SECTION XIV.
LOCKE"S OPINION CONCERNING DARKNESS CONSIDERED.
It is Mr. Locke"s opinion, that darkness is not naturally an idea of terror; and that, though an excessive light is painful to the sense, the greatest excess of darkness is no ways troublesome. He observes indeed in another place, that a nurse or an old woman having once a.s.sociated the ideas of ghosts and goblins with that of darkness, night, ever after, becomes painful and horrible to the imagination. The authority of this great man is doubtless as great as that of any man can be, and it seems to stand in the way of our general principle.[37] We have considered darkness as a cause of the sublime; and we have all along considered the sublime as depending on some modification of pain or terror: so that if darkness be no way painful or terrible to any, who have not had their minds early tainted with superst.i.tions, it can be no source of the sublime to them. But, with all deference to such an authority, it seems to me, that an a.s.sociation of a more general nature, an a.s.sociation which takes in all mankind, may make darkness terrible; for in utter darkness it is impossible to know in what degree of safety we stand; we are ignorant of the objects that surround us; we may every moment strike against some dangerous obstruction; we may fall down a precipice the first step we take; and if an enemy approach, we know not in what quarter to defend ourselves; in such a case strength is no sure protection; wisdom can only act by guess; the boldest are staggered, and he who would pray for nothing else towards his defence is forced to pray for light.
[Greek: Zeu pater, alla su rusai up eeros uias Achaion Poieson d" aithren, dos d" ophthalmoisin idesthai En de phaei kai olesson....]
As to the a.s.sociation of ghosts and goblins; surely it is more natural to think that darkness, being originally an idea of terror, was chosen as a fit scene for such terrible representations, than that such representations have made darkness terrible. The mind of man very easily slides into an error of the former sort; but it is very hard to imagine, that the effect of an idea so universally terrible in all times, and in all countries, as darkness, could possibly have been owing to a set of idle stories, or to any cause of a nature so trivial, and of an operation so precarious.
SECTION XV.
DARKNESