the with fuch as do.

pofiefs that quality, it,

by

ajficiation

nature of afTociation to unite different ideas

&

they become in a manner In that fituation, the qualities of one part are naturally attributed to the whole, or to the other part. At leaft aflbciation renclofely, that

one.

ders the tranfition of the mind from one idea another fo quick and eafy, that we contemplate both with the fame difpofition, and are therefore fimilarly affected by both. to

object uniformly and introduces into the mind the idea conftantly

Whenever, then, any of another that nexion grand.

is

with the

grand, latter,

it

will,

be

by

itfelf

Hence words and phrafes

its

con-

rendered are

deno-

minate

21 grandeur and fublimity* and minated lofty majeftic. Sublimity of SECT.

II.

much from

not fo

ilyle arifes,

the found of

the words, though that doubtlefs may have fome influence, as from the nature of the ideas,

which we and

them,

the

are accuftomed to

character

annex to

of the perfons,

among whom

they are in moft common ufe. the origin of the grandeur we afcribe to objects high and elevated in place;

This too

is

of the veneration,

with which

we

regard

things in any direction diftant ; and of the fuperior admiration excited by things remote in time

ration

(/)

efpecially

\

in

antiquity or pail du-

(/).

The

author of a Treatife of

Human Nature has very

in-

genioufly reduced thefe phenomena into the principle of affoThe fum of his reafoning, fo far ciation. B. ii. P. 3,S. g. as it is neceffary tc take notice of it here, is as follows. " Be-

we are accuftomed every moment to obferve the difficulty with which things are raifed in oppofuion to the impulfe of gravity ; the idea of afcending always implies the notion of caufe

overcoming this difficulty ; the conception of which invigorates and elevates the thought, after the fame manner as a vaft object, and thus gives a diftance above us much more an appearance of greatr.eft, than the fame fpace

force exerted in

could have in tude, which

any other direction. The fenfation of amplithis means comes to attend the interpofed

by

transferred to, and confidcred as excited

by the ohand that object, by thi* eminent and above us And here we transference, acquires grandeur and fublimhy. may obferve in paflmg, that this natural tendency to affociatr ideas of grandeur with things above us is the reafon, \?hy the diflance,

jeft

that

is

is

;

C

3

Bur

Of the

22

PART

of

tajle

I.

BUT the fine arts prefent the moft numerous examples of grandeur produced by aflbIn all of them, the lublime is atciation. tained,

chiefly

fublime objecls this quality

by

owing

to

our being led

imitation

the

to

form

and conceive images of fublime originals. is

Thought Yet

chiefly

the exaclnefs of

ideas ,

is

by the artift's exciting ideas of and in fuch as are mimical, ;

ideas,

a lefs intenfe energy than fenfe

efpecially

when

lively,

never

:

fail

to be contemplated with fome degree of the fame emotion, which attends their original fenfations j and often yield almoft equal plea-

when

fure to the reflex fenfes,

on the mind by a term fublime

*

impreffed up-

fkilful imitation.

metaphorically applied to excellence of any which elates the mind

kind, efpecially to that fpecies of it, with noble pride in the conception.

To

our transferring, in

like manner, the interpofed fpace, and its attendant fenfation, to the diftant objeft, is owing the veneration, with which we

we fet upon things remote in place. regard, and the value And becaufe we find greater difficulty, and muft employ fuin running over the- parts of duration, than perior energy, thofe of fpace ; and in afcending through paft duration, tha n in defcending through what is future therefore we value higher, in tim e and contemplate with greater veneration things diftant the perfons and objefts of than things remote in fpace, and than thofe which we figure to ourfelves in the ages j

antiquity,

f futurity, ".

GRANDEUR

SECT.

grandeur and fublimity.

II.

GRANDEUR in

fome

for

we

works of architecture may, from their largenefs :

inilaaces, arife

generally eftimate the

magnitude of with thofe of the

by comparifon and though no

things,

fame

in

23

fpecies

:

edifice

is

equal

many works of nature by no means accounted great ; yet lofty palaces and pyramids, far exceeding the bulk of other in quantity

to

buildings, have a comparative magnitude, which has the fame influence upon the mind, as if But (till the hey had been abfolutely large.

principal is

fource

affociatlon^

ideas

of grandeur in architecture

by which the columns fugged

and durability, and the ftrufture introduces the fublime ideas

of ftrength

whole

of the riches and magnificence of the owner,

IN painting, fublimity is fometimes introartful kind of difproportion, to fome well chofen member a

duced by an which affigns

greater degree of quantity than

has (k)

:

it

commonly

but chiefly thole performances are

grand, which either by 'the artful difpofition of colours, light, and (hade, reprefent fub() Thus, according to Hogartl, the inexpreflible grcatnefs of the Apollo Belvidere arifes from the uncommon length of die legs and thighs. Anahfi* of Beauty, ch. 1 1.

C 4

lime

Of

24

the tajle of

lime natural objects, and

them

(/)

features

or,

j

and

PART

.

fuggeft

I.

ideas of

by the exprefiivenefs of the of the figures, lead us

attitudes

to conceive fublime paffions operating in the And fo complete is the power of originals. affociation, that a fkillful painter

can exprefs

any degree of fublimity in the fmalleft, as It well as in the largefl compafs. appears in the miniatures of Julio C/ovio, as really as in the paintings of Titian or Michelangelo.

THE

fublime of thofe

inftrument of imitation

arts, is

in

which the muft

language,

evidently arife entirely from affociation ; as it is the only principle, from which words derive their force

(/)

It

may be

and meaning.

And

in thefe

here obferved that, though the figures, in

have fo great quantity, as is Aifficient of painting, can feldom itfelf to produce fublimity ; yet the comparative magnitude, and alfo the JimpJieitj of the figures, parts, and members, are

among ideas,

the principal means by which a work fuggefts fublime and thus becomes itfelf fublime. The prefervation of

magnitude and fimplicity is therefore recommended as funda-. mental to fublimity, in the art of painting. Laevia, plana,

Magnaque

Ex

figna.

longo dedufta

Quippe

folet

fluant, non fefla minutint,

rerum nimio

difyerfa

tumulta

Majeftate carere gravi PR ESN. de arte graph, ver, 108. 156. 204. 419. .

arts,

SECT.

II.

grandeur and fublimity.

25

be found refolvable into a very few general quawill

fublimity precifely confidered,

arts,

lities.

THE poet or the orator is then poflefled of this excellence, when the fentiments he utters, or the fubjecls he profefTedly defcribes, contain in themfelves the fublime, either of nature, or of the paffions and character: and the grander the originals are, the greater is

the fublimity of the imitation. Whence, in that are fublime, the firfl claffing fentiments is afllgned by critics, to thofe which have a relation to the Gods (m). When

place

Homer would convey

a fublime idea of pis-*

CORD, he gives greatnefs of quantity

to this

imaginary perfon, afiigning her fuch prodigious ftature, that, while (he walks upon the earth, her

head reaches

to the heavens.

IA..

ver.

443.

By the fame contrivance Virgil produces a great idea of FAME. Ingrcditurque folo^ et caput inter nubila condit. .l. iv.

ver. 177.

(m) ji"y

?.y:'fM.. 'i-fMOr.

Trifi

i?ij.

THE

26

Of the

THE

fentiments of with poets, refpett to Cafo t manner from the grandeur of

latin

arifes in like

the

I,

fublimity cf the rival

two

the

PAI*T

tajh of

fubjecT:,

from the dignity of the character

deicribed.

Et

cunfta t errarum

fubaRa

Prater atrocem animum Secret ofqut pios, bis

ON

account

the fubject,

HOR,

Catonis.

dantemjura Catonem. VIRG.

"of the

fuperior grandeur of

the latter claims

an undoubted

The former indeed derives adpreference. ditional force from the art of the compofition, by means of which the firft hint of an excepfrom Ctefars power occafions a fufpenfe of

tion

thought, a kind of anxious expectation, which, mixing with the fublime fenfation, heightens it. Subjects thus grand in themfelves mud beftow fublimity on a compofition, whenever they are defcribed in fuch a manner, as con-

veys entire, or augments, the feeling,

they

which

naturally excite.

IF an author's main fubject is deftitute of it may be rendered grand,

innate grandeur, by comparing or

fomeway

afTociating

it

with

objecls

grandeur and fublimlty. 27 fuch. By the fame means objects naturally the real greatnefs of a fubjeft is increafed.

SECT.

II.

Hence metaphor, comparifon, and imagery are often productive of (ublimity (n). Cicero raifes Ctefars idea of clemency, by reprefent-

ing

it

as

Seneca (p) gives a fub-

godlike (o).

lime idea of Cicero's genius, by comparing it with the majefty and extent of the Roman empire.

The

of the comparifon

effect

is

fometimes augmented, by the writer's infinuating the fuperiority of

his fubjecT:

to

that,

whkh

he compares it, and artfully ancircumftances to the latter, fome nexing without which, rendering it mean (for that would deftroy the effect: of the comparifon) yet deprefs it below the former. In this way with

Homer

contrives to give a great

idea of the

Grecian army, by introducing Priam fpeaking magnificently of the armies he had for-

merly feen in Phrygia, but at the fame time acknowledging it far fuperior to them (q), () AHMHT. <J>AA. J. v( Homines ad Deos nulla .

(0}

re

propius acccdunt,

quam

ft-

lutehominibusdanda. Pro Ligar. ia* (/) Illud ingcnium, quod folum populus Romanus par perio fuo habuit. (q) *HJ>)

cj

Controv.

lib.

i.

^gvynjn tK7XuSc a/?riXoiarar,

'

l.xSa

i'd'or

Tftetra, Oft/yac ,

?-

^ Mv7?t>-

citigs atXo7rJ?>4{t oe'mSfcio,

By

-

Of the

28

By

tajle

PART

of

I.

the fame means, an Italian poet reprefents

which he

Venice^

as greater

celebrates,

than

"Rome.

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

;

SANAZAR.

becomes grand by the metaphoriby the relation, which Gods ; and its grand-

Venice

cal ufe of pelagus, and it is faid to bear to the

eur

is

increafed,

by companion with Rome t

great, but at the

acknowleged

fame time pur-

pofely degraded, by the oppofition of fyber to pelagitSy and its relation to men. The

power of imparting fublimity .

to objects

by giving them

which

naturally have

it

not,

tion to others,

is

an advantage peculiar to the by language ; for the reft

arts,

which

a rela-

imitate

can attain the fublime, only by copying fuch as are themfelves poffefled of that

objects

quality (r). *Oi

gat

TOT' irpatTsWlo

itct

o^Saj Eayyaj^js,

Kati yetg lyuv lirixu%&' etv ptTci n
ru, CTI ?x3of

'Atao*?

iArjgSiji',

atTiclneta.S

IA. y. ver. 184. perhaps necefTary to repeat, that we here intend nly the fublime predfcly confidercd ; for the term is often (r)

It is

THE

SECT.

II.

gffindcur

and fublimity.

29 <

THE

principles

alfo

plain

we

have

laid

down ex-

fublime of mufic

the

;

which

feems to be derived in part from the length and the gravity of the notes ; (he former conftituting

a

kind of amplitude to the ear;

the latter contributing to that compofure and fedate expanfion of the rnind, which attends

the perception of fublimity j and is then compleated, when the artift, by ikilfully imitat-

ing the fublime paffions or their objects, inand renders them fpires them into his hearers, confcious of their operation. '

r

IT

may

is

be

'%

farther proper to obferve, that things deftitute of grandeur,

accounted low or

mean

j

and yet not be

but may, on the

contrary, pofTefs other qualities, us highly in a different way. It

which is

gratify

only

when

grandeur is requifite and expected, that the mere abfence of it produces meannefs. Thus a remarkable defect in quantity, in comparifon with things of the fame kind ; a refemblance in individuals of a fuperior fpecies to It is ufed to fignify any great excellence of compofition. thus defined by Longinus ; ; dr-porn; % i*o^4 TK >.6yu ir* ret WYI. In this latitude he explains it, treating of the neryoui,

the vehement, and even the beautiful and elegant.

die

'

Of

3&

the tafle of,

the orders below them;

&cT

'

PART 1

or the defect of

fublimity in compofitions of art or genius, which propofe to imitate originals or treat

fubje&s confefledly noble, gives us diftafte

and

infpires

likewife

contempt.

from

Meannefs arifes often when low arid gro-

aflbciation,

as when images mean fimiles, objedts, are Thus alib, applied to an important fubjeft. words and phrafes become mean, when they excite mean ideas, either by their proper fig-

veling ideas are fuggefted

nification, or

only by

;

taken from

and

by their being ordinarily thofe of inferiour rank.

ufed

SECT.

31]

1

SECT. Of

the fenfe

or

III.

tafle

objeds

BEAUTIFUL kinds, and produce of different principles of

THE

firft

fpecies

of Beauty*

are

of

different

pleafure by means nature.

human

of beauty

is

that otfigure*

and belongs to objects pofleffed of uniformity^ Each of thefe quavariety and proportion. in fome degree j but all of them lities pleafes ',

united give exquifite fatisfaction.

FACILITY if it is

in the conception of an object,

moderate, gives us pleafure

thinks well of

itfelf,

when

it

is

:

the

able to

mind form This

conception without pain or labour. conftitutes the value of perfpicuity of thought it's

and language, which tion to

is

agreeable in oppoii-

obfcurity, as this occafions

an uneafy

fearch into the meaning of the the parts or of the which whole, tendency requires greater labour than we are willing to beftow. Hence

too

it is

that uniformity

agreeable.

and

fimpllclty

become

Objects endued with thefe* qualities

Of the

32

tafte

of

PART L

beauty.

mind

(hey do not diftradl our attention, or hurry us too fait from one fcene to another : the view of

lities

into

enter eafily

the

:

the whole, and, impelling the apart fuggefts mind to imagine the red:, produces a grateful exertion of its energy. in all the beautiful

ACCORDINGLY,

works

of nature, uniformity is preferved in the general appearance of the correfpondent parts.

And

though a perfectly accurate regularity is avoided, both in natural effects and in the fine arts ; yet fo much of it muft be retained, as to keep the variety from degenerating into Regular figures perplexity and confufion. are in general preferred to irregular j and

fuch

as

have

to

fuch. as have

requifite to

the beauty of Even when a

parallel

not.

is

fides

Equality every piece of painting (s). in the appearance of the perfeft fimilarity counterparts feems to be fludioufly fhunned, (s) Alters pars

Aut

deferta

tabulafiet,

vacuo ne

dom

frigida

camro^,

pluribus altera formis

Fcrvida mole fua fupremam exurgit ad oram. Sed tibi fie pofitis refpondeat utraque rebus,

Ut

fi

aliquid furfum fe partc attollat in urf,

Sic aliquid parte ex alia conmrgat, et t,

gerr.inas

cumulando

FRESN.de

ambas

zequaliter oras.

Art.

Graph,

ver. 14;.

as

SECT.

Of the

III.

as in a fide

tafle

of beauty.

view of a human

33

the atti-

face,

tude of the body, or the profile of a building ; yet ftill it muft be fo contrived, that, does not exhibit a fenfation, it may notwithstanding, according to the rules of

though

it

perfpe&ive, fuggeft the idea

To

formity.

of exacl uni-

beftow fimplicity upon a mul-

titude of feparate

phenomena, the

pher traces them up to common and general caufes ; and it is only has done

fo,

philofoqualities;

when he

that the beauty of fcience be-

gins (/)

BUT

when

uniformity,

perfect and Un-

apt to pall upon the fenfe, to grow to fink the mind into an and languid, uneafy

mixed,

is

of indolence.

ftate

It

cannot therefore alone

produce pleafure, either very high, or of very long duration. Variety is neceflary to enliven

it.

Where

degenerates into

this

is

wanting, uniformity

dull formality.

Variety iri the fenfe of gratifies novelty, as our ideas vary in pafiing from the contem-

fome meafurc

plation of one part to that of another. (/)

ideas parts jett.

;

;

This

Uniformity and Tim;, licity are, flriflly fpeafdhg, diftinft the former implying the fimilarity of the correspondent the latter the fcwnef. of linhke parts in the whole obas both pleafe by the fame principle, it was?

But

judged

uoneceflary precifdy to diftingaifl) them here.

D

tran-

Of the

34

tranlition puts the it

PART

of beauty.

tajle

mind

in

action,

I.

and gives

employment, the confcioufnefs of which

is

agreeable ().

IN the works of nature we find variety ftudioufly fought after, as in the uneven furface of the globe ; the infinity of fhapes and hues in the flowers that adorn it ; the intricate windings of rivers ture,

which we even

artj

and

;

the wildneffes of na-

fet ourfelves to

ten thoufand

in

copy by

other inftances.

To

procure it, the Architect enriches his buildings with ornaments of different forms. In all works of tafte, too great uniformity is avoided by numberlefs graceful attitudes, by varying of members, and by contrafting the parts (x).

which often greatly contributes tcf beauty, confidered as a fpecies of variety ; at lead its agreea_ blenefs is derived from the fame caufe ; and variety is mofl (a)

Intricacy,

may be

B

aturalJy

combined with uniformity,

intricacy

with fimplici-

'y-

(*) Inque Figurarum cumulis

non omnibus idem

Corporis inflexus, motufque ; vel artubus omnes Converfis pariter non connitantur eodem ;

Sed quasdam

in diverfa trahant contraria

Tranfverfeque

FRESN.

^,

So great

aliis

is

mgenious

the

membra,

pugnent, et czetera frangant. de Art. Graph, ver. 137.

in producing beauty, that aa has lately anatyeJit, not altogether witli-

power of variety

artift,

who

i

WERE

SECT.

Of

III.

WERE

the tajle of beauty.

the variety indeed

j

boundlefs,

the

mind would be

fatigued and pained with continual (hitting from part to part, without the;

profpect of any end of its labour : be difpleafed and difgiifted, when to that, after numberlefs efforts

it it

would found

conceive

the object, the endlefs diflimilitude and perplexed comppfition of the parts ftill baffled

endeavours, and hindered

its

ing

its

A

idea.

it

from perfect-

certain degree of uniformity

mufl therefore be blended with the objects;

other ways this variety,

variety of inftead of

producing moderate energy, would fubject us to infurmountable toil, which would make our pleafure foon degenerate into pain* 4

THESE two

qualities,

by thus moderating

the effects of one another, increafe the pleaout reafon, refolves almoft the whole of it into that principle " th* defines the art of compoftng to be nothing elfe but " art of He holds uniformity no further nevarying well."

and

teflary, than

convey the idea of reft or motion, It But here he goes too far. were eafy to point out inftances, where uniformity is ftudied, though it cannot have any degree of this effeft and he acwithout

it is

requifite to

poffibility

of

falling.

:

a comfofed variety ; which He indeed fufneceflarily implies a mixture of uniformity.

knowleges that beauty

refides only in

ficiently proves that uniformity is not the only, or chief princiYet it often by itfdf conftitutes fomef ple of perfeft beauty. degree of it ; as in the ftraight and parallel fides of a canal.

D

2

furc

Of the

36

tajle

PART

of beauty.

I.

fure refulting from each : giving the mind at once the oppofite gratifications of facility and

mixed with, and mellowing

aftive exertion,

one another.

PROPORTION

confifls not fo

much

in

re-

lations of the parts precifely menfurable, as in a general aptitude of the flrudture to the

end propofed

j

which experience enables us

than any Its inmethods can determine it. fluence on beauty is therefore derived from ftnefs (
ted prefently.

A VERY fmall difproportion in any of the members of the human body produces deThe leaft deviation, in the proformity. ductions of the fine arts, from the natural harmony of

the parts, always occafions a ble-

mifli.

THERE

is

another kind of proportion,

at

oot wholly dependent on utility, which 'is preferved in the appearances of things, when none of the parts are fo fmall, in refpeft leaft

of one another, and of the whole, (j) See

HOGARTH'S

Analyfts ofBfautj,

as

Chap.

to

dif-

xi.

appear

SECT.

Of the

III.

tafle

of

37 when we

beauty.

their

fmallnefs, appear through contemplate the whole ; and when none of them are fo large, that, when we fix our

view on them, we cannot diftinctly perceive at the fame time their relation to the whole,

and to the other parts. Figures, whofe fides are very numerous, lofe a great part of the beauty, which would arife from this variety, by the want of proportion between the fides

Works in the Gothic and the diameter. minute with crowded tafte, ornaments, fall as

much

fhort of perfect beauty, by their difproportion, as by their deviation from fim plicity.

As nothing what our

gives us greater pleafure, than leads us to form a lofty conception of

own

faculties,

greeable, than perfection.

want of

fo nothing

what reminds

On

this

account

is

more

difa-

us of their

im-

that

the

it is,

kind of proportion difgufts us. It leads us to entertain a low, and of confequence ungrateful, opinion of our capacity, this

by rendering

it

impoflible to form one entire

The variety of its conception of the object. amufe and us, keep us from atparts may to tempting comprehend the whole and ;

$hen, efpecially

if it

be joined with uniform-

D

3

itjr,

38

Of

-

ity,

and

PART

tie tajle of beauty

I.

will yield us fome degree of pleafure, conftitute an inferior and imperfect fpe-

it

of beauty.

But

ftill proportion is necefthe beauty, and fully grafary for perfecting and improved tafte. tifying a correct

cies

THUS

the abfence of any one of thefe ingredients, the want either of uniformity, of variety, or

of proportion, diminifhes the beau-

ty of objects

:

but where

all

of

them

are

wanting, deformity muft

prevail. Figures jnay be defirable or valuable on other ao counts ; but without thefe qualities they cannot be beautiful.

UTILITY,

or the fanefs of things for an-

fwering their ends (#), conftitutes another diftindl from that of fpecies of beauty, figure, It is

of fo great importance that, though conis fometimes in lefTer inftances facri*

venience

ficed to regularity, yet a great degree of in*

convenience generally deftroys all the plea-ifure, which mould have arifen from the fymIt is the metry and proportion of the parts.

of nature's works, that, at peculiar excellence (a) This,

which

is

the principle of a diftinfl order of beau.

confounded with uniformity, which is but one ingredient in that of figure?, by CROUSAZ j Trait e du Beau, paffirn. ty,

is

toft

SECT

Of tie

.III.

t afte

of beauty.

39

of them, the moft perfect fitnefs for their refpective ends is united and leaft in the nobleft

rendered confident with the great elegance of

form

We

(a].

fitnefs

and

pay a very great regard to

utility,

in eftablifhing the ftandard

of beauty and proportion in the feveral kinds. And though the moft perfect art fails infinitely fhort of nature, in combining the ufeful with the regular; yet none of its productions is reckoned a mafter-piece, in which thefe

do not meet

excellencies

(b]

;

and to obtain

utility,

forms of inferior beauty

ticular

purpofes,

where beauty

are,

for par-

conftantly preferred,

even

from being neglected. The cube, not any of the more varied polygons, is chofen for a pedeftal, on account of its

is

far

Utility has determined,

{lability.

with confiderable

latitude, the

though

dimenfions and

general form of moft inftruments and works, without adhering to which, the greateft profulion of decoration cannot render

the kind.

tiful in

them beau-

Unfitnefs renders

orna-

ments difpleafing when wrong applied, which, in their proper place, might be truly elegant. (a)

In plcrifque rebus incredibilher hoc natura ut ea, quoe

bricata,

maximam

eadem haberent plurimum nuftatis. (i>)

Cic.

Cic.

vel

dt Orat. lib.

eft ipfa fa. utilitatem in fe continerent,

dignitatis, vel

vefsepe etiam

iii.

ibid.

D

4

The

Of the

49

tajle

of beauty.

PART

I,

The

fplendor of a finglc figure in hiftorypainting will but augment its faultinefs, if it takes off the eye principal,

and

from what ought

to be the

the effect

obftructs

fhould be produced by the whole.

which In

com-

m

the moft refined reflections, the oft pofition elaborate defcriptions, the warmeft pathos difpleafe

j

if

main

they do they retard, the the parts mould be

they break the unity,

not promote,

much more

defign, to

which

if

if

all

fubordinate f

Sed nunc non trat his locus

The

impropriety

.

of their pofition wholly In general, beauty.

defaces their intrinfic

it is from the end and defign of works of genius that their peculiar rules can be deduced : this directs the author in the choice, difpo-

fition,

and embellishment of the

this

the

It

from the

is

critic

muft regulate relation

parts : and by his judgment.

they bear to different

ends, that narration, poetry, and eloquence are fubject to very different laws : and from the fame fource is derived the diverfity of the rules belonging to the fubordinate branches of each. Could fitnefs be difpenfed with, a col-

lection of fine fentiments

and figures cloathed

SECT. in

Of the

III.

41

of beauty.

tqfle

might fully gratify however unconnected with one

agreeable language,

our

tafte,

another.

THAT we may

comprehend the nature of which is produced by fitnefs, it muft be obferved, that, whenever we difcover that pleafure

in effects a greater degree of uniformity or well adapted complication, than could be expected from the laws of chance ; efpecially

when we

recognize a fitnefs for anfwering an important end; we then infer, not only intention, but art and fkill in the cauie : which

implying mental excellence and perfection, the view of it gives a noble fatisfaction ; as

on the other hand

faultinefs

by fuggefting imperfect

fkill

nius, difpleafes us greatly. we fee a work, it leads us

ciation to conceive

the want of

it,

therefore

by a natural aflbj

prone to com-

the propriety of the

parifon, parts in relation to this

are prejudicial to

When

end

its

we examine

of contrivance, and want of ge-

end

we

3

if

any of them with

are difgufted

which

this imperfection bedwell in trays. imagination on the inconveniences which muft arife from the unfkill,

We

fitnefs

of the ftructure

;

we form

ftrong ideas

of them, which produce almoft the fame uneafy

Of the

42

tafte

PART

of beatify.

eafy fentiments and paflions, as

if

we

I.

actually

experienced them ; and by this means often obliterate all the pleafing impreflions, which the other qualities of the object might have But when, on examination, the fitnefs of all the parts appears, the fatisfaction, caufed.

with which we think on the {kill and ingenuity thus difplayed, communicates itfelf to the effect fo nearly allied to it, fo clofely connected with

it

by caufation

and

:

we fympa-

thetically enter into a ftrong feeling of the delight which muft attend the pofleffion or ufe

of what

THE

is

fo well defigned

beauty of colours

and executed. is

from both the former, and principles

nothing fications

entirely

diftincl:

pleafes us

from

Colours being

different.

wholly than various degrees and modiof light, fome of them are lefs hurt-

elfe

ful to the organs of fight than others ; and on that account, in fome inftances apas beautiful.

are,

proved

SOME

colours again, by their fplendor, af-

ford a lively gratifies us,

and vigorous fenfation, which a chearful and vi-

by producing

vacious difppfition of

mind

in

contemplating

them.

BUT

SECT.

Of

III.

BUT

the 'tajle

of beauty.

the beauty of colours

in

is,

43 moft in-

ftances, refolvable into affectation thofe being approved, which, either by a natural refem-,

blance, or by cuftom, or opinion, introduce and are connected with agreeable ideas of any fort ; and thofe being difapproved, which have any way become related to difagreeable ones. The

verdure of the

fields is delightful, not only by inoffenfive to the eye, but chiefly by being its the fuggefting pleafant idea of fertility.

Heath able

in

bloom would form

a carpet agree-

we

could feparate

enqugh

to fight,

if

from appearance the idea of the barrennefs of the mountains and wilds it covers. In its

drefs colours are either beautiful or the

con-

according to the nature of the idea which they lead us to form of the ftation, fen-r

trary,

timents,

and character of the wearer.

IN fome

cafes,

a particular drefs, in con-

fequence of eftablifhed manners, fuggefls to the generality nearly the fame idea. Where-* ever

this

general connection takes place,

forms a kind of ftandard in

it

drefs, for perfons

We

come to in certain ftations or profeflions. a in conforming to it ; and perceive

propriety

wo

Oftbt

44

we

tafle

of beauty.

PART

I.

are difpleafed with the indecency of devi-

ating remarkably

WHEN

from

it.

the idea fuggefted by drefs is difis the relifh

ferent in different perions, fo alfo for the colour what fuggefts to

one a liveand vivacity of turn, gives another the idea of gaudinefs and levity ; the fame drefs -,

linefs

may convey to fome the idea of gravity fedatenefs, to others that of dullnefs and

and au-

fterity.

COLOURS,

as applied in painting,

come un-

der confideration here only in refpedl of their delicacy or vivacity j which, however efti-

mable, are not yet of fo great importance, as the power they have of reprefenting grandeur or beauty of figure, or of exhibiting folid bodies,

by fuch an

artful

and ingenious imita-

tion, as itfelf delights us, in a

way

hereafter

to be explained.

THE

beauty of colours

may

the addition of variety^

a

be heightened circumftance

by which beftows fome charms on the moft

ir-

regular mixture of them, provided they be of themfelves agreeable, efpecially if they be fo dif-

SECT.

Of the tafle

III.

45

of beauty.

advantage the feparatc difpofed each other. of or beauty brightnefs as to fet off to

THERE

is

perhaps no term ufed in a loofer

fenfe than beauty, which is applied to almolt Though this every thing that pleafes us..

ufage is doubtlefs too indefinite, we may, without a faulty deviation from precifion, apply this epithet to every pleafure which is conveyed by the eye, and which has not got

a proper and peculiar

we

receive,

either

name j

when

to the pleafure

an object of fight

ideas of other fenfes ; or whea fuggefts pleafant the ideas fuggefled are agreeable ones formed,

from the

both thefe

fenfations of

circumflances

fight

j

concur.

when

or

In

all

thefe cafes, beauty is, at leaft in part, refolvable into afTociation.

THE

firft

effecting beauty, we exemplified in colours,

method of

have already feen

which

are themfelves objects of light introducing pleafant ideas not derived from fight. Thus alfo the ftructure of a human face often

indicates

good mental

difpofitions,

which

are

not only themfelves approved as virtuous, but by being fo, diffufe a beauty over the coun-

tenance in which they are imprinted

:

but

bad

Of the

46 -

bad

tajle

of beauty.

affections, exprefled in

PART

I.

the look, throw

deformity upon the fineft features. >

^

IN the

is produced the only of or which comes fentiment, beauty thought the under head that beauty j properly prefent

which

fecorid

arifes,

way

when

the fubject defcribed

is

agreeable to fight, as light, flowers, fields, meadows, groves or when it is illuftrated by -,

images from things that are fo agreeable. This is one great part of the beauty of paftoral

and enters

;

in

fome degree

into

every

kind of poetry (c).

To

the third caufe, or the union of both

the former, imitations of beautiful originals, It figure and colour, owe their beauty. obfervable that the arts which ufe the/e in-

by is

ftruments have greater advantages for imitatThis they can ing beauty than fublimity. reprefent, as we have feen, only by fuggefting ideas of grand objects ; but the copies would not, if confidered as originals, be grand ; fince they are almoft ever deftitute of

tude, (f)

its

The

moft

efTential

requifite,

magniBut imita-

other qualities which render fentiments beautiful morality, elev**

or agreeable, as metaphor, fable, antithefls tiou, &c. belong to other clafles.

tions

SECT.

Of

III.

the

tafte

47

of beauty.

tions of beautiful originals, their refemblance to thefe,

independent of are beautiful

;

fmce they cannot other ways exhibit their beauties to the thought, than by themfelves and often poflefling them in fome degree :

they poffefs types.

A

them

as perfectly as their

ftatue has the

arche-

fame regularity and

A

proportion as its original. painting may equal the object it reprefents, not only in fymmetry and propriety, but in colour.

THE

clafTes

of beauty, which

been explaining, are

we have

diftinct in their princi-

though by reafon of the fimilitude of they are reduced to the fame But they are often in things varioufly genus. and united, by their union they render our In a fine face all fatisfaction more intenfe. the principles of beauty are combined. To an exact fymmetry and regular proportion of varied features, and parts nicely adapted to

ples,

their feeling,

their feveral purpofes,

is

fuperadded complex-

ion, compofed of white and red, colours beautiful in themfelves rendered ftill more fo by

the artful manner

in

which they

are difpofed,

and by their indicating health and frefbnefs ; and the grace of the whole is heightened by a quick

48

C)f the

tajle

of beauty.

PART

1*

a quick expreflivenefs of afpecl, which forces us inftantaneoufly to perceive acutenefs, fagaor the like amiable city, fedatenefs, fweetnefs, qualities, in the

gant form

mind which animates

the ele-

while the approbation attending this perception is refkdled back upon thg face

j

which gave occafion

to

it.

SECT,

t49

SECT. the

Of

fenfe or

of

tafte,

which,

as

it

IV.

tafte

and

EXACTNESS tion fupply us

J

of imitation*

livelinefs

of imita-

with another pleafurc has no peculiar name, is

exprefled by that of beauty ; and fome termed relative or fecondary, to by it from the kinds above diftinguifh explained,

commonly is

which

We

are

called

abfolute

have a natural

fenfe,

or primary (d).

which

is

highly

a

defigned refemblance, though there be nothing agreeable in the original. Similitude is a very powerful principle of aflb-

gratified

by

ciation,

which,

by continually

the ideas in which

it is

connecting

and leading

found,

our thoughts from one of them to the other, produces in mankind a ftrong tendency comparifon.

gy

implies

to

the

in

a gentle exertion of the mind, it is that account agreeable. As a farther ener-

very

on

As comparifon

is

acl:

requifite for difcovering the original

the copy grateful (J)

See

;

and

as

this difcovery

confcioufnefs of our

HUTCH ESON'S

by

produces a

own

difcern-

Enquiry into the original of ouc Treat. I. Seft. iv.

ideas of beauty and virtue.

E

merit

Of the ta/lc of 50 ment and fagacity, and of fuccefsj

feeling

Part

imitation.

I.

includes the pleafant the recognizing refem-

blance, in confequence of comparifon, augAnd when the imiments our pleafure (e). tation

intended, our admiration of the (kill

is

and ingenuity of the artifl diffufes itfelf over the effect from which that Ikill is inferred, and compleats the delight which the work infpires.

HENCE the

rapture with whichaconnoifleur

beholds the capital performances of the eminent matters in painting or fculpture. Hence

the main excellence of poetical or eloquent defcriptions

of which

the characteriftical

j

perfection

from the author's judicioufly the mod efTential and ftriking quafelecting lities of his fubject, and combining them into fuch

arifes

picture as quickly revives in the

a

and ftrongly imprefles on his mind idea of the original. The fundamen-

reader,

a lively

tafceauty of metaphor and allegory

lies in their

inunuating the analogies of things that of fimilitude and comparifon in their more explicitly -,

propofing thefe analogies. ( e)

Ates

yei(>

rwro

&aireti

xtp.

jgaijyTi xati

rxf

By this they com-

ttKorxt ygutTe(f

ffvHwyifafyau, TI

CTJ

tuotfott

ffvf*^i?t

API2TOT.

y.

municatc

Sett.

IV.

Of tie

tafle

of imitation.

municate finenefs to a fentiment.

5

1

Moft of

the figures and tropes of eloquence derive their grace from their being fo employed, as to correfpond with the natural expreffions or objects of thofe paffionsandfentiments, which

actuate the orator, or

which he would

infpire

Improbability, which is of refemblance to natural things, al-

into his audience.

a

want

a fable or ftory lefs entertaining j the improbability be very great, or extend to the material parts, it often makes it

ways renders and

if

wholly naufeous.

WHEN

excellent originals are imitated, the derive their charms, not merely from copies exactnefs of imitation, but alfo from the ex-

cellence fication

which they reprefent; and the gratiwhich thefe copies afford may almoft

as properly be afcribed to beauty or fublimity as to imitation. As the beauty here is com-

principles, it will of confequence compounded in its effect, and will ra-

plicated in

be

alfo

vifh the

it's

mind much more than either of its con-

ftituents alone.

An

Hercitles y exhibiting pro-

portion, ftrength, and fortitude

muftbe a

finerftatue than the

of a ^berfitei tus,

vrSilenus.

which reprefented

E

in perfection,

exadeft imitation

The works of

Pc/ygno-

beautiful objects,

2

were

doubt-

Of the

52 doubtlefs

more

tafte

Part

of imitation.

L

delightful than the pictures of

Dionyfius or Paufon,

however

Skillfully

they

might reprefent ordinary or

The

ancient Greek,

faulty objects (f). or the modern Italian

be preferable to the Flepainters will always mijh, who, though they imitate wellt do not

make a judicious choice of fuch beauties of nature as defer veto be imitated (g). TheMargites of Homer could not have given us fo high enwe receive from the Iliad.

A

tertainment as

comparifon^however nicely fuited to the fubject, will pleafe ftill more, if it is taken from what conveys no ideas, but fuch as are noble and agreeable : and indeed by fuggefting fuch as are ftrongly the reverfe, it will be fuffi(f)

KWr?ot, Tlctvjui $e AFJ2TOT. wip irouir. xitp.

Tlokvyiurot pit

cpoiovi;

*f.

^a'got/f,

A<W
o\

@' .

(g) In

this particular the antient artifts were fo careful, were not content with imitating the moil perfect individuals, they could meet with ; but, collecting the perfec-

that they

many, they formed one general idea more complete, than could be drawn from any fingle real exigence. tions of

o.

*a

* a*

MA2. TIP. ,

ex

vrcMut yvtaywrss r os^Saj.

i

Ixa

SF.NO'l*.

ATrocn?/*.

/2r

cent

SECT. VI.

Of the

mod

the

cient to turn

of imitation.

tafle

53

magnificent fubjedt

'

into ridicule.

BUT

the force of imitation

(till

when no

confpicuous, cur to heighten

effect

its

is

mofl

other principles con:

for as

it

is

then

unmixed, we cannot queftion, that the whole pleafure of the fentiment propure and

duced deed

is

owing

afliftance

fiderable

to

or

things grateful

would be very

The

alone.

it

Its

power

not only,

is

in-

without the

of other principles, produces a condegree of pleafure; but often re-

commends and imperfect

it

that

fo great,

rudeft

the

gains

preference

faulty

originals

when

reflected

ungrateful,

;

by

it,

viewed

if

to

and makes

rocks and mountains

j

which directly.

the ob-

mod

deformed j even that in nature are jects and difeafe pain, acquire beauty when fkillin painting (/&). It is chiefly fully imitated copying imperfections and abfurdities that

by mimicry and humour

A

pleafe. perfect imitation of characters morally evil, can make

us dwell with pleafure on them,notwithftanding the uneafy fentiments of difapprobation >> (

)

A

yaif avrct Xt,"7T)? ojwfAii

riK'-iow/Aj'i'ac, ^ottfciA-n

ta,Tut xai ffxpwr.

Sittftimf

ATlZT.

rip

THTcji

1

1

,

tier

iit\uv

VQHT. xtp.

E

3

Ta? ft

(

if.

and

Of

54

tie tajle

PART I. excite. The

of imitation.

and abhorrence which they character of lago

is

but

deteftable,

we

mire Shakefpear's reprefentation of it. imperfect and mixt characters are,

ad-

Nay in

all

kinds of writing, preferred to faultlefs ones, as being jufter copies of real nature. The the imitafrom fenfation pleafant refulting

tion

is

it overpowers and coneven the uneafy impreflions, from the objects imitated.

fo intenfe, that

verts into delight

which fpring There can be no of imitation

ftronger proof of the force

in conferring

power of pleafing, than paffions agreeable,

when produced

when

on

its

effects

the

rendering thofe excited by it, which, its

the natural way, are pure and unmixt pain. Sufpenfe, anxiety, terror, when produced in Tragedy, by imitation of their objects and caufes, and infufed by fymin

pathy, afford not only a more ferious, but a much intenfer and nobler fatisfaction, than the laughter and joy,

all

which

farce or co-

When

can

thus fecondarily medy infpire, and produced, they agitate employ the mind, and roufe and give fcope to its greatefl activity

;

while

knowledge titious,

at

the fame time our implicit is remote or fic-

that the occafion

enables

the pleafure of imitation to relieve

SECT. IV. relieve the

Of

the tafte

of imitation.

55

pure torment, which would

at-

tend their primary operation. j;iftc/,,;,-

FROM what

rt*-

has been faid,

it

is

obvious

pleafure of imitation arifes from a Befides the aft of combination of caufes. that the

comparifon, which is the fame in all inftances, the exaclnefs of the refemblance, our difcovery of it, and the art we conceive neceflary for producing it, concur to make up

our

gratification.

EXACTNESS of refemblance is

fcarce farther

approved, than as it evidences fkill and enables us to to difcover the original. Ca-

ravaggio is cenfurable for too clofely following the life, as well as Giofeppino for wantonly deviating

it

Demetrius

into fantaflical extrava-

the antient ftatuaries like-

Among

gances. wife,

from

is

cenfured for being too

ftudious of likenefs, and facrificing beauty to it j

and

is

on

this

account reckoned inferior

to Lyjtppus and Praxiteles, who, at the fame time that they excelled in producing likenefs, carried

it

no

farther than

was confident

with beauty (/), Exadtnefs of refemblance may {)

Ad

affirm ant.

veritatem Li/ippum et Praxitelem acceffific optime Demetrius tanquam nimius in ea reprehen-

Nam

4

be

Of

56

be carried fo

the fafte of imitation.

far

in

PART

I.

any work of

genius, as to degenerate into difagreeable fervility ; and is eafily difpenfed with, when the deviation

from

fimilitude appears to be the refult of fu-

However, thatinftrument of imiperior art. tation is doubtlefs the mofl perfect, which is capable of producing the moil perfect likenefs. Among the fine arts, this preeminence, in

moft

more to

it,

and fubjects, belongs to fculpture ; to painting, in fubjecls perfectly adapted than to poetry.

BUT ment of

even the imperfection of the inftruimitation may fometimes add merit

to the effect.

blance

lefs

Though

accurate,

it

renders the refem-

this very circumftance producing a con-

enhances the pleafure, by fcioufnefs of greater fagacity

in difcovering the original j at the fame time that the production of likenefs with unapt materials, imrife to an highdifficulty, gives er approbation of the ingenuity of the artift. In this refpect painting is more artificial than

plying greater

For

ftatuary. infpire full

that reafon a fine picture will

as great pleafure as a ftatue.

reprefenting folid bodies,

Its

only by the

difpofition of itfelf a plane, is a andfhade,tho' light ditnr,

3>*it,

et fuit fimilitudinis Ixjlit.

Oral,

lib. xii,

quam

pulchritu dim's

amantior.

cap. 10.

proof

SECT. IV. Of

the ftfjleof imitation.

57

And could a perproof of the higheft (kill. fon be formed to delicacy of tafte, and yet kept from feeing a picture till he were adult ; fcarce conceivable what rapture he mould

it is

when he

feel,

difcovered

fir ft

it

to

be but a

plane varioufly (haded, after Jiaving firmly believed, that, like the objects he had been

accuftomed

to, it

had

itfelf

the prominences

And reprefents (k). as every difficulty of execution heightens our and

cavities

which

it

fkill by which it is furrnounted, not only the importance of the work, but alfo the of reprefenting paffion and character by difficulty

idea of the

and colour, increafe the beauty of hiftory-painting. In this view poetry, imitating by figure

inftituted fymbols, is

on moft

than the other arts it

noways refembling things, more imperfectly mimetic

fubjects :

but this imperfection gives

a kind of merit, as that art to

Handing But

jects.

(k}

Hence

is

able notwith-

fugged very lively ideas of its ob what conflitutes its unqueftionable

in the celebrated contcft

between a painter and a from

ftatuary, concerning the merit of their arts, both argued real principles

of excellence

;

the lUtuary pleading the perthe painter the fuperior in;

fection of refemblance in his art

The blind man gave the pregenuity wLich his difcovered. The controverfy cannot b determined, ference to the latter. till it is previoufly fixed, which principle is, on the whole, eligible.

fuperi-

Of

58

fuperiority to

ofimitation. PART

the tafte

all its fifter

arts,

is

its

I.

peculiar

and unrivaled power of imitating the noblefl and moft important of all fubjedts, the calmeft fentiments of the heart, and ters difplayed in a

long

feries

human

charac-

of conduit. For

in determining the comparative merit of the imitative arts, we muft not only eftimate the excellencies of the inftruments or manners of imitation, alfo the

which they refpedively claim

moment of what they

j

but

imitate,

the

value of the ends to which they are adapt*

ed

(/).

(/)

All this muft be taken under confederation, in order to

explain the nature of any one of the fine arts : and it is only after the nature of each has been unfolded that we can judge

of their relative importance. &n.q>ipm o\ ctMykwv rpKr'n>' y* ? * yiret jT/goi? pip&i, i ra ^ tu tit *ut xcti

?,

*>

ht^

^n

SECT. <

59

(

)

SECT. V.

Of

the fenfe or tafte

TH

E

of harmony.

harmony, which confers of beauty upon found, not

fenfe of

a kind

only is converfant in

all

the arts

which employ

language, lays the fole foundation of the art of mufic. By it the ear derives but

itfelf

from

its objects a pleafure fimilar to what the from forms. This pleafure is receives eye refolvable into the agreeablenefs of Jingle

founds, and into the fkillful complication

SINGLE founds

charms and energy of a

of them. are either loud or low,

acute or grave, (lender or

ken.

To

full,

even or bro-

theie qualities attention

muft be

If founds paid, if we would pleafe the ear. are too lew, do ftrike with force not they enough to gratify: if too loud, they confound

Great acutenefs lacerates the organ : and an excefs of gravity renders the impreffion too dull and fpiritlefs to pleafe. Exility hin-

us.

1

ders founds from fufficiently filling the ear, and thence is attended with a perception of

meannefs

60

Of

the tajle

meannefs and notes,

of

futility

by occupying quire grandeur and

:

its

PART. IV

imitation.

but full and fwelling

whole expansion, ac-

infpire delight.

founds grate the ear, by their lities fmoothnefs and evennefs :

harm is

Broken inequa-

neceflary to

prevent their being difagreeable.

HARMONY

prefuppofes the agreeablenefs

of the feparate notes, but it is produced only by a combination of founds. The different compofitions of articulate founds, added to the feparate qualities of each, render fome

words harmonious, others harfb. Some arfounds do not eafily concur ; the tranfition from one configuration of the organs of fpeech to the other, is difficult and uneafy j and the hearer is led by a delicate ticulate

fympathy with the fpeaker, to feel this pain and labour. It is the frequency of fuch combinations,

tongue

5

that prevents euphony in any and renders fome languages lefs

fmooth and harmonious than

others.

In fen-

tences, periods, and difcourfes, the harmony er the afperity of ftyle arifes from the repetition

of founds and combinations feparately

agreeable or difagreeable : and the harmony is rendered more delightful, by the variety

which the length of the competition admits.

The

SEGT. IV.

Of

The

importance but ledge, if we nefs of

cadence

tbe tafte

61

of barwny.

we (hall acknowhow tirefome fameThe fuperior harmony

of variety reflect is.

of Poetry is produced by the greater facility of its combinations, joined to a considerable

degree of uniformity, and a regular proportion time; the proper method of obtaining which, in every language, determines its prof-

in

cdy and the variety of the means to be employed for this end in different languages introduces a fimiiar variety in the genius and meafure of their ycrfe. :

WHENEVER

our pleafure

cefiion of founds,

it is

arifes

from

a perception of a

a fuc-

com-

plicated nature j made up of zfenfation of the prefent found or note, and an idea or remem-

brance of the foregoing, which by their mixture and concurrence, produce fuch a my fterigus delight, as neither could have produced alone.

And it is often heightened by an anticipation of the fucceeding notes. Hence it proceeds in part, that

we

are

in general beft

pleafed

with pieces of mulic, which we are acquainted with our underdanding them more tho:

roughly counterbalances the power of novelty. Hence too it is, that we often acquire in time a fond-

62

Of ibe tafte of

a fondnefs

for

what

PART

harmony.

at firft

we

I.

did not highly

the anticipation, which repetition make of the fucceeding note, defect in the fenfation of the the fupplying relifh

;

enables us to

idea of the pad found when prefent, and the difunited from it, cementing them as it were, and making them run into one another

without

difficulty or

harmnefs.

Senfe,

Me-

mory, and Imagination are thus conjunctively employed, in exhibiting to the interior organ a fucceffion of founds, which properly difpofed, efpecially in mufic,

us

fill

with exquifite

delight.

IT

obfervable that the proper and pleafing difpofition of founds in melody bears a great is

refemblance, in

its

principles, to that arrangeconftitutes the beauty of

ment of parts, which forms.

It is

a fucceflion of notes, bearing to

one another a regular proportion in time 3 fo varied in their lengths and intervals (/), as to relieve

fatiety

and tedioufnefs

;

and

at

the fame time fo far uniform, that the tranfi(m) As the great force of proportion in time is evident from the univerfal attention, that is paid to it in Mufic of every kind; fo the influence of variety of time appears particularly in the Drum,

the whole Mufic of which

is

owing

to

it

alone.

tions

SHCT.

tie tafte

Of

I.

63

of harmony.

tions are all in themfelves agreeable, fuch

as

are taken in by the ear with eafe, and are fubordinate to the key which governs the whole,

THE

fame principles are not

lefs

obvious in

harmony-, the fuperior delight of which fpriogs from no other cauie, but its poilefling fome

of thefe

qualities in greater perfection. is

The

preferved almofl undiminifhed

; uniformity the different parts being fo combined, that no diflbnance is occafioned by their multiplicity ;

but the concordant notes, melted into one another, ftrike the ear together without confuflon or diffraction.

immenfe

variety

is

With this fimplicity, an made confident each le;

feries of artfully parate part being a diftinct varied founds ; the melody of all the parts

being enjoyed at once : the vibrations of the concords coinciding not always, but at regular periods

;

the diverfity of the concords and

their fucceffions

harmonies

j

producing a great diverfity of intermixture

and the judicious

of difcords preventing the fenfe from being cloyed with fymphony too long continued.

At the fame time, the proportion is rendered more confpicuous and artful, by its being preferved in

all

the parts

j

and

a

new kind of

introduced

is

it

PART

the tajle of harmony.

QJ

64 of

by

their

comparative of thefe

firength.

So great

principles,

that they alone produce very

though no

pleafure,

is

the

paffion

I.

efficacy

high

excited by the

is

mufic.

BUT in

its

the chief excellence of Mufic

ftill

By

expreffion.

this quality,

mufic

is

lies

ap-

plied to a determinate Aibject by this it acquires a fitnefs, becomes adapted to an end, :

and

agitates

the

artift

on the

And

the (oul with whatever paffion

choofes (n).

paffions

indeed as

is

all

Its

power

fembling in their feeling, tend to each other into the mind ; mufic,

by

its

harmony

a

to operate

moft important virtue* fenfations and emotions reits

introduce

producing

pleafant difpofition of foul,

renders us peculiarly prone to every agreeable afFe&ion. But it makes ufe too of other inftruments.

By

the natural

fitneis

for accomplifiiing an imitation of, (n) Hence

different kinds

with their being

of found or afTocia-

of mufic may, in a confiitence

agreeable, anfwer different and even oppb. KaXoc fx.lv \v TTO^W T9 o^Siov, xaXoK $} & ffv^v(,alki

fite

all

purpofes. to Tra-fsuw' xai xaXov pit Aaxe?*i,%cioi; TO l/Xj2aT>j3j6, xaAov oi A&WIMip TO xvxXiov' xdit xahcr pit it Siu%et TO iyxt^rndn, xa}.o* of i>

Qvyy TO ctixxhimx. 'HAE^IA ofuiw VA9H.

MAS.

^

^croc.

TIP.'

>.-y.

fi.wjfftt,

aM* ri r^

fi

lion i

SECT. V.

Of

the tafte

of harmony.

65

their objedls and natural exprefinfufes into the breaft paffions correfettles into calm ; ferenity, melts in-

tion with fions,

it

fpondent

to tendernefs or pity, finks into forrow, fooths into melancholy, agitates with terror, elevates

with

j.oy,

excites to courage, or enraptures

with devotion

;

and thys inexpreffibly delights

the foul.

SECT.

(

66

)

SECT. Of

the

fenfe

VI.

or tajle of Ridicule.

our enumeration of the fimple powers conftitute Tafte, we muft not

INwhich

fenfe, which perceives, and is graby the odd, the ridiculous, the humorous, the witty 3 and whofe gratification often produces, and always tends to mirth, laughter, and amufement. Though inferior in dignity to the reft, it is far from being de-

omit that

tified

It has a province, lefs fpicable. important indeed than that of the others, yet both ufeful and agreeable. As they judge of grave

and momentous fubjeds, it claims the fole jurifdidtkm over fuch as are more ludicrous, ITS object is in general incongruity or a of relation furprifing and uncommon mixture and contrariety in things. More explicitely; it is gratified by an inconfiftence and diffonance -,

of circumftances

in the

fame

objects nearly related in the

Jimilitude

or

object

main

;

;

or

in

or by a

unexpected between unlike. oppofite and

relation

things on the whole

JARRING

Of the

SECT. VI.

tqfte

of ridicule.

JARRING and incongruous

67

clrcumilances

the fame fubject form an abiurmeeting we are apt to be diverted. which with dity, Such are cowardice in a boafter ; ignorance in

in a man of what he ought or pretends to know dignity of any kind blended with ;

meannefs

;

fentiments or ftyle in compofition

We

are difpofed unfuitable to the fubject. to combine the parts of things into a whole,

and

to

beflow upon them unity and intimate we expect that they mould be all j

relation

confident, fuitable, and of a piece

we

find

;

and

when

them otherways, we pronounce them

ridiculous and abfurd.

WE

compare in of the fame qualities jecls

ted

;

fubjecl:,

and behaviour

cially of the

An

only the of fub-

alfo

oppofition of charac-

in different perfons, efpe-

fame family or

forms a diverting contraft. in

but

refembling or orherways nearly connecand their contrariety affects us with a

fimilar fenfation. ters

this light not

its

feeling,

moves our

profeffion, often

A

paflion intenfe

excited by a trifling caufe,

A

laughter. glaring difproportion betwixt the means and the end, when

the means are cither unequal to F 2

its

attain-

men:,

Of the

63

tafte

of ridicule.

PART!.

ment, or too laborious and expenfive for its importance, is on the fame principle ridiculous.

So excurfive is the human fancy, that it continually leads us to compare things the moft diffimilar ; and as on the former comof incongruity, fo parifons the appearance this the difcovery

analogies,

and

of unlocked for

relations,

pleafure and amufement.

on

likenefles,

proves a fource of Inferior animals

provoke our mirth, whenever they mimic the actions or fagacity of human creatures.

OBJECTS, conceived to be in any of thefe ways incongruous, always gratify the fenfe of : but they may excite at the fame time a more important feeling, which, by occupying the mind prevents our attending

Tidicule

to the incongruity, or extinguishes the fentiment thence refulting, as foon as it begins to rife.

/

of

Enormous

vice,

though of

all

things

mod

incongruous to the natural fyftem our minds, is never efleemed ridiculous (0).

the

(p) Nee injjgnis improbitas, et fcelere junfta, nee rurfus feria infignis agitata ridetur : facinorofos majore quadam

quam

ridiculi, vulnerari

forte jadant.

volunt

Cic. deQrat*

;

miferos illudi nolunt,

mivi,

niii fe

lib. ii.

Pain

SECT. VI.

the tafte of ridicule.

Of

69

Pain or miiery is never in itfelf ridiculous; it can become fuch only by being accidentalwith unfuitable connected circumftances, ly

and by

failing to excite pity fo intenfe as

up the ludicrous

fvvallow

WIT, Humour

',

ful

imitations of

nals

;

which

may

fenfation.

and Ridicule (p) are odd and incongruous

pleafe us not only

(kill-

origi-

by (hewing

them often more perfectly than we could have ourfelves obferved them ; but alfo by which

fuperadding the gratification

from

own

imitation.

This

gratification

nature feribus, but

timent which

and only

is

altered

is

refults in

its.

by the fen-

attends the objeds imitated, the contempt or

ferves to heighten

amufement which they produce. (/>)

The

author

is

well

award

that

thefe three modes- of

It would be a imitation are widely different. very curious work to afcertain the peculiar nature of each, and to mark its

real diftinftion

from the

reft.

But as the fubjeft

is

in

a

great meafure new, it could not be examined with accuracy, or fo as to produce convidion of the juftnefs of the theory, in a And a large difquifition would be very narrow compafs. to i's fhare in an enquiry concerning tafte in was therefore judged proper to be contented with pointing out what is common to wit, humour, and ridicule; and with giving examples which fhew that the theory here eftablifhed extends to all of them.

more than general.

falls

It

V

F

In

3 .

Of the

70 IN

all

thefe

tafte

PART L

of ridicule.

modes of

imitation the incon-

gruity of the object in itfelf, or in refpect of the imagery ufed for illuftrating it, is obvious.

When

Butler reprefents

ranks as intent

all

on reforming the church and the ftate, he employs a furprizing complication of wit and

humour

in order to ridicule the

epidemical

There is a wonderful mixture of diffonance and relation j dijfinance, between, the ordinary occupations of low mechanics, diftrac~tion.

and the

difficult

and

tion

and noble

office

government

political

of

legifla-

-

t

relation,

not

only as the perfons thus incontinently employed are the fame, but alfo as their demands of redrefs are generally expreffed in language adapted to the ftyle of their refpeclive voca-

The defcription of Hudibrass becomes witty, by the ftrange conlearning traft between the dignity of the fciences afcribed to him, and the proofs of his underftand-

tions

(y)

(q).

Then Tinkers bawl'd

aloud to

fettle

Church, Difcipline, for patching Kettle, &c. Botchers

left

old cloaths in the lurch,

And fell to turn and patch the church &c. And fome for old fuits, coats, or cloak;

No furplices HVDIB.

nor fervice book. Par.

i.

Ca.nt. 2. ver.

536, &<\

ine

SECT. VI. 3

Of

the tajle

of

ridicule.

71

ng them, drawn from the loweft inftances

A

(r).

hofe ufed for a cupboard, the bafket-hilt

ofafwordfor holding

broth,

for

a dagger

cleaning (hoes, or toafting cheefe to bait a moufe-trap, prefent ideas ftrikingly heteroge-

neous

(s).

A

fword and

a dagger are fo

un-

like to a knight errant and his dwarf ; a reftive horfe to an unmanageable body politic ;

courage whetted by (r)

martial

muiiCj to ale

He was in Logic a great critic, Profoundly {killed in Analytic, &c. He'd undertake to prove by force Of argument

a man's no horfe

;

no fowl, And that a Lord may be an owl ; A calf an Alderman, a goofe a Juflice, Arid rooks committee-men and truftees, &c. Cant.

He'd prove a buzzard

is

i.

vcr.

65.

For Rhetoric, he could not ope His mouth, but out there flew a trope, Sec. ver. 81, &c. In Mathematics he was greater, &c. ver. 119 188. (j)

Wken of his hofe we come to treat, The cup-board where he kept his meat.

ver. 303.

His puifiant fword unto his fide, Near his undaunted heart was tied ; With BaCcet-bilt that would hold broth, And ferve for fight and dinner both. ver. 351. When it had ftabb'd or broke a head, Jt would fcrape trenchers, or chip bread, Toaft cheefe or bacon, tho' it were

To

bait a moufetrap,

'twould not care.

'Twould make clean {hoes, and in the earth Set Jcelts and onions, and fo forth, ver, 381.

F 4

turned

turned four by thunder leaky veffel

PART

I.

torn breeches to

a

the tafte of ridicule.

Of

72

;

the

;

dawning of the day

to the

change of colour in boiling a lobfter ; that when they are brought into view at once by metaphor,

lufion, their

unexpected fimilitude

circumftances produces mirth foris

humourous

al-

fome

in

In Addi-

(t).

reprefentation

terror, it is the oddity

or

insinuation,

comparifon,

of

'Tinfel's

and prepofterous na-

ture of the paffion that diverts us

j

it is

con-

and pretended trary to his profefled principles fortitude, and it rifes to a violent panic on a (/)

This fword a dagger had his page, That was but little for his age : . And therefore waited on him fo,

As dwarfs upon knights errant do. ver. 375. 920, 931. Inftead of trumpet and of drum, Which makes the warrior's ftomach come,

Whofe noife whets valour (harp, like beer By thunder turn 'd to vinegar. Cant. ii. ver.

107.

Galligafkins that have long withftood The winter's fury and encroaching frofts,

My By

time fubdu'd, (what will not time fubdue !^

An horrid chafm difclofe,

&c.

Thus a well-fraught

(hip,

&c.

Spltndid Shilling.

The fun had long fince in the Of Tbttit taken out his nap,

lap

a lobfter boil'd, the morn And, From black to red began to turn. HUD. Par. H. Cant like

2. ver. 29.

trifling

SECT. VI.

Of

trifling occafion,

man

the tajle of ridicule.

When

Swift

ridicules

73 hu-

whether he makes the attack by wit or by humour, he paints their incongru-

ity

foibles,

and abfurdity. Attempts to produce learn-

ed volumes by the motions of a mechanical

engine; to extract funbeams from a cucumber ; to build houfes downward from the roof j to improve cobwebs into (ilk ; to en marble for pillows and pinculhions

foftj

to

of naked meep; are palor ufelefs, or both at once. pably impoffible

propagate a breed

SECT.

[74]

SECT. or

the fenfe

Of

TH

VII. tafle

of virtue.

E

moral fenfe is not only itfelf a of a fuperior order, by which in chara&ers and condudl we diftinguim betafte

tween the right and the wrong, the excellent and the faulty ; but it alfo fpreads its influence over all the moft confiderable works It is never of art and genius. unregarded in ferious performances, and it enters even into the moft ludicrous.

It

claims a joint autho-

rity with the other principles of Tafte ; it an attachment to morality in the requires the drama, and it pronounces the and epos

quickeft flights of wit,

and

diftraftion.

finuated

itfelf,

without

it, phrenfy moral has inSomething

not only into the ferious defigns

of Raphael, but alfo into the humourous reof Hogarth. prefentations

NAY

our moral fenfe claims authority fu-

perior to all the the chief requifite

reft. ;

It

renders morality

and where

this

is

in

any

degree

Of

SECT. VII.

degree violated, the

for

no other

tranfgrefiion.

be approved

may

the tafte

of

75

qualities can attonc

Particular

beauties

work

on the

but the

,

virtue'.

is,

whole, condemned.

How

great a part of the fentiments pro-

duced by works of genius

ariies

from the

exertion of this fenfe, approving or condemning, is too obvious to require our dwelling on

The

it.

nobleft and moft delightful fubjedts

of imitation are affections, characters, and and their peculiar merit arifes almofl actions their continually drawing out from entirely :

and employing the moral

faculty. By its more than by any effectually approbation, other means, we become interefted for fome of

the perfons reprefented, and fympathife with

every change in their condition. It fills us with joyful approbation of the virtuouscharacter,'and

with abhorrence, not ungrateful when thus excited, of the vicious. When profperity and fuccefs attend the former,

we

rejoice to find

are

compofed

it

we

meet

feel his its

good defert, due reward, we

into delightful ferenity,

cence and affiance in

compla-

righteous providence

:

when he is funk into difappointment and adwe are fenfible that he deferved it verfity, not,

and

tafte

the plcafurable pain of I

com-

paffion

Of tie

j6

taftg

PART

virtue.

of

I,,

and virtuous repaffion fentment againft the authors of them. When the vicious man is profperous, \ve glow with for his fufferings,

indignation,

fpondence

:

we feel a kind of melancholy dewhen he fuffers, we become danger of vice, to the terrors allow his ill defert, but mix pity

fenfible to the

of

guilt

;

we

We

with our blame.

are thus agitated

by

thofe moft important paffion s ; the infufion of which conftitutes the higheft entertainment that

works of

BUT what fenfe has

on

unnecefFary

only

tafte

can give.

extenfive influence

tafte

of every kind,

particularly

recollect:

the it

moral be

will

to defcribe,

the various perceptions

if

we

which

To it belongs our perception of conveys. the fairnefs, beauty, and lovelinefs of virtue, of the uglinefs, deformity, and hatefulit

nefs of vice, produced

by the

native qualities

of each confidered fimply. From it is derived our perception of decency, fitnefs, and congruity in the former; of incongruity, inde^

cency and unfitnefs in the latter ; which arifes from implicit comparifon of them, with the ftructure and conftitution of the mind.

By

we

perceive that virtue is obligatory, right, and due ; and that vice is undue, unlawful,

it

and

SECT. VII.

Of

tit

tajlt

of virtue.

77

the perception fprings from the of our approving and difapproving fupremacy our internal governour prefcribing as faculty,

and wrong

:

a law of life.

The fame

ception of merit and

fenfe conveys a pergood defert in virtue, of

dement and ill defert in vice ; a perception, which never fails to be excited, when we think

all

once of moral and natural good or tV:s variety of fenfations arifc

at

From

evil.

the reflex paffions

bad men

which reganj good or

How much

as their objects.

fentiments and affections enter into ceptions of

form

tafte,

thefe

the per-

the leaft reflection will in-

us.

THUS much may

fuffice for an Analyfis thofe fimple powers of human There arc nature, which are its principles.

of

tafte into

qualities

in

things,

determinate and (table,

independent of humour, or caprice, that arc fit

to operate

to

all

on mental

principles,

common

men, and, by operating on them, are

naturally productive of the fentiments of tafte its forms. If, in any particular in-

in all

ftance,

they prove ineffectual, it is to be fome weaknefs or diforder in the

afcribed to

perfon,

who

remains unmoved,

qualities are exhibited

to

his

when view.

thefe

Men are,

\ 1

78 are,

Of with

the tajle

few

PART.

of virtue.

exceptions,

we

affected

!

by the

but thefe have inveftigated qualities, themfelves without are, qualities any exception, the conftituents of excellence or faulti:

nefs in the feveral kinds. for perceiving fhall

them with

What

is

neceffary

perfect relifh,

we

next examine.

PART

[79

PART 'The

formation of

II.

ly the union

T'a/ie

and improvement of

its

fimpk Prin-

ciples.

SECT. Of

the union

I.

of the internal fenfes,

and the

affif-

lance they receive from delicacy ofpaffion.

ANY

one of the internal fenfes, exifting

in vigor

ticular

and perfection, forms a partafte, and enables a man to

branch of

judge in ibrne one fubjec"t of art or genius : but all of them muft at once be vigorous, in order to conftitute Tafte in

This union

is

its

juft

extent.

neceffary, not only for giving

it

a proper compafs, but alfo for perfecting each

of

its

exertions.

OUR

fentiments and emotions receive

an

immenfe

addition of ftrength from their reciConcomi* influence on one another. procal related their tant emotions, feeling, their by direction,

80

Of

the union

PART

of

II.

direction, or their objects, or even without any relation exifting in the mind together,

run into one, and by their mixture produce Hence different gratian intenfe ienfation. fications, either

occurring to the plicatecl joy.

of the fame or diverfe

mind

The

fummer morning,

at once, give

it

a

fenfes,

com-

and ferenity of a fweet fragrance of

ftillnefs

the

flowers, the mufic of birds,

and a thoufand

other agreeable circumftances are even commonly obferved to beflow extraordinary force on the grandeur or beauty of rural fcenes. object of tafte has fomc leadcharacter Ing by which it is peculiarly fitted

THO' each

to produce one principal fenfation, it may at the fame time, by \tsfubordinate qualities produce attendant feelings, which will render

the principal one higher their confpiring with it.

and more

But

intenfe,

by

the princiare weak or to of thefe, Tafte, ples adapted lofe not we deficient, only entirely feme of

the pleafures,

which the

object

if

might con-

vey but cannot even enioy any of them with perfect relifh, as we are infenfible to the ;

heightenings, which each receives from connection with the reft.

its

NONE

SECT.

the internal fe?ifes.

I.

NONE

8

1

is more able tofupthan that of without aid, foreign port grandeur; of which a great critic reckons it a

of our fenfations

itfelf,

necefTary character, that it pleafe dill more Yet every the oftener it is examined (/). one is fenfible how much more intenfe it is ren-

dered by novelty

j

how weakly

the fublimeft

when by long cuftom have become familiar. The fublimity

objects often ftrike us,

they of the heavens could not

unaccuftomed

fail to

enrapture one

to the glorious fpectacle.

Tho*

the fentiment of fublimity fills, and almoffc exceeds the capacity of the mind, we can yet receive along with it other p'leafurable feel-

which will increafe it by their conjunc_^The moft elevating objects in nature may be rendered more delightful by their beauty and utility. The moft extenfive power may be rendered more fublime, by its being exercifed in fuch a manner as to produce

ings. tion.

moral approbation. Virgil gives a fublimeV idea of the Romans, when he reprefents them

>f

Jiav

\< tTTi tin.

Aorr.

Trj* u

as

2

Of the

as deflined for

bing laws

PART II.

Union of

Empire

at pleafure,

univerfal,

as

prefcri-

and forcing into fub-

But he more fublime, by infinuathey exercifed their power in clemoft haughty oppofers.

jection the

artfully renders

it

ting that mency to

This prowilling fubjects (u). cures our moral approbation, and augments the fentiment of grandeur, which it accomIn

panies.

architecture, the feparate plea-

from the beauty, proportion, fitand ornaments of the parts, heighten

fures, arifing cefs,

In painting the fublime by the graceful.

the fublime.

is

ge-

nerally attended

POETRY flecting

by

another. gant,

the

is

a complication of beauties, reunion additional luftre on one

their

The

fublime, the new, the elenatural, the virtuous, are often

blended in the imitation

j

fiction,

and the

their

alliance.

brighten'd by the

richeft variety of and more rendered delightful by imagery ; the harmony of numbers. When Poetry is fet to well adapted mufic, both gain new

power of

power by

The

mufic,

by

() Tu

regcre imperio populos, Romane, memento. erunt artes j pacifque imponere morem, Parcere fuljeflif, et debellare fuperbos.

Hae

tibi

./Ex. vi. ver.

847.

ex-

SECT.

the internal fejifes

I.

the

exciting

affe&ions,

requifite

83 puts

the

mind in a difpofition to conceive ideas fuited to them with peculiar facility, vivacity, and Thefe

pleafure. they, in

the Poet raifes

ideas

:

and

turn, enliven the affections, them from languishing or ex-

their

and preferve

by rendering their objects more deBut in order to experience this compound pleafure, both a mufical ear and a poetic tafte are requifite: the want of either extinguishes one part of the delight, and very much diminimes the other. piring,

terminate.

THE

degree offeree with which objects has a great dependence on the pre-

flrike us,

vailing difpofition of the mind. Things often affect us deeply, when we are in an hu-

mour

fuited to

they would

them, tho'

at

another time

make fmallimpreffion. Thefmal-

fury in a perfon naor by accident chagrined. When the temper of the mind is fuch, as* gives it an habitual turn to one kind of fenleft

injury

may produce

turally paffionate,

timents and affections,

it

enters into

them,

whenever they occur, with extraordinary rit.

As they no

fall

in

with

its

fpi-

predominant

is required to -adapt it to the it of them j fpontancouily, and perception 2 even

bent,

force

G

Pf

84

the

even eagerly embraces them, formable to its frame.

Now

as all the objects

nal fenfe,

mon

however

qualities,

gous

as perfectly

j

fame turn of mind

various,

is,

on

II.

con-

of the fame interhave their com-

fo all thefe fenfes are

their principles

in

PART

union of

analo-

The

and

feeling.

this

account, con-

The prevalence and exgruous to them all. ercife, of any one of them difpofes and attunes the mind to all the reft. And this preto them beftows ftrength In fad!:, and vigour on all their exertions. the kindred powers of tafte are feldom difu-

vious difpofition

nited.

Where

vigour, one

all

of them have confiderable

comparifon with the by the natural conpredominant? ftrudtion of the mind, or by peculiar culture. But where one of them is remarkably dull,

may

in

be,

either

reft,

or altogether wanting, the others fcarce ever

appear in

THE

full perfection.

union of thefe powers has a farther

influence in forming tafte, as that union opens

a

new

felf

field, in which tafte may exercife itand gather flowers to adorn the native

beauty of

its

objects.

truly fifters, derived

As

the fine

from the fame

arts are

common parent

SECT.

the internal fcnfes.

I.

85

parent Nature^ they bear to one another, and to their original various fimilitudes, relations,

and analogies

Thefe one, who

(#).

poflefles

the internal fenfes vigorous, and has employed them all about their various objecls, all

is

able

to

They have charmed

out.

trace

and every reader of the metaphors and with delighted which are founded on the percomparifons, critic

every genuine

tafte

;

is

ception of them. find a noble and

In obferving them we exquifite entertainment.

continually occur to an extenfive tafte ; and, mingling with the more immediate and confined gratification of each power of ima-

They

gination, increafe

its

delightfulnefs.

As one

makes an-

by fupplying illuftrations, other better underflood ; fo one art^ by throwing luftre on another, makes it more exquiThis enlargement of tafte, fitely relijhed.

fcience,

places one as it were upon an eminence, and not only enables him to take in a wider profpeel:

j

but alfo improves

all

the parts of

it,

by

comparing or contrafting them together. (*) Eft etiam

ilia

harum ingenuarum

Platonis vera-- vox,

humanarum

Omnem

doftrinam

artium, uno

quodam focietatis vinculo contineri.--- Mirus quidam omnium quafi confenfus dodrinarum, concentufque reperitur. Cic. de Qrat. Jib.

et

ill.

G

3

Iw

86

ly

Of

the

ways our

IN

all

by

their union, tend to

thefe

PART

union of

II.

mereform and perfeft

interior fenfes,

Tafle.

WE

may

here take occafion to mention a

principle, diftincl: fes,

from which

receive

from

afMance. a

all

the internal fen-

tafte will, in It is

many

fuch a

inftances,

fenfibility

of

man

for being eafily moved, and for readily catching, as by infection, any The paffion, that a work is fitted to excite. fouls of men are far from being alike fufheart, as

fits

A

of imprefllons of this kind. man can be a fpedlator of very without feeling any emotion : diftrefs, great man of a cruel temper has a malignant ceptible

hard hearted

A

On the other joy in producing mifery. hand,- many are compofed of fo delicate materials, that the fmalleft uneafinefs of their

A

fellow creatures excites their pity. fimilar variety may be obferved, in refpe6t of the

other paffions. Perfons of the former caft will be little afte&ed by the moft moving

tragedy; thofe of the \

terefted

by

formance,

a very

which

latter

turn will be in-

indifferent one.

can

infufe

A

perthe keeneft

afpaflions into the breafl of an Italian, will

feft

SECT. fecfl

the internal fenfes.

I.

Frenchman very

a

little,

87

and leave an

We

are EngliJJjman perfectly unconcerned. read be when of we to the aftonimed, apt

which

with

force,

prodigious

wrought upon the delicate and

nians,

gous to

feel fo

it,

little

fpirits

eloquence of the Athe-

of any thing analomoft unex-

that nothing but the

ceptionable evidence could make it credible. diverfity in the formation of the heart

This

will produce a confiderable diverfity in the which men receive from works

fentiments,

of

tafte,

and

in the

judgment, which they

form concerning them.

A

VERY

great part of the merit of moft ariies from their fitncfs to

works of genius

agitate the heart

with a variety of

paflions.

In the moft excellent mufic, the agreeablenefs of the melody, and the richnefs of the to the exprefthe bufmefs of painting

harmony, are only fubfervient fion.

It is fo

much

and poetry to

affecl: us, by infufing fuitable has that a pillions, very ingenious critic (y) miftaken it for the only bufmefs of thefe arts.

Some

kinds of poetry are addrefled principowers of imagination, and at-

pally to the (y)

\3 fur

The ABBE DU la,

Bor.

See

Rffex.

Crit'q, fur la po'ef*

peinture, paflim,

G

4

tain

88

Of-the

of fuch objects

Such

PART

union of

tain their ultimate end,

II.

by exhibiting pictures

as gratify

our internal fenfes.

But and grow languid unentertaining, if it does not fupport itfelf, by introducing fubjects of an affecting nature. In dramatic poetry, and in eloquence, the ultimate end is to affect; whatever only

even

is

particularly kind will

this

pleafes

the internal fenfes

and becomes

this end,

ducive to

of

defcriptive poetry.

foon

is

fubordinate

faulty, if it be not

to

con~

it.

SINCE, therefore, the pathetic is a quality fo great moment in works of tafte, a man,

who

is

deftitute of fenfibility of heart,

be a very imperfect judge of them. .flrangertothofe feelings,

muft

He

is

a

which are of greateft

importance to direct his judgment. If a perfon poffefTed

all

the internal fenfes

in perfection,

without delicacy of paffion, he could eftimate the principal works of genius, only by their In a tragedy, he might inferior qualities. perceive whether defcriptions of natural objects are beautiful or fublime, whether the characters are

natural and

whether the fentiments are

he might examine, with

well fupported, and noble ;

juft

coldnefs and indif-

the beauties and the faults of the

ference, i

SECT.

the internal fenfes.

I.

89

but whether

it has accomplifhcompetition ed its main end, whether the fable is fit to :

produce pity and terror muft be totally at a lofs word, he can have no that

is

in the fpedlators, he to determine. In a relifli

for

any thing

addreiTed to the heart.

DELICACY

of paflion muft be united with vigorous internal fenfes, in order to give tafte Where this union takes its juft extent.

works of genius produce their full efand infpire a complicated pleafure. receives adequate perceptions of all their

place, fecl:

man

5

A

qualities, and,

to allow

by

this,

each

means, has

it

in his

deproper weight termining his judgment concerning the merit of the whole. Delicacy of pafllon may intereft a perfon fo much, that he cannot for

power

fome time examine tical

exaclnefs

delight in the

j

a performance with cri-

but

mean

in

its

it

gives

him

exquifite

time, and enables

him

to pafs a juft fentence at laft.

SECT.

[

9

]

SECT:

Of

the

II.

of Judgment upon

influence

Ta/le.

TH

E

compleateft union of the internal fenfes, is not of itfelf fufficient to form

good tafte, even though they be attended with the greateft delicacy of paffion. They muft be aided with Judgment^ the faculty

which

diftinguifhes things different, feparates

from faliehood, and compares together Judgment muft objects and their qualities. indeed accompany even their moft imperfett exertions. They do not operate, till certain

truth

qualities

in objects

criminated from

and compounded.

have been perceived, difothers fimilar, compared In

all this

judgment is employed ment and production of every form that {hikes them, But in affifting their perfett a" ftill more extenfive init has energies, :

fluence.

it

Good

bears a part in the difcern-

plies

a

is

an indifpenfable in-

tafte,

which always im-

fenfe

ingredient in true

,

quick and accurate

perception

of

things as they really are.

THAT

SECT.

THAT to

*fbe

II.

cf &c.

influence

91

judgment may compleatly exhibit

the internal fenfes, the

beauties and ex-

meafures the amplitude of things, determines their proportions, and traces out their wife conftruction and becellencies of nature^

It

neficial tendency.

which

art

it

ufes

thofe qualities that to flrike the eye.

the methods,

all

and fcience indicate

for

difcovering too deep fpontaneoufly It inveitigates the laws~~\

lie

and caufes of the works cf nature : it compares and cOntrafts them with the more imperfect

and thus fupplies works of art from which fancy may produce and form combinations, that will ;

materials, ideas

ftrongly affect the mental

JUDGMENT

_J

tafte.

finds out the general charac-

of each art, and, by comparing them, craws conclufions concerning the relations, ters

which

fubftft

between

different

arts,

Till

has difcovered thefe, none of them can acquire that additional power of pleafing,

it

which

is

imparted to them by their recipro-

cal connection.

IN every art, of various parts,

and fubfervicnt

a

to

performance confifts into one fyftem, one defign, But without jufl

combined

the

92

*Tbe

influence

PART

of

II.

the exercife of judgment, we cannot know whether the detign is fkillfully profecuted,

whether the means are well adjufted to the end, whether every member, which is introduced, has a tendency to promote

it.

IN mufic the ear immediately perceives the pleafure refulting from each principle :

But judgment^ afluming the perceptions of that organ, compares them, and by comparifon determines their refpeclive merit and due proportion. It enables the ear, from its difcovery of the general relations, to diftinguifh with precifion between invention and

extravagance, to difcern the fuitablenefs or unfuitablenefs of the parts, and their fitnefs

or unfilnefs to fuftain the main

fubjecT;.

IN painting judgment difcovers the meaning of the piece, not only remotely, as it is the instrument of that previous knowledge,

which is neceflary for underftanding it ; but more immediately, as from the ftru&ure

alfo

and

relation of the parts it infers the general defign, and explains their fubferviency to the

main end of the whole. imitation likenefs.

with It is

compares the exemplar, and fees its judgment, working on our It

its

exjje-

SECT.

II.

judgment upon tafte. it in our power

experience, that puts

93 to

know,

whether the painter has fixed upon the attitudes and airs in nature appropriated to the and actions he would repafllons, characters, prefent; and,

when

thefe attitudes are various,

whether he has chofen thofe, which moft perfectly correfpond with the unity and propriety of

his defign. Painting being circumscribed to aninftantof time, judgment alone can perceive,

whether that whether the ment, which moft effential

inftant

is properly felected, has pitched on that mocomprehends the circumftances

artift

to the grand event, and beil ala deviation from fimplicity, the without lows, indication of the other requifite circumftances. It

eftimatesthe due proportion of

all

the

gures, in dignity, elegance, and luftre, their due fubordination to the principal. fine,

it is

neceftarily

employed

fi-

and In

in that exhibi-

tion of the object to the fenfes,

be previous to their perception of

which muft it.

IN order to approve or condemn in poetry or eloquence, we muft take into view at once, and compare can

ceffity

We

fo

many

particulars,

that

none

acknowledge the abfolute neof a found and vigorous judgment.

helitate to

muft determine, whether the

fable or

defign

^e

94 dcfign

is

fpecies

influence

PART

of

IT.

well imagined in congruity to the poem or difcourfe j whether

of the

the incidents or arguments are natural

all

which of them promotes its beauty, or which, by its want of

members of it force or

;

connection, obftrudts the end, or debilitates

gennine effect

its is

j

what degree of

fufficient to introduce epifodes,

relation

illuftrations

or digreffions, fo that they may appear, not excrefcences and deformities, but fuitable decorations. difpleafed,

It

is

when

fenfe, which is pleafed or thefe things are determined t

but judgment alone can determine them, and the object of its perception. prefent to fenfe

By an accurate fcrutiny of the various relations of the parts, judgment fixes that fituation, in which they will appear with greateft and moft promote that regular on which both the elegance It comand vigour of the whole depends. pares characters with nature ; and pronounadvantage,

organization,

them either real, or monftrous. It comand finds pares them with other characters them good or bad in the kind, properly or improperly marked. It compares them with ces

j

themfelves

;

and difcovers whether they are

confident or inconfiftent, well or ed, whether

their peculiar

ill

decorum

fupportis

preferved

SECT.

II.

judgment upon

or violated.

ferved

95

tajle.

Truth and

juftnefs

is/

the foundation of every beauty in ientiment

:

imparts to it that folidity, without which it may dazzle a vulgar eye, but can never pleafe one who looks beyond the firft appear-

It

And

ance.

to

aicertain truth,

unmafk

to

falfehood however artfully difguifed, prerogative

peculiar

of

judgment.

is .

the

The

fineft fentiments, if applied to fubjedrs unfuit-

able,

may

not only lofe their beauty, but even,

throw deformity upon the whole

ment

alone perceives the fitnefs

:

and judg-

or unfltnefs

This faculty arrogates fome degree, the cognizance and language and, by bringing it

of their application. alfo to

itfelf,

of ftyle

in

;

to the teft of cuftom, difcovers

its

propriety,

Judgment, not fatispurity, and elegance. fied with examining the feparate parts, com-

them and the feelings they produce, in order to eftimate the merit of the whole. bines

It

fettles

poems and

the

relative

value

of

different

difcourfes, of the fame or various

by a ftudious and fevere comparifoa of the dignity of their ends, the moment of their effects, the fuitablenefs, difficulty, kinds,

and ingenuity of the means employed.

THUS

fke

'96

THUS in ment the

Influence

PART

of

II.

the operations of tafle, judgemployed ; not only in prefenting

is

all

fubjects,

themfelves

weighing

j

on which the but

alfo

in

their perceptions

fenfes

exercife

comparing and and decrees, and

thence pafling ultimate fentence upon whole.

BUT, though the ment meet, yet, in

reflex fenfes

a confiflence

the

and judgwith true

may be

united in very different fome, the acutenefs of the in others, the accuracy of judgment is Jenfes, Both will dethe predominant ingredient. tafle,

they

proportions.

In

but they are guided by difthe former, by the perception j of fenfe, the latter, by the conviction of the

termine

juflly,

ferent lights

One feels what pleafes or underflanding. knows what ought to the other difpleafes ; Senfe or has a kind of in~ difguft. gratify flinctive infallibility,

when

it is

vigorous,

by means of which, can preferve from er-

it

though judgment fhould not be perfect. Judgment, by contemplating the qualities that affect tafle, by furveying it's fentiments in their caufes, often makes amends for dulror,

nefs of imagination.

Where

that prevails, one's

SECT.

II.

judgment

yf

ttpan tafte

one's chief entertainment from

Works

of ge-

lies in what he feels where this is predominant, one enjoys principally the intellectual pleafure, which refults from difcovering the

nius

:

caufes of his feelings. This diverfity in the form and conftitution of tafte is very obfervable in two of the greateft critieks of antiqui-

Longinus

ty.

An

is

juftly character ifed

ardent judge i ivho, "zealous in his trujt\

With warmth gives

>

fcntence.

IN him the internal fenfes were exquifitebut his judgment, though good, >

ly delicate

was not

in

On

proportion.

this

account he

with rapture and fentiments, of contagion, a kind enthufiafm, and, by infufes them into his readers, without always

delivers juft

affected.

examine affected 'tion,

them

the reafon of their being fo Arijlotle on the contrary appears to

explaining to

his fubject, j

unperfectly cool and

he difcovers no

warmth of imagina-

no fuch admiration or extacy,

without reflection, tranfport his his opinion.

from the the

depth

He

livelinefs

of

derives

his decifions,

of feeling,

penetration

H

as can,

readers into

~.

j

but

not

from

and feldom pronounces

*fhe influence

98

pronounces them, they are

Some

PART IL

convincing us degree of the fame

may be remarked among the Moderns.

diverfity

BoJJu

juft.

of

without

in Boubours

and

SECTJ

99

(

)

SECT. improFueable

*fajle

;

III.

how

;

and

in <what

RefpeEis.

BOTH

reflex fenfe,

and judgment,

it's

af-

fociate, are originally implanted in very In fome different degrees, indifferent men.

they are

(how themfelves

in

that they many inftan-

and are incapable of a very high degree

ces,

of

weak and languid,

fo

fcarce at all

improvement by any education,

care, or

In others,

exercife.

they are naturally vigofpontaneoufly exert them-

rous,

fo that they

felves

on mofl occafions, determine with conaccuracy, and perceive with won-

fiderable

In the former the feeds of

derful acutenefs.

muft, without the greateft culture, lie for ever latent and inactive and to the latter\

tafte

:

culture

means

is

of

it,

improved,

from being unnecefTary; by the principles of tafte may be

far

very

much beyond

their original

perfection (z). (a)

II eft certain

cfprit.

La

cation, et

que

la

nature ne

fait

pas toute feule un bel

plus hcareufe naiffance a befoin d'une

de

bonne edu-

du monde, qui rafine l'ii)tvlligence, et bon fens. 4 Entret. d Arifie ettf Eugene. This

cet ufa^e

1

qui fubtilife

remark

le

as applicable to tafte, as to any other ingredient ia the idea exprdFed by the term bel efprit. is

.

H

2

WE

joo

'Tajle

WE

improveabk.

SECT.

III.

are fcarce pofTefled of any faculty

of

mind or body, that is not improveable. Even our external fenfes may be rendered more acute than they were at firft. Perfons accu domed to obferve diftant objects can defcry them more readily than others. Touch often becomes much more exquifite in thofe, whofe employment leads them to examine the polifh of Bodies, than it is in thofe who have no occafion for fuch examiUfe very much improves bur quicknation. nefs in diftinguiihing different flavours, and their compofkions. But the internal fenfes

former are ultimate principles in ture

The human na-

receive vaflly greater alterations.

may

and, like the

j

elemental parts, or fun-

damental laws of the material world, are in a great meafure exempted from our power: the

latter are

derived and compounded faculties,

from every change in that or combination of caufes, by which

liable to alteration feries

they are produced.

The former

are

more

directly fubfervient to our prefervation than our pleafure j and therefore, like the vital

motions, are almoft entirely fubjected to the wifer government of the author of our natures

:

the

latter,

though highly conducive to

PART

II.

101

fajle improvable

to our well-being and entertainment, are not neceflary to our being; and may, for this

without great hazard, be in a confi derable degree entrufted to our own care,

reafon,

;

and made dependent for the confequences of our regulate

it

on

endeavours to

and improve them.

TASTE But

their perfection

own

is

very early at firft

begins

very rude,

to

(hew

inaccurate

i'tfelf.

and

gradually formed, and by flow flaps advances towards excellence. Every exertion of it, if properly applied, wears off

confined.

It

is

corrects fome inaccuracy, fome of it's ftrengthens principles, or give's Like all it a relifh for fome new object. our other powers, it is fubject to the law of loabity which is the grand, indeed the only, immediate means of improvement of every

fome

defect,

kind, extending it's power to all our faculties, both of action and perception. Every ex-

pedient for cultivating either is but a particular fpecies of ufe and exercife, which derives it's

efficacy folely

from the

force of

cuftom.

To

the forming of tafte, peculiar means arc in tbeir nature fuited, The fame qualities

of the mind, which, by their operation, produce the reflex fenfes, will, by cooperating with 3

H

io

with

habit,

ever

improve and exalt them.

therefore

means of

II.

What-

excites thefe

ufually

and draws them out into

lities,

a

PART

improvable.

tfajle

cultivating tafte.

quamuft be

act, It

grows by

fuch congruous exerciie, and always holds proportion to the natural vigour of its prin^-

and efficacy of the culand the Ikill and di-

ciples, the

propriety ture bellowed upon it,

which

ligence with

it is

applied,

'Tis eafy to trace the progrefs of 'ourfelves

or others.

rudiments of

tafte in

Children difcover the

are paflionately fond pleafed with order and rein fuch fimple inftances as they can gularity c im'prehend ; delighted with a glow of co-

They

it.

of every novelty

;

admirers of every form

which they they perceive often to a furthe harmony of founds ; are prizing degree an with charmed appearance of ingenuity in

lours

;

think auguft

:

their diversions

;

prone to imitate, and gratiof imitation which they

every effect

fied

by

are

capable

of ohferving

:

they

are

very

and highly enterquick tained with the difcovery of it; and will in difcerning oddity,

hardly ever

fail

of paffing a right judgment

concerning characters,

when

thefe characters

are exerted in a feriss of actions level to their

un-

SECT.

III.

tfajle

under {landings. lence eafily

But

improvable. 103 a fmall degree of excel-

them a falfe iemblance of it is impofed on them for the true ; any dif-

fatisfies

;

guife mifleads them.

The

daubing of

a fign-

the improbable tales of nurfe?, the unnapoft, tural adventures of chivalry, theharfli numbers

of Grub-jlreet rhyme, the grating notes of a ftrolling fidler, the coarfeft buffbonry, are fufficient todelight them. In fome, for want of

exercife and culture, the

fame

groflhefs

and

contraction of tafle continues always, or it is applied in a low, perverfe, or whimfical manner.

They may

defpife a reliih for cbildijh trifles

;

but themfelves enter into important fubjeds, with as little relim as the mereft children ; or are perhaps delighted with other a very trifles little different or O^ drefs fuperior in kind.

or equipage, of the beauties of a

of a tulip, or a butterfly, they are accurate judBut the fublimity ges and high admirers. of nature, the ingenuity of art, the grace of painting, the charms of genuine poetry, the fimplicity of pafloral, the boldnefs of the ode, (hell,

the affeaing incidents of tragedy, the juft thefe are fubjeds representation of comedy of which they underftand nothing, of which they can form no who ;

pretend to judge,

judgment. Many having purfued a wrong

H

4

track

1O4

PART

improvable.

tfafle

II.

track of fludy, or fixed an erroneous ftandard of merit, betray an uninformed, fantaftical, or relifti. It is only in the few, who

perverted

improve the rudiments of tafte which nature has implanted, hy culture well chofen, and that tafte at length apjudicioufly applied, in elegant

pears

form and

juft proportions.

like every other human exof a progreffive nature ; rifing by various ftages, from its feeds and elements to

THUS

tafte,

is

cellence,

maturity

but,

j

like delicate

plants,

liable to

growth and killed, or elfe to become crooked and diftorted, by neglibe checked

in

its

Goodgence or improper management (a). mfe of tafte lies in its maturity and perfection. It confifts in certain excellences of our original

of judgment and imagination comThefe may be reduced to four, fenrefinement^ correinefs y and the pro-

powers bined. .Jibilityy '

or

'portion

(a)

mais

ment

Lt

fentitnent dont je parle eft dans tous

comme

les

its

fe-

hommes,

n'ont pas tous les oreilles et les yeux egale. bons, de meme ils n'ont pas tous le fentiment egalement

parfait.

que

comparative adjujlment of

ils

Les uns

1'ont meilleurs

que

leurs organes font naturellement

ou bien parce mieux compofes, ou bien

les autres,

parce qu'ils 1'ont perfefHonne par 1'ufage frequent qu'ils en ont fait et par Texperience. Reflex. Crit. fur la poejfe et Jur la.

feioture.

Part

ii,

23.

para te

SECT.

III.

tfajle

parate principles,

confiderable degree united, true

tqfte.

The

perfon

acquires authority and juft decifions,

105

improvable.

All theie muft be in fome

,

in

in order to

whom

influence,

which may be

form they meet and forms

rejected

by the

caprice of fome, but are fure to gain general This excellence of tafte acknowledgement.

fuppofes not only culture, but culture judiWant of tafte cicufly applied.

unavoidably

fprings

from

negligence

-,

falfe

tafte

from

/-

judicious cultivation.

SECT;

SECT. Of fenfdility

IV. of

order to form a fine

INpowers

tafte,

which compole

exquifite fenfibility

tafte.

the mental

muft poffefs and delicacy j mull be it

Feelingly alive

fo each fne

THERE mankind,

is

inipulfe,

naturally a vaft difference among acutenefs of all their per-

in the

They are in fome of fo ceptive powers. tender and delicate a ftru
This diverments and fufferings languid, more is in none of our powers confpifity cuous than in tafte. In fome tafle is fo exthat they cannot furvey any fenfible^ excellence of art or nature, but with high

tremely

and enthufiaftic rapture , nor obferve sny deformity or blemi(h, without the keen-

.relifli

eft

difguft.

Others, devoted to the exercife

of

SECT. IV.

Of fenfibility

of

tafte.

1

07

of reaibn, the gratification of appetite, or the purfuits of gain? are perfect Grangers to the fatisfadions or uneafmtfles of tafte ; they can fcarce form any idea of them. Addifon mentions a celebrated mathematician, who

was

fo perfectly incapable of any impreffrom the charms of poetry, that he read the J,neid, with no other fatisfadion, than what he derived from a companion of itj

fion

with a

map

of the travels of JEncas.

SENSIBILITY very much depends on the it original conftrudion of the mind being ;

Jefs

tafte

than any other of the qualities of good The efYed of habit improvable by ufe.

on our perceptions is the very reverfe of that, which it produces on our affive powers. It Jlrengthem the latter, but gradually diminifies the vivacity of the former. Cuftom wears off the difficulty of conception,

ders

which ren-

new

objects peculiarly agreeable or difagreeable. They come by repetition to enter the mind with fo great facility, that they

give no exercife to

fequence

its

faculties

convey much

uneafinefs

than

at

lefs

;

and of con-

intenfe delight or

Hence it would more we are conver-

firiT:.

feem

to follow, that the

fant

with objects of

tafte,

the

lefs

forcible

our

1 08

Of fenfMlity

our fentiments

mould

moft unexperienced

tajte

And

PAR T 1 1. indeed the

and Ufe renders both

feel the moil: turbulent

pleafure or pain.

violent

more

of be.

referred and caftigated.

For fools admire, but men of fenfe approve. Butilill

we

find in fact, that an extenfive ac-

quaintance with the beauties of art and naWhen ture heightens our relim for them.

we

accuftomed to the fludy, we. can no furvey object with indifference j but receive higher pleafure or more pungent difguft, than thofe whofe tafte is wholly unimproved. are

THE

following obfervations will account

for this feeming paradox.

WERE .lent, it

the

fame

object,

however excel-

to be continually prefented to our tafte,

muft foon lofe it's charms ; firfl becoming and then difgufting, by the lan-

indifferent,

guor, which a continual identity of exerciie would introduce. Hertce no natural fcene,

no production of

art or genius can pleafe us

long, except every new beauties unobferved before, ditional affuranc^ of

it's

furvey difcovers or gives us ad-

perfection.

But the objects

SECT. IV. objects

who

Offenpbitttyoftafte.

of

tafte are it

indulges

and

fubjedts,

infinitely various.

One

continually changing his feeling pleafures or pains is

in the higheft degree thus analogous. preferves a fort of noto which tends y keep up the original velty

though

really diftinct,

He

and the continual

vivacity of his perceptions,

employment of

tafte

which compenfate,

produces fome eff'e&f, nay, often overballance

gradual decay of fenfibility by repeti-

the tion.

IT

is

by enabling us

to

conceive objects

that cuftom dimini&es the with facility their But facility, of imprefTicns. ftrength >

if

moderate,

is

a fcource

of pleafure

:

it

will

immediate influence, for therefore, by fome time prevent our delight from being It alfo renders our weakened. conceptions, it's

though

lefs

accurate.

more

Jinking, yet

A

more

complete is

perfect object

and

prefentcd

mind, than could be, previous to and it's greater perfection may increafc

to the

ufe

:

our approbation or

diflike,

as

much

as novelty

did before: a performance often fails to pleafc or difguft, merely becaufe, having an inade** quate. idea of

it's

parts,

the qualities from,

we do

which

not obferve

thcfe

fentiments fliould

no fhould

PART!!.

Offenfibllity of tajie.

A

perfon unfkilled in poetry or painting will furvey a work with perfect refult.

indifference, it's

becaufe he

beauties or

it's

does

blemifhes.

not

really fee

But

let

thefe

be pointed out to him, by one more knowing in the art ; immediately he begins to approve

Cuftom

or difapprove. of an external

fupplies the

place

monitor, by enabling us to take in at one view a full perception of every

quality,

on which the excellence or

faultinefs

depends.

IT may be obferved

farther,

that tafte,

being a faculty of a derivative kind, implies in it's exertion mental a$ions\ which are ftrength-

ened by ufe and exercife.

And

their

im-

provement tends to fupport the delicacy and livelinefs

of tfs perceptions. Cuftom ftrength-

ens thofe principles and proceffes of thought, by which our reflex fenfations are produced ;

and the

fenfations

proportion

The mind

to

the

muft always bear fome vigour

of their

caufes.

acquires a habit of enlarging itfelf

into the fentiment of fublimity, by being accuftotned to expand its faculties to the dimenfions

by ufe, it becomes fkillful compounding uniformity with variety; in

of a large object in

:

meafuring proportion

j

in tracing out defign

;

in

SECT. IV.

Of

in judging of imitation

j

tafle.

of

fenfibility

in

\ 1 1

blending hetero-

This

expertnefs gives geneous qualities. force and boldnefs to the fentiments produced, and heightens the attendant confciouthefs of

our

own

abilities.

imprefs us more or lefs, accorthe ding degree of attention^ which we Cuftom enables us to beftow upon them.

OBJECTS to

apply our minds more vigoroufly to objects, It is not only difficult than we could at firft. to form a complete conception of new objects,

but

when

curiofity,

they excite neither furprize nor is fometimes even difficult to

it

attempt conceiving

them, and to bring our-

Cuftom feves fleadily to contemplate them. wears off this indifpofition ; begets an aptitude and previous biafs to the emotions, which beauty and deformity infpire ders

us

Works

;

and thus ren-

prone to their peculiar fentiments. of tafte fall in with the predominant

temper, and on that account eafily engage the attention, affect deeply, and excite the livelieft

perceptions.

It

is

remarkable too,

from whatever caufe it proceeds, that we let a high value on what we have been long accuftomed to. A man of tafte places the than pleafures of imagination in a higher clafs other

112

Of fenftbility men

other

are apt to

more noble and

of

do

PART*

tafle. ;

fubftantial

:

II.

he efteems them and the opinion

acquired by cuftom, of their value and importance transfufes itfelf into each gratification.

THE on

fentiments of tafle depend very

So

affociation*

this,

cu'om muft augment them,

by adding

a

new

much

they proceed from

far as

as

cuftom,

principle of union,

renders

the connection more intimate, and introduces the related ideas

Cuftom

likewife

more quickly and begets

new

forcibly.

afibciations,

and enables works of tafte to fuggeft ideas, which were not originally connected with them and what a furprizing intenfenefs, :

the aflbciation of ideas, originally foreign, beflows on our perceptions, both pleafurable

and painful,

is

obvious

in too

many

inftances

to require being enlarged on.

Bv

the concurrence of thefe caufes, the

of tafte is even augmented^ notwithflanding the tendency of habit to diminijh it* Its gratification or difguft. is often more exfenfibility

quiiite,

than any of the emotions which at-

It becomes fo tend appetite and paflion. acute that the fmallefl beauties and blemimes

have force

fufficient

to

affect

it.

But tho' ths

I

SECT. IV.

i i

Offenfibitity of tape.

3

the vivacity of its perceptions mould fometimes decay by repetition ; yet cuftom, producing the other perfections of tafte, gives a refinement, elegance, and afltirance to our fentiments, lence at

which may compenfate their vioJudgment may approve with

firft.

and

greateft confidence

juftice,

no longer enraptured and

is

when

|

Jaricy

enthufiaftically

agitated.

SENSIBILITY of

tafte

arifes chiefly

from

the ftructure of our internal fenfes, and is but indirectly and remotely connected with the foundnefs

or

The want

of

forts

fo

of

falfe

improvement it

tafte

much one

total

deficience

Senfibility

is ;

judgment. in

but does not

conftitutc

fpecies

or

of

one ingredient

of wrong

great

tafte,

weaknefs of

may fometimes become

many as

a

tafte.

exceffive;

and render us extravagant both in liking and But, difliking, in commending and blaming. in

truth,

this

extravagance proceeds

much

commonly from excefs of fenfibility, than, from a defect in the other requifites of fine tafte j from an incapacity to diftinguim and afcertain, with precifion, different degrees

lefs

of excellence or faultinefs.

Inftead of foridea an of the nature of the adequate ming I

beauty

I 1

PART

Of fenfibility of ta/le.

4

beauty

or

deformity,

bounds of moderation to exprefs our

;

II.

we go beyond all and when we want

fentiments, can .do

it

only in

If general terms, tumid and exaggerated. we are difpleafed, we fignify it, with the

inveteracy of a Dennis, in terms of general invective j and, without explaining the caufes

of our difapprobation, pronounce it poor, dull, wretched, execrable. If we are pleafed we cannot tell, with what, how, or why; but only declare it fine, incomparable, with the unmeaning rapture of an ancient rhapfodift,

who, without underftanding the

ples of

art,

or the fenfe of an author,

princilike a

really agitated by the fury which the poets feigned, could recite orpraife them with fuch vehemence as tranfported himfelf, and aftonifhed his auditors (m).

madman,

(m)

From

Plato

s

dialogue infcribed

lo,

we

learn that there

were men of this character, who travelled through Greece and contended at the public feflivals. Their chief employ-

ment was, larly

as if

to repeat beautiful paflages

from the

poets, particu-

Homer, with a rapturous and enthufiaftic pronunciation, they had an exquifite and warm perception of their

It is probable that theyalfo declaimed in praife of their favourite verfes; this feems to be implied in the expreflions, irc^} TTOI)T hatiytv, irt^i 'O/nr/^a Xsy x^ <&-n<>r&>, and is infmuated by the proof which Socrates produces of their ignorance of art, from the capacity of every real artift to dif-

excellence.

tinguifh

SECT. IV. tinguifh beauties

1 1

Offenfibllity oftafle. from

and to point them out

faults,

5

in the

the kind. works of any performer Socrates proves, from the conceflions of his antagonift, that neither did his fentiments proceed from true tafte, from a vigorous perception of in

the beauties he recited, nor his encomiums from judgment, from a critical Ikill in the principles of beauty. He therefore, in his ufual ftrain of irony, refolves both into an unaccountable either from madnefs or from inagitation of fpirit, proceeding humour compares the feveral mufes fpiration ; and with great

to as

many magnets.

The mufe

any agency or knowledge

of

his

infpires ;

he,

in

the

poet, without

the fame

manner

conveys the infpiration to his rhapfodift, and he to his atten; juft as the loadftone by, it's imperceptible and unaccountable influence, attracts a ring of iron, that a fecond*

tive hearers

and that a third.

I

2

SECT,

t

n6]

-

SECT. Of

V.

refinement of tajle.

as well as REFINEMENT

or elegance, which,

fenfibility,

is

as

included in the

idea of delicacy, is another quality requifite for forming a perfect tafte.

TASTE

is

fo deeply

rooted in

human

na-

none are pleafed but with fome excellence and beauty. real of But degree a very low degree will fatisfy one who is acquainted with nothing higher. As we can ture, that

form no fimple

idea, till its correfpondent been firft has perceived j fo, with fenfation of our to ideas, we are conmany refpect

fined to that precife degree , of

which we

have had experience, and cannot by any Our thoughts can means enlarge them. fcarce be raifed to a diftinct

higher pleafure or pain, than ly felt.

however the

On

this

account

conception of have actual-

we

real

excellence,

low, will not only gratify, But unimproved fenfe (c).

but

Jill

knowledge

(<) Je ne comprends pas les has pcuple dans le public capable dc prononccr fur les poemes ou fur les tableaux, comme

of

SECT. V.

Of

refinement of tafa.

117

of greater perfection in the kind produces makes our pleaiure, when obtained, nicety j

more elegant ; but renders it more difficult in his cart no doubt to be obtained, tfhefpis charmed

though his rude reprefentations would have

his cotemporaries,

and

imperfect little entertainment to their politer fuccefTors, accuflomed to the completer draafforded

ma

of Sophocles and Euripides. The coarfe not of Plautus, only pleafed the general jefts tafte, but gained the approbation of Cicero

-,

and never

the politenefs of a court produced a refinement in wit and humour (d). very forry ballad, or the loft their credit,

till

A

wildeft flights of ungoverned fancy

comme

de decider a quel degre

de public ne renferme des lumieres,

monde.

poemes

foit

ici

par la

que

ils

les

leclure,

are ad-

Le mpt

font excellents.

perfonnes foit

qui

font acquis

commerce du

par la

Elles font les feulee qui puiflent marquer le rang des et des tableaux, quoiqu'il fe rencontre dans les ou-

vrages excellents des beautes capable de fe faire fentir au peodu plus bas etage et de 1'obliger a fe recrier. Mais comme ple fans connoifiance des autres ouvrages, il n'eft pas en jl eft

de difcerner quel point le poeme qui le fait pleurer, eft excellent, ni quel rang il doit tenir parmi les autres poemes. 22. Reflex. Crit. fur la poejie et fur la peinture, Part ii. a

etat

(J)

At

veftri

proavi Plautinos et numeros et

Laudavere (Ne dicam

fales

;

ftulte)

nimium mirati

:

patienter fi

utrumque

modo ego

et vos

Scimus inurbaaum lepido feponere didum.

HOR. An I

3

Poet. ver.

270,

mired

8

1 1

Of

PART

refinement of tajle.

mired by the vulgar

II

but nothing inferior to the regular invention and mafterly execution of Homer czn. fully fatisfy a perfed: tafte.

An

indifferent tune

:

on

a

bad inftrument con-

but the imperfection or many of its groflhefs harmony is intolerable to a the

tents

:

fine ear.

HABIT, as was obferved, nifh the fenfibility of tafte.

tends

From

to dimithis,

re-

finement in fome degree proceeds. In proportion as our gratifications lofe their intenfenefs

rent

to

which

by

repetition,

the

we become

imperfett degrees fully fatisfied us before.

indiffe-

of

beauty,

We

are

no

longer touched with ordinary charms , but acquire a kind of avidity, which demands

the utmoft beauty and perfection. Whereever this is wanting, we feel a deficience j

we

are unfatisfied

and difappointed.

BUT

refinement and elegance of tafte is chiefly owing to the acquifition of knowledge^ and the improvement of judgment.

USE muft greatly promote it, though, without any cultivation of our faculties, it fhould only ftore our memory with ideas of a va-

SECT.

Of

V-.

refinement of tafte.

119

a variety of produftions. For we fliould thus be able to compare our prefent object And though men with others of the kind. are

well

enough

with

fatisfied

in

indifferent

while they are

art,

every performances ignorant of better j yet no fooner do

become acquainted with what has merit, than they readily, of their And as give it the preference.

they

fuperior

own

accord,

companion

has a great influence on the mind, many things which might be tolerable, if viewed

by themfelves,

will difguft,

To

others. petition with little

when

one

fet in

who

com-

has been

converfant in works of art or genius, the charm of novelty, and

That may wear

appear to have the merit of invention j which another difcerns to be trite and common, or

What has in itfelf a mere fervile copy. fome degree of fublimity or beauty, often appears mean or deformed by ccmparifon with forms more auguft or graceful. The unexperienced will admire as the effect of prodigious

{kill,

ed with more

who is acquaintcontrivance, or more

what one

artful

ingenious imitation, cenfures as arrant bungling.

To

qualified

a tafte

for

refined,

and by practice

making comparifons, an I 4

infe-

rior

I2.O

Of

refinement of

tafte.

PART

rior fort or degree of beauty appears a

and

II. real

pofitive blemijh (e).

HABITUAL of

tafte,

acquaintance with the objecls only thus fupplies a flock of

not

knowledge,

but

ties,

alfo

There

the judgment

wonderfully improves is none of our facul-

on which cuftom has a greater

influence.

could only difcover and Though diftinguim the mod obvious qualities of things, at firft

it

may, by

it

exercife,

acquire

fuffi-

acutenefs,

cient to penetrate into fuch as are moft latent, and to perceive fuch as are moft deli-

At

cate.

firft it

combinations of

can take in only the fimpleft qualities or fhort trains of

An ingenious French Critic well remarks the impor(ej tance of being enabled to form comparifons, by having had opportunity of ftudying

" ne pas de " tresparle Ecrivains 4< *'

*' ** * '

many

*'

excellent performances.

On

Texpreffion aufli bien qae Pline et les au-

del'Antiquite en ont parle, quand on ne s'y D'ailleurs il falloit que des ftatue?, ou il fe connoit pas. trouve une exprefGon auffi favante et aufli corre&e que celle

du Laocoon, du Rotateur, de la paix des Grecs rendiffent les anciens connoifieurs et meme difficiles fur Texpreflion. Leg anciens qui, outre les ftatues que

une

infinite d'autres

*'

pouvoient pas '

les tableaux, ni

" quis."

^ 38. tion in

fe

j'ai citees,

avoient encore

pieces de comparaifon excellentes, ne

tromper en jugeant de I'expreffion dans le mediocre en ce genre pour 1'ex-

prendre

Part

Reflex, Crit. fur la po'efu, et fur la peinture.

The fame many

author repeats and other paffages.

illuftrates

this

i.

obferva-

ideas

:

SECT. V. ideas

Of

refinement cf

121

ta/le.

but by being often employed, it acand is enabled to com r ;

:

quires enlargement

prehend, to retain diftinctly, and to compare with eafe, the moft complicated habitudes,

and the

largeft

and moft

it

intricate

compofi-

In confequence of culture,

tions of ideas.

difcovers, in objects, qualities fit to operate tafte, which lie too deep for the obfer-

on

vation of a novice;

it

can ioveftigate the

and moft complex perfections, and lay moft trivial faults (f). Hence what the open was at firft cenfured as a fault, often on our niceft

tafte

and

refined,

becoming

When

reafon

intricate

is

weak,

it

appears a

demonftration

it

;

the connection of the whole

but confufion

;

beauty.

lofes itfelf in a

long cannot retain

it

;

fees

nothing

and obtains neither conviction

In like manner, in matters of judgment, when rude and unimproved,

nor delight. tafte,

bewildered amidft the complexneis of

is

object, or loft in

its

its

obfcurity; and by being

baffled excites difguft. But, as foon as cuftom has enabled it to furmount this difficulty,

and enlarge

(f) tia,

Quam

quae nos

its

views,

it

excites high ap-

multa vident piftores in umbris et in eminen? quam multa, quae nos fugiunt in

non videmus

cantu, exaudiunt in eo genere exercitati lib.

?

Cic. Acad. Quafi.

ii.

probation

122

Of

PART

refinement of tape.

II.

of thofe beauties, which were forprobation

As

the moft complicated moft reafonings entertaining, the excellencies produce the moft remo&Jubtle difrelifhed.

merly

become

">.'

Being remote, and veilwere, they give exercife to our faand, by drawing out the vigour of

fined approbation. ed, as

it

culties

;

the mind, continue to pleafe,

and more palpable jer the fenfe. palled upon

when

qualities

They

the grof-

have entirely

are like thofe

which, though not fo agreepleafe much longer than fuch

delicate flavours,

able at

firft,

as are too lufcious, or too

The

organ (g). (g)

The

both to (

eft, ' '

tatte

in a variety

and the external

quaenam caufa

fit,

without affigning

of inftances, with regard

"

fenfes.

enim diftu

Difficile

maxime

cur ea, quae

fenfus noftros

impellun , voluptate, et fpecie prima acerrime commovent, ab iis celerrime faftidio quodam et fatietate abalianemur.

'

Quanto colorum pulchritudine,

'

in picturis novis pleraque,

*

ftimulate the

profulion of ornament,

truth of this obfervation Cicero,

illuftrates

the caufe,

much

etiam,

fi

varietate floridiora funt

et

quam

in veteribus

?

quae

tamen

primo afpe&u nos ceperunt, diutius non deleftant:

'

cum

'

Quanto molliores funt, et delicatiores in toque teneamur. cantu flexiones, et falfae voculae, quam certa? et feverx ?

'

iidem nos in antiquis tabulis

illo ipfo

horrido obfole-

modo

aufteri, fed, fi fxpius fiunt, mulLicet hoc videre in reliquis fenfibus, unguentis minus diu nos deleftari, fumma et acerrima fuaet magis laudari quod vitate conditis, quam his moderatis

quibus tamen non

titudo ipfa reclamat.

:

terrain, '

efle

quam quod crocum

modum

et

olere videatur.

mollitudinis et

Izevitatis.

In ipfo taclu

Quinetiam guf-

be-

I

SECT. V.

Of

refinement of

123

ta/le.

beftowed on the part^ in Gothic flruclures, may pleafe one who has not acquired enlargement of mind, fufficient for conceiving one view their relation to the whole j but

at

no fooner fuperior

is

than he perceives

this acquired,

elegance

more

the

in

but

architecture.

mulic gives fmall delight

Italian

when once

the ear

is

fym-

fimple

metry and proportion of Grecian

at

firft

to take in

opened

the complexity of its harmony, and the delicate relations of difcords, introduced with

and refolutions, it then The lame may be gives exquifite delight. obferved of the refinements of poetry and eloquence, of wit and humour. The copious ikillful preparations

and varied declamation of Cicero

make

will

a quicker impreffion, than the fimple, nervous eloquence of Demcfthcnes ; but this gives the higheft and moft durable fatisfaction to a fine tafte.

The

polite

and know-

ing are chiefly touched with thole delicacies, tatus, qui eftfenfus ex omnibus maxime voluptarius, quippe dulcitudine prxter cxtcros fenfus commovetur, quam cito id,

quod valde dulce

" "

uti,

aut cibo

ea,

qux

leviter

fatietatem.

failidium

j

eit,

diilci

cc rcfpuit

afpernatur

diutius poteft

?

cum

?

quis potionc

utroque

in

enere

fenfum voluptatc movcant, facillime fugiant

Sic

omnibus

fmitimum

eft,"

in

rebus, voluptatibus

Cic. dc Orat.

lib. .

maximia

iii.

which

PART II. Of refinement of tafle. 124 which would efcape the notice of a vulgar eye.

IT

is

poflible to acquire fo great refinement,

cpecially when tafte is accompanied with genius, that we conceive in idea a ftandard of

higher excellence, than was ever mfatt produced j and, meafuring the effects of art, by this abfolute and exalted form, we always mifs fome part of that immenfity, which we have figured out to ourfelves (b). Lionardi

da Vinci

is

faid to

have conceived fo high a

ftandard of perfection, that, from defpair of reaching it in the execution, he left many

When imaginapictures unfinished. inflamed and elevated by the perfection exhibited to it, it goes on of its own accord

of

his

tion

is

to fancy completer effects, than artifts have found means actually to produce j by reafon (b}

M. Antonius

difertos ait fe vidiffe multos,

eloquentem

omnino neminem. eloquentiae,

ct

quam

InJidebat videlicet in ejus mente fpecies cernebat animo,re ipfanon videbat. Malta

in fe, et in aliis defiderans,

pellari eloquens pofiet videbat.

fam animo quandam formam erat, eos,

neminem plane %Habuit

qui rele ap-

profeftocomprehen-

quoniam nihil deformam non

eloquenti, cui

quibus aliquid, aut plura deerant, in earn

poterat includere.

eminet inter omnes

Ipfe Demofthenes, in

per implet aures meas

:

omni genere ita funt

avid^

dicendi,

quamquam unus tamen non

et capaces

quid irumenfum, infinitumque defiderant.

:

et

fern,

femper

ali-

Cic. Orat.

o

SECT. V.

Qf

of fome unpliablenefs

in the

excell in

every thing

:

each

by fome predominant talent. excellence of one enables us of another.

faultinefs

em-

always to fall performer can

No

of our conception.

jfhort

materials

the execution feems

ployed,

125

refinement of tafte.

characterifed

is

The

particular difcern the

to

And by combining

the virtues-that are difperfed among the different matters, into one image; as Zeuxis produced an Helen, by feledting, from many beautiful virgins, the parts that were in each moft beautiful (/) ; we form in our minds a

model of though

perfection,

the

parts

of which,

taken from different originals,

rendered confident, by the

fkill

are

with which

A man of genius pofthey are articulated. fefled of fo fublime a ftandard, endued with fuch exquifite refinement of tafte, in whatever art he pradtifes, will

not merely

jects,

phocles, (0 (k)

much

as

as

reprefent are,

but,

they they ought to be ().

P/in. H'ijt. Nat. lib.

ob-

A

tafte

xxxv. Cap. 9.

Indeed the great matters individual nature,

his

like So-

in

every art imitate, not fo

as a fublimer ftandard,

which

exifts

own conceptions. This Ariftotle obferves in po_ vwr. xi$. 9'. The fame is true of painting. See

only in their etry,

irtfi

above, Part

i. Sett. This fubjeft is explained with 4. equal and elegance, by the author of A Commtntary and Notes n Heract't epijile to the Pifoes. Note on ver. 317.

iolidity

thus

126

Of

refinement cf

tajle.

PART

II.

thus refined will not capricioufly reject whatit perceives to be deficient :

ever

Nam

nequs chorda fonum reddit, quern volt ma*

nus

et

mens

;

Nee femper firiet, quodcunqm minabltur

But

it

can be

fatisfied

and

the higheft perfection that

filled, is

arcus.

only with

practicable.

REFINEMENT of tafte exifts only, where, to an original delicacy of imagination, and natural acutenefs of judgment, is fuperadded a long and intimate acquaintance with the beft performances of every kind. None

fhould be ftudied, but fuch as have real excellence ; and thofe are chiefly to be dwelt

upon, which difplay new beauties on every review. The moil confpicuous virtues will

be

Farther application will at firft perceived. difcover fuch as lie too deep to ftrike a fuperficial

nefs

eye j efpecially if we aid our own acuteby the obfervations of thofe, whofe iupe-

rior penetration, or

more accurate fludy has

produced a genuine fubtlety of

tafte.

An

able mafter, or an ingenious critic will point out to a novice, many qualities in the compofitions of genius,

or the productions of art,

which, without fuch alMance, would have long,

SECT. V.

Of

127

refinement of tafte.

long, perhaps always, remained undiscovered by him. And repeated difcoveries of this

kind, made either by one's own fagacity, or by the indication of others, beget in time an a capacity of making habitual refinement, fimilar ones,

WHERE be

with

refinement

is

and vulgar.

coarfe

and quicknefs.

facility

wanting, tafte mud It can take notice

only of the grofTer beauties ; and is difgufted The only with the moft (hocking faults. thineft difguife, the leaft

to elude

its

fcrutiny.

of

It

depth

is

fufficient

infenfible to the

is

and nature

they are too an imprcffion to be As favages can be touched with obferved. but what excites the utmoff extranothing, of vagance paffion, fo a grofs and barbarous

delicacies

tafte

art

and make too

fine,

can

relifh

:

flight

nothing that

Chafte pable or overdone. not acutenefs to perceive ;

is

not either palit has

beauties

complex ones

it

has not force enough to comprehend. Looking only to

what

is

the

furface,

it

often approves

really faulty or defective,

and

is

indif-

what

poflefles the utmoft elegance. Its decifions are, of confequence, difpropor-

ferent to

tioned

to

the real merit of the objects: the

moft glaring, the

leaft

'

artificial

performances are

)

128

Of

PAR T

refinement of tape.

It.

It has been are.fure to gain the preference. often remarked, that a certain groflhefs and want- of refinement in the ILnglifi tafte, al-

lows, and. even

demands

and indelicacy

in

ments, which .would be gant

tafte

a boldnefs, a groflhefs,

their

theatrical

entertain-

intolerable to the ele-

of a French audience.

'

BUT, an

excefiive or

falfe refinement,

equally to be avoided (I).

It is like

a

is

weak-

ly conftitution, which is difordered by the minuteft accident ; or like a diftempered fto-

mach, which

naufeates every thing.

capricioufnefs of mind,

It is

a

which begets an ha-

bit of conftantly prying into qualities that are remote, of difcoverin'g imaginary delicacies,

or faults

while one

to his view

which none what

clfe

can perceive

lies

perfectly

open

like the old Philofopher,

who

blind to

is j

;

on the contemplation of the he could not fee the pit that that heavens, Or it is had been dug directly in his way. a minutenefs of tafte, which leads one to feek

was

(I) ''

"

fo intent

True

,ple, *

.*.:

a proper fait

medium betwixt

connoitre

.en elles-me'ines, fans qu'on

4 -<

tafte is

Ce difcerncment

comme

tbefe

extremes

chofes telles qu'elles font

demeure

qui s'oxr^re a la fuperfbie

loin,

les

court,

comme

le

vaporetit en des imaginatipns vaines et chimeriques.'*

tret, iv.

peu-

ni auffi fans qu'on aille trop ces efprits rafinez, qui a force de fubtilizer s'e;

En-

d'Anjl" after,

SECT. V.

Of

refinement of tqfte.

129

and approve trifling excellencies, or to avoid and condemn inconfiderable negligencies ; a fcrupulous regard to which is unworthy of

Or

true genius.

which

judgment,

what has not the

it

a

is

faftidioufncfs

will allow no

merit

of to

no mediwith a kind- of

greateft^ will bear

ocrity or imperfection

;

but,

malice, reprefents every blemifh

as inexpia-

ble.

THIS depravity of tafte has led many authors, ftudious of delicacy ; to fubftitute fubtlety and unnatural affectation (m] in its ftead. ce

"
The younger

" The Gods when he had he (hould do any adlLon

Pliny fays, took Nerva from the earth,

adopted Trajan, left of an ordinary nature, after this divine and

" immortal deed.

For this noble work dehonour of being the laft adlion life, that, the author of it being im-

ct

ferved the

lt

of his

" c<

pofterity might be left whether he was not really a god,

mediately deified, in doubt,

(m) Quintilian marks ftrongly fome features of this vicious refinement, as it appeared arrong the orators of his time. " Turn tiemum ingeniofi fciiicet, ft ad intelligeodos DOS opus " "

Nos

fit

ingenio. tura diftavit

" lia."

Irjl.

melius, quibus fordent

omnia quz ca-

qui non ornament qugcrimus, fed Orar. lib. viii. proocca. ;

K

wh

Of refinement of tajle. PART II. 130 when he performed it" (). This is mere

Cl

not true refinement

fubtlety,

Seneca,

folidity.

j

for

it

aiming confbntly

gance, corrupted the

Roman

has no at ele-

by

eloquence,

introducing a childifh prettinefs, a profuiion of antithefis and point (0). When poetry and eloquence are brought to perfection, the next generation, defiring to excell their predeceflbrs, and unable to reach their end by

keeping

in the road

tempted

of truth and nature, are

to turn afide into unbeaten tracks

of

The novelty catches nicety and affectation. and infects the general tafte. By its ftandard the fimpleft and the corrected authors are canvafed,

fecret

meanings, artful allegories,

and the like fanciful qualities are difcovered and applauded, where Homer compares they never were intended. diftant allufions,

exulting at the

Menelaus,

bat, (*).

to a

fight of Paris,

engage him in lingle comhungry lion, when he feizes a deer

when advancing

to

Dii ccelo vindicavernnt, ne quid poft ilium divinum, et

imraortale fa&um, mortale faceret.

Debere quippe maximo

operi hanc venerationem, ut noviflimum effet, autforemque ejus ftatim confecrandum, ut quandoque inter pofteros qusereretur, an illud (o)

j[udge.

**

is

feciflet.

paffed

PL IN.

Paneg. Traj.

on him by an unqueftionable

" In eloquendo corrupta quod abundant dukibus

fiffima,

lib. z.

jam Deus

This cenfure

pleraque, atque eo perniciovitiis." QUINT. //?. Orat.

cap. i.

or

SECT. V.

Of

refinement of

tajle. 131 This fimilitude ftrongly and beautifully expreffes the courage and alaBut this with which he met his rival. crity,

or a wild goat

does not

(/>).

fatisfy

fome of

his fcholiafts.

They

have Paris compared to a goat for his incontinence, and to a deer for his cowardice, will

and

his love

of mufic.

In Jupiter's golden

an emblem (y), fome have difcovered of the excellence of abfolute monarchy; and in Agamemnon** cutting off the head and chain

hands of Antimachuss fon (r), have imagined an allufion to the crime of the father, who had propofed to lay bands on the ambaffadors

demanded the return of Helen and from whofe head the advice to detain her had proceeded. Falfe refinement diflikes on grounds that

^

equally chimerical

which procure

its

and inadequate

approbation.

The

as thofe

delicacy

of Ariftarchus was fo much fhocked with Phcsnixs horrible intention of murdering his father in the extravagance of his rage, that he cancelled the lines in propriety, related,

which

it

on purpofe

is,

with great

to reprefent to

Achilles the fatal mifchiefs that fpring (p)

i*ia*\

(q) IX (r)

V*

ver.

from

n.

$'.

!A. X'.

K

2

ungo

Of

PART.

refinement of tajle.

if.

ungoverned fury and refentment (j). The nicety of Rymer is difgufled with the cunning 'and villany of lago, as unnatural and abfurd, foldiers being

commonly defcribed with open-

To

nefs and honefty of character (/).

of

tics

this

clafs,

cri-

Homer's low fimilitudes,

and fimple manners, or Shakefpears irregularities and unharmonious numbers, are intolerable faults.

FALSE delicacy in critics may in fome meafure proceed from an exceflive fenfibility of tafte, or fubtlety of judgment indulged without diftinction or

referve.

But moft commonly,

the off-fpring of vanity and ignorance. Pride leads us to affect a refinement, which we it

is

have not.

We

lence confifts

j

know not in what real we therefore fix fome

or whimfical ftandard, and, judging by into falfe

True its

tafte

objects,

excelpartial

run

it,

elegance, and capricious nicety. penetrates into all the qualities of

and

is

warmly

affected with

what-

.

To* pt lyfc ^aXius-a, x. (s) IX. . ver. 460. CCty Plutarch juftly cenfures, as capricious and f*iy

a *Apir*^X?

tffOt

T'-X/XWCTJ, Tied;

(3-)

i|X

See

&

fAIJ

Tea/To, TO. earn' t^et Si

T. X. ill

<7ffo<;

This

applied,

TOV

ni-

'o 1

xaipw

o^Sfc ,-,

^flJ^ll

rot tclr 7ro.r,p,xTi.'y Ktnietr.

RSYMER'S View of

Tragedy,

Chap.

vii.

ever

SECT. V. ever

it

Of

refinement

perceives. fearful left

Its

of

tape.

mimic,

falfe

133 refine-

any thing mould efcape its/ imagines qualities, which have no' exigence, and is extravagantly touched with

ment,

notice,

the chimeras of its

own

creation.

SECT.

[

J34

]

S E c T. VI. Of. correttnefs of tape.

difpofes

SENSIBILITY ftrongly affedted with or faults

we

perceive.

us

to

be

whatever beauties

Refinement makes

us capable of difcovering both, even when Corre&nefs muft be they are not obvious. we that may not be impofed fuperadded,

upon by

falfe

appearances

;

that

we may

neither approve mining faults, nor condemn chafte virtues; but be able to aflign to every quality merit.

its

due proportion of merit or de-

CORRECTNESS of

tafte preferves

us

from

approving or difapproving any objects, but fuch as poffefs the qualities, which render

them

really

laudable or

blameable;

and

enables us to diftinguim thefe qualities with

accuracy from others, however fimilar, and to fee through the moft artful difguife that

can be thrown upon them. never

approve,

or

difapprove,

Though we when thofe cha-

SECT. VI. characters, are

cither,

Of correftnefs of tafle. 135 which are the natural grounds of known to be wanting j yet we of-

ten embrace a cloud for Juno, we miftake the femblance for the fubftance, and, in imaattribute

gination,

characters

to

objects,

to

which they do not in fatt belong. And then, though merely fictitious, they have as real an effect upon our fentiments, as if they were genuine: juft as the chimerical connection between fpirits and darknefs, which prejudice has eftablimed in fome, produces as great terror, as if they were in nature coivflantly conjoined.

EVERY

excellence

a

is

middle between v

two extremes, one of which always bear fome likenefs to it, and is apt to be confounded with

The

it.

right and the

wrong

are not

Like feparated by an uncontefted boundary. run into and one infenfibly day night they another

and

:

cife point,

gins.

it

is

where

often hard to fj& the pre-< one ends and tbe other be-

In attempting

the

it,

unikilful

may

readily mifapply their cenfure or their praife.

In every

art fublimity is

gious forms,

empty

mimicked by prodiand unnatural

fwelling,

exaggeration.

K

4

Z>w

Of Dum

corretfnefi

buMum

vitat

y

of

xubes

PART

tajle.

II,

et inan'ia captat.

,\*\b

Some of Homer's

images, admired by Longi-

as eminently great, lefs judicious critics have, notwithftanding his authority, arraign-

tins

and many monftrous and tumid (u) he have which would rejedts, given pafiages, no offence to a judge of lefs correclnefs : he ed

as

:

condemns

as extravagantly

hyperbolical the

image ufed by an orator to exprefs the flupi" that of the carried their

Athenians, dity they " brains in the foles of their feet (#);"

which

yet Hcrmogenes y a critic of confiderable accuracy,

approves.

The

former of thefe

critics

charges Gorgias with the tumid for calling vultures " living fepulchres (y) j" and the the author worthy of fuch a feufmg fo unnatural a figure (3). pulchre, But Boi/eau is of opinion that it would efcape latter thinks

for

all

cenfure in poetry

j

and Bouhours adopts

his

Such as his defcription of Difcord, already taken notice which is highly blamed by Scaliger, Poet. 1. v. c. 3. (x) This fentiment is afcribed by fome to Demoflbenes, by (K)

of,

others to

his

irifi t-^. TfjLt,

mits

it

(y)

Collegue Hegejippus. It is blamed by Longinus But Hermogenet Vi^l l$iv> t T/X. a. xt. r'. ad-

X^.

as a genuine beauty. TvT)j x<x T ra Atov 'f 01.

Aoyf.

EPMOr.

iri

vi ?} iota*, rp.

'.

xi^.

i.

fenti-

SECT. V.

Of

correftnefc

of

137

tafte.

Lucans extravagance, and fentiments (a). Statiuis impetuofity are often on the confines of true majefty and vehemence ; and Virgil's correclnefs has fometimes drawn upon him an

Afgraces, undiftinguimed glare, and falfe ornaments border upon beauty, and This very fometimes gain the preference. circumftance -has procured, from a florid accufation of flatnefs and

enervation.

fected

tafte,

dern

higher approbation to the poets of moof ancient Greece Italy, than to thofe

and Rome.

Extravagance

for invention It

j

fervility for

no eafy matter

is

in

may

be miftakeni

what

is

natural!

every cafe to place a

betwixt poverty and fimplicity; confufion and agreeable intricacy; obfcurity and refinement ; prolixity and copioufnefs ;

juft barrier,

languor and foftnefs

;

enervation and perfpi-

or to diftinguifh the formal from the folemn j the exceflive from the bold and maf:

cuity

terly, or

the

Protogenes tures,

(tiff

is

by extreme care to obtain corredtnefs

which he

for

(a]

and infipid from the correct. to have difpirited his pic-

faid

is

5

cenfured by Apelles, as not

Je cloute qu'elle deplu aux Poctes de notre Cede, ct en effet fi condannnable dans le ver. Bti-

el'e ne feroit pas

lean

Remarq, fur Lovgm, Bwhours, La Man. de blcn

fenf.

Dial. 3.

knowing

Of

138

corrcftnefs

knowing when

to

of

give

P^RT

tafte.

over (b}.

II.

Cicero

himfelf records and approves many turns of wit, which to a modern tafte appear low or coarfe j many of the ornaments which he re-

commends for

to an orator, would pafs with us In the extremes, mere pun and quibble.

affectation

from wit;

and frigidity diftortion of

buffoonry from

are

very different thought or illiberal

humour ; and

fcurrility or in-

from genuine ridicule : but there are which very good judges particular inftances, vective

may hefitate, before they can affign them to onefpecies or the other. Beauties and blemiihes often fo far refemble in their general appearance, that an imperfect tafte

found them

may

approving where

;

it

readily con-

mould con-

demn, or blaming what merits praife. It is only a well cultivated tafte, implying vigorous judgment, fharpened by every cafe pull

exercife, that can in

off the mafk,

and certainly

diftinguim them.

CUSTOM

enables

us

exactnefs and precifion.

form ideas with By ftudying works

to

() Cum Protogeais opus, immenfi laboris et curse, fupra roodura anxie miraretur, dixit omnia fibi cum illo paria efle, aut

illi

tabula

meliora; fed uno fe prasftare, nefciret

nimiam diligemiam.

quod

manum

ille

de

memorabili praecepto, nocere faepe Plin. Rift. Nat. lib. xxxy. cap. 10.

tollere

;

of

SECT. VI. of

Of

clear

tions of thofe qualities, beautiful or deformed :

tafte.

139

diftincl:

concep-

of

corre5lnej\

we acquire

tafte,

and

which render them

we

take

in at

one

the efiential properties; and thus glance eftablifh in the mind a criterion, a touchftone all

of excellence -and depravity. Judgment alfo becomes fkilful by exercife, in determining, whether the object under confederation perfectly

agrees

While

it

is

may, through want of clear kind, at leafl

with

this

unaccuftomed

mental ftandard. to a fubjedt, it

own imbecillity, and for ideas of the characters of the

its

miftake refemblance for identity j or be unable to diftinguifh them, with-

out laborious application of thought, frequent But when -trials, and great hazard of error. ufe has rendered any fpecies of exertion familiar,

it

eafily

wherever there

We

grow

fo

and

difcriminates,

infallibly

the minuteft

is

well

difference.

acquainted with every

form, and have ideas fo perfectly adequate, that

we

are fecure againft miftake,

ficient attention lities

beftowed.

is

of things are prefented to

unmixed, portions,

gruous,

in their

The tafte

when

fuf-

real

qua'pure and

genuine features and pro-

and excite ientiments

entirely

con-

"4 "."

JUSTNESS

Of

140

of

correftnefs

JUSTNESS of

tafte

PART II.

tafte.

extends

ftill

farther, than

to the diftinction of counterfeit for real.

We

can compare the fentiments produced, and difcover readily the different clafies, to which not only feel in general they belong.

We

we

that

are

but perceive in what

pleafed,

manner

not only difcern that there isfome merit, but alfo of what determinate kind that merit is. Though all the fenparticular

of

fations

tafte

analogous and

j

liar feeling,

its

who

diftindl:

has a

the higheft degree, yet each has its pecu-

in

are,

fimilar

;

fpecific

form, by which one

idea of

exactnefs of judgment, rence from the others.

it,

and

may mark It is this

pofleflfes its

diffe-

which be-

ftows precifion and order on our fentiments. it they would be a mere confufed

Without chaos

:

we

{hould, like perfons in a mift,

fee fomething, but could not tell what we faw. Every good or bad quality, in the

works of f$ai

art or genius

would be a mere je ne

qttcy. ,

As alfo

a correct tafte diftinguifhes the kindsy it

meafures the degrees of excellence and Every one is confcious of the

faultinefs.

degree of approbation or

diflike,

which he beflows

SECT.

W

Of

correflnefs

of

141

taftc:

But fometimes the ideas beftows on objects. we retain of thefe fenfations are fo obfcurc, or our comparing faculty

we

only

know

is

in general,

fo imperfect,

that

one

that

gratifica-

is higher or more intenfe than another; but cannot fettle their proportion^ nor even

tion

perceive the excefs, except it be confiderable. are often better pleafed at firft with fuperficial glitter or gaudy beauty, which, having

We

no

become on examination

folidity,

infipid or

than with fubftantial merit, which will tfand the tefl of reiterated fcrutiny j

diftafleful,

#o

i

$?, Te

cafritt

magis

fi prvpius Jtes*

;

non formidat acumen Judicis argutwn qu<e

\

the perceptions of an improved tafte are always adequate to the merit of the objects*

But

as

an accurate judgment is fenfible, on Comthe leaft diverfity in the degree of parifon, of fo

the pleafure or pain produced.

And

if

we

have afcertained thofe qualities, which are the caufes of our fentiments, reflection on the degrees of them, which things poffefs, will help to regulate our decifion, and prevent our being impofed upon by any ambiguity in

oar feelings

i

giving

us both an exacter ftan-

dard,

'

Of corntfnefs

142

of

PART 1L

tajle,

dard, and an additional fecurity againft judg-

ing wrong*

THE

accuracy of that

quifite,

tafte

fhall not

it

may become

fo

ex^

only difcriminate the

and degrees of gratification j the leaft varieties in the manner

different kinds

but

alfo

mark

of producing applied

ally

It is this

it.

works of

to

accuracy, habitutafte,

that lays a

foundation for our difcovering the peculiar

charade r and manner of

different matters,

A

implies the nicefl

capacity

exaclnefs,

for

:

>*.

it

juflly affigned as an infallible

is

proof of real and >\'.\t' ;}*.

as

this,

welMmproved

-;.,*

tafte.

y

INCORRECTNESS of tafte may arife, either from the dullnefs of our internal fenfes^ or from the debility of judgment* The former renders our fentiments obfcure and ill-defined, and therefore latter-

lations

difficult to

be compared.

The

incapacitates us

even of

for perceiving the rethe cleareft perceptions, or

In either the moft diftinguimable qualities. the mind is diftrafted with cafe, fufpenfe

and doubt. This is an uneafy ftate, from which we are defirous to extricate ourfelves, by any means. tafte

enough,

If

we have

not vigour of of the

to determine the merit

object,

HF.CT. VI.

Of

corretfnefs

of

143

taftt.

characters, we take by up with any flandard, however foreign or Auimproper, that can end our wavering. intriniic

its

object,

thority in all its truth and reafon.

genius faults, is

will

forms ufurps the place of The ufage of an admired

procure

t

even

approbation

from one whofe

tafte is languid.

to

He

unable readily to detect them; and their

being committed by fo great a mafter, and intermixed with many beauties, will keep

him from even

fufpecting that they can be and confequently prevent his fcruwrong the of the Like fun, which canfpots tiny. ;

not be difcovered by the naked eye, the faults of an eminent genius require fomething more to enable us to difcern them, than the

elements of

tafte

which nature beftows:

thefe are invigorated

appear

in

by

culture,

the general fplendor.

Shake/fear

may

they

till

will dif-

The genius of

betray an unformed tafle into

an approbation of the barbarities^ which are often mingled with his beauties. The wits

of king Charles

s

court are faid to have allowed

One Cowley an undiftinguifhed admiration. much with be too Congreves may pleafed remark which it is

incongruity to the characters The veneration we

wit, to

its

to

afcribed.

have for antiquity,

aided

by the (how of learning,

144

Q/

of

correffnefs

tajle.

learning, which acquaintance with and by the malignant joy, which

it

implies, feels

envy

in depreciating cotemporaries, often ftamps a value on its productions, difproportioned to their intrinfic merit

Et

:

terns femota^ fuifque

nifl qu<e

faftidit et odit.

Vemporibus defunEia videt,

The opinion commends

and example of others often re-

what

to us,

fafhionable or

is

new,

without our taking the pains to examine it. And their opinion is often not founded on

judgment, but dictated by

intereft,

friendmip, enmity, Every period of party fpirit. time has produced bubbles of artificial fame, which are kept up a while by the breath of or

famion, and then break nihilated.

The

of ancient

writers,

vived

their

at

once and are an-

learned often bewail the lofs

whofe characters have

works

but,

j

could retrieve them,

perhaps,

we mould

find

if

fur-

we

them

only the Granvilles, Montagues, Sfepneys, and of their time, and wonder by what Sheffield* infatuation or caprice they could be raifed to Falfe or imperfect rules, either notice (c).

eftablimed by ourfelves, ceived from others, (c)

may

or

implicitly recorrupt or conftrain

RAMBLER, No. j

106.

bur

S E c T VI,

Of corretfnefs

.

our

tafte,

Had

criticifm in

hands of one, inferior to

of tajle.

145

and render our decifions unjuft. in

it's

infancy fallen into the

judgment and

Arijhtle-,

a

penetration,

number of precarious

and unnatural rules might have long obtained an undifputed authority. A prevailing turn and difpofition of mind often makes us unable to relifh any thing, but what falls in with and thus perverts and prejudices our judgit, ment. Hence generally proceeds the depravity of public tafte,

ence

it

and the pernicious influhas on public entertainments and dra-

matic works fure,

: and hence, in a great meathe connection of the tafle of a people

with their morals. *** il^

THESE

corruptions of tafte can be avoided only by eftabliming within ourfelves an exadl ftandard of intrinfic excellence, by which we

may try whatever is prefented to us. It will be eftablimed by the careful fludy of the moil correct performances of every kind, which are But generally indeed the moft excellent.

though they mould only

rife to mediocrity, of laying the foundation on far fuperior correftnefs, than fuch as are the whole, but faulty in fome particulars :

they are

fitter

for

L

foj:

Of correftnefs

146

of

PART

tajle.

II.

greater the beauties, the readier arc the faults to debauch the tafte. 'Till it is

for the

formed, and has acquired confiderable vigour, dangerous to be much converfant with

it is

thofe productions, the virtues of

which

are

eminent, but blended with many faults. The chief utility of criticifm lies in promoting cor-

In the moft imperfect efthe critic will, at leaft, of authority fays, excite our attention, and provoke our enqu'-* But every one who really merits the ry. redtnefs of tafte. -the

name conveys much more momentous

inftruc-

and more effectually teaches juftnefs of thinking, by explaining the kind and degree

tion,

of every excellence and blemim, by teaching

what

us

are the qualities in things,

to

which

we owe

our pleafure or difguft, and what the principles of human nature, by which they are produced.

CARE however muft our

tafte

be taken to preferve

unconfined though exact, to avoid

that fcrupulous formality, often fubilituted for true correctnefs, which will allow no deviation

from

eftabliftied rules..

To

difapprove general law, when the obferved, and when the end is, per-

a tranfgreffion of a fpirit is

haps more effectually, promoted,

is

notjujtnefs

Of correttnefi

SECT. VI. nefs,

Who

but fertility diflike

will

of t a/It 147 and narrownefs of tafte. the landfcapes of Poi^JJin^

though he has difregardedcorredtnefs of drawing in his animals ? Parmegiano is faid by good judges to owe the inexpreffible greatnefs of manner

in his pictures,

juft proportion

in

to the neglect of

fome of the members of

his

A

contra&ed tafte is chiefly incifigures. dent to thofe, who would fupply the want

of natural

talents,

by the drudgery of appli-

But

in every thing, the finical is efdifferent from the neat, the exact fentially

cation.

from the

precife,

the

regular

from the

formal.

SECT*

SECT. Of

the due

VII.

Proportion of the Principles

of Tafte.

TH

E

laft

and complete imfrom the due feveral principles, and the

finishing

provement of tafte

proportion of

it's

regular adjuftment of

refults

all

it's

fentiments,

ac-

cording to their genuine value; fo that none of them may engrofs our minds, and render us infenfible to the

reft.

This

is

juftnefs

and

correftnefs, not confined to the parts of obTafte is je&s, but extended to the whole.

not one fimple power ; but an aggregate of many, which, "By 'the refemblance of their their fubjects, energies, and the analogy of

and caufes, readily aflbciate and are combiBut every combination of them will ned. not produce a perfect tions,

tafte.

In

all

compoli-

fome proportion of the ingredients

muft be preferved.

members,

all

A

fufficient

number of

feparately regular and well for-

med, if either they be not of a piece with one another v or be in the organization ima comely properly placed, will produce, not confiftent animal, but an incongruous

and

monfter

Of tie principles of taftf.

SECT. VII.

In like

monfter.

manner,

149

our internal

if

are difproportioneo! to one another, or not duly fubordinated in their conjunction, we may judge well enough of fome parts,

powers

or

of particular fubjecls, but our

tafte will

be upon the whole diftorted and irregular.

As an overgrown member, by drawing the nourifhment from the reft, makes them weak and puny ; lo one of the principles of tafte may, by it's too great ftrength, detract

from the others

own of

;

natural force

by attaching us

and,

gratifications,

theirs,

important.

and operation of the entirely to

render us too

little

it's

fenfible

though perhaps equally or more If, through an exceflive liveli-

nefs of imagination, our fentiments of excellence and deformity are too violent, they will fo tranfport us,

fcrutinizing and

may

be fenfible

A

corredl.

prevent judgment from comparing them our tafte and feeling, but will be inas to

:

mind over fond of

fublimity

will defpife the lefs elevated pleafure, refults

which

On

from elegance and beauty.

the

other hand, a foul devoted to the' foft imof beauty is unable to expand itfelf prefiions into the conception of fublimity. prevai-

A

ling

relifh

for the

new, the witty, the huL 3 mourous,

j

Of

50

will render

which has

not,

The want

qualities (d).

of due proportion

common

fources

one of the

is

moil: fertile caufes of falfe tafte

the moft

II.

every thing infipid, or cannot, fuitably to it's na-

have thefe

ture,

PART

tie principles oftajle.

mourous,

and one of

;

of that variety of

forms and modifications, which

true

tafte

affumes Every one has a predominant turn of genius and tafte, by which his relifh is more adapted to fome one in different perfons.

This fpecies of excellence, than to others. is inevitable on account of the diverfities incident to

Le

(d)

men,

poete dont

in the natural bent

le talent principal

fe trouve bientot prevenu

eft

of their

de rimer richement,

que tout poeme dont

les

rimes font

negligees nefauroitetrequ'un ouvrage mediocre, quoi qu'il foit rempli d'invention, et de ces penfees tellement convenables au fujet,

qu'on

eft furpis qu'elles

foient neuves.

Commefon

talent

pour 1'invention, ces beautes ne font que d'un foible poidsdans fa balance. Un peintre qui de tous les talents necef-

n'eft pas

le grand artifan, n'a que celui de bien colo~ qu'un tableau eft excellent, ou qu'il ne vaut rien en La general, fuivant que 1'ouvrier a fju manier la couleur. poefie du tableau eft comptee pour peu de chofe, pour rien meme dans fon jugement. II fait fa decifion fans aucun e^ard

faires

pour former

rer, decide

aux

parties de Tart qu'il n'a point.

bera dans

Un poete

en peinture tom-

meme erreur,

en pla^ant au deflbus du mediocre, le tableau que manquera dans 1 ordonnance et dont les expreffions feront baffes, mais dont le coloris meritera d'etre admire. Jlffiex.

la

Crit. fur la poeji: et fur la peinture. part II.

.

25.

temper

Of tbe principles

SECT. VII.

oftafle. 151 which always renders temper and paffions them peculiarly acceffible to fomc kinds of gra;

tification or difguft.

or the

humble

According

as the

fublime

paffions, the grave or the lively,

are predominant in the ftruclure of the foul, our reliili will be keeneft for the grand or the ele-

/

gant,theferious or the ludicrous. In this manner, the neceflary imperfection of human nature prevents our ever being able to eftablifh a proportion and ceconomy of our internal fen-

A

accurate in every refpecl:. fmall is not cenfured, becaufe it is difproportion

fes, nicely

natural it is

:

but

when

acknowleged

and

it

exceeds certain bounds, a partial

to degenerate into

diftorted form.

This

diftortion

is

not,

however, fo much owing to the original exThat cefs of one principle as to other caufes. lays the foundation of it the natural inequality,

obfervable.

The

j

but

tbefe

and render

augment it* more

principal of thefe caufes

is

a narrownefs of mind, by reafon of which, we cannot comprehend many perceptions at once, without confulion relations,

and afcertain

,

nor trace out their

their

ment,

without diftracYion

We

upon a

fix

part,

feparate fentiment, blind to the nature

refpeclive

mo-

and perplexity. are engrofled by the which it excites, we are

we

of the other parts, or,

L

4

at

the principles

Of at leaft,

as

to

of

PART

tafle,

II

cannot extend our thoughts fo far, all into one conception.

combine them

A due

proportion of the principles of tafte prefuppofes the correctnefs of each, and into

cludes, additional

an enlargement and

it,

comprehenfkm of mind,

THAT fenfes

it

may be

muft

all

acquired,

the internal

be equally exercifed.

If,

accidental difufe or perverfion, any of

has fallen below

it's

proper tone,

it

by

them

muft, by

be again wound up to it. particular attention, Habitual exercife promotes an harmonious fubordin'ation of the principles of

tafte,

by

It producing a large compafs of thought. renders Ideas and fenfations fo determinate

and the

the

familiar, that

them

find

room

mental

to

eye;

lie

largeft

collections of

diftinctly

and

at

the

expofed to time

fame

ftrengthens judgment to fuch a pitch, that eafe the moft complicated it can view with fubjects,

them.

and decide with accuracy concerning enlargement and extenfive

'Till this

amplitude of

tafte

is

once acquired, our de-

muft be has a whole

terminations

Every

art

contrivance, this

is

it's

efTentially

for

difpofition,

main

requisite

:

it's

defective.

object

:

the

and expreffion of the merit of th? parts

SSCT.

VH.

Of tie principles

not fo parts ai'ifes,

of

much from

tafle.

1

53

their feparatc their relations

elegance and rimming, as from and therefore, no true judgto the fubject ment can be formed, even of a part, without :

a capacity

of comprehending

once, and eftimating

THOUGH

pleafure

all its

whole

the

at

various qualities.

and pain are counterof them may be dif-

in tafte, our fenfe parts

If uneafy and paffions preponderate in the confti-

proportioned and unequal.

gloomy tution,

and form the prevailing temper, they

produce a fuperior pronenefs to fentiments The chearof disapprobation and diflike. ful and pleafurable affe^ions, on the other hand, diffufe a tincture over

which makes

us

admiration, than of quality

is

all

our

powers,

much more its

fufceptible of This ineoppofite.

frequently deftiuctive of true tafte.

A

perfect and faultlefs performance is not Our gratification to be expected in any art. muft in every cafe be ballanced againft dif-

guft

;

beauties againft blemifhes

;

before

we

have compared aud meafured them, we can form no judgment of the work. For want of the quicknefs and compafs of thought, for this, or of inclination to employ it,

Of the principles it,

we

lencies

often

and

err in faults

are fometimes

A

the fame part.

PART

oftajle.

IT,

Excel-

our decifions.

united in

member may be

fo ele-

to gain the applaufe of gantly finished, the unfkillful ; but fo unfuitable to its place, fo prejudicial to the unity and effect of the as

whole,

as

to

the

deferve

fevereft

cenfure

in every performance, beauties and blemimes are to be found in different parts.

But

A

contracted It

is

mind

fixes

on one or the other.

related of Apollodcrus, an ancient painthe deftroyed his fineft pictures, if he

er, that

could difcover in them any, even the minutcft Some critics, as if poffeffed with the fault.

fame

frantic fpirit,

will

condemn

a thoufand

beauties of the higheft rank, on account of a few intermingled faults, which bear no

proportion to them, and do not perhaps at On the contrary, the all affect the whole.

merit of a fingle part will ftrike a more candid judge fo ftrongly, as to make him over-

look multitudes of

overbalance

BUT

faults,

which

infinitely

it.

a perfon of true tafte forms his judg-

ment only from the

furplus of merit, after an accurate comparifon of the perfections and the

SECT. VII. the

faults.

Of the principles of tajle. 15$ And indeed the greateft critics (e)

allow the chief merit, not to the greater number but to the higher rank of beauties ; ',

not to that precifwn and conftant atention to every

trifle,

which produces a cold and

lan-

guid mediocrity, but to that noble boldnefs of genius, which rifes to the height of excellence, with a kind of fupernatural ardor, that makes it negligent with regard to numberlefs

minutia

in

;

fine,

not to that faultlefs infi-

our blame, but to that pidity, which efcapes however (haded by which, daring exaltation, inaccuracies, or even debafed by the mixture

of grofs tranfgreffions, forces our admiration. Demofthenes, has been juftly preferred to Hyper ides, Archilochus to Eratojlhenes, and Pinman mould juftly dar to Bacchylides.

A

expofe himfelf to a fufpicion

of bad

tafte,

who

approved a faultlefs, uninterefting tragedy, more than Othello or King Lear j or

who

gave Waller greater applaufe than DryTitian has been blamed for incorrecl:-

den.

nefs of defign

among SartOy

the

who

moft

Xy

far

finimed

fuperior to all

fcrupulous

(e) This fubjeft vj>. TJ*.

but he will ever hold a rank

j

painters,

is

Andrea

del

drawings with care and diligence.

profeffedly

his

examined by Lenginus,

trip

AJ-.

2

Where

156 \Of

Where

tbe principles

eminent merit

of ta/te. is

found,

P^RT real

II.

tafte

difdains the malignant pleaiure of prying in-

to faults (f). -'

Ubi plura

nitent

ncn ego panels

Offendar maculi;, qttas aut inciiria Ant humana parnm caiit natura.

THUS we

have explained the manner, in the principles of tafte muft be confijied, to form its juft extent ; and the finifli-

which

ing

As all

it

muft

receive, in order to

its

perfection,

neceiTarily includes both judgment and the reflex fenfes j fo it muft by culture,

it

be improved in fenfibility, refinement, corredtnefs, and the due proportion of all its parts.

In whatever degree any of thefe qua-

are wanting, in the fame, tafte muft be Could any critic unite them all imperfect.

lities

in a great degree, to his fentiments we might appeal, as to an unerring ftandard of merit, The in all the productions of the fine arts.

nearer one comes to a complete union, of thefe qualities of tafte, the higher authority will his decifions juftly claim.

But when

(f) On leur repond qu'un poeme ou un tableau peuvent, avec de mauvaifes parties, etre un excellent ouvrage, &c. Reflex. Crit. fur la poefa et

fur la peinture, part

ii.

26.

none

SECT. VII.

Of the

none of them

is

principles

of

tafle.

157

wanting, a peculiar predo-

minance of one will by no means vitiate tafte. They are fo analogous, that an eminent degree of one will fupply the place of fome meafure produce the

another, and in

fame

effect

:

or rather, perhaps, one cannot

without implying all an inferior degree. LonDionyfms of HaUcarnaffus y and Arijlo-

exift in full perfection,

the

reft, at leaft

gi?2S,

in

But it will fcarce poflefTed fine tafte. that the firft peculiarly excelin fenfibility, the fecond in refinement,

tle, all

be

denied,

led

and the laft in corretfnefs and enlargement. There is none of the ancients, in whom all the four appear to have been more equally, a

or in

higher degree, combined,

(

than in

Quintilian.

BEFORE we conclude our

refearches,

it

will not be amifs to explain the place, which tafte holds among our faculties ; and to point

out

its

genuine province,

and

real

impor-

tance.

PART

[

159

]

PART Province

'The

and Importance of

SECT. How far

tfajle

defends

IT

ed, are ;

en

the Imagination.

from which

commonly

which

is

Tajle.

I.

has been obferved above,

internal fenfes,

tion

III.

that thofc

tafte is

form-

referred to the imagina-

confidered as holding a mid-

dle rank between the bodily fenfes, and the rational

and moral

faculties.

IT muft be owned

that the vulgar divi-

of our faculties are generally fuperfiOur mental operations, and inaccurate.

fions cial

though of all things the

mod

intimately pre-

fent to us, are of fuch a fubtle

and

tra.nfitory

when

they are reflected on, they in a great meafure elude our view, and their limits and diftinctions appear involved in obnature, that,

fcurity

and confufion.

The common

diftri-

bution of our moft obvious powers, our external

i

PA&T

Trf^ and imagination.

i6o

ternal fenfes,

is

acknowledged

III,

be faulty

to

:

much more may we

expect inaccuracy in the ordinary methods of claffing fuch as are All divisions of Icfs generally attended to.

our derived and compounded powers muft be liable to error, till the fimple qualities >

from which they proceed, have been

invef-

tigated.

Ir Sometimes happens, notwithftanding, that,

by

a kind of natural anticipation,

flrike out jufter divifions, than

we

could have

been expected, without reflection on the real This holds in the prefoundation of them. fent cafe. If we will but recollect and compare thofe qualities of human nature, from which tafte has been explained, we fhall be

convinced, that either

from Tafte

its

all

phenomena

proceed,

from the general laws of fenjation, or certain operations of the imagination. therefore, though itfelf a fpecies of

fenfation,

is,

in refpect of its principles, juftly

reduced to imagination.

THAT

tafte is

fenfaproperly a kind of

tion, can fcarce be called in queflion, by any

one

who

hat

clear

and

diftinct

ideas.

It

fupplies us with fimple perceptions, Entirely dif-

SECT.

I.

different

fajle

from

fenfe or

nal

all

by

and imagination^ that

we

161

receive

by exterThefe make u&

reflection.

acquainted with the forms and inherent quaof things external; and with the nature

lities

own powers

of our tafte

exhibits a fet

and operations

though confequent on ferent

refult

but

thefe,

are really dif-

from, but are not in-

the primary and direct perception objects. They are however equally un-

cluded

of

which

;

:

of perceptions, which,

in,

in their feeling, as incapable of conceived prior to experience, as imbeing

compounded

mediately, neceffiirily, and regularly exhibited in certain circumftances, as any other fenfation whatfoever (gj.

Tafte

is

fubject-

(g) Indeed'as our external fenfes are ultimate and original it may perhaps be taken for granted that this cii% cumitance is effential to the idea of a fenfe, and that no

principles,

power of the mind can be properly exprefled by this name, which is derived and compounded, and capable of being rcfolved into fimpler principles. According to this hypothefis, To enquire whethe powers of tafte would not be fenfes. ther they are or are not, may perhaps be deemed a difputc about words, as the determination will depend upon the defiIt is however of fome real moment, that nition of a fenfe.

the powers of the mind be reduced into clafles, according to their real differences and analogies ; and therefore, that no definition be received,

tribution of them.

which would difturb the regular that the powers of tafte may

And

difwith,

the greatcft propriety be reckoned fenfes, though they be de-

M

cd

1

62

ed

*Tafle find

to the

-our

PART

imagination.

III,

fame general laws, which regulate

other

To

fenfes.

out

trace

thefe

all

rived faculties, will, it is hoped, appear from the following are dire&ed by the phenomena of our faobfcrvations.

We

reducing them to

culties, in

ofafenfezre thefe. fueh fimple perceptions, tia

who

channel to thofe

power which

The

claffes.

obvious phasnome-

a power, which fupplies us with as cannot be conveyed by any other are deftitute of that fenfe. It is a It

is

its perception immediately, as foon as exhibited, previous to any reafon concerning the of the object, or the caufes of the perceptions. It qualities Is a power which exerts itfelf independint of 'volition, fo that,

its

object

receives

is

while we remain in proper circumftances, we cannot, by any aft of the will, prevent our receiving certain fenfations, nor alter them at pleafure, nor can we, by any means, procure thefe fenfations, as long as we are not in the proper fituation for receiving them by their peculiar organ. Thefe are the

circumftances which characterize a fenfe.

Sight, for Lnftance

conveys 'fimple perceptions, which a blind

man

bly receive.

A man who opens

ly perceives light

ceiving

it,

make him

They

efforts

of the

while his eyes are open

cannot

pofli-

noon immediate-

will can prevent his perj

and no volition could

Thefe characters eviand to reflexion or conby which we perceive what pafTes in our minds. perceive

dently belong to feioufnefs,

;

no

his eyes at

all

it

at midnight.

the external fenfes,

likewife belong to the powers

oftafte; harmony, for a fimple perception, which no man who has not at muficai ear can receive, and which every one who has an ear immediately and neceflarily receives on hearing a good The powers oTta*fte~are therefore to be reckoned fentune.

example,

fee.

tion. all

is

Whether they are ultimate powers, is Thofe who are unacquainted with

a

fubfequentquef-

philofoph) reckon our powers ultimate qualities of the mind. But nature- de-

and produces numerous effefts, by a few of txtenfive influence; and it is die bufmefs of phi.

lights in Simplicity,

would

4

and imagination. SECT. I. T'afte 163 We fhall Would be foreign to our fubjed:. mention but one law of fenfation, which has lofophy to inveftigate thefe caufes, and to explain the phenomena from them. On enquiry it appears that the internal fenfes are

not ultimate principles, becaufe

all their phaenomena by fimpler qualities of the mind. Thus the pleafure we receive from beautiful forms is refolvible into

can be accounted

for,

the pleafure of But* facility and that of moderate exertion. notwithftanding this difcovery of the caufes of our reflex fenfations, we may continue to terra them fenfes, fince it does not contradict any of the phenomena, on account of which this name was Beautiful originally beftowed upon them.

forms have uniformity, variety, and proportion j but the pleafure they give us an immediate fenfation, prior to our

analyfmg them, or difcovering by reafon that they have thefe We find, on examination, that uniformity and proqualities. portion are agreeable.

As they enable

objeft with facility and variety

as

;

it

us to conceive the

hinders this facility

from degenerating into languor ; and thence we conclude, that the pleafant fentiment of beauty is the refult of thofe fimple principles

which difpofe us to

relifh

moderate

facility,

and

but the fentiment of beauty arifes, without our reflecting on this mixture. This fentiment is compound in its principles, but perfectly fimple in its feeling. If,

moderate

difficulty

;

this mould feem to imply a contradiction, let it be remembered that two liquors of different flavours may, by their mixexcite in the palate ture, produce a third flavour, which fhall

from

of

as fimple, as that which it any In like manner, the perception of whitethe ingredients. nefs is as fimple as that of any colour ; but philofophers

receives

a fenfation

caufe, it is compounded of the Lord Verulam * concludes from fome the external fenfe of tafte is compounded of experiments that

know

that, in refpeft of its

fcven primary colours.

*

AW.

Qrg.

lib.

M

ii.aph. a6.

2

been

164 been

by

and imagination.

faftc

fo often hinted

immediate

its

at

effects

PART

III.

already, and which, and remoter confe-

quences, has fo great influence on the fentiments of tafte, that it will be proper in a few

When

an object is prefenwords to illuftrate it. ted to any of our fenfes,the mind conforms it felf to its nature and appearance, feels an

emotion, and analogous

is

of

j

put in a frame fuitable and

which we have a perception

Suppofe this conclufion juft, tafte would be a derived power; but ftill it would be a diftinft fenfe, as its and fpecifically different in their perceptions are peculiar, and tangible qualities. Juft fo each feeling both from odours fmell and touch.

principle

becaufe it,

and

of its

tafte is

with reafon accounted a particular fenfe,

perceptions,

however produced, are peculiar to Each conveys

from all others. fpecifically different which, in refpeft of their feeling,

perceptions,

are original,

though the powers, by which they are conveyed, are derived. It is fcarce neceflary to obferve that our afcribing the fentijnents of tafte to mental procefles is totally different from afdo not prove are deductions of reafon. lerting that they that certain objects are grand by arguments, but we perceive

We

them to be grand, in confequence of the natural conftitution of our mind, which difpofes us, without reflection, to be Reafoning may, pleafed with largenefs and fimplicity. Lowever, be employed in exhibiting an objeft to the mind, and yet the perception that exhibited,

foning

may

may be

properly

it

has,

when

belong to a

the objed fenfe.

is

Thus

once rea-

neceflary to afcertain the circumftances, and de-

termine the motive, of an a&ion j but it is the moral fenfe that perceives it to be either virtuous or vicious, after reafon lus difcovered its motive and its circumftances,

by

SEc T

by

.

I.

fafle

and imagination.

confcioufnefs or reflection.

165

Thus

diffi-

a confcioufnefs of a grateful culty produces exertion of energy : facility of an even and

flow of fpirits : excellence, perfectregular of or ion, fublirnity, begets an enlargement imor confcious deficience and mind pride ;

of

and painful

perfection,

a depreffion

humility.

This adapting of the mind to

its

prefent object

the immediate caufe of

of the pleafures and pains of

many and,

is

foul,

by

nifhes

its

confequences,

many

others.

it

augments

Though

tafte

;

or dimi-

the actions of

the mind fucceed one another with furprifing quicknefs, they are not inftantaneous : it requires fome time to pafs from one difpofition or employment to another. Every frame of

mind

has a kind of firmnefs, tenacity, or obit averfe to quit it's ftinacy, which renders hold.

Every

fenfation or emotion, as

refifts

poflible,

much as

We

diminution or extinction.

once any object, which has engrofled our thoughts, and to turn in an infhnt to another (b). Even after an

find

difficult to difmifs

it

object

is

at

removed, the frame

it

it produced, the gave the mind, continues, and ur-

impetus ges us to go on in the fame direction quires time and labour to deftroy it. (h)

Difficile eft

QUINT.

In/1

Oret.

:

it

re-

If the

mutarc habitum animi fcmel conftitutunn. lib. iv.

M

cap. 2.

3

.

fucceed*

1

66

Fafte

PART

and Imagination.

fucceeding object

demand

III.

a different confor-

mation of mind, our application to it muft, on this account, be lefs vigorous, and its im-

But

preffion fainter.

if

it

be analagous to

finds the fuitable difpofidon already raifed, and therefore ftrikes the fenfe

the preceding,

with

it

Hence the mighty

all its force.

effi-

which

perceptions acquire, in poetry or eloquence, by being introduced in a pro-

cacy,

due preparation. Hence per order, and with the influence of an habitual and prevailing x

temper or turn of mind, gruous perceptions, and

As

as are incongruous.

of

tafte

they

of

in

in

enlivening condebilitating fuch

far as the fentiments

depend on thefe principles, fo far immediately from the general laws

arife

fenfation.

WE

can

otherwife,

our external fenfes no

explain

than by marking their differen-

ces, reducing them to claffes, and delineating the laws of exertion common to all, or pecu-

each.

liar to

They

are original

qualities

of

human more

nature, not refolvible into any others, ultimate and fimple ; but tafte, in moft

of

forms, at

its

condary power.

leaft, is

We

a

derivative

can trace

it

up

and

fe-

to lim-

pler principles, by pointing out the mental that produces it, or enumerating the

procefs

qua-r

SECT.

I.

qualities,

formed.

and imagination. 167 combination of the it is which by Thefe are found, on examination, T*ajle

no other than certain exertions of imaThat this may become more obgination. to be

vious,

we

mall briefly afcertain the nature detail of

and extent of fancy, by exhibiting a its

principal operations,

as far as

they con-

cern the prefent fubject.

IMAGINATION

of

is firft

all

employed

in

prefenting fuch ideas, as are not attended with remembrance, or a perception of their having been formerly in the mind. This defect

of remembrance, as

them

ferring folves their

prevents our re-

it

to their original fenfations,

djf-

But when bonds of union,

natural connection.

memory has loft their real fancy, by its aflbciating power, confers upon

them new loofe,

ties,

ranges

of forms.

that they may not lie perfectly them in an endlefs variety

Many

of thefe being reprefenta-

tions of nothing that exifts in nature,

ever

is fictitious

or chimerical

is

what-

acknowledged

be the offspring of this -faculty, and is But wild and lawlefs as termed imaginary. to

this faculty appears

to

be,

it

commonly ob-

ferves certain general rules, aflbciating chiefly ideas which referable, or are contrary, or thofe

M

4

that

1

68

PART

and Imagination.

tfafte

III

that are conjoined, either merely by cuftom, or by the connection of their objects in vicicotxiftencf,

nity,

or caufation.

It

fometimes

prefumes that ideas have thefe relations, when they have them not ; but it generally difcovers

them, where they arej and by this means becomes the caufe of many of our moft important operations

(/').

WHEREVER ideas any of

mentioned,

it

gernefs, pafles it

fancy fuppofes, or perceives in the uniting qualities juft now readily, and with a kind of ea-

from one

idea to

its

aflbciates

;

beftows fuch a connection on them, that

they become almoft infeparable, and generally Their union is fo ftrong, appear together. the tranfition from one to the other

is

fo eafy,

mind takes in a long train of related with no more labour than is requifite for

that the ideas

viewing a fingle perception j and runs over the whole feries with fuch quicknefs, as to

be fcarce

On (/)

this

fenfible that

account,

it is

when

a

mifting

its

number of

objects. diftinct

For inftance, fome ideas are of fuch a nature,

whenever they occur, they impel

to

aftion.

It is

that,

by making

fuch ideas frequently occur, by constantly fuggefting them, that repetition produces the cuftomary tendency, and habitual pronenefs to an aftion, which is an effential part in every active habit.

ideas

SECT.

Falte

I.

and

imagination.

169

ideas are firmly and intimately conne&ed, it even combines them into a whole, and confiders them as all together compofing one perception.

This

the origin of all our complex perfancy which thus beftows unity

is

ceptions. It

is

on number, and unites things into one image, which in themfelves, and in their appearance to the fenfes, are diftincl and feparate. All the objefts that affect tafte, and excite its fentiments, are certain forms or pictures by fancy, certain parts or qualities of

made

things,

which

combines into complex modes.

it

IDEAS, which

which

are

ther.

The

are thus

compounded, or

without competition, only aflbciated, communicate, by the clofenefs of their relation, their qualities to one anoeven,

difpofition

contemplated the

which makes change

it,

with which the mind

firft,

force

by

its

own

and by the ftrength of

which keeps

this

force

continues while

we view

we

a

imagine, by

firmnefs,

requifite to deftroy the-

or

union,

from being applied,

kind of

the others. illufion,

And

that they

which in reality was and we perception of them them the qualities which are necef-

produced the

brought

difpofition, to the

afcribe to

fary for

its

production.

;

A

perception,

by

being

To/Ie

170

PART

and imagination.

being connected with another, that pleafant, or painful,

becomes

itfelf

is

III,

flrong,

vigorous,

Hence may be agreeable or difagreeable. deduced the force ofympatby which enlivens y

our ideas of the pafiions infufed by

it to fuch a pitch, as in a manner converts them into the paffions themfelves.

IF indeed the connected ideas have fuch a

degree of relation, as unavoidably leads us to compare them, the phenomenon will be rethe effecT: of the comparifon overbalof the ajjociation. An idea will that lancing or lefs lefs pleafant, painful appear weaker, verfed,

than

it

which

really

by being introduced by one

a greater degree of thefe quapoflefTes if

lities,

with

is,

it

is

at the

fame time compared

it.

IMAGINATION

fometimes

operates

fo

not only to aflbciate, or even combine, but alfo to confound together ideas or fenfations that are related, and to miftake ftrongly,

as

one for the

other.

This

is

the caufe of our

often afcribing the pleafure or the pain,

which

merely from our own operations, to the objeds about which they happen -to be refults

employed

5

and of our confounding together objeds,

SECT.

and imagination. ideas, which are contemplated

I.

fajte

or

objects,

with the fame or a of

likevvife the fource

like

It

difpofition.

many

is

which

figures, in

ufed for another, as metaphor, denomination, abufion, and the like.

one thing

its

is

IMAGINATION does not confine but often ads own weak ideas j

junction with our fenfes, and fpreads

on

fluence

their

emotions,

and

aflbciated

with

con-

its

in-

Senfatilons,

impreflions.

affections are,

itfelf to

in

its

by

power,

others,

readily introducing fuch as referable them, either in their feeling or direction. Nay, they are capable of a

than even our ideas

for they ; them, be conjoined, but alfo mixed and blended fo perfectly together, that none of them {hall be diftinctly perceiv-

clofer union,

may

not only,

able in

the

like

compound, which

arifes

from

their union.

ALL

thefe are operations

which

of imagination,

naturally proceed from exertions, and are the principles,

its

fimpleft

from which the fentiments of tafte arife. Thefe fentiments are not fantaftical, imaginary, or unbut are univerfally produced by ; the energies of fancy, which are indeed of the

fubftantial

Fa/it

172

and imagination.

PART

III.

the utmoft confequence, and have the moft extenfive influence on the operations of the

By being compounded with one

mind.

other, or with other original qualities of

man

nature, they generate moft of our

an-

hu-

com-

pounded powers. In particular, they produce affeftion, and tafle of every kind ; the former, by operating in conjunction with thofe qualities of the mind, which fit us for latter, by being combined with of fenfation. laws the general

action

j

the

.

SECT.

(

'73

SECT. Of the

II.

connexion of tafte with genius*.

TASTE

may be

eflential

dant of genius

;

according as

more

one akn

ow ledges

connexion.

confidered either as an

Party or as a neceflary atten-

nius in a

paft

)

we

confider ge-

or lefs extenfive manner.

It is

Every

that they have a very near fo evident, that it has almofl

maxim, that the ableft performers the bed judges in every art. How

into a

are alfo

maxim is juft will beft appear, by the narure and principles determining briefly far the

of genius.

THE

firft

invention,

and leading quality of genius is confifts in an extenfive

which

comprehenfivenefs of imagination, in a readinefs of aflbciating the remoteft ideas, that In a man of genius are any way related. the uniting principles are fo vigorous and quick, that whenever any idea is prefent to the mind, they bring into view at once all others, that have the leaft connection with it.

As

the magnet felects

of matter the ferruginous

from a quantity

particles,

which happen

Of the

174 pen

be

to

PART

connexion of

fcattered

through

without

it,

making an impreffion on other

lit.

fubftances

;

fo imagination,

by a fimilar ^rnpathy, equally out from the whole comdraws inexplicable, fuch nature ideas of as we have occalion pafs for,

without attending to any others

prefents all

them with

as if

conceptions had been explicitly our view, and fubjected to our

poffible

expofed

and yet

;

as great propriety,

to

choice.

AT

firft

thefe Materials

may

lie

in a

rude

and indigefted chaos but when we attentively review them, the lame afibciating power, :

which formerly made us

fenfible

of their

connection, leads us to perceive the different degrees of that connection ; by it's magical force

ranges

them

into different fpecies, according

to thefe degrees j ditpofes the moft ftrongly related into the fame member j and fets all

the

members

in that pofition,

out as the moft natural.

which

it

Thus from

points a

con-

fufed heap of materials, collected

genius,

after repeated reviews

tions, defigns a regular

whole (k)

by fancy, and tranfpoli-

and well proportioned

(k).

This operaiion of genius,

isdefcribed with

all

in defigning it's productions, The the beauties of poetical expreffion, in

f leafures of imagination t B.

iii.

ver.,

348

410.

SECT.

II,

THIS

tafte

with genius.

brightnefs and force of imagination luftre on it's effeds, which will

throws a

for ever diftinguifh

and try.

them from the

lifelefs

infipid productions of inanimated indufDiligence and acquired abilities may

aflift

or improve genius

but a fine imagina-

;

Hence is derived tion alone can produce it. in all the it's inventive fubje&s to which power This is poflefTed in comcan be applied. the painter, the poet, the mufkian, by the orator, the philofopher, and even the it

mon

mathematician.

In

each indeed,

it's

form

has fomething peculiar, ariling either from the degree of extent and comprehenfion of

fancy; or from the peculiar prevalence of fome one of the aflbciating qualities ; or

from the mind

being,

by

original

conftitu-

more tion, education, fludy, ftrongly turned to one kind than the others. example, or

A

GENIUS

for

the fine arts implies, not

only the power of invention or defign, but likewife

a capacity to exprefs it's defigns in Without this, it would not apt materials. only be imperfect, but would for ever lie latent, undifcovered,

ly the

which

and

ufelefs.

It is chief-

peculiar modification of this capacity, adapts a genius to one art rather than

another

j'&e connexion of

176

PART

III.

To

form a painter, the ideas affembled by fancy muft give him a view of their correfpondent objects, in fuch order and another.

as will enable him to exhibit the proportion, the to eye, by an imitation of it's original

To form a poet, they figure and colour. muft lead the thoughts, not to the corporeal forms of things, but to the figns, with which by

the

common

ufe of language, they arc

that

fo

connected;

with propriety,

he may employ them and harmony, in ex-

force,

ideas of his fubject. citing flrong

CULTURE

may

ftrengthen

invention

;

knowledge is neceflary for fupplying a fund from which it may collect it's materials j but improvement chiefly affects the capacity of Painting requires a mechanical produced by exercife mufic a know-

expreffion. (kill,

:

of founds, derived from ledge of the power and eloquence an acquainexperience poetry :

tance with

all

the force of words and inftitu-

ted figns, an advantage

which can be

obtain-

ed only by careful ftudy.

THUS genius is the grand architect, which not only choofes the materials, but difpofes them into a regular ftrudture. But it is not able to finifh

it

by

itfelf.

It

needs the amftance

SECT.

Ofiafte <witb genius.

II.

tance of ertions.

Though

the different

ex-

it's

relations

of

fome meafure, determine the

the parts, in

form and

and moderate

to guide

tafte,

we

pofition of each,

acquire

much

ampler aflurance of it's rectitude, when tafte has reviewed and examined both the defign It ferves as a check on mere and execution. fancy

it

;

interpofes

judgment, either apand rejects many ;

it's

proving or condemning

which

thingi,

unaflifted

genius would haVe

allowed.

THE

diftinct provinces

being thus marked

how

out,

it

of genius and tafte will be eafy to dif-

they are connected. They muft be connected in a confiderable degree, but fince they both fpring from imagination

cover

far

:

as

it

is

differently exerted in each,

nection will

their con-

not be perfectly accurate and

uniform.

GENIUS

is

not always attended with tafte

and proportioned. It is fomc precifely equal times incorrect, though copious and extenfivc. fometimes bold, yet can transfufe no deBut it licacy or grace into it's productions. It is

is

never found where *

ting.

The fame

principles,

which

tafte

is

altogether

wan-

of the

vigoui aflbciating renders genius quick and

N

com-

Of

178

taflc

with genius.

PART IH,

comprehenfive, muft beftow fuch ftrength on the feveral dependent operations of fancy,

which generate

tafte,

as mall

make

that fa-

culty confiderably active and perceptive (/). The genius of the greateft matters in every

kind has not been more perfect than their tafte. The models they have given are fo finimed and correct, that the general rules and precepts of the art, afterwards eftablimed by critics, are deduced from their practice, and the very fame which they obferved,

The

though uninftrudted. fubjected

the

to

till

antiquity

after

cornpofed

had

Thefe great originals an excellent genius, but vigour of theic imagina-

flourished.

The

tafte.

Art of

the greateft tragic poets of

pofTeffed, not only

equal

was not

epos

when Homer

Arijlotle did not write his

Iliad.

poetry,

rules,

them

into unexplored tracts} and they had fuch light and difcernment, as, without danger of error, directed their courfe in this

tions led

(I) f

rl ]

There

genius and fenfilillty

is

in

tafte.

and

one view a

A

delicacy

ftill

clofer

connexion between

genius for the fine arts implies, at leaft,

of tafte, as an

means of this every form

efiential part

of

it.

By

man

of true genius fo for. cibly, as perfectly to enrapture and engage him, andhefeleds the circumftances proper for chara&erifing it, and imprefles ftrikes

a

them upon others, with the fame vivacity, that he apprehendg them himfelf. See this elegantly explained in A difcourft on /Tv

feetical imitation.

% I,

untrod-

Of

S"ECT. II.

tafle

ivith genius.

Tafle united with ge-

untrodden wildernefs.

nius renders theefFeds of the latter like to dia-

monds, which have dour (m).

BUT wanting

tafte

great folidity as fplen-

often prevails

they

;

as

where genius is cannot them-

who

may judge,

The operations, that depend the on imagination, may be vigorous enough to form a high relifti, though it be deftitute

felves

perform.

of that brightnefs and extenfion, which ncccflary for alTociating

a comprehenfive genius.

principles

is

The

ftrong and ac-

may be

within their bounds, though thefe bounds And foundnefs and ftrength of be narrow.

tive

judgment may be poUcHed without confiderable genius; but mutt always, if joined with any degree of the internal fcnfes, produce This renacutenefs and judnefs of tafte. dered Anftotle

he was

not,

the

greateft

like Longinus>

of llejl

critics,

tho'

'with a poet's

fire.

(m)

Lc

be! efprit eft de la nature de ces pierres precieufes,

II n'y a rien d e qui n'ont pas moins de folidite, que d'eclat. plus beau qu*un diamant bien poli et bien net; il eclatc de

tous cotez, etdans toutes fes parties.

Quanta fodtzxa,

tanto

C'eft un corps folide qui brille cocfiilence et

du corps.

;

ha

c'eft

fplendore.

un

brillant qui a

de !a

iv. Entrtt. J*jtriff$ tt d* Eugene.

N

2

IT

180

Of

tails

PART

with genius.

III.

IT muft however be acknowleged, that genius will always throw a peculiar brightnefs

upon

tafte,

as

it

enables one, by a kind of

contagion, to catch the fpirit of an author, to judge with the fame difpofition, in which

he compofed, and by

this means to feel every beauty with a delight and tranfport, of which a colder critic can form no idea. The fine

genius of Longinus catches fire, as it were, from the mentioning of a fublime paffage,

and hurries him on to emulate in his explication of

it.

it's

fublimity by the

Quintilian,

fame union of genius with tafte, delivers his fentiments with the utmoft elegance, and enlivens the abflractnefs of precept by the mofl beautiful and appofite figures

and images.

SECT.

SECT.

Of the

III.

of Tafte on critkifm.

influence

tafte gives the laft finishing to genius in the author or performer, fo is it the fundamental ingredient in the character of the

AS critic.

The

greateft refinement

tafte is necefTary,

qualify one for

and

but not alone

this office.

A

juftnefs

fufficient,

critic

of to

muft not

only feel, but pofTefs that accuracy of difcernment, which enables a perfon to refeft upon his feelings with diftindtnefs ? them to others,

TASTE

and to

the particular

perceives

explain,

beauties

and thus fupplies the facts, for which we are to account; and the experiments, from which our conclufions are to be But thefe conclufions cannot be deduced.

and

faults,

formed without 4 vigorous ty, the

greateft force for the moft careful

abftracting facul-

of reafon, a capacity and correct induction,

and a deep knowledge of the principles of hu-

man

nature.

One

does not merit the

name

merely by being able to make a collection of beauties and faults from perfor-

of a

critic,

N

3

mance

1

82

Of taftc

PART

en criticifm.

III,

to "tell in general j that thofe pleafe, thefe difpleafe j fome more, feme lefs. Such particular obfervations fall

tnances in the fine arts

as

much mort

of genuine criticifm, as a col-

letion of facts and experiments does of phir Jolbphy j pr a feries of news papers of a fyftem

of politicks. They are it's rude materials, and nothing more. And to exhibit them is the whole that tafte can do.

IN order therefore to form an able critic, mud be attended with a rjhilofophical

tafte

thefe materials to genius, which may fubject a regular induction, reduce them into claiTes,

and determine the general vern them (n).

In

rules

which go-

all this

operation refpeft muft be had to the fubjecls in which the excellencies or blemimes refide, and to the fimili-

tude of the qualities themfelves, or of the fenti-

ments which they () Nihil

eft,

qod

excite. Thefe are the circum-r ad artem redigi

poffit, nifi

ille

prius,

^ui ilia tenet, quorum artem inftituere vult, habeat illam fcientiam, ut ex is rebus, quarum ars nondum fit, artem efficere

Omnia

poflit.

jifperfa et difllpata

fere,

quondam

denique ipfarationedicendi.

dam

quz

funt conclufa nunc artibus,

fuerunt, ut in muficis,

Adhibita

extrinfecus^x alio genere quodam,

in

hac

eft igitur ars

quontotuni

quod f.bi rem diflblutam, divulfamque conglu. ratione qutdam coftrhigeret. Cic. dt Orat. lib. i.

fkilofophi affumunt, quae linaret, et

fiances

SCT.

Of tap on criticifm. common to a variety of

phenomena, which bution of them.

we

that

refer

it

particular regulate our diftrinot enough to difcover

mud

It is

are pleafed or difpleafed

;

we muft

preciie fpecies of either

the

alcertain

8j

j

III.

ftances

;

to the fentiment or the expreffion

and ;

to

the defign or the execution ; to fublimity or beauty 5 to wit or humour.

THE

qualities

common

to the lower clafTes

will naturally be determined firft, by regular induction. But a true critic will not reft fatif-

with them.

fied

and pufhing

By renewing the

induction,

to a greater degree of fubtlety, will afcertain the lefs conspicuous proper-

he

ties,

which

it

unite feveral inferior fpecies under will carry on his ana(0) ; and

the fame genus lyfis,

till

he difcovers the higheft kinds, and

prefcribes the moft extenfive laws of art, and thus arrives at the moft univerfal difti notion 3

that can

be made, without falling into the

uninftructive affirmation of

or faultinefs in general (e)

Turn

mere excellence

(/>).

funt notanda genera, et ad certum

citatemque revocanda.

communione quadam,

Genus autem fpecie

eft id,

numerum,

quod

fui

pau..

fimileis

autem diiFerenteis, duas aut plu r autem funt, quie generibu

Partes

reis

compleftitur panels.

iis,

ex quibus emanant, fubjiciuntur.

Cic.

ibid.

This order of proceeding from the more particular, to the more general diftinftions of our fentiments may, perhaps* (p)

N

4

To

Of fade

184

PART

on criticifm.

1IL

,

To

complete the criticifm, and render

it

truly philofophical, the common qualities of the fevcral claffes, both fuperior and fubordi-

muft be compared with the principles nature, that we may learn by what means they pleafe or difpleafe, and for what nate,

of

human

reafon.

AXL

included in perfect criticifm, requires therefore the greateft philo? fophical acqtenefs, united with the mod exthis

is

which

feem liable to an objc&ipn drawn from matter of fa& for it would appear, that critics have determined the moft univerfal ciafles, but have not yet fufficiently afcertained the fpecics :

.

that are fubordinate to them.

which they are charged, neral.

This

is

The common

defedl,

with,

that their obfervations are too geundoubtedly the cafe, /as criticifm has been, is,

that it has been feigenerally, managed: and the reafon is, dom cultivated by a regular and juft induction. It was long

ago obferved by Lord Vtrulam, that there are two kinds of indudtion, one imperfect and inefficient, which leads us at once

from experiments, to the moft general conclufions ; the othef legitimate and perfect, but fcarce ever ufed, which rifcs gra*'

'

* '

lefs

viae funt,

*'

"

"

Dux general, to more general principles. atque efle poffunt, ad inquirendam et inveniendam Altera a fenfu etparticularibus advolat ad axioveritatem.

dually from

Almata maxime generalia, atque haec via in ufu eft. tera a fenfu et particularibus excitat axiomata, afcendendo continentur et gradatim, ut ultimo loco perveniatur ad max-

ime generalia ; quae

jib.

i.

aph. 19.

In

via vera eft, fed intentata."

criticifm,

as well as in

farmer method has been generally praftifed.

AW.

Org.

philofophy, the

Indeed in what-

quifite

SECT.

III.

Of

tafte

on criticifm.

185

of tafte. If tafte is quifite perfection wanting our conclusions muft be defective, faulty, or precarious

philofophical genius, our

if

:

fervations will be trifling,

fuperficial,

obuncon-

nected, and perplexed with too great particularity. '

IT has been often obferved that nature

is

the ftandard and archetype of all true rules of criticifm. Indeed the fate of criticifm has

been fimilar to that of every fpecies of philoIt has fallen into the hands of incafophy. pable profefTors, who, without any regard to {he reality of nature, have attempted to prer

ver regards fentiment, there is a peculiar temptation to pur*ue this courfe. For the very feelings excited by qualitiet that belong to different genera t being fenfibly diftincl, direct

men,

fome meafure,

in

mark

to

But

fufficient precifion.

it

diftinguifh them, requires attention

though not with and acutenefs to

the lefler varieties of fentiment, which correfpond to the

fpecies

The

of each.

matter of faft objecled only ftiews.

a wrong method therefore, that criticifm has been cultivated by of induction. The confequence has been, that even thofe to be afcertained, are loofc diftinclions, which

general

uncertain, and

died,

till

arc

rife

more

appear a defeft that can never be remeof induftion is applied, and critics b e

defined

the other fort

content to ""as

ill

j

from particular

general.

the fentimeRts of

tafte,

principles,

gradually,

to fuch

Thus only can our concept ons of all which they arc qualities by and determinate.

and of the

excited, be rendered accurate

fcribc

1

86

Of

fcribe rules,

tajle

on critlclfm.

formed by

their

PART III. own imagina-

The accidental ufage of an eminenj author on a particular emergency, has been converted into a flanding law, and applied to

tions.

cafes no ways fimilar: arbitrary reftraints have been impofed without neceffity, and even mining faults have been recommended But thefe falfe fyftems of critias beauties.

cifm, like their kindred ones in philofophy, have obtained only a local and temporary re-

Genuine criticifm is evidently very different; and is juftly efteemed a faithful For itinveftigates thofe tranfcript of nature. it's in qualities objects, which, from the in-

ception.

mud

variable principles of human nature, always pleafe or difpleafe j defcribes and dif-

tinguimes the fentiments, which they

produce

\

and impartially regulates

in fact

it's

general conclufions according to real

moft

pheno-

mena.

SECT*

SECT.

Of

the objetfs

IV.

of

tafte*

feOff

WE

have fecn the importance of tafte, the performer, and the

both to

But its proper office and extenfive judge. influence will perhaps appear flill farther,

by confidering ferent light.

ploying

itfelf

With regard

its

It

objects in a

may

fomewhat

dif-

be conceived as em-

about nature, arf, and fciencf. to

nature,

which

is

the

com-

mon

fubject of the other two, tafte and reaIn art, fon are employed in conjunction. tafte

is

the ultimate judge, and reafon but its In fcience, reafcn is fupreme,

ininifter.

but

may fometimes

pfing tafte as

As

reap an auxiliary.

advantage,

from

reafon inveftigates the laws of nature, It fills us its beauties.

tafte alone difcovers

with admiration of the ftupendous magnitude of the mundane fyftem. It is charmed with the regularity, order, and proportion, which every part of it difplays, even to the moft illiterate;

with the beauty and variety of co1

louri,

1

88

^

Of the

lours,

the

which

fitnefs

of

cbjetfs

and

utility

of

with the inexhauftible fucceffion of to view.

PART

tatle.

tinge the face of nature

new

all

its

;

III.

with

productions

;

and endlefs

diverfity,

objects, which it prefents difclofe a thoufand deli-

Flowers

'

Animals appear

cate or vivid hues.

Here the ocean

ly fymmetry.

in

come-

fpreads forth there the 5

fmooth and boundlefs furface

it's

a verdant

earth forms

carpet.

Mountains

with rugged majefty 5 the valleys wear a pleafant bloom ; and even the dreary wilrife

dernefs

The ry,

is

day

not deflitute of auguft fimplicity. ufhered in by a fplendid lumina-

is

whofe beams expofe

view the beauties

to

of the world, and gild the face of nature. And when the curtain of night veils terrefeye, the wide expanfe with ftars, and opens the appears fpangled of multitudes of worlds paft recprofpeft trial

objects

from our

koning. Spring, fummer, autumn, prefent us with natural beauties, in the fucceflive periods of their

growth

;

and even

ftern

many objects undeftroyed, from which a vigorous tafte may extract no inconwinter leaves

ilderable degree

SCARCE any

of entertainment. art

is

fo

mean,

fo

entirely

mechanical, as not to afford fubjects of tafte. Drefs,

SECT.

Of

IV".

the objefis of fajle.

i

S0

Drefs, furnitnre, equipage will betray a good or bad tafle : nay the loweft utenfil may be

But the ugly in the kind (q). which imitate the excellencies of

beautiful or finer arts,

nature, fupply it with more proper materials ; and thence derive their merit. Mufic, painting, ftatuary, architecture, poetry, and elo-

quence, conftitute territory, in

which

it's

peculiar

it's

authority

and domeflic

is abfolutely In this department, genius receives decrees with implicit fubmiflion ; and

fupreme. it's

reafon

is

but

into view,

of which

THE truth

it's minifter, employed to bring and reduce into form, the fubjecls

it is

to judge.

not only of but alfo of beauty or

fciences are fufceptible,

or falfehood

;

deformity, excellence or defect.

As

the for-

jner are primarily regarded, reafon, by which they are diftinguifhed, here reigns fupreme,

and

is

merit.

the immediate and proper judge of Tafte exercifes only a fubordinate

jurifdiclion,

and muft be employed in fubfer-

vience to understanding.

When

this

fub-

how great a degree the beauty of thefe meaner fubregulated by the fame principles, from which ihat of the nobler fprings, appears in man/ inilanccs, produced by (q)

jefti

Mr

In

is

Hfgarti,

in his jinalvfu

f Ltuuij. ordination

the objects

Of ly

ART

tajtt.

lit.

is

introduced* reafon

dence of

of

perverted, and tafte is principaland erroneous theories arc! falfe regarded,

ordination

;

j

is

Imagination

fubftituted

for

prejudice fupplies the place of eviplaufible fables are embraced inftead

An

folid truths.

immoderate attachment

to novelty or antiquity, to fublimity or fimplicity,has often in fcience given rife to whimfical

and diftorted explications of To one or other

principles,

the phaenomena of things.

of thefe

caufes,

fyftems of

we may

afcribe

moft of the

philofophy, that have ever in the world. prevailed

BUT

falfe

tafte,

when under

of reafon, and ufed only

the entire controul as

it's

afiiftant,

is

It highly ufeful in fcience. judges, not only of the manner in which fcience is communi-

cated, but alfo of the

fubjecl

matter

itfelf.

Every juft conclusion, by extending our knowledge of nature, difcovers fome new beauty in the conftitution of things, and fupplies ad-

The pleafure, to taire. gratification attends the perceptions of this faculty, ftrongly prompts us to exert reafon in philo-

ditional

which

fophical enquiries, and, with unremitted duity, that it's

to explore

we may

approbation,

the

obtain it

iecrets

that

confirms

of

pleafure.

the

affi-

nature

By

deductions

of

SECT. IV.

Of

the. cbjetts

of

191

ta/le.

of reafon, and, by making us feel the beauty , heightens our convidtion of the truth

of

The Newtonean

conclufions.

it's

more

not

is

fatisfying

by the

{landing,

juft

the

to

reafonings

theory under-

on which

founded, than agreeable to tafte, by it's As the operations fimplicity and elegance. it

of

is

tafte are

quick,

and almoft inftantaneous,

fometimes difgufted with the bungling appearance of principles, and leads us to fuf-

it is

ped: them, before reafon has had time to difcover where the falfehood lies. king of

A

Spain,

who had made

confiderable

progrefs

hare been highly with the and perplexity, confufion difgufted in

in

aftronorny,

is

faid

to

which the Ptolemaic fyftem

motipns of the

fubmitted to that hypothefis difliked

it.

His reafon

but his

;

the

involves

bodies.

celeftial

tajle

Inftead of cenfuring the confti-

tution of nature,

he (hould have fufpecled

the

which reprefented

explication,

it

as

irregular, and ill contrived. When the mundane fyftem is juftiy explained, it appears to

be adjufted with the proportion j the fenfe firms the theory, and

niceft

regularity

of which fills

us

at

and

once con-

with admiration

of the fupreme wifdom.

SECT.

I

t

SECT. the pkafures

Of

V.

of

Tajle. 1

obfervationswehave madeconcer* ning the fubjecls of tafte not only af-

THE certain

it's

genuine province, but likewife, in it's extenfive utility and

fome meafure, evince importance.

It will

not however be impro-

complete our view of it's advantages, by confidering it's effects, both immediate and remote.

per to

IT

the immediate fource of pleasures, not The only innocent, but elegant and noble. powers of imagination are a ftriking inftance is

munificence of our creator, furnimed us not only with thofe

,of the

who

has

faculties,

which

are neceffary for the prefervation of our being, but fuch alib as may fit us for receiving a rich variety of enjoyment. And by the

improvement of

may

be

ftill

more

thefe powers, our pleafures

farther multiplied,

exquifite. for enjoyments,

A

and rendered

fine tafte qualifies a

man

which

others are perfect (hangers, and enables him to derive entertainment from almoft every thing in art or nature.

It

to

enlarges his fphere of happinefs,

1

SECT.

Of the pleafures

I.

1

93 which employ the mind without fatiguing it, and gratify without

by

oftajli.

yielding delights,

cloying.

THE

pleafures

of

though

taft*,

lefs

im-

proving than fuch as are mtelle&ual, are often as

generally

great,

more

rapturous, always

We need but and infufed are attend, by every objeclr, they The without labour or expence of thought. beauties of nature are open to all : and tho*

more

univerfally attainable.

property , moft men may have the enjoyment of many of the wonders The improvement of tafte is eafier, of art.

few can have the

and more

certain,

than that of reafon.

Some

are indeed incapable of the higheft perfection of it : But few are fo entirely deftitute of the

natural feeds of

pleafure from all

as

it,

not to

as

receive

fome

proper objects. Though cannot attain fuch juftnefe of difcernment,

may

it's

qualify

gain them

them

for

being judges, or

there are j authority fcarce any, who may not acquire the fenfibithat is requifite for their own gratifility y as

critics

cation.

THE

pleafures of tafte are not like the graof external fenfe, followed by un-

tifications

O

eafinefs

1 .

Of the pleafures

94

of

PA*T

tajle.

III.

nor reflected upon with They are confefiedly of an

cafmefs or fatiety diffatisfaction.

;

A

relifh for them adds digniand commands no inconfity to a character, derable degree of approbation. man, who devotes a confiderable part of his time to the

higher order.

A

of fenfe, is an object of contempt or indignation : but a perfon who can fill up thofe parts of life, that afford no opportunities

gratification

with pleafures of

for focial offices,

can find entertainment for

many

tafte,

who

hours in a

gallery of pictures, or in a collection of poems, is

efteemed on

of

tafte

Juftnefs very account. an author as high a degree procures of reputation, as the moft curious ab {tract difquifitions.

this

Ariftotle's

critical

works are

his logic. To the generally valued than later he owed the veneration of his implicit followers; a veneration which free enquiry

more

has

already

of the former,

extinguished all

:

but

on account

ages will probably admire

him.

THE

fentiments of tafte fpread a luftre over

The pleafures of moft of our enjoyments. fenfe and the external decorations of life would be infipid and defpicable to every man if ideas of elegance and of underftanding,

mag-

SECT.

Of

I.

the pkafures of tafie.

magnificence, derived from tafte, were not them. Tafte ftamps a value

aflbciated with

upon

riches,

as the

procuring

it's

gratifications

the great end, for which they are defired, and the worthieft ufe to which can be

is

applied,

they the execution of benevolent and

.vir-

tuous defigns alone excepted.

2

SECT,

i

96

S E C T. the

Of

of Tafle on the charafter

effeEls

and

THE

VI.

paffions.

more remote

arife

advantages of tafte it has on the

from the influence

and the character.

paffions

THE

as well as tafte,

depend for the on imagination \ and production

their

paffions,

therefore reafonably be expected to bear enter

may

fome analogy to it. Were it proper to on a full difcuffion of the origin of the it

fions,

derive

and

paf-

might be fhown, not only that they their particular

their exiftence,

their

various

turn,

degrees of ftrength, from

the operations of fancy, but alfo that they in many iuftances, .to the very

owe them,

fame operations of fancy, which produce the fentiments of tafte. Fancy forms the pictures

which

affect tafte,

veral diffant ideas into

fame

by compounding

one whole

pictures excite the

fe-

;

and thefe

paffions.

AJfocia-

on tafte; and has examined the

iion has a very great influence

every philofopher,

who

affections

SECT. VI.

Of tie

efetfs

of

197

to/If.

has remarked

with tolerable care,

affections

the great dependence which they have

Many

aflbciation.

pafby

and

;

fource of

this

many

of them principle

arife

on from fymthe

likewife

is

fentiments of

Both

tafte.

our fentiments and our affections are often rendered more intenfe by the mixture of concomitant emotions. flrong imagination'

A

produces a vigorous and lively tafte ; andj it is always attended with keen and ardent paflione.

THUS

tafte

and

affection are effects of the

fame caufe, ftreams ifTuing from the fame fountain ; and muft therefore be in a confiderable meafure fimilar,

likewife

They

tually influence one another, rive a farther fimilarity.

mu-

and hence de-

We

have remark-

ed already, that the- prevailing paffion often enlivens the fenfations of tafte, and deterT particular form. Tafte as often augthe. vigour of the paflions, and fixes Prefent a mere their prevailing character.

mines

it's

ments

good or evil ; the mind feels Mention a particular advantage

abftract idea of

no emotion.

or difadvantage

forrow a

man

is is

;

defire or

averfion, joy

immediately arroufed.

or

Tell us that

generous, benevolent, or compaf-

O

3

fionate,

Of

'198

fionate, or

on the contrary that he

is

III.

fordid

or hardhearted

felfifh,

of

PART

the effttfs of tajle

his character

this general account ; too indefinite to excite ei-

is

ther love or hatred. tions, in

which

Rehearfe a

feries

of ac-

thefe characters

have been difplayed; immediately the ftory draws out the affections correfpondent. It is only a perception enlivened by fancy, that affects our

A

active powers. very general idea is fo uncannot that flable, lay hold of it : but fancy when a particular idea is prefented, the ima-

gination dwells upon it, cloaths it with a variety of circumftances, runs from it to other ideas, that are

connected with

it,

and finimcs

a picture of the object reprefented by that idea,

which

will infallibly produce a fuitable

Now

affection.

if

we examine

the colours,

which imagination throws upon our ideas, in order to enable them to excite the paf-

we

fions,

them tafte.

mod

fhall find that

the greateft part of

from the fentiments of Honours have a great influence on men but greateft on thofe, whofe tafte are extracted

;

of fuch a ftrudture, as to give them a high relifli of the magnificence and pomp, which

is

the poffcffion of honours naturally procures.

There a

is

fcarce

perfon more

quality, that recommends ftrongly to our friendship,

any

than

SECT. VI. than a

way

Of

the effetfs

or another.

painting

A

of

tafle.

our

fitnefs for gratifying

genius

tafte in

for

199 fome

mufic or

fometimes more fpeedily and

will

certainly introduce

a flranger

who

or good offices of a man,

to the is

notice

a tolerable

than more important acwhich he is not equally of complifhments, A to fenfe of beauty has genejudge. qualified

judge in thefe

arts,

much

greater influence upon the amo.rous paflion, than the mere appetite for fen-

rally

and is fometimes fo powerful, fual pleafure as even to overbalance, in our choice, the na-,

of agreeable mental qualielegant entertainment is prepared,

tural approbation ties.

An

We

hunger, but to pleafe tafte. may perhaps venture to aflert, that every appetite and paflion in our nature, except ava-

not to

fatisfy

rice alone, or the love

of

money

for the fake

of hoarding, derives it's origin and it's vigour, in a great meafure, from thofe ideas, which imagination borrows from tafte, and aflbciates

with the object of that

paflion.

This

being the cafe, the paflions will naturally receive one tincture or other, in every man, according to the particular conftitution of his tafte,

O

4

WE

200

Of

WE find by between the Great

III,

experience fuch a connexion and the paffions of men,

taftes

would

as thefe obfervations (

PART

the efefis of tafle.

fenfibility

of

taftc is

lead us to expect.

generally

accom-

Women have /panied with lively paffions. always been confidered as pofleffing both in a more eminent degree than men. nefs of tafte

is

effential to poetic

Horace has affigned

to poets the

dent turn of paffion,

!

correfpon-

characterifes

A

grofs, uncultivated

produces a groflhefs

and indelicacy of

them genus tafte

when he

Quickj and

genius

paffion, it

vails,

irritabile.

But wherever a delicate

tafte prebeftows a certain refinement and ele-

gance on our principles of action, which

makes

us defpife

coarfe,

which vulgar minds purfue with

many

objects as grofs

and ar-

and even when we are attached to the fame things with other men, it gives a very dour

:

to our manner of affecting peculiar politenefs them. Savages haAe a grofsnefs both of tafte

and of paffion, which diftinguimes them from The vulgar in every nacivilized nations.

by the fame circumWhatever quality polite.

tion are diftinguifhed, ftance,

from the

the tafte of a nation, is gives a tincture to found to tinge alfo the national character.

The

SECT. VI.

the effetfs

Of

of

201

tajle.

The. French have a peculiar delicacy of tafte

and a peculiar through

their

vivacity

manners.

:

and elegance runs

The

irregularity

and

boldnefs of the Englijh tafte correfponds exof the nation. actly with the general fpirit

The

ftatelinefs,

which the Spaniards

affect

analagous to the

lofti-

in their behaviour,

nefs is

is

which they approve

in compofition. It difficult matter to trace a like connec-

no between

tion

tafte

and character in indivi-

duals.

THIS connection may be owing,

in

fomc

meafure, to the influence, which the paffions have on tafte. But it can fcarce be doubted, that it arifea as frequently from the tincture,

which

cite the

rived

gives to the paffions recollect that the ideas

tafte

when we

paffions are,

:

efpecially

which ex-

in a great meafure, de-

from the fentiments of

tafte.

IF it fhould farther appear, that a juft and well regulated tafte has a peculiar tendency to confirm virtuous affections and principles,

importance would be ftill more conlpiThofe who have enquired, whether has this tendency, feem to have run into

it's

cuous. it

extremes.

Some

reprefent thefc qualities in actions

202

and

adtions

III.

which excite our mothe fame with thofe qua-

affections,

ral approbation, as

which,

lities,

PART

the ffetfs cf tafte.

Of

in a picture or a

poem, produce

the gratification of tafte ; and think that it is the fame faculty, which is pleafed in both

But experience will fcarce fuptafte for the fine arts, port this opinion. and a high fenfe of virtue, which, on this cafes (r).

A

hypothefis,

parated

moral rive

would be the fame,

would probably lead us to defrom other principles, than thofe from

faculty,

it

which

tafte

been explained.

has

feems however to be

as little

termining with others, that

has no in-

may be fepaupon morality (s). from virtue j it may accidentally lead It

men

to act vicioufly, for

that

it is

than to

it's

gratification

:

but

naturally more favourable to virtue vice, may be inferred from many of

the

acknowledged mind.

MOST wrong to

There

reafon for de-

tafte

fluence rated

are often fe-

and a careful examination of the

:

qualities

paflions

fome perverfion of (r) This

is

of the

human

may be

tafte,

traced up which produces

often aflerted, or very direftly infinuated,

by

Lord SHAFTESBURY. (j) This opinion iicsy

is

See Charafleriflics, paffim . maintained by Mr. BROWN, EJfey on

7.

them,

SECT. VI.

Of

the efetfs

us

of

203

tafte.

their

to

them, by leading mifapprehend It would be almoft fuperfluous to

objects.

undertake a formal proof, that luxury, prodigality,

from

this

evident, that, if tafte

were

arife

ambition,

And

caufe.

it is

chiefly

fo as to difcover that it is perfectly formed, or a falfe beauty fublimity, or at lead an inferior fpecies, that belongs

their objects

;

and

if it

the purer and nobler it

may be employed,

to thefe

or

vices

were accuftomed to

,

which which now

fubjects about

thofe ideas,

miflead fo many, muft lofe a great influence

Vice is often promoted by tafte upon them, or wrong applied let tafte be ill formed :

rendered correct and

juft, vice will

be almoft

for our opinions of things will extinguifhed be, in moft cafes, true and fuited to their ;

natures.

A

MAN who is acquainted with high and noble pleafures naturally defpifes fuch as are A relifh for the gratifications of far inferior. tafte will

enable a man,

in

fome degree,

to

undervalue the pleafures of fenfe, and to difregard the calls of appetite, which are the greateft

good

obftrudions

affections.

puts very

little

to

A man

the

prevalence

of an improved

of

tafte

value on fenfual delights, except

Of

204

PART III. of tafte come to him, recommendthey

the effetfs

as cept fo far And it has ed by an opinion of elegance. obferved a that been already perfectly juft tafte would enable him to ftrip this recom-

mendation in a great meafure of

ANY fentiment

or affection

it's

force.

which

is

fuita-

ble to the prevailing biafs of the mind, will derive peculiar ftrength from that biafs.

A

and elegant

juft

mind

tafte,

frequently employed

an habitual difpofition, more congruous to the agreeable feeling, and gentle impulfes of kind affection, than to the

puts the

into

more tumultuous paffions. ty,

and

the

mind

The

agitations of the rougher exercife of tafte begets fereni-

fatis faction. is

prone

fection finds the

and

fuited to

itj

in a

which

foil,

When

thefe

to benevolence.

prevail,

This

af-

mind it

already in a temper ftrikes deep it's roots, as

fupplies

it

with

it's

natural

A

man is nourishment, in great abundance. feldom better difpofed to friendftip, generofiand the whole train of kind affections, ty, love, than

when

his

mind has been

foftened,

by

the charms of mufic,

painting, or poetry. It is universally acknowledged, that thefe arts, when properly applied, are very powerful in

recommending

virtue.

And

their

power arifes,

SECT. VI.

Of

the efetfs of tafte.

205

from the circumwe now are Their ftance which confidering. immediate gratifications, by producing a conin a great mcafure,

arifes,

gruous difpofition, prepare the mind for being deeply imprefTed with the moral fentiments

and

affections,

which they

are fitted

to

in-

fmuate.

ALL have

the principles of the fo near a connection, that

human mind one of them

can fcarce be confiderably altered, but it produces a fimilar alteration in the reft. vi-

A

tafte,

gorous

not only

is

affected

with every

the minuteft object, directly prefented to it; but imparts alfo a peculiar fenfibility to all

the other powers of the foul. Refinement tafte makes a man fufceptible of delicate

of

feelings

on every occafion

-,

and thefe increafe

tKe~acutenefs of the moral fenfe, and render all it's fite.

perceptions ftronger and

On

this

account a

man

more exquiof nice tafte

will have a ftronger abhorrence of vice, and relifli for virtue, in any given fitu-

a keener ation,

in the

than a perfon of dull organs can have,

fame circumftances.

in part that

many

Hence it proceeds

actions are reckoned either

virtuous or vicious by civilized nations, to favages

appear perfectly indifferent.

which This

may

20 6

Of

the effetfs

of

PART

tajlt.

IIL

rather be afcribed to an elegance of tafte

may

gradually introduced by fociety, than to any The moral peculiar difpofition to virtue. fenfe is, in favages, fo dull that the qualities of thefe actions are imperceptible to them,

and

fentiments

their

weak

in

other inftances are

Civilized nations have

in proportion.

delicacy fufficient to perceive

moral

qualities

which make no impreiTion on a this delicacy renders more and ; favage vigoin rous, proportion, the perceptions which they have from thofe actions that are approved in actions,

or difapproved by favages themfelves. Thus the cultivation of tafte gives new force to the fentiments of the moral faculty, and by this

means

renders

it

vicious paffions,

IT tafte

is

more powerful

to

and iupport the

reprefs the virtuous.

likewife to be obferved that,

and the moral fenfe are actions

and

diftinct

though powers,

affections are

fit to gravirtuous and obligatory What is js often alfo beautiful or fublime.

yet

tify

many

both.

vicious

may

What

is

be at the fame time mean, de-

formed, or ridiculous.

A

man, whole

tafte

uncultivated, has no motive in thefe cafes, but what arifes from the moral principle.

is

A

perfon of improved

tafte,

not only has

this

in

SECT. VI.

tie efetfs of tafte.

Of

207

but is capable of adgreateft ftrength, ditional motives derived from tafte ; and, hav-

in

it's

a double impulfe, mufl be more ing thus than the other. It muft ftrongly prompted

be acknowledged indeed that fome vices apor elegant, and may therefore pear fublime be recommended by

have thefe is

things

a lefs degree than the to external Superiority

virtues.

oppofite

But they always

tafte.

qualities in

Admiration

nobler than ambition.

of thefe vices therefore implies a defect of juft

Where this

tafte.

prefers

faculty virtue to vice.

is

perfect,

it

always

.ftiilN order to give the foregoing obfervations

their full weight, it is neceflary to remember that many 'different caufes concur in

the characters of men.

Tafte

is

forming but one of

thefe caufes j and not one of the moft It is

fill.

not therefore to be expected that

the character fhould be, perfectly analogous to the

may

in

every

tafte.

inftance,

Other caufes

counteract the influence of this principle

and render the turn of the paflions to

*

power-

it's

ftructure.

of a good

On

this account,

diflimilar

examples

joined with grofs paflions or a vicious character are far from being fufticient tafte

to prove that

4

tafte

has no connection with morals.

208

Of

of

111.

heterogeneous competition be otherwife accounted for. All our

conclufions concerning

human

be founded on experience

but

:

cefTary that every conclufion diately

fion

PART

tajle.

This

morals.

may

the effetts

nature muft is

it

A conclu-

deduced from experiment.

is

ihewn

not ne-

mould be imme-

often fufficiently eftablimed, if it be that it neceffarily refults from general

of the human mind, which have been afcertained by experiment and induction. This is the natural method of eftabliming

qualities

fynthetical conclufions j efpecially where an effect is produced by a complication of caufes.

This

the cafe in the fubject of our prefent The character and the paflions are l^jenquiry. is

affected tafte is

by many one.

different caufes

Tafte in the fine

of which

;

arts

may appear to be wanting in fome men, becaufe they have had no opportunities of exercifing it

on

fubjects of that kind;

while, at the fame

time, the natural principles of it being vigorous, and all men being converiant about the objects of affection, it may beflow a delicacy and refinement on the character. Affectation

may

difguife the paflions

j

imitation

der them unfuitable to the turn of bit

may make them run

tafte has,

notwithftanding,

cy to influence them.

may ren-

tafte

counter to

it

;

ha-

:

but

a natural tenden-

THREE

DISSERTATIONS O N '

A

T

S

E.

B Y

Mr.

De VOLT A i

Mr.

De

Mr.

D'A L

MoNT E AND E

MB

s

R E, QJJ

E R T.

i

E u,

ADVERTISEMENT. HE

following

eflays,

upon the fame fub-

jett which ProfeJJbr GERRARD has treated in fuch a mafterly manner, are the productions

of three of the great eft and moft elegant writers, that

the

French nation has ever produced,

^here can then be no doubt about their to

a place in

title

which, by fuch a vawill contain, perhaps, all that

this volume,

luable addition,

can be faid concerning the principles the nature, ,

of true

tafte;

treated by the beft.

extent, the rife and decline matters hitherto injudicioujly

and

the characters

many pens, and but fuperficially by But notwitbftanding the merit of

thefe ejjays, it

is

owing

to

Mr. GERRARD'S

candid and generous permijpon that they are admitted into a volume which was appropriated y

to his

own

excellent

'The genuine performance. anxious thofe difpells fears of riwhich are the a narrow and vality, refult of

love

of truth

felfijh

ambition,

emulation.

and not of a

Bejides,

noble

and generous

Mr. GERRARD'S

talents

render fuch anxious fears entirely groundlefs. P 2 On

ADVERTISEMENT.

212

On

other

the

be

cannot

down

hand,

difpleafed,

to pojlerity

in

our ingenious profejjbr that his name Jhould go

company with

thofe

of

MONTESQUIEU, D'ALEMBERT, and VOLTAIRE.

effays

of the two

latter

Tfhat of the late prefident

pieces.

are finijhed

MONTES-

an imperfect fragment, an ajjemQUIEU blage offcattered thoughts, the frjl firokes of his pencil, in which we fee the noble fubjett is

in part, and the principal colours Jketched out that enter into the compofition of true tafte

thrown

carelejly

the noble artiji

upon the canvafs.

was drawing

materials

his

For while

his outlines,

and

he

'was

work,

for gathering feized with a diforder, which prevented him

it the fnifliing touch, and deprithe republick of letters of one of it's bright-

from giving ved eft

ornaments,

the

thoughts,

however, offuch

an original genius, unconnected as

they may be, acceptable to fuch as know that true fublime always to be found in

'will be highly

there

is

the frjl mailers,

are

a

and mojl imperfect Jketches of great and that the rude dejigm of a RUBENS

infinitely

more valuable than many a correfl

and jfinijhed piece.

A N

kV

s

T A

2i 4

Mr.

DE VOLTAIRE'S

voluptuous fenfibility, and rejects the contrary with loathing and difguft ; like the palate alfo,

often doubtful, and, as

it is

wildered,

it

were, be-

whether it mould objects, and frequent-

not knowing

relifo or reject certain

influence of habit to ly requires the give

it

a

fixed and uniform determination.

To have a tafte> fuppofes fomething more than merely to perceive, and to difcern with accuracy the beauty of any work or object. This beauty muft be/?//, as well z& perceived 5 the mind muft be touched and affected by it This feeling in a lively and fenfible manner. however, in order to conftitute true taflet muft not be a vague and confufed fenfation 5 but muft be attended with a diftinct view, a quick and comprehenfive difcernment of the various qualities, in their feveral relations and connexions, which enter into the competition And in this of the object we contemplate.

we

fee another ftriking

refemblance between

the intellectual taftc and the fenfual one

;

for

perceives immediately the mixture of different wines, fo the man of

as

a nice palate

quickly difcern the motley mixture of different ftyles in the fame production ;

tafte will

and

let

the beauties and defects

be ever fo clofely

ESSAY ON TASTE* blended in an object, will always be capable of diftinguifhing the former from the clofely

latter.

As the

corruption of the fenfual tafle difcovers itfelf by a relifh for only thofe delicate

and high feafoned dimes, in which all the refinements of art have been employed to excite a forced fenfation

of pleafure

j

fo the de-

intelleftual tafle manifests itfelf pravity of the to far-fetched and iludied an attachment by

ornaments, and by a want of beauties

The

which

relifli

unaffected

are

for thofe

and natural.

corruption of the fenfual tafle, which delight in fuch aliments as are dif-

makes us

gufting to thofe, whofe organs are in a good ftate, is in reality a kind of difeafe ; nor is that depravity

of the

intellectual tafte

which

makes many

prefer the burlefque to the fubthe laboured ftiffnefs of art, to the and lime, beautiful fimplicity of nature, lefs a difeafe in

our mental frame.

THE

intellectual tafte

is

much more form-

ed by education and culture, than the fenfual one j for though the latter may be brought,

by

habit, to relim

ing and difguft

$

what

yet

it

at firft excited loath-

does not feem to have

P 4

been

ai6

DE VOLTAIRE'S

Mr.

been the intention of nature, that the generalfhould acquire by cuflom and ity of mankind thofe fenfations and experience, perceptions

which is

are neceffary to their prefervation.

otherwife with

the intellectual

tajle

:

It it's

formation requires time, inftruclion, and exyoung man uninftrucled in the perience.

A

of mufic and painting, let his natural be ever fo quick and lively, will fenlibility arts

not immediately diftinguifh, in a grand concert of mufic, the various parts whofe connexion and relation conftitute the effence and charm

of the compofition, nor will he perceive in a picture the gradations of light and fhade, that harmony of colours, that correctnefs of defign

which characterize a

finished

piece

;

but in procefs of time, and alfo by degrees, he learns both to hear and to fee in a more perfect

manoer.

The fame

uninflrucled

perfon will find a variety of emotions arife in his mind, the

firft

time he

is

prefent at the

reprefentation of a fine tragedy j but he will neither perceive the dexterity of the author in

maintaining

the unities, nor that

exquifite

by which the drama is fo managed, that no perfon enters upon the fcene nor quits it art

without an evident reafon, nor yet that ftill nice and difficult art of making the va-

more

rious

ESSAY ON TASTE. rious fubordinate interefts terminate ter in

one,

which abforbs them

217 and cen-

all.

It

is

only by the force of habit and reflexion, that

he

will

tafte,

diftinguim thefe feveral objects of

and

feel

delightful fenfations

from

cumftances, of which formerly he had

cirlittle

or no idea.

ELEGANT

and able and

cate their feelings

artifts

may communi-

their

difcernment to

and thus excite tape in a nation, which, without them, had never known it's others,

refined pleafures.

By

frequently contempla-

ting the works of great and eminent matters the powers of nature in the various arts,

we imbibe, as it were, tofte, and illuflrious men, fo as to of thefe fpirit come at length to look at a gallery of paintings arife into

the

with the eyes of a Le Brun, a

Le Sueur;

PouJJin^ or a to hear the declamation of Quinaut's

with the ear of a Lulli-, and the airs and fymphonies with that of a Rameau. Nay, we even read works of learning and genius,

operas,

with a portion of that

fpirit

that appears in

their compofition.

IP in the arts

firft

and fciences

periods of the culture of the it has fometimes happened that

US'

Mr.

that a

DE VOLTAIRE'S

whole nation have been unanimous

in

the praife of authors full of defects, and whom fucceeding ages have beheld with indifference,

and even with contempt j the reafon is, that thefe authors had natural beauties which

were perceived by all, while that juft difcernment that was necefiary to diflinguifh their numerous defects, and which is lefs the gift of nature, than the refult of time, habit, and reflexion, was as yet acquired by none. Thus

who had

Lucilius, tation

among

been in the higheft reputhe Romans, funk into oblivion

when Horace

arofe ; and Regnier was univeradmired by the French, until Boileau fally if there are feveral ancient and j appeared

authors,

who

have maintained

their

credit,

notwithstanding the abfurdities that are to be found in every page of their writings, it muft

be the authors of thofe nations, among whom no judicious and correct writer has appeared to open their eyes, like Horace among the

Romans, and Boikau among the French. IT

is

a

common

faying,

difpttting about taftes

:

And

that

there

if

tafte

by

is

no

here be

undcrftood the palate, which loaths certain and relimes others, the maxim is

aliments jultj

becaufe

it is

needlefs

to

difpute about

what

ESSAY ON TASTE.

219

corrected, or to attempt reconftitution and mechanifm of

what cannot be

forming the But the maxim is organs merely corporeal. when applied to that falie and pernicious, intetteflual tafte t

and

arts

which has

fo

charms,

for it's objects the thefe objects have real in reality a good ~tafte

As

fciences.

there

is

a perceives them, and

bad one which and them there are certain not$ perceives we which methods, by may often correct thofe mental defects which produce a depra-

which

But it muft be granted, at the ved tape. fame time, that there are certain phlegmatick fpirits,

certain

which nothing can enflame, and alfo diftorted intellects, which it is im-

to rectify ; with fuch therefore, it poflible vain to difpute about taftes, becaufe is in

they have none

IN

many

at all.

things Tafle feems to be of an and without any fixed or

arbitrary nature,

uniform direction, fuch as in the choice of drefs and equipage, and in every thing that does not come within the circle of the finer In this low fphere it mould be diftinarts. guifhed, for

it

methinks,

by the name of fancy

\sfancy rather than

tafte>

5

that produces

fuch

DE VOLTAIRE'S

Mr.

fuch an endlefs variety of tory modes.

THE

tafte

of a nation

new and contradio

may

become extremely depraved

degenerate and and it almoft ;

always happens that the period of it's perfection is the forerunner of it's decline. Artifts

through the apprehenfion of being regarded as mere imitators, ftrike out into new and un-

common paths, and

turn afide from the beau-

fimplicity of nature, which their predeceflbrs invariably kept in view. In thefe ef-

tiful

is a certain degree of merit, which from induftry and emulation, and cafts over the defects which accompany their

forts there arifes

a

veil

The

productions. their

publick, fond of novelty, invention ; but this applaufe

applauds foon fucceeded by fatiety and difguft. new fet of artifts ftart up, invent new

is

A me-

thods to pleafe a capricious tafte, and depart ftill further from nature than thofe who firft

ventured from fancy. rates

Thus into

it's paths into the wilds of the tafte of a people degene-

the grofleft

whelmed with new

corruption.

inventions,

Over-

which fuc-

ceed and efface- each other with incredible rapidity, they fcarcely know where they are, and caft back their eager and anxious defires

towards

ESSAY ON TASTE.

*it

towards the period, when true tafte reigned under the empire of nature. But they implore it's return in vain ; that happy period cannot be recalled, it depofits however in the cuftody of certain choice fpirits the fublime pleafures of true

which they

tafte,

cherifh and

remote from the of the depraved and capricious profane eye

enjoy in their little circle, multitude.

THERE

where

are vaft countries,

thofe uncultivated waftes,

where

has

tafte

Such are

not yet been able to penetrate.

civil

fociety

has never been brought to any degree of perfection, where there is little intercourfe

between the

fexes,

and where

all

reprefenta-

tions of living creatures in painting and fculpture are feverely prohibited by the laws of

Nothing

religion.

narrow, and

fo

renders

little,

if

I

the

may

mind ufe

fo

that

expreflion, as the want of focial intercourfe j this confines it's faculties } blunts

the

paffion,

and

of genius,

edge

and leaves

Befides,

to

where

wanting, the

a

ftate

of languor that could

every principle, the formation of true

inactivity

contribute

damps every noble in

feveral of the

reft

4

mud

tafte.

finer arts

neceflarily

are

languifh

and

222

Mr.

and decay, other.

arts,

fince they are

6V.

infeparably con-

together, and mutually fupport each This is one reafon, why the Afi-

nected

aticks

DE VOLTAIRE'S

have never excelled in any of the and hence alfo it is that true tafle

has been confined to certain countries in Europe.

REFLEXIONS

REFLEXIONS ON THE

USE

ABUSE

and

o

F

PHILOSOPHY In

MATTERS

that are properly relative

T O

TASTE. ByMr.D'ALEMBERT, Member of the

F. R. S.

French academy, of the Royal academy of Sciences at Paris, and of the Royal academies of Prujfia and Sweden, &c.

REFLEXIONS ON tH tJSEaiid

In

ABUSE

MATTERS

of

E

PHILOSOPHY

that are

properly relative

TO

T A

TH

E

S

T

E*. fo celebrate

philofopriical fpirit,

ed by one part of our nation, and fo

decried by another, has produced different fcnd

even contrary effects, according as we it with refpecT: to the or in

confider

Sciences,

relation to the Belles Lettres.

the fphere of fcience, to

Operating in

which

it

properly

Thefe Reflexions were read by Mr. d'Alemlert before the Profit academy, the f 4th of March 1757.

belongs

Mr.

224 belongs,

it

explaining

D'ALEMBERT'S has

all

limits to that paffion for things which arofe from the fet

towering pride of fyftem ; but entering into the circle of Belles Lettres it has prefumed,

on the contrary, before

call

it's

feelings of the

to

it's

tafte.

to analyfe our pleafures, to tribunal the more

elegant

human mind, and

examination the If the

to

fubmit

various objects

wife moderation,

of

which has

been obferved, in thefe later times, by philofophers in matters of fcienee, has inet with much contradiction ; is it furprizing that the encroaching fpirk of the new adventurers in literature has alfo been oppofed ? This philofophical fpirk, applied to the objects of tafte,

muft undoubtedly

difpleaie fuch of

our

writers as imagine, that, in matters of tafte, as well as in thofe of a more ferious kind,

every paradox ought to be rejected, every

new

merely opinion baniihed, and that, This way of thinking, becaufe it is new.

however, appears to me both unreafonable and pernicious ; we cannot extend too far the liberty of examining, judging, and inventing in matters of fpeculation and literary amufement,

even though,

liberty

mould be

efforts.

The

in

utterly

flight

many

cafes,

unfuccefsful

in

that it's

of genius muft be unreftrained,

ESSAY ON TASTE, retrained, fince

it is

often in the midft of

excurfions that

wildeft

Such

fublime.

alfo

it

creates

it's

the true

the cafe with the fa-

is

culty of reafon, or the philofophical

fpirit*

Let us therefore permit this difcerning fpirit to extend indifcriminately, though fometimes without fuccefs, it's infpeclion to all the oband by that means jects of our pleafures, it

put

in a capacity

of ftriking out

and conducting genius

new paths, unknown

itfelf into

regions.

ONE in

it's

of the great advantages of philofophy application to matters of tafte, is it's fo

admirably adapted to cure, or to that exceffive veneration for a certain prevent, being clafs

we may

of authors, which

name of

literary fuperflition.

call

It will

by the juftify

our efteem of the ancients by rendering that cfteem rational, and reducing it within it's proper bounds;

them

it

will prevent our

in their defects

;

will

it

admiring

(hew us

their

equals in feveral of our modern writers, who, becaufe they have followed the models exhibited by the ancients, are fo unreafonably modeft as to efteem themfelves inferior to their mafters. this

But

it

will be afked,

method of analyzing

whether metaphyfically mat-

Q, 2

ter$

D'ALEMBERT'S

Mr.

ters of feeling

and fentiment, will not be at-

tended with

many

ther

it

inconveniencies

will not often

which

into the reafons of things

damp our

?

Whe-

engage us

to enquire have no rea-

by leading us into the cuftom of difcufling coldly what was defigned by nature to touch and to inflame, fuch (hackles upon true genius, as to and fon at

all,

pleafure

put render it fervilely timorous, and check Let us endeavour enterprizing ardour? give a fatisfa&ory anfwer to

it's

to

thefe important

queftions.

from being generally means an arbitrary no by poflefled, yet This is a truth acknowledged on all thing. thofe reduce tafte to mere both who fides, by and by thofe alfo and perception, feeling

TASTE, though

far

is

who would

bring

it

within the fphere of rea-

But we muft obferve foning and difcuffion. at the fame time, that all the beauties and perfections,

which appear in the productions

of nature or of

art, are

not properly the ob-

are jects of tafte, whofe perceptions tenfive than many are apt to imagine.

lefs

ex-

There

are certain charms of a fublime and ftriking

kind, which equally affect

of which, consequently,

all

all

obfervers,

and

the various or

ders

ESSAYONTASTE.

227

ages and nations of But there the world, are competent judges.

ders of mankind, in

is

alfo

all

another fpecies of beauty, which only minds, that are poflefled of a

affects thofe

certain delicacy of feeling, and imperceptible to vulgar fpirits.

which

which remains

The

beauties

belong to this clafs, are beauties only

of a fecond order; becaufe objects, which excite the idea of grandeur, furpafs thofe

which

affect us

elegance.

only by their gracefulnefs and of this fe-

The charms however

of objects are thofe, which it remoft fagacity to difcern, and the to feel truly ; and delicacy greateft accordingly they abound moft in thofe nations where

cond

clafs

quires the

focial intercourfe has contributed to

the per-

and multiplied the fources It is then in of pleafure and enjoyment. fection of the arts,

of beauty, which is adapted to the contemplation of the difcerning few, that we are properly to look for the objects of tafte.

this clafs

Thefe tafte,

obfervations lead us naturally to define Faculty of diftinguijhing, in the

as the

works of art, the various qualities to

which are

excite pleafure or difgujl^

in minds adapted that are fufceptible of delicate fentiments and perceptions.

CL3

IF

D'ALEMBERT'S

Mr.

228

IF then

tafte

be not an arbitrary thing,

it

muft be founded on fixed and evident princithe application of which, we may ples, by form a decifive judgment of all the various productions of

The

art.

truth

that

is,

the

fource of our pleafures and of our difgufts fo lies folely and intirely within ourfelves ; that, if

we

with attention upon our

reflect

mental frame, we mall find there general and invariable rules of tafte, whicrTwill ferve as the criterion of beauty all

the objects,

and deformity, in

which the fecundity of the

different arts prefents to our view. From hence it follows, that the fame philofophical ipirit,

which

obliges us, for

want of fufficient

evidence, to fufpend every moment our enquiries about the nature and qualities of thofc objects that are without us, ought, on the contrary, to animate our refearches with refpect to the objects and the nature of taffe, which -lies obvious to our examination, as it

exifts

within us, and conflitutes a part of

The true philofopher the fame will, time, eafily perceive that this examination mutt be confined within our mental frame. at

proper limits. fearches

We

upon any With the hopes of

muft never,

fubject, rifing

in

flatter

our re-

ourfelves

to Firfl frinciples y

which

ESSAY ON TASTE.

229

which a thick veil perpetually conceals from To inveftigate the prithe eyes of mortals. mitive and mctaphyfical caufe of our various would be as chimerical a project, pleafures

attempt explaining the operation of exBut as the ternal objects upon our fenfes.

as to

has been reduced to

origin of our knowledge a fmall number of fenfations

;

fo the fources

of thofe pleafures, that are relative to tajle, may be traced out by a few evident obfervations

upon the manner

Thus

feel.

in

which we perceive and

far the true fage

extends his re-

but here alfo he (lops, and defcends from hence, as from firft principles, to thofe

feaFches,

confequences that refult from

his

accurate

obfervations.

IN analyzing

taftt

we

(hall find

many qua-

neceflary to the proper exercife of that perceptive power which cfcape the notice of

lities

inattentive

obfervers.

It

does not confift

accuracy and rectitude of judgwholly ment, however rare and precious this quality in

may

No

:

be, nor yet in a delicate fenfibility alone. there is yet, farther, a considerable

aflemblage of fenfes and powers

(if

I

may

fo

fpeak) which enters into it's compofition, and which we muft therefore carefully take

Q^

4

into

Mr.

D'ALEMBERT'S A

into the account.

few examples

will

When we

luftrate this obfervation.

il-

read a

fublime piece of poetry, what are the powers aqd faculties of our nature to which the bard addrefles himfelf

are various

They

?

fome-

;

times he fpeaks to our imagination, fometjmes to our affections, fometimes to our the external fenfe or

to

reafon, but always

Verfe is a fpecies of harorgan of hearing. with refpecl to which the ear is too mony, Delicate to

reafon

to

admit of the

itfelf,

make

leaft

upon fome

defect; fo that

occaftons,

certain facrifkes to rhime.

is

obliged

A

plulowith all his penetration and dethen, fopher licacy of fentiment, will be an incompetent

judge

He

of poetry,

if

he has not a good ear. which refult

will aflert that the pleafures

from poetick harmony are merely chimerical j that

authors of whatever kind their

all

pro-

ought to addrefs themfelves alone to the underftanding and the heart; nay, by captious reafonings he will caft an

ductions

may

be,

apparent ridicule upon the care and induftry,

which

are

periods,

employed

fo as

and pleafing philofopher,

to

in

arranging words and

to render

the

who

ear.

them harmonious

Thus

a

natural

pofTefled no other external

ftnft

ESSAY ON TASTE.

231

fenfc but that of feeling, would hold it as a impbffible, that diftant objects fhould

thing

operate

upon our bodily organs, and would

prove his aflertiun by fophifrical arguments, to which no fatisfadory anfwer could be given, as long as he was deprived of fight and bearing. Such is the cafe of that philofopher, who, without a delicate ear, pretends to

have a

tafte

does no real

He

for

poetry. injury to a

imagines he

poem, when, by

tranfpofing the words, he deftroys their harmony and cadence, and he will attribute the

which the poem acquires by change, power of prejudice and cuftom, to which he acknowledges his languor and

flatnefs,

this

own

to

the

involuntary fubjection.

He

will

never

once imagine, that, by breaking the meafure and tranfpofing the words, he has deftroyed the delightful harmony that refulted from their metrical arrangement and proportions. To judge however properly of fuch a conduct

we have only to aik ourfelves, what we fhould think of a mufician, who, to prove that the pleafure of melody is founded in opinion and not

in nature,

mould

fpoil

a fine

by deftroying the proportion and fymmetry the -pf founds, of which it was compofed. air

IT

D'ALEMBERT'S

Mr.

232

IT

is

not thus that

the true philofopher

from poextremes, he will entirely to nature on

will judge of the pleafures that arife all

Avoiding wifely

etry,

neither attribute

them

the one hand, nor wholly to opinion on the other.

are

He

more

or

will obferve,

that, as all nations

agreeably affected with the

lefs

charms of mufick

may

not

all

in general, though they delight in the fame particular

kinds of melody are

all,

in

;

in

fo,

like

manner, they

fufceptible of pleafure

general,

from poetick harmony, though the poetry of one people may differ extremely from that of another. difference,

It is

by examining

that the

attentively >his

true fage will

at length to determine

how

be able

far the pleafures

we

receive from poetry and mufick are influenced by habit ; what real additions they derive from thence, and what imaginary

ones they receive

from

opinion.

For he

will ever diftinguifh between that pleafure, which is the refult of habit, and that which arbitrary, and merely founded on opinion ; a diftindtion hitherto not fufficiently attended

is

to,

in treating this fubjec~t,

withftanding,

daily

but which, not-

experience

fufficiently juftifies.

ESSAYONTASTE.

certain pleafures that immediately, and that pervade the

juftifies.

us

flrike

233

There are

moment

foul the very

prefented

that their objects are

there are others,

;

which

require

time to produce their proper effect ; which are received with indifference or difguft, until the mind has been modified by their action

upon

it

to a certain degree,

and are then en-

joyed with the qnickeft fenfations of delight. How often has it happened, that a piece of

mufick whJch we have heard,

for the firfl

time, without

any agreeable emotion, has afterwards in us the moft extatick

excited raptures,

when, by

the car has been

it's

being often repeated,

length able to diflinguKh and to perceive charms, complicated the whole delicacy and force of it's exprefliat

it's

on.

THIS is a {hiking inftance of the pleafures which arife from habit, and which muft by no means be looked upon as arbitrary, becaufe they

may

indifference,

be,

at

firfr,

received with

and have the force of prejudice

them,

THUS

Mr.

234

THUS

D'ALEMBERT'S

a philofophical connoiffeur will

be

maintain every faculty and every

careful to

fenfe in their refpe&ive privileges, and to atgood ear the authority that be-

tribute to a

longs to it, in deciding concerning the merit of poetical competitions. But, at the fame time, he will be far from thinking, that the to pleafe the external fenfe poet's attention can juftify his difpenfing with the more im-

portant obligation of fatisfying the reafon and imagination of his readers, by the juftnefs of his ideas,

and the fublimity of

As

his views.

perfuaded that the firft and moft important rule of good writing requires a conformity between the ftyle of an author, and

he

is

the matter which he

treats,

fo nothing will

him more than common and

difguft ideas expreffed

with the vain try.

A

plain

with

affectation,

pomp and harmony and eafy profe

trivial

and adorned of poe-

will,

in

his

opinion, be preferable to fuch numbers as derive their principal merit from their ca-

dence, and

little

or

none from the truths

and fentiments which they are employed to embellim and fet off. Feelingly fenfible of the charms of poetick imagery, he is, on that very account, pleafed with fuch imaalfo

ges

ESSAY ON TASTE, ges alone, as are

new and

flriking;

and yet

even to thefe he will prefer, without hefitation,

thofe beautiful fentiments

in a noble and affecting are ufeful to mankind.

which unfold,

manner, truths that

IT muft, however, be carefully obferved, that though a philofopher be pofTeffed of all that variety of fenfes and faculties that enter into the competition of true tafte, yet this is not all that is required in the matter now

under confideration ; it is farther necefTary, that the exercife of thefe faculties be not too

much confined to one particular fet of objects. The famous Malebranche could not read the moft fublime verfes without a certain wearinefs and difguft ; and yet his ftyle abounds with all the grand characters of poetry, and is full of imagination, fentirnent, and har-

mony about

j

but his imagination, entirely occupied purely intellectual, confined

matters

energy to the creation of philofophieal fyilems ; and the high degree of feeling and vivacity with which he was endued, only

it's

make him embrace with ardour, as what was no more than mere hypothetruth, fis. Though his profe was extremely har-

ferved to

monious,

D'ALEMBERT'S

Mr.

monious, yet poetical harmony had no charms to him ; which may perhaps be owing to one

of the following reafons : either that the fenhis ear was confined to the harmoilbility of of profe j or that a mechanical and natuny ral

him

talent enabled

to write

his perceiving profe without

harmonious

it,

juft as hia

him in philofophy imagination had ferved without his knowledge, or as a mufical inwithout

ftrument produces,

confcioufnefs,

well-proportioned founds.

v!

j^;^<*> '^; :

-'

*;

IT is not only to a want of delicacy in the tn'md, or of fenfibility in the external organs of perception, that we are to impute all erroneous judgments in matters of pleafure

we

duction of

tafte.

The

from any excellent proor may be derived from

receive

art,

is,

different fources.

analyfis confifts

The therefore,

true in

philofophicai diftinguifhing

well thefe various fources, and keeping them feparate from each other, that fo we may refer to

each what properly belongs

to

it,

and may not attribute our pleafures to caufes that have had no fort of influence in their production. rules of

each

It

art

has been obferved, that the (hould be taken from the

moil

E S S AY O N T A

T E.

S

237 moft excellent compolitions which each refhas furnilhed, and the ouic; viition pective art is

undoubtedly

juft.

It

is

not however by

the confufed aggregate of pleafure, by the collective reiult of the agreeable perceptions,

which that

thefe competitions have produced in us are to fix the rules of taftt ; but

we

by

aft of the

that reflex

mind/ which enables

us to diftinguifh the particular paflages that excited in us delightful fenfations from thofe

which were only defigned

as

(hades in the

for the exhaufted piece, or as refting places attention of the reader, and alfo from thofe

where the author has exhibited marks of inFor want of obferving voluntary negligence. this method the imagination warmed by certain beauties of the nobleft kind, which may fhine forth in a work, otherwife full of the moft monftrous defects, will gradually become infenfible

of thefe defects

form them

into beauties,

;

nay, will tranf-

and conduct us at

length to that flupid enthufiafm, which, by

admiring every thing indifcriminately, peror rather feels nothing truly.

ceives,

by

a confufed

many

Thus

and mechanical impreffion,

will be led either to eftablifh falfe rules

4>f tajle,

or,

what

is

equally pernicious, to fubftitute

23S

Mr.

D'ALEMBERT'S

fubftitute arbitrary notions in the place of fixed principles; to contract the fphere of the 1

to prefcribe bounds to our pleafures in j order to render them infipidly uniform, and

arts

to confine the efforts of genius and induftry

within a narrow

circle.

IT is the province of philofophy to break thefe inglorious bonds afunder; but fhe cannot be too circumfpecl in the choice of the by which this noble deliverance is The late Monf. De be accomplimed. motte maintained that verfication was not

arms, to la

compofitions ; but to an fo of a rational fufceptible opinion prove defence, he injudicioufly launched into para-

eflential to dramatical

wrote againft poetry in general, and thereby did nothing but injury to his caufe he might as well have wrote againft mufick

dox,

:

of every kind, in order to prove, that the choThis ingenious rus is not effential to tragedy. writer

was under no

necefllty of

combating

the prejudices of the publick againft his opiniThere was, on, by fuch fenfelefs paradoxes. methinks, a much fhorter way of proving his point, and that was, to have compofed his celebrated tragedy of Ines dc Cajiro in profc,

the

ESSAY ONTASTE.

239 the affecting nature of a fubject fo tenderly have encouraged him to interefting, fhould venture upon this innovation, and thus the theatre

would have been enriched with a new

dramatick poetry. But an ambifpecies of tious defire of being diftinguifhed from the

crowd

leads

men

fometimes to combat, in

theory, received opinions, while a timorous felf-love, that dreads all new and dangerous

attempts through the apprehenfion of mifcarrying, obliges them to follow thofe veVy It is here that we opinions in practice. may obferve a confiderable difference between the

philofopher and the legiflator j the latter difhis private conduct, with the laws penfes, in which he impofes upon others j while the philofopher obferves in his work, the rules \vhich he condemns in his preface.

THE two

fources of error

which we have

been hitherto confidering, viz. the want ot fenfibility, on the one hand, and the want of that

reflexion,

which

is

requifite to diftin-

guim the true caufes of our pleafures, on the other, will be the occafion of perpetuating that tedious controverfy, fo often renewed, and fo injudicioufly carried on, the merit of

R

the

Mr.

D'ALEMBERT'S

Their advocates, under the the ancients. enthufiaftick admiration, are an of impulfe too prone to exalt their productions upon the whole, on account of the ftriking beauthat appear in fome of the parts j while their adverfaries refufe thofe applaufes that are due to the parts, on account of the defects

ties

that appear in the whole.

THERE is however another error, into which the philofophical critick is more liable to fall, and to avoid which, he muft confehis principal attention. This quently employ error confiftsin applying to the peculiar objects tafte, principles, which, though true in

of

themfelves, yet have no relation to thefe ob^Every one is acquainted with thofe jects. lines in the tragedy

of the Horatii,

vouliez vous qu'ilft centre trots ? Qu'U mourut* akrs k fecurut*. qu'un beau defefpoir

Que

Ou

The *

heroick expremon of the aged father mouruf, has been juitly and univerfally

To

enable thofe, frho don't under/land the Frend> lan-

into the true fpirit of this ingenious criticifm guage, to enter it will be proper to obferve, that in CorreiUii tragedy of the to inform the old Horntius, that fforatii, a mefTenger arrives

admired

;

ESSAY ON TASTE.

241.

and the following verfe as juftly and univerfalJy condemned ; and yet the common principles of metaphyficks will furadmired;

nifli

arguments or rather fophifms, to

this verfe againil all It will

juftify

the rules of true

be alledged, for inftance, that

tafte.

this fe-

cond verfe

is necefTary to exprefs all the feelthat ings pafled in the mind of the old Horafor tilts; though it was his duty to prefer the

death of his fon to a

was

ftill

more

life

natural

of difhonour to

wim

that

yet it fon

;

his

might efcape by the means of his valour, and that, animated by a noble deffair^ he might ftand alone againfr his three adverfaries, and return victorious from the combat. This defence, however plaufible upon metaphyfical principles, two of his Tons were

is

abfolutely mifapplied in the

killed,

The

the three Curiatir.

and that the third was flying from

venerable old

man

is filled

with

in-

The meflenger dignation at the condudt of his remaining fon. to excufe him, addrcfTes himfelf thus to the incenfed father: What

other refource

bad be than ft&bt, overpowered

ty three combatants ? tins} or

A

tbatfucfour that

words Agloriom conclude the

deatb,

firft

line

is

glorious death

adnilnijlredly

a

as he iva

f

old tiora*

noble defpair.

Thefe

which are equivalent to %'// tnourut, in the French, and give us a linking

inftance of the true fublime.

Mr. WMembert

(replies the

What

follows

is

censured

by

for the excellent reafons offered in his elegant

obfervations on this paflage.

R

2

cafe

Mr.

242

D'ALEMBERT'S

us, where the queftion is not the mere expreffion of truth and concerning nature, but concerning fuch expreffions of

cafe before

both as are ftriking and fublime. According to the reafoning of the metaphyfical critiek, the fecond verfe, as it contains the fentiment that is the moft natural of the two, mould have preceded the firft, which, by that means, would have loft the greateft part of it's force.

Befides

;

gid than

nothing more feeble, flat, and frithis fecond verfe, even when ref-

it's true and natural place. For the neceffity for the old Horatius's cxprefling the defire which that verfe con^

tored

to

where

is

Will not every one fuppofe, difficulty, that it would have been tains

more

?

rejoicing to

him

to

without infinitely

have feen his fon

living, and crowned with victory, than falling a victim to the fuperior force of his enemies ? The poet then had no occafion to ex-

which every one muft fuppofe ; the only fentiment which fuited that violent ilate of emotion in which the venerable old

prefs a defire

man now

was, the only affection which was

be difcovered upon fuch an occafion, proper and in circumftances where the glory of his to

Country and of his

name were immediately concerned^

ESSAY ON TASTE.

243

concerned, was that heroick courage, which engaged him to choofe for his Ton a noble

death rather than a

The

life

of dishonour and in-

cold and

tardy reafonings of famy. flow and phlegmatick fpirits are very different from the fudden and prodigious bounds*

nobly fired, make towards fublime; the latter, difdaining to remain, even for a moment, in the fphere of vulgar fentiments, underftand much more

which minds, the true

exprefs, and foar to fentiments and thofe flight

than they

with a rapid paflions that

ftrongeft marks of energy and Their progrefs refembles that of grandeur. one of Homer s gods, whofe fourth flride brought him from one end of the univerfe to

carry the

the other.

THUS

then

it

in matters of happens, that,

the demi-philofopher (if 1 may employ that term) leads us from the paths of truth

tafte,

and nature,

to

which

it

is

the province of

true philofophy to reftore our wandering fteps. both to the It is therefore an injury done Belles Lettres and to Philofophy, to imagine that they are either incompatible with, or preWhatever relates to judicial to each other.

R

3

Mr.

244

D'ALEMBERT'S

our ideas and perceptions, and even to our fentiments and feelings, is the true domain, It would the proper fphere of philofophy. therefore be as unreafonable to confine her to the heavenly bodies,

or

to the

material

as it would be to limit fyftem of the univerfe, to the praifes of the gods, or the poetry The true fpirit of philoof love. pleafures is

fophy

fo far

tofte,

that

it is,

from being in oppofition to on the contrary, it's moft

fupport, as it teaches us always to fet out from true and evident principles, to obferve that every art has it's peculiar nature,

folid

every fituation and affection of the mind

it's

proper character, and every object it's diftinclive colouring, and thus prevents our con-

founding the limits by which the various kinds are fo carefully diftinguifhed. Such is

the nature, excellence, and

philofophical

fhews

that

fpirit,

it is

the

power of the

abufe of which,

not truly poffeffed.

IT has been remarked by fome, that the fubmitting the objeds of tafle to analytical difcuflion is adapted to blunt the delicacy of the feeling powers, and to the fire and

damp

vigour of genius. *

But

this effect is not to

be

feared.

ESS AY Feared. in the

vents,

ON TASTE.

445

The true philofopher knows that moment when genius creates and inwill

it

or reftraint;

admit of the

not that

it

loves

to

without controul and without

leaft

check

rum forward

rule, to

produce

indifcriminately the monftrous and the fublime, and to carry down it's rapid flream

gold and mud mingled together by the impeReafon, therefore, tuofity of it's courfe. gives to genius, while it creates a boundlefs liberty,

and even permits

career until

it

exhaufts

down

to repofe,

which

it is

like

it's

it

to continue

it's

vigour and finks

thofe firey

courfers,

tame any other way than by throwing the bridle upon their necks. But then it is the time for reafon to exercife it's authority, and to fit in judgment upon impoffible to

of genius. Accordingly, it preferves whatever was the off-fpring of a true and noble enthufiafm, effaces, on the

the productions

contrary,

whatever was produced by the

ir-

regular fallies of an over-heated imagination, and thus enriches the republick of letters with maflerly performances in all the various kinds. tafte,

Where who does

the writer of genius and not perceive in the heat of

is

compofition, that one part of his mind (if I

R

4

may

D'ALEMBERT'S

246

Mr.

may

fo exprefs

myfelf ) feparates

the other which

is

employed

in

from

itfelf

competing,

motions, and to give them a free courfe, and alfo points out before hand what is afterwards to be effaced ? in order to obferve

it's

THE

true philofopher ufes much the fame in judging of the productions of others, that he employs in compofing his

method

He

own.

begins

by giving himfelf up

lively fenfations of pleafure,

high and

to the

which

generally arife from the firft impreffion that a new and mafterly performance makes upon

Perfuaded however,

the mind.

that

real

beauties gain in proportion as they are attentively

examined, he

recollects himfelf j

tends his refearches to the caufes of his faction

fingles

j

them out one

exfatif-

after another

j

between illufory fenfadiftinguiihes carefully tions, and deep and lafting impreflions ; and

by

this analytical

procedure

is

rendered capa-

ble of pronouncing with judgment concerning the merit of a work in general, and of

each of

it's

FROM

particular

and conftituent

thefe obfervations

we

(hall

parts.

be fur-

with an anfwer to a queftion, which has

ESSAY ON TASTE. has been often propofed, and bated, viz.

a

work of

preferred Feeling

the

firft

is

Whether,

alfo

much

247 de-

in

judging concerning fentiment or feeling is to be

tafte y

reafoning and difcuffion? for undoubtedly the natural

before

judge

moment,

Difcuffion

for the fecond,

and the fecond judge will, almoft always, confirm the decisions of the firft in thofe who, with a quick and delicate

perfons, fenfe of beauty, are fo happy as to poflefs a But the difaccurate difcernment. juft and will be alledged, {till remains; it for as fentiment and difcufllon will'not always ficulty,

be agreed, what muft be done when they differ

?

Is

it

not

bed

in all

cafes to follow

fentiment as our guide, and hold always by it's decifion ? Is it not a miferable occupation,

be difputing againft our and what obligations agreeable fenfations, under to lie fhall we philofophy if it manito diminim our plcafures ? tend feftly will

many

afk,

to

We

cannot anfwer

quefiion without the utmoft regret; becaufe we are obliged to acknowledge the effect of philofophy to be,

in reality,

this latter

what

it is

here reprefented to

be.

THUS

Mr.

SUCH

D ALEMBERT '

'

S

unhappy lot of humanity^ knowledge we acquire ferves only is

that the

the

to give us a mortifying view of the fcenes of error and illufion, through which we have parTed,

and

is,

almoft always, attended with

The rude the diminution of our pleasures. of our anceftors rendered the imiimplicity received preffions they

from the monftrous

productions of the ancient theatre, more livethan thofe which we receive, ly and ftriking in this polimed age, from the mod perfect of our dramatick performances. The nations, which we furpafs in knowledge and in re-

happy than we are ; and their wants are numerous than ours, and they are fatif-

finement, are not fince both their lefs

fied

lefs

defires

with pleafures of a

than thofe which

we

lefs

elegant kind,

We

fhould purfue. be to not, however, willing exchange our the for of thofe nations, ignorance knowledge or for the rude fimplicity of our anceftors. For, though this knowledge may diminish our pleafures, yet it flatters our vanity.

We

applaud ourfelves on account of that delicacy and refinement, that render us difficult to be pleafed,

and even look upon them

as merito-

rious.

ESS AY ON TASTE. Self-love

rious.

is

249 and

the reigning paffion,

that which, generally fpeaking, we are the moft eager to gratify. The pleafure we derive from thence, is not, like many others,

the effect of a fudden and violent impreffion ; uniform and permanent, and may there-

it is

fore be enjoyed at leifure.

THESE teemed

reflexions,

methinks, will be

e-

to juflify philofophy from the accufations that have been brought againft fufficient

We

it cannot howby ignorance and envy. ever conclude without obferving, that even upon the fuppofition that thefe accufations

and reproaches were juft, yet they lofe their influence, and become unfeemly, when they are not

them and

philofophers themfelves. To belongs to determine the fphere, the boundaries of the philofophical

made by

alone

to fix as

it

it

belongs only to thofe

fpirit

;

wit,

to plead againft the abufe

made

of

it.

But

it

have

may be

unluckily happens, in op-

pofition to this rule, that thofe leaft

who

that

who

have the

acquaintance with philofophy are

its

moft

violent detracters; juft as poetry is decried by fuch as have no talent for that noble art; the

profound

Mr.

250

D'ALEMBERT'S

profound fciences, by fuch as are ignorant of their firft principles; and the age we live in,

by thofe writers, moft adapted

are the

whofe productions to expofe

it

to

con-

tempt.

AN

AN

ESSAY ON

TASTE. Confidered with refpeft to the productions both of NATURE and ART.

A FRAGMENT

found imperfedt among the papers of the late Prefident

De

MONTESQUIEU.

[

253

1

ADVERTISEMENT. H E Prefident De MONTESQUIEU, though one of the great eft 'writers of this, or any other age, was not without certain defetfs. T^he affectation

cbfcure,

and a

of depth rendered him fometimes paffion

and

for novelty of thought, led him frequently

analytical refinement If the following aftray.

fragment abounds

with fine thoughts upon the fourres of our intellectual pleafures, it

muft,

at the

fame

time,

be acknowledged, that it's ingenious author has advanced therein fome proportions that are abothers that are perhaps trivial, folutely falfe,

fever al that are fomewhat cbfcure, and a few which the tranjlator confejjes he does not under-

jland at all. Thefe la ft are given in the original French ; and thus the fuperjicial thinker,

who may fatter himfelfthat

he under/lands them, will not be deprived of the pleafure of an imagi^ nary difcovery, nor the profound enquirer, who

may under/land them in effecJ, lofe any thing that came jrom the fen of the great MONTESQUIEU,

A N

M

MONTESQJJIEU'S

Mr. DC

THESE

different pleafures

mind

of the

constitute the

proper objects of tafte t thofe which we term beautiful, good,

objects

agreeable, ful,

natural,

elegant,

majeftick,

give the

delicate,

noble,

as alfo the

name of Je

tender,

grand,

grace-

and which we

fublime,

qualities to

m

When, ftai quol. the pleafure we enjoy in the contemplation of any object is accompanied for inftance,

with a notion of

it's

object good; but

we

call that

object

appears

utility to us,

when

an

merely agreeable, without being advantageous, we then term it beautiful. \ i

THE

ancients do not feem

to have fully diftinction ; important apprehended they confidered as things of a pofitive nature thofe this

qualities,

merely of the

or

rather perceptions, which are the nature and operations Hence, thofe dialogues fo ce-

relative to foul.

lebrated

by the

ancients,

in

which Plato

gives

us an ample account of the reafonings of his great matter, are, in our times, unfufceptible of a rational defence,

becaufe they are

founded upon the principles of a lofophy.

falfe phiAll the reafonings they contain

concerning

ESSAY ON TASTE.

259

beauty, perfection, goodnefs, hardnefs, foftnefs, &c. are folly,

concerning

wifdom, intirely

inconclu five (-f ), as they fuppofe thefe

what they

various perceptions to be

and

real

THE nefs,

are not,

politive qualities.

therefore, of beauty, goodwithin us, and, of confequence,

fources,

&c.

when we

lie

enquire into their caufes, we do no inveftigate the fprings of our men-

more than tal

pleafures.

LET on der

it

mind upinward frame, confiactions, and it's paffions, and

us then turn the eye of the

itfelf,

in

examine it's

contemplate true nature pleafure

it

is

from

it's

it's pleafures in which it's beft difcovered. It derives

in

poetry,

mufick,

architecture,

This obfervation

painting,

dancing, in

fculpture, a word,

intirely erroneous

for granting ; &c. to be merely perceptions of the mind, and nothing really exifting without us ; yet if thefe perceptions be invariably excited by certain objects and not by (f)

is

podnefs, beauty, bard, foft,

others, if they arife uniformly

when thefe

objects are prefenteJ,

they form, of confequence, fixed and permanent relations, which render all the reafonings founded on them as conclufive, as if thefe perceptions were the inherent qualities of external The tranflator thought this error of too much conobjects.

fequence to pafs

it

over in filence.

S 2

from

Mr. De

260

MONTESQUIEU'S

from the

various productions of nature Let us, therefore, inquire into

art.

and the

reafons that render thefe objects pleafing, as alfo into the manner of their operation, and

the times and circumftances in which they produce their agreeable effects, and thus give

an account of our various contribute

will

to

the

feelings.

formation of

This tajle*

nothing more than the faculty of difcovering with quicknefs and delicacy the

which

is

degree of pleafure, which

from each

object that

we

fhould receive

comes within the fphere

of our perceptions.

Concerning the pleafures of the mind.

THE mind, befides thofe pleafures which it

by the organs of fenfe, enjoys which are peculiar to it's fpiritual na-

receives

others

and are abfolutely independent on exSuch are the pleafures that ternal fenfation.

ture,

arife

from

own

exiftence,

from the

from the grandeur and

curiofity,

ideas

of

it's

perfections, faculty of taking a general and com-

prehenfive view of things, of contemplating a great variety of objects, and of comparing,

combining

and feparating

it's

own

ideas.

Thefe

ESSAY ON TASTE. Thefe

pleafures,

which

261

are attached

to the

nature of every intelligent being, depend not upon the external fenfes, but refide in the ve-

and it is needlefs to ry eilence of the foul ; foul enjoys them, in whether the inquire confequence of it's union with the body, or not 5 all that is neceflary for us to know is, that it enjoys them always, and that they are

We

the true and proper objects of tafte. (hall not, therefore, take any notice here of

the diftinction that

may be made between

the pleafures that the foul derives from own eflence, and thofe that refult from

it's it's

union with the body, but (hall comprehend both thefe kinds of enjoyment under the com-

mon name of natural pleafures. Thefe pleafures we muft, however, diftinguim from others that have certain connexions with them,

and

which we may

call

In the fame manner, and

we

reafons,

which

diftinguim

acquired pleafures. for the fame

alfo

between the tajh

and that which

is

natural,

is

of great ufe

is

ac-

quired.

Ir

kind to

which

know

tajle is

in refearches of this

the fource of thofe pleafures of the rule or meafure: Since the

S 3

knowledge

Mr. De

262

MONTESQUIEU'S

knowledge of our pleafures, whether natural or acquired, will contribute much towards the rectifying the two kinds of

talie that cor-

We cannot

refpond to them. ciate our pleafures, nor

truely apprer indeed enjoy them if we do not carefully

with a proper relifh, examine the nature of thofe their firft fprings in the

pleafures,

human

and

conftitution.

IF our fouls had not been united to material

fubftances, they

would

flill

have been

capable of knowledge, but it is probable they would have loved whatever they knew; whereas, in the prefent conftitution of things, we fcarcely love any thing but that of which

we

are ignorant.

THE

conftitution of our nature

trary thing conftituted

that cafe,

is

an arbi-

we might have been otherwife than we are at prefent 5 and, in

j

our perceptions and feelings would

have been quite different from what they now are. An external organ of fenfation or lefs would have given rife to a fpeof poetry and eloquence totally different

more cies

from

that

which

takes place at prefent

j

even another contexture of the organs

nay,

we

poflefs

ESSAYONTASTE. would have changed

poflefs

26$

vaftly the nature

of poetry ; for inftance, Had the conftitution of our mental and bodily powers rendered

our attention and application of mind more vigorous and conftant than what they are at would have preprefent, this circumflance vented the exiftence of thofe rules, which are defigned to adapt the difpoiition of a fubjecl:

meafure of attention of which

to that

we

are capable : Had we been naturally endowed with a more perfect degree of fagacity and penetration,

the

upon

all

the rules which are founded

degree

we now

which

pofTefs,

irmft have been entirely different : In a word, all the laws that derive their exiftence and au-

from a certain conftitution of our nawould have been totally different, upon

thority ture,

the fuppofition of

it's

being otherwife

conftj,-

tuted.

IF the fenfe of fight had been more feeble confufed than it actually is, it would

,and

have been neceflary the plans

of the

to

have introduced into

arctyitecT:

fewer ornaments,

and more uniformity ; but the contrary rule muft have taken place had our fight been

more

diftinct,

and comprehenfive.

piercing,

S 4

Had

MON T E SQJU

EU'

2$4-

Mr. De

Had

our fenfe of hearing been conftituted like

I

S

other animals, the moft of our inftruments would have required a conftruction and modulation. quite different It is true the relations of things to each other

thofe of

many

mufical

would have

ftill

continued the fame,

let

the

conftruction of our organs have been ever fo but their redifferent from what it now is -,

lation to us being totally changed, they would not have produced in us the effects they now

produce.

And

as the perfection

of the

arts

confifts in their prefenting to us their refpecin fuch a manner as will render tive

objects

them

as agreeable and {biking as is poffible ; fo a different conftitution of our nature from

the prefent, would, change in the prefent to the change would occafion in the

neceffarily, ftate

which

of the

that

new

require a

arts

adapted

conftitution

in the means of enjoyment, manner of being agreeably affected.

WE

are, at firft fight, prone enough to imagine that a knowledge of the various ifources of our pleafures is fufficient in order to the attainment of what is called tajle^ and that the man who has ftudied the dictates of

jphilofophy

upon

this

fubject

is

a

man

of-tqfte.

SSAYONTASTE. and all

this

265

may judge with confidence concerning But the productions of nature and art. is

a

miftake

:

for the

natural

tafle

does

not confift in a theoretick knowledge, but in the quick and exquifite application of rules

which, in fpeculation, may be really unknown It is not, for fb the mind. example, ncccffary to know that the pleafure we receive a certain object which we call beautiful is the effect of furprize j it is enough that

from

the object produces it's effect, and ibrprifes neither more nor lefs than is expedient for that

purpofe.

ALL,

therefore, that can be faid

can lay down

upon the

the precepts that we for forming our tafle, can only

fubject before us, and

regard directly that

all

tafle that is

to be acqui-

red, though they have a diftant and indirect relation to the natural one. This indirect reis manifeft ; for the acquired tajle afchanges, augments and diminishes the -natural one, juft as the former is affected,

lation fects,

changed,

augmented and diminished by the

latter,

THE

66

M O N T E S QJU

Mr. De

THE

moft general

given of

tajle^

1

E

S

(J

definition that can

be

confidered antecedently to

it's

good and bad, is, that it is fomeattaches us to certain objects which thing by the power of an internal fenfe, or feeling. This account, however, does not fuppofe that divifion into

it

may

not be applied to intellectual things,

the knowledge of which is fo delightful to the mind, that it has been looked upon by fome philofophers as the only fource of true ty.

and

felici-

The it's

foul acquires knowledge by it's ideas inward fenfes or feelings ( J) j and it's

pleafures fpring

from the fame fources

:

for

though the later be generally confidered as the inlets of pleafure, and we fuppofe a total difference between ideas and feelings, yet it is certain that the fou\ feels whatever it perceives,

and there are no objects fo abftrufely intellecwhich it does not either perceive in re-

tual

(:) There is a good deal of difficulty in tranflating the French word fentiment by any other term than that of feeling^ The Evglift} word Jentlment in the fingular number may be

ufed methinks to render the French term, and I have ventured to apply a,

it

feveral times in this fenfe, leaving out the particle

which attaches

in the plural s

by

to

it

another meaning in our language. Bjt fcarcely make the fame ufe of it,

number we can

feat intents,

we commonly

underfland our thoughts and.

opinions.

4

ality

ESSAY ON TASTE.

267

and which, of confequence, ality or in fancy, it does not feel. excellence in geConcerning intelleElual

neral.

WIT(*)>

confidered in a general fenfe, the various kinds of intel-

all

comprehends lectual endowments, fuch fenfe,

as

genius,

good

penetration, an accurate difcernment,

peculiar talents, tajle.

J'HE pajfage ragraph

is

that immediately follows this paextremely obfcure ; as the 'fran-

Jlator under/lands it t the obfervations it contains are far from being juft j but that no injury may be done to the author by a

faulty tranjlation, the pajjage 0s it /lands in the original.

is

here given

" L'EspRiT confide a

*'

avoir les organes bien conftitues relativement aux chofes ou

(*)

We take

the

word Wit here

in

the extenfive fenfe

it

bears in the old Englijh authors, and in it's original fignification, which comprehends all the powers and faculties of the

mind. Otherwise it is impoffible to exprefs in one word what the Author under ftands by the term Efprit, in this paflage. il

68
"

il

Mr. De

particuliere rt

MONTESQUIEU'S Si la chofe eft

s'applique.

rapport a

un

" du monde, "

fe

il

nomme

extremernent

talent

s'il

;

a plus

certain plaifir delicat des gens

il

fe

nomme

gout

;

fi

la

chofe

unique chez un peuple, le
eft

Concerning

curiojlty.

THE

human mind is naturally formed for thinking or perceiving, and curiofity is necefTary to fuch a being : for as 'all things are in nature, and every idea and object are in the great chain of being immediately

connected

preceded by their caufes, and as immediately followed by their effects, fo we cannot defire the knowledge of one object without being defirous alfo of arriving at the knowledge of thofe that are intimately related to

when we

fee the part only

it.

Thus

of an excellent

prcce of painting, we are eagerly defirous of a fight of what remains concealed from our

view, and the eagernefs of this defire is proportioned to the pleafure we received from

what we had already

feen.

IT ,

ESSAY ON TASTE. IT is, therefore, the pleafure which we have received from one object, that carries forward our defires towards another ; hence the mind is always bent upon the purfuit of fomething new, and never enjoys a permanent repofe.

THUS may we

always be fure of adminif-

tring pleafure to the mind, its

by prefenting to a of objects, or multitude contemplation

even, a greater

number than

it

expected to

fee.

BY

thefe obfervations

we may be

enabled

to explain the reafon, why we receive pleafure both from the view of a regular garden, and alfo from a rural profpect, in which there is

neither order nor proportion. The pleawe receive from thefe different objects

fure

fame caufe, even have of feeing a multitude of objects. This defire renders us eager to extend our views, and to wander from place to place , the mind, under it's impulfe, abhors all limits, and would willingly enlarge the fphere of its contemplation, and even of it's actual prefence; and thus one of it's great pleafures is, to take in a large and

arifes

originally from the natural defire we

from the

diflant profpect.

But

this pleafure is

not cafily

Mr. De

270

iMONTESQJJIEU'S

towns and cities our view is obftruded by various ranges of buildings ; in the country it is limited and interrupted by iily attained

:

in

What then is to be done ? have recourfe to art, which muft we Why, obftacles.

many

comes to our affiftance, and difclofes nature which was concealed from our fight ; in this cafe we are more pleafed with art, than with nature, that is to fay, with nature veiled and But when nature prefents itfelf to unfeen. us in extenfive profpe&s, in variegated landfcapes, where the eye can roam uncontrouled

through meadows and woods, through rifing grounds and flowery plains, the mind is quite otherwife elated and tranfported with thefe rural fcenes, than with the gardens of Le Notre

becaufe fuch

;

that

it

art copies

ductions.

is

the fecundity of nature,

always new and

is

and refembles

This

we

alfo

is

original,

whereas

itfelf in all

its

the reafon

why

proin

more

plealed with a rural painting with a correct plan of the than landfcape, fineft

are

garden upon the earth

j

becaufe the

painter reprefents nature in thofe fcenes, where (he appears with the greateft beauty, with the moil ftriking variety, where the eye can

ramble

ESSAY ON t AST E. ramble

at

liberty,

271

and behold her in

charms with pleafure and

all

her

delight.

THAT

which, generally fpeaking, renders a thought grand and ftriking, is when the obto our view a multiject it reprefents opens tude of other objects with which it is connected, fo that we difcover of a fudden, and,

were, inftantaneoufly what we had no hopes of knowing without a confiderable deas

it

gree of attention and application.

FLORUS all

exprefles,

in thefe

the faults of Hannibal

:

cum

few words, vitforid pof-

fet uti> Jrui maluit.

HE

gives us an idea of the

nian war,

He

when he

whole Macedo-

fays : introijje viftoriafuit.

exhibits to us a ftriking and fublime

view of the whole

when he

life

and exploits of

Scipio,

fpeaks thus concerning his youth

;

bic erit Scipio, qui in exit turn Africa? crefcit.

HE reftlefs

paints, in the fpirit

moft

lively colours,

of Hannibal, the

ftate

the

of the nations

272 tions,

Mr. De

MO N T E SQjUI EU'S

and the whole grandeur of the Rom&rt when he fays qui projugus ex Afri:

people,

ca, boftem populo

Romano

from is

qucerebat.

which

the pleafures,

Concerning

IT

toto orbe

arifi

order.

not fufficient to exhibit to the

mind

a multiplicity of objects ; it is farther requifite that they be exhibited with order and ar-

rangement, for then it retains what it has feen, and alfo forms to itfelf fome notion of

what

is

to follow.

One

of the higheft men-

which we

receive from a pleafures confcioufnefs of the extent of our views, and tal

is

that

the depth of our penetration; but in a production void of order this pleafure is impeded ; the mind, defirous to fupply from its own ideas this

want of

regularity,

is

perplexed in

the vain attempt j it's plan mingles itfelf with that which the author of the work had formed, and this produces a new confufion. It re* tains nothing, forefees nothing ; it is dejected by the confufion that reigns in it's ideas, and

by the comfortlefs void

that fucceeds the

abun-

dance and variety of it's vain recources. It's faunfuctigue is without it's effect, and efforts are

1

cefsful,

ESSAY ON TASTE.

273

Hence

the judicious artift always introduces a certain order, even amidft confufion,

ccfsful.

is not the main object, the to be Hence the exprefled. principal thing throws his into figures painter groups j and when he draws a battle, reprefents, as it were,

where confufion

in the front of his piece, the principal objects

which the eye is to diftinguifh, and cafts at a diftance, by the magick of perfpective, the groups where confufion and diforder reign.

Concerning the pleafure that arifes from variety. 1

F

order be thus necefTary in is

no

productions, variety the mind falls into a

'variety

lefs

all forts

fo

;

lifelefs

of

without inactivity

and languor ; for fimilar objects appear to as if they were wholly the fame; fo that

it

if

a part of a piece of painting was difclofed to

our view, which carried a ftriking refemblance of another part of the fame piece that we had already feen, this fecond part would be really a new object without appearing fuch, and

would be contemplated without the

T

leaft fen-

fation

MONTESQJJIEU'S

274

Mr. De

lation

of pleafure.

The

beauties

we

difcern

in the productions of art, as well as in the works of nature, confuting entirely in the it is neceffary fo to pleafure they adminifter, beauties as to render them the thefe modify

means of is

diverfifying our pleafures as far as

poflible.

We

muft employ our induftry

in offering to the eye

of the

mind

objects

which

it

has not as yet feen, and in exciting

within

it

feelings different

it

may

THUS facts

from thofe which

have already experienced.

and

Hiftory pleafes by the variety of relations

mance by the

which

it

contains;

variety of prodigies

and Dramatic Poetry by the

it

Ro-

invents

;

variety of paffions

which it excites. Thus alfo they who are well verfed in the art of education endeavour to introduce as

much

diverfity as

they can

amidft that tedious uniformity which is infefrom a long courfe of inftruction. parable

UNIFORMITY

carried

on

to

a

certain

length renders every thing infupportable. The fame arrangement of periods continued for a

long time fatigues in a piece of eloquence. and cadences become ex-

The fame numbers

tremely

E

S S

A Y ON T A

S

T

E.

275

poem. If the accounts given of the famous Vifta or alley that extends from Mofcow to Peterjburg be true, the traveller, pent up between thefe two feemingly endlefs rows of trees, muft feel the mod difagreeable laffitude and fatiety in the

tremely tedious in a long

continuance of fuch a dull uniformity. Nay, even profpedts which have the charm of variety,

out

ceafe to pleafe, if they be repeated withalteration, and are for a long time

much

mind. prefent to the

Thus

the traveller,

who

has been long wandering through the Alps^ will defcend fatiated with the moft extenfive views,

the

moft romantick and delightful

landfcapes.

THE human mind

loves variety ^

and the

we

have already obferved, that it is, for contemplation and framed is naturally If then the love of variety is knowledge.

reafon

as

fubordinate and adapted to the attainment of

knowledge,

it

is

requifite, that variety,

ther in the productions of nature or

fuch as will

facilitate

knowledge

;

whe-

art,

be

or, in other

words, an object muft be fufficiently fimple to be perceived with eafe, and fufficiently di'verjt/lfd

to be contemplated with pleafure.

T

2

THERE

Mr. De

276

THERE

M O N T E S QJJ

are certain objects,

I

E

U

'

S

which have the

appearance of variety, without the reality; and others, that feem to be uniform, but are, in effect,

extremely

THE

diverfified.

Gothic architecture appears extremely

rich in point of variety, but it's ornaments fatigue the eye by their confufion and minute-

Hence we cannot eafily diftinguifh one from the other, nor fix our attention upon any one object, on account of the multitude that rufh at once upon the fight ; and thus it hapnefs.

pens that

this

kind of architecture difpleafes

in the very circumflances that to render it agreeable.

A Gothic ftructure

is

were defigned

to the eye

what a

rid-

to the underftanding ; in the contemplation of it's various parts and ornaments the

dle

is

mind

perceives the fame perplexity and confufion in it's ideas, that arife from reading an

obfcure poem.

THE

Grecian architecture, on the contrary, appears uniform 5 but as the nature, and the number alfo of it's divifions are precifely

fuch

ESSAY ON TASTE.

277 fuch as occupy the mind without fatiguing it, it has consequently that degree of variety, that

pleating and delightful.

is

GREATNESS

of any producfame quality in Gigantic bodies muft have bulky large trees muft have large branin the whole

tion requires of neceflity the

the parts.

members ches,

;

Such

&c.

THE

is

the nature of things.

Grecian architecture, whofe divisions feems formed

are few, but grand and noble, after the

model of the great and the fublime. perceives a certain majefty which

The mind reigns

through

THUS

all it's

productions.

the painter diflributes the figures,

compofe his work, into various and in this he follows nature and

that are to

groups truth,

;

for a

crowd

is

almoft always divided

In the fame maninto feparate companies. ner in every complex piece of painting we fee

the lights and {hades diftributed into large which ftrike the eye at a diftance, be-

mafles,

fore the

whole compofition

is

diflinctly

per-

ceivcd.

T

3

Concerning

278

M O N T E S QJJ

Mr. De

I

EU

Concerning the pleafure that arifes

'

S

from

fymmetry.

W E have

already obferved that variety

to the

human mind

is

and we muft

; pleafing farther remark, that a certain degree of

fym-

metry produces alfo an agreeable effect, and contributes to the beauty of the greateft part

of thofe complex productions, which

hold with admiration

we

be-

How

and

delight. reconcile this feeming contradiction It will vanifh if we attend to the following fhall

we

!

obfervations.

ONE

of the principal caufes of the pleafure,

which the mind

receives in the contemplation of the various objeds that are prefented to it, is the facility with which it perceives them.

Hence fymmetry

is

rendered agreeable, as

fimilar arrangements relieve the

it's

aid the

mind, comprehenfion, and enable it, upon a view of the one half of an object, to form immediately an idea of the whole. quicknefs of

UPON

it's

this obfervation is

lowing general

rule,

4

founded the

fol-

That where fymmetry

is

thus

ESSAY ON TA thus ufeful to the

STE.

mind, by aiding

279 it's

com-

it's operations and prehenfion, and facilitating and it muft always there it's is, perceptions,

but where

be agreeable

;

this effect,

becomes

it

flat

it

does not produce

and

infipid, becaufe,

without any good purpofe, it deprives an obto which nature has given ject of that variety In thofe objects which are fuperior charms. fucceflively, variety is requilite, becaufe they are diftindtly perceived without the On the contrary, where a leaft difficulty.

viewed

multitude of objects are prefented to us in one point of view, and rufh in at once upon the eye, there fymmetry is necefTary to aid us in forming quickly an idea of the whole. Thus fymmetry is obferved in the front of a building, in a parterre, in a temple ; and there it pleafes extremely for the reafon now men-

tioned,

it's

mind to take whole object without

aiding the

diately the

in

imme-

pain, per-

plexity, or confufion.

THE

object

which the mind views not

it were, by one effort, muft be fimfle and one ; all it's parts muft unite in forming one defign, and muft relate to one end. This is another confideration,

fucceflively,

but, as

T

4

that

Mr. De

2 8o

MONTESQUIEU'S

that renders fymmetry

pleafing,

what we

as

it

alone

a whole, or properly the effect of a variety of parts that center in conftitutes

call

one general defign.

THERE pleads

is

yet another confideration that fymmetry > and that is the

in favour of

mind, of feeing every In thing fmifhed and brought to perfection. all complex objects there muft be a fort of defire, fo natural to the

counterbalance, or equilibrium between the various parts that terminate in one whole-, and

an

edifice only

wing

with one wing, or with one would be as un-

fhorter than the other,

finimed and imperfect a production as a body with only one arm, or with two of unequal length.

Concerning contrajls. ism* >*.

F

the

mind

takes pleafure in fymmetry y it This agreeably affected by contrafts. a and few requires explication, examples will I

is alfo

ferve for that purpofe.

IF painters and fculptors, in obedience to directions of nature, are careful to obferve

tjie

a certain

ESSAYONTASTE.

281

a certain fymmetry in their compofitions j the fame nature requires that the attitudes which

they reprefent fhould contraft each other; and thus exhibit an agreeable variety, a pleating One oppotition to the eye of the fpeclator. foot placed precifely in the fame pofition with the other, or any two of the correfponding parts of the body placed exactly in the fame direction, difgutt a judicious obferver, becaufe this fludied

fymmetry produces a perpetual

we

and

famenefs of attitude, fuch as infipid obferve in the Gothic figures, which all re-

femble each other in this

refpecl:.

Betides,

contrary to our natural frame and conftitution ; nature has

this uniformity

of attitude

is

not defigned that we fhould imitate in our geftures the ftupid uniformity that is obfervable in the Indian Pagods : no ; (he has given us the power of felf- motion and confequently the liberty of modifying our air and

our poflure as we pleafe. And if iliffnefs and be unfupportable in the human form, can they be pleafing in the productions

affectation

of art

?

THE

attitudes

therefore,

fuch figures as are reprefented

particularly in

of

fculpture,

mufl

Mr. De

282

M O NT E S QJJIE U

mufl be contrafted

in order to give

'

S

them an

What renagreeable air of variety and eafe, ders this more efpecially neceffary in fculpture is, that of all the arts it is naturally the moft cold and lifelefs, and can only affedt and enflame by the force of it's contrafts and the boldnefs of

BUT

it's

poftures. .

according to an obfervation already made, the variety which the Gothic architects were ftudious to introduce into as,

their ftrudures gave them an infipid air of uniformity ; fo has it happened that the va-

which other artifts propofed efFecluaby the means of contrafts, has degene-

riety,

ting rated alfo into a vicious

fymmetry.

THIS is not only obfervable in certain productions of fculptors and painters, but alfo in the ftyle of certain authors, who, by a contraft between perpetual antithefes form the beginning and the end of each phrafe.

Of this we

find feveral examples in St. Augufand others, who wrote during the low tin, of the Latin language j and alfo in periods

the writings of feveral moderns, particularly thofe of Sf. Evremont. The fame cadence

or

ESSAY ON TASTE.

2 83

or jingle repeated in every phrafe is extremeand faftidious. Contrafts thus ly difagreeable

uniform j and multiplied become intolerably thofe oppofitions, that were defigned to pro-

duce

mind

by perpetual repemofl tedious fymmetry. The

variety, degenerate,

into the

tition,

finds fo little variety in this fort of

com-

heard but one half of pofition, that having it will a always anticipate the other. phrafe,

There

is,

indeed, a certain oppofition in the

words of each phrafe ; but this oppofition is always the fame j and the flowing of each period, though harmonious, is yet mod fatiguing on account of the conftant return of the fame kind of contrafts.

SEVERAL painters have fallen into this vicious cuftom of multiplying contrafts beyond meafure in all their competitions, fo that the view of one

fingle figure will enable the acute

obferver to guefs at the difpofition of all thofe that are contiguous to it. This perpetual fludy of diverfity produces uniformity, as has been obferved above. Befides, this pafiion for

multiplying

nature,

which

no example in on the contrary,

contrafls has

operates,

with a feeming diforder, void of

all

affectation,

284

Mr. De

tion,

and, fo far from giving to

MONTESQJJIEU'S all

bodies a

determinate and uniform motion, gives to a

number no motion

great

of nature

at all.

The hand

her multifarious profome bodies me holds in repofe,

diverfifies truly

ductions ;

while fhe imprefles upon others an of tendencies variety *

infinite

and movements. .

IF the merely intellectual faculties of our nature determine us to take pleafure in variety, our feeling powers are not lefs agreeably

The mind

cannot long bear the fame pleafures, the objects, fame fituations, if I may ufe that term, beaffected

by

it.

the fame

caufe

it is

infupportable. fenfations

it's

which they are of the mind, and activity

united to a body to

The and

feelings

courfe of the animal

fpirits

depend upon the that circulate

in

the nerves j there are, of confequence, two circumftances that fufpend their vigour, viz. the laffitude of the nerves, and the difllpation of the animal fpirits, or their entire ceffation.

THUS

every thing fatigues us after a cer-

time

j this, at leaft, is undoubtedly true with refpect to thofe pleafures that are extremely intenfe j we quit them always with

tain

the

ESSAY ON TASTE.

285

which we embrafibres which were their inflmced them ; the of ments have need repofe ; we muft therethe fame fatisfaftion with

fore

employ others

that are in a condition to

ferve us, and thus diftribute equally to the various parts of our frame the functions they are

perform in rendering us active and

to

happy.

THE

foul finds it's vigour exhaufted by and intenfe feeling. But to be deflong any titute of fentiment or feeling, is to fall into a void

which

finks

We

ter part.

and overwhelms our bet-

remedy

this diforder,

or ra-

ther prevent this difagreeable alternative by di verifying the modifications and pleafures of the mind, and then it feels without wearinefs.

Concerning the fleafure effeEi

THE

which

is

the

of furprife.

fame

difpofition that renders variety the to mind, is alfo the occafion of agreeable thofe pleafures which it receives from furprife.

This

feeling of furprife pleafes both

nature of

it's

from the

object, and the quicknefs and

rapidity

Mr. De

286

rapidity

M ON TE SQJJ EU

with which

I

it

acts

'

S

upon the mind,

which

perceives either an object it did not exor an object prefented in a different pect, manner from that which it imagined before-

hand. I

SURPRISE

excited by fuch objects as are either marvellous, new, or unexpected ; and is

in thofe cafes where

we

are ftruck with the

marvellous, the principal feeling is accompanied with an acceffory fenfation which arifes

from

this,

that the

object

template as marvellous

is

which we con-

alfo

new and unex-

peded.

HENCE games of hazard

attract the

whole

attention of the mind, and affect in a lively and agreeable manner by prefenting to it a

continual train of unexpected events ; and alfo arifes the pleafure we take in thofe

hence

in which we are aflbciated with partners, for they are alfo a combination of unforefeen events produced by the joint influ-

games

ence of dexterity and hazard.

WE

may

farther reduce to the

ciple the chief pleafure

we

receive

fame prinfrom dramatick

ESSAY ON TASTE.

287

nutick competitions, in which we find an events developed by deimportant feries of grees,

the

mod

ftriking occurrences fludiouf-

very moment of their the arrival, all powers of invention employed to create new objects of furprife, and in

until the ly concealed

which we

are fometimes affected with a particular kind of furprife upon feeing things fall out, juft as

we might

have conjectured be-

fore hand.

WE obferve,

that the productions

finally,

of wit and learning are read with eagernefs only becaufe they procure us the lively pleafure of novelty and furprife; and thus fupply the defeft of converfation

cites

which

almoft

is,

and feldom exthe agreeable feeling now under confi-

always, uniform and

infipid,

deration.

SURPRISE may be excited ject

itfelf that is

by the manner

prefented

in

either to

by the ob-

our view, or

which we perceive it, and which we confider

the circumftances under it 5

for an object

may

ception, greater or it

may

lefs

appear different

appear, in

than

it

is

from what

our perin reality it

;

actually

is

it

-,

MONTESQJJIEU'S

Mr. DC

288

and even

we may

is,

which

Thus

in thofe cafes

fee

where we

fee

it

as

under circumftances,

it

excite an accefibry feeling offurprife. view of any work the mind may

in the

be flruck with the circumftantial or acceffory idea of the difficulty of it's production, of the perfon that contrived and finimed it, of the time or manner

which

in

was executed,

it

or of any other circumftances that mately connected with it.

SUETONIUS

are inti-

the crimes of

recites

Nero with a certain coolnefs and tranquillity which aftonifh, and which almoft perfuade the reader that the enormities he defcribes excited but faintly, if at all, his indignation and horror. But the hiftorian flops fhort,

changes his

" "

earth,

flyle fuddenly,

having

breathe upon

and

fuffered fuch

it's

abandoned him

The

furfaee for fourteen years,

"

at laft

quatuordecim amws

"

fays,

a monfter to

Tale monjlrum per

perpejjus

terrarum orbis

tandem deftituit.

In this fhort, but emphatick the mind is ftruck with different fenphrafe, fations of furprife ariiing from a variety of circumilances. torian's

We

are furprifed at the hifftyle, at the difco-

fudden change of

very

ESSAYONTASTE. very of his being affected quite other wife than at

we,

imagined, and at his defcribfew words, one of the iignal re-

firft,

ing, in volutions that fo

Thus

the

happened

mind

fame time,

is

Roman empire.

in the

affedted,

at

one and the

by a

variety of circumftances which concur to excite in it an agreeable emotion, and to ftrike it with a pleafing furprife.

Concerning the various caufes which contribute

to excite

may

a fmgle feeling

orfenfation in the mind. I

T

neceffary to obferve that, generally fpeaking, every fenfation is excited by more The force of a fenfation, than one caufe. is

and that variety of feelings into which it may be decompounded, are the refult of various and diftindt caufes, which, however, operate The excellence at one and the fame time. of wit and genius confifts in their exercifing, at once, feveral faculties of the mind, and exciting in

it

a

variety of

feelings

j

and, if

we examine

the moft attentively the merit of celebrated authors, we (hall find that it lies

U

principally

MONTESQJJIEU'S

Mr. De

290

principally in this

proportion to the

they produce mind.

WE are

and

j

the

at

more

that

number of fame

they pleafe in feelings which inflant in the

pleafed with a

regular gar-

den than with a confufed and crowded heap of trees ; but obferve the multiplicity of reafons i.

on which

Our view

this preference

founded

is

:

confined by the one than 2. In a regular garden each

is lefs

by the other. walk or alley forms

a diftinct

while, in a confufed forms., indeed,

a

heap of

and grand object, trees, each tree

diftindt object,

but only a

minute and inconfiderable one. 3. We fee an arrangement and difpofition of things to

which we

are not accuftomed.

4.

We

ap-

prove and appreciate the pains and induftry that have been employed. 5. We admire the care that has been taken to combat and correct perpetually the irregular fecundity of nature, which, by new and undefired productions, fion the

feems difpofed to involve in confuart ; and this obfervation is

works of

verified by the difguft with which we behold a garden, which has been neglected, and fuffered to run wild. But farther, we receive

pleafure

ESSAY ON TASTE.

291

pleafure in the productions of art, not only from various, but alfo from contrary caufes :

Sometimes we of a work

are pleafed with the difficulty

at others

j

it is

execution that renders

the facility of

it's

We

ofagreeable. ten admire in the magnificence of a countryfeat the fplendor

and, as often,

it

and profufion of

it's

owner ; which

are pleafed with the art

has formed a (triking and agreeable arrangewith little labour and expence.

men

PLAY

affects

us agreeably, becaufe

it

fa-

our avarice, and often fulfils the hopes entertain of making an addition to our

tisfie.s

we

pofleffions ; it flatters our vanity too, by a fecret confcioufnefs of our being the favorites

of fortune, and by exciting the attention of thofe about us to our fuccefs; it gratifies, alfo, our curiofity by prefenting to our view a diverfified fpectacle of perfons, characters, and a word, of furprife. pleafures

paffions; in

DANCING

pleafes

it

by

yields

it's

the various

nimblcnefs and

rapidity, by the gracefulnefs of it's motions, by the beauty and variety of the attitudes it

forms, by

it's

connexion with mufick which

U

2

is

De

Mr.

292

MO NTES QJJ lEU'S

we compare the dancer to an inftrument which plays in concert. But is

fo intimate that

which renders dancing peculiarly pleating a fecret operation of the mind, which reduces all it's movements to certain movements, that

is

and

all it's

attitudes to certain attitudes

Concerning

fenfibility.

MOST objects pleafe in certain refpeds, and of

difpleafe for

Italy,

in others.

The

finging Virtuofi

example, are little adapted to Becaufe there is nothing furpri-

pleafe j i . fing in the fweetnefs of their voices,

after the

preparations to which they have fubmitted j they refemble a piece of wood which the artift has curtailed in order to make it produce articulate founds.

2.

Becaufe they can ne-

ver enter truly into the tender paflion which their mufick is intended to exprefs. 3 Becaufe they neither belong to the fex which .

we

love,

nor to that which

we

efteem.

On

the other hand, thefe fame perfons are" not deftitute of qualities that render them agreeable in certain refpeds, as they retain, much longer than others, the bloom and air of

youth, and poiTefs a

flexibility

and fweenefs of

4

ESSAY ON TASTE. of voice which are peculiar to their condition. a feeling,

weaken

293

to themfelves

and

Thus

every object excites of many others, which compofed each other reciprocally, and are

fometimes in direct and violent oppolition.

THE mind

fometimes augments

it's

enjoy-

ment, by the power of imagination, which multiplies the caufes of pleafure by the connexions

it

forms, and the acceflbry ideas and

Thus an object that perceptions it creates. has formerly pleafed us, pleafes us ftill, and no other reafon but that it has formerly pleafed us, and that we connect the pad idea with the prefent. Thus again, an

that for

actrefs who has delighted us upon the ftage, continues alfo to delight us in a chamber ; her voice, her pronunciation, the remem-

brance of the applaufes that crowned her performance, nay a combination that we imperceptibly form between the idea of her and that of the princefs (he reprefented upon

the fcene,

concur

in

all

this variety, all

this

mixture

exciting one full and lively fenfa-

tion of pleafure.

U

3

WE

Mr. De

294

WE

MONTESQJJIEU'S "

are full of acceflbry perceptions and woman of a mining reputation with

A

ideas.

a fmall defecl, will be able to reconcile us to that

defecT:,

enough

to

and

make

will

even

have

pafs for an ornament.

it

greateft part of the

women we

credit

The

love have

lit-

recommend them, but the favorable prejudices we entertain of them on account tle

to

of their birth and fortune, and the honours and efteem that are lavifhed upon them by certain orders of

men.

Concerning delicacy of perception

and

feeling.

PERSONS are thofe,

add

fation,

who

of a delicate mental frame and every fen-

to every i'dea,

a variety

of acceflbry ideas and fen-

Grofs minds receive no more upon the view of an object than the fimple fenfation which that object of itfelf is adapted to

fations.

excite

;

nor

to

ideas

s

they neither

know how their

decompound they neither augment

to

compound

perceptions and n'or

diminim the gifts

ESSAY ON TASTE. gifts

The

with perfons

29^

quite otherwife of a delicate turn of mind j they

of nature.

cafe

is

upon vulgar fentiments, and improve

refine

and multiply

their agreeable feniations,

the greateft part cially in love,

efpe-

of whofe plea-

due to a quick and lively fancy. Poand Apicius enjoyed at table a variety lyxenes of fenfations of their own creating, which are fures

is

unknown

to vulgar gluttons

j

and

thofe,

who

judge with tajle t concerning the productions of wit and genius, have a multitude of perboth natural and acquired, which ceptions, are entirely peculiar to themfelves.

Concerning the Je ne

WE and

fcai

quoi.

fometimes

in certain perfons an invifible charm, a objects which has not been gracefulnefs,

find

in certain

natural

hitherto defined,

and which we have been

obliged to exprefs

by the vague epithet Je ne

It appears to me highly probable f$ai quoi. that this fecret charm is principally the effect are fenfibly touched, when of

furprife.

we

at firft fight

we

We

find certain perfons

are filled

more agreeable than

we

imagined them to be j and with a pleafing kind of furprife,

U

4

when

29 6

MONTESQJLJ I E U'S

Mr;De

when we

them triumph over thofe dewhich the eye ftili perceives, but which the heart no longer feels. Hence we find fee

fects,

often,

among

the female fex, thofe inexprefii-

ble graces adorn the ugly,

dom

lavimed upon the

beautiful

nymph

pectations, lefs

which

fair

and

are very fel-

beautiful.

A

generally difappoints our ex-

and appears,

amiable than at

after

firft

fome

fight

j

little

after

time,

having

firft by her charms, fhe falls and greatly off, furprifes us at length by her defects but the firft furprife is a paft plea-

furprifed us at

;

fure, is

which

is

become

faint and languid, and whereas the fecond is a fenfation of difguft. Hence

almoft effaced,

frefh and lively

happens that the beautiful are the a violent and durable pafiion, which of objects feems rather referved for the agreeable, than

it

rarely

for the fair, for thofe graces

which

ftrike us

and which indeed we had no unexpectedly, reafon to expect. Sumptuous and magnificent robes are generally deftitute of that gracewhich we often find in the fimplicity

ful air,

We

admire the air of the {hepherd's habit. of majefty that reigns in the draperies of Paul but we are alfo moft agreeably Yeronefe -,

pouched with the fimplicity of Raphael, and the

ESSAY ON TASTE. the graces that flow from the pencil of Cor-

Paul Veronese promifes much, and performs what he promifes. Raphael and C0r-

rege.

rege promife

and

this

is

but perform a great deal, doubly pleafing to the furprifed little,

fpedtator.

THOSE

graces that can render even defor-

mity agreeable, are more frequently centered in the mind, than exprefTed in the counteA beautiful face difclofes at once all nance. charms, and conceals nothing; but an amiable mind {hews itfelf only by little and little, and at fuch times and in fuch a degree,

it's

thinks proper , it can conceal itfelf dexteroufly for a time, in order to fhine forth af-

as

it

terwards with a brighter luftre, and to adminifter that kind of furprife, to which the graces often

owe

their exiftence.

THE

graces are more rarely found in the features of the face, than in the air and manners

;

for thefe

change every moment, and

may therefore every moment produce In a word, beauty objects of furprife. mited to a certain

fet

fulnefs

from an

may

refult

of features

j

new is

li-

but grace-

infinite variety

of

circum-

*9 8

Mr. De

circumftances myfelf, there

MONTESQJJIEU'S ;

is

fo that, if I

fcarcely

may

fo exprefs

more than one way

of being beautiful^ whereas there are an hundred thoufand of being agreeable.

A

GENERAL

rule of conduct eftablifhed

between the two fexes

in all

nations,

whe-

ther favage or civilized, requires, that the

firft

propofal of conjugal union mould be made by the men, and that the fair mould have no-

thing more to do than to grant or to rejecl: the tender demands of love ; and this very

circumftance the fex.

is

a fource of graces peculiar to are always obliged to be

As they

upon the defend ve, they are confeqently obliged to conceal their pailions, and many of their charms. leaft

Under

this neceflary reftraint the

word, look, or gefture, that breaks loofe

from

it's confinement, without violating the natural and primitive law of (hame-faced modefty, becomes a grace, and produces a deli-

cious kind of furprife. Such is the wife and excellent conftitution of nature, that thofe things, which, without the facred law of modefty, would have been indifferent and infipid, are rendered moft agreeable and intereft-

ing in confequence of that law, which is a fource

ESSAYONTASTE.

299

fource of delicate fenfations, and refined pleafure to all rational beings.

As

affectation

nefs

is

and

reftraint are

incapable follows that gracefulneither to be found in thofe manners

of exciting

furprife,

it

that are under the fetters of reflraint, nor in

thofe that are the refult of a laborious affectation

;

but in a certain eafe, and liberty that

between thefe two extremes, the avoidof which is a circumftance that furprifes ing the mind in an agreeable manner. lies

ONE would which

are the

moft eafy

imagine, that thofe manners mod natural mould be the

but the cafe is quite ; the of education reftraints for, by ; or lofe more lefs of the always ingenuous in practice

otherwife

we

fimplicity of nature,

whofe recovery

yields a

high degree of pleafure.

NOTHING

ftrikes

us fo agreeably in drefs,

and even diforder which conceal the pains that have been taken, and keep out of fight all the art that cleanlinefs as that negligence

did not require, and that vanity alone could In the fame manner wit is only employ.

agreeable

Mr. De

5 oo

MONTESQJJIEU'S

when

it's Tallies are flowing and and feem rather luckily hit off, than laborioufly invented and far-fetched.

agreeable,

eafy, ' '

:i

THE man who fmart fayings, ditation

amufes a company with are the fruits of preme-

which

and ftudy,

will pafs indeed for a

of wit, but not of that eafy

wit,

fpontaneous effufion of nature,

which

and

in

man

is

the

which

alone the graces difplay their genuine charms. Grace in manners or in difcourfe appears moft in thofe who are the leaft confcious of

and whofe plainnefs and fimpliof that nature, occacity, promifing nothing fion an agreeable furprife in fuch as at length pofleffing

it,

perceive, in the midft of this fimplicity, a quawhich they fo little expected. lity

FROM graces

all

now

this

we may

conclude that the

under confederation are not to be

in order to poflefs them we muft ; be natural and ingenuous; and nothing is

acquired

more

felfcontradictory than the attempt of ftudying to be natural.

ONE Iliad

is

of the moft beautiful fictions in the that of the Girdle,

which imparted

to

Venus

ESSAY ON TASTE. Venus the

301

No

power of

pleafing. image could contribute fo happily to give us a notion

of the fecret magick and influence of thofc graces which feem to be flied upon certain perfons by an invifible hand, and

which are from The beauty. myfterious intirely girdle could be given to no other than Venus. It was not fuitable to the majeflick beauty of diftincl:

Juno

j

for majefty requires a certain gravity, words, a certain degree of ref-

or, in other traint

which

is

inconfiftent with the eafy

and

carelefs fimplicity of the graces nor was it better adapted to the bold and haughty air of -,

Pallas, as haughtinefs is irreconcileable with the mild fweetnefs of the graces, and is often liable to the fufpicion

of affectation.

Concerning furprife

in

Us

progrejjlve

flate.

THE

moft fublime and ftriking beauties are to be found in thofe objects, the firft view of which excites but an inconfiderable emotion of furprife, an emotion, however,

which

continues, augments, and breaks forth, at The into admiration and rapture. laft,

works

$02

Mr. De

MONTESQUIEU'S

works of Raphael do not affect us in any extraordinary manner at firft fight j his imitation of nature is fo exact, that we contemplate it at firft with as little fuprife, as if we faw the real objects

he reprefents, that

is

to fay, al-

But the more we examine moft without any. the fublime productions of that great artift, the more our furprife increafes, until it arifes In the work of an infeinto aftonimment.

we

are immediately ftruck with a fingular expreffion, a high colouring, a fantaftick attitude, becaufe we are not accuftomrior pencil

ed

to

obferve

them elfewhere.

We

may

compare Raphael with Virgil ; and the Venetian painters, with their forced attitudes, may be considered

as

the

imitators

of Lucan.

Virgil* more natural and fimple, ftrikes lefs, at firft view, than after an attentive examina-

Lucan, on the contrary, view, and afterwards affects us

tion.

THE

exact proportion, that

ftrikes at firft little.

is

obferved in

the conftruction of the famous church of St. Peter

at

lefs vaft

Rome, makes it appear, at firft fight, and ample than it is in reality ; for

we know not where to point we (hould firft fix

begin, nor

on what

our eye in order to

judge

ESSAY ON TASTE. judge of

it's

considerable,

lefs

ftruck with

it's

diminished,

it's

firft

we

303 breadth

fhould be immediately

if it's vaft

dimenfions do not

{hike us with amazement at the

we

it's

length j and were it's length breadth would amaze us at

But

fight.

Were

dimenfions.

moment

that

our eye upon the mighty fabrick, the quite otherwife when we fet about ex-

caft

cafe

is

amining

it

with application and attention of

mind

then the eye perceives, as it were, the ; noble ftru&ure expanding itfelf on all fides ;

and to

furprife,

gathering

moment, throws the

force from foul,

at

moment

length, into

the deepefl aftonifhment. Thus the travelof the Pyrenean the firft view ler, upon

mountains, their

imagines that his eye takes in but as he advances he ;

whole extent

perceives his error, fees new fummits arife, lofes himfelf in the wide and endlefs

and

profpec"l.

IT often happens

mind enjoys which and which arifes

that the

pleafure in confequence of a feeling of it

has no diftinft notion,

from rent

it's

perceiving an object, as quite diffeit knows that objedl to be in The following example will abun-

from what

reality.

dantly

Mr. De

MO NT ESQJJ1EU

dantly illuftrate this obfervation. la of Sf. Peter

and

s is

of

itfelf

J

S

The cupo-

an immenfe edi-

known

that Michael Anan attentive view of the Pantheon, which was the largeft of the Roman temples, faid that he would erecl a ftructure of the fice

;

gekj

it is

well

after

fame kind, with

this difference

only, that it executed, accordingly, the cupola of St. Peters after the model of the Pantheon j but ordered, at the

fhould be built in the

air.

He

fame time, the pillars which fupported it to be made fo raafTy, that the cupola, though, of a mountainous fize, appears to the eye of the fpectator. otherwife quite At the view therefore of this noble piece of

in reality,

architecture the mind remains fufpended between what it perceives, and what it knows, between the appearance and the reality, and cannot recover from the furprife it feels at the fight of an edifice, which is, at the fame time fo mafly and fo light.

Concerning

E

S S

AY ON TA

Concerning

from a

S

beauties

tbofe

T

E.

305

that

refult

and

certain

embarajfment mind. perplexity of

THE mind prife

from

its

is frequently ftruck with furnot being able to reconcile the

the prefent, pafl with There it has feen.

what is

it

fees

with what

in Italy a vaft lake

magglore^ whofe borders arc and barren : but, upon failing wild entirely about fifteen miles in this little ocean, we find two iflands called the Borrotnees, about a

called // lago

quarter of a mile

in.

circumference

;

and

in

thefe diftinguimed fpots nature feems to have lavimed all thofe rural beauties that the moft

exuberant fancy can paint.

The mind

is

af-

tonifhed at this fingular contraft, and recalls upon this occafion the pleafure it has received

from the prodigies of romance, where the reader is tranfported from craggy rocks and barren defarts into fmiling landfcapes and enchanted ground,

ALL

contrafts flrike of neceffity, becaufe objeds placed in oppofition fet off each other

X

red-

3 o6

Mr. De

reciprocally

:

MON TE S QJJ

thus a

dwarf

in

I

EU'S

company with

a perfon of a tall ftature forms a contraft that makes the latter appear more enormous, and the former more minute.

ALL

thefe contrafts furprife; and hence

the pleafure we receive from antithefes, and other fuch figures, and in general from all thofe beauties of nature and art that are produced or heightened by oppofition. When

"

Sora and Algidum, who would Florus fays, " think it ! were formidable enemies to Rome ;

" Satricum and Corniculum were provinces : ft we blujh at the mention of Bovillas and tl Verulas, yet we triumphed over them; and " Tibur, new ourfuburbs, and Praenefte, where " we Jix our rural feats of recreation and " the were cur pleafure,

te

c<

formerly

when we Gods our vows and petitions ambitious defires,

when

objects

offered

of

up

to the

in the Capitol ;"

Florus, I fay, exprefles himfelf thus,

fhews us

at

he

the fame time the grandeur to arofc, and the fmall beginnings,

which Rome from which it fet outj and thefe are two objects, whofe ftriking contrail excites our altonimment.

WE

ESSAY ON TASTE.

WE ideas,

The

here obferve the remarkable dif-

may

ference

there

is

and an

latter

307

between an

antithefis

antithesis

merely

glaring, the former lies in

is

of

of words.

fome

meafure concealed j the one is always in the fame form and drefs, the other changes as

we

pleafe

;

the one

plex, the other

The fame

is

diverfified

hiftorian, fpeaking

and com-

of the Sam-

that the ruin of their cities

nites, obferves,

was

is

uniform and fimple.

fo terrible,

that in his

time

conceive

how

difficult to

it

was ex-

nation tremely could have furnimed to the Romans the octhis

cafions of four and twenty triumphs,

ut non

facile appareat materla quatuor et viginti triumphorum. It is remarkable here that the

very

fame words, which intimate the de-

ftruftion of that conquered people, convey to us an idea of their unparalleled obflinacy

and

fortitude.

THE

violence of a

fit

of laughter increafes

in proportion to the pains we take to ftifle it j becaufe there is then a ftriking contraft be-

tween the

air

and geftures X 2

we

aflume, and thofc

30$

Mr. De

MONTESQUIEU'S

thofe that naturally correfpond with the prefent

frame and

difpofition

the fame manner

of our minds. at the fight

In

of an

laugh any other remarkable dea countenance, on account of the un-

enormous fect in

we

nofe, or

feemly contrail which fuch a feature makes, when compared with the reft. Hence we fee that contrafts are

fometimes the caufes of

deformity, as well as of beauty. are introduced without reafon, or

When

they

when they

only ferve to expofe a defect and to place it in a ftriking and confpicuous point of view, then they render an object deformed. De-

formity produces different effecls upon the mind, according to the ideas that are aflbcia-

Confidered in itfelf, and viewted with it. ed of a fudden, it excites laughter eonfidered -,

as a misfortune,

dered as a

it

excites compaffion

mark of fome noxious

-,

eonfi-

quality, or

only companion with objecls which we are accuftorned to contemplate with pleafure in

and with

defire,

it

excites averjion.

'The Tranflator finds the following pajfage fo obfcure in the expreffion, tbat> to avoid all miftakes, he choofes to give it as it lies in the

original.

DE

ESSAY ON TASTE. "

DE meme

309

dans nos penfees, lorfquelles

" conticnnent une oppofition, qui eft centre cc le bon fens, lorfque cette oppofition eft '*

commune

<e

et aifee

a trouver, elles ne plaifent

un

defaut, parce qu'elles nc point caufent point de furprife ; et fi au con" traire elles font trop recherchees, elles ne et font

non

pas

plaifent

" un ouvrage on " et non

"

trer

que

car pour lors la furprife ne

;

fur la fottife

ONE

difficult, it's

tombent

1'auteur.

attainment of

becaufe

it lies

mod

this is

extremely

between the fublime

oppofite, but fo near the latter, that

not eafy to fleer along

touching is

de

a certain elegant fimplicity of

is

The

flyle ("|").

is

que dans

of the qualities that pleafes us

in an author

and

faut

II

fente, parce qu'elles y parce qu'on a voulu les mon-

font,

plus.

les

it,

it's

it

border without

to fpeak without a it figure, maintain this fimplicity of flyle

or,

difficult to

without falling fometimes into a low and vulgar flrain. (f)

The

French

without meannefs, phrafis. ity

We

word

naivete,

which

fignifies

fimplicity

be expreffed without a peritherefore wifh that Mr. Joknjlon would admit is

difficult to

into his Dictionary.

THE

3 io

Mr. De

MONTESQUIEU'S

THE

greateft matters in mufick acknowthofe vocal pieces which are that ledge performed with the greateft facility are always

the moft difficult in the compofition ; a cerproof this, that there are limits prefcribed

tain

both to our pleafures and

to the art

by which

they are produced.

When we {trains

read the

pompous and

lofty

of Corneille y and the natural and flow-

ing verfification of Racine t

we can

fcarcely

perfuade ourfelves that the former compofed with eafe, and the latter with difficulty and labour

j

yet fuch

A LOW

and

was

really the cafe.

infipid flyle is

who

the multitude,

are

the fublime of

pleafed with fuch

productions as appear expreffly made for them, and which are, at the fame time, adapted to their capacities.

Tne

ideas that arife in the

as are blefled

minds of fuch

with elevation of genius im-

proved and directed by a

liberal education, are

either natural (J), noble, or fublime. )

Idles aaivet.

WHEN

ESSAY ON TASTE.

311

WHEN

an object is prefented to us under or in acceflbry points circumftances various

of light that aggrandize it confiderably, the complex idea, then excited in the* mind, may be called noble. This is more efpecially ob-

companions, in which the mind muft always have it's perceptions augmented

fervable in

and multiplied their

nature,

their objects, tions of their

;

for

comparifons muft, in

add fomething to by heightening our nograndeur, or of their elegance ; necefTarily

either

and fimilitudes taken from mean object are carefully to be avoided 3 for the mind, inftead of contemplating them with pleafure, beholds -

them with ly

and would have ftudioufhad it firft difcovered

difguft,

concealed them,

them.

WHEN the ject:

is

elegance or delicacy of any fubby fimilitudes or com-

to be difplayed,

parifons,

the

mind

is

comparifons that are lities,

actions,

and

more

pleafed with the

formed between the quamanners of the objects

than with thofe that are drawn between the objects themfelves

-

f

as

when

a hero

is

compared

3 i2

Mr. De

MO N T ES QJJ IE U

pared with a lion, a lady with a runner with a flag.

ftar,

MICHAEL ANGELO

'

S

a fwift

excelled in

giving an air of dignity to all the fub}e
ted Bacchus he has not followed the ignoble manner of the Flemifo painters, who reprefent that deity in a daggering attitude ; for this would have been unfuitable to the raajef-

He has drawn him, on the god. firm contrary, upon his limbs, and in a ftedat the fame time, has difFubut, dy pofture;

ty of a

fed through the whole countenance of the fuch a diflblute gaiety and fuch an jolly deity exquilite air of pleafure

and

fatisfaction at the

fight of the fparkling liquor which he pours into his cup, as produces the agreeable

mod

effeci;

THE

fame admirable

artift,

in

a piece

which

and

now

drawn

reprefents the paffion of Chrift, in the gallery of Florence^ has

is

the Virgin {landing in an erect pofture, and beholding the crucifixion of her fon without

Shedding a tear, or difcovering the leaft mark of afflidion or pity. The fublime painter fuppofes

ESSAY ON TASTE.

3,3

her inftrudled in the grand myftery jTuppofes of redemption, and therefore makes her fup-

with port this dreadful fpeftacle

resignation

and greatnefs of foul.

THERE

is no production of Michael Angewhich does not bear fome marks of the There grandeur and elevation of his genius. /
is

in

his

which we has

very fketches that find in thofe lines

air

of majefty,

which

Virgil

left unfinifhed.

THERE

a gallery at Mantoua, in which Giulio Romano has reprefented the giants thunis

In this celebrated der-ftruck by Jupiter. piece all the gods appear feized with aftonim-

ment and

and

or.c to

his bolts,

and

with the

reft.

air

By

of

flie

fits

entreats to

deftroy

this the artift has given to

of majefty, which

above the other

fame

him

whom

air

near jfupifer, a giant who has efcaped

fortitude,

and points

Juno an

while Juno t with an

terror,

tranquillity

deities.

raifes

her vaftly

We obferve alfo in the

piece, that the terror painted in the looks is greater or lefs, in proportion,

pf the gods

as their places are

more

or lefs

diftant

from the

-

^

Mr. De

3 i4

MON TES QJQIE U'S

the throne of "Jupiter. ral

;

fince,

vi&or

is

This

&c.

highly natuin a battle, the proximity of the

every

way proper

is

to difpell the fears

of his troops.

J&re Death fnatched the pen from the ingenious writer.

FINIS.

the

hand of

f

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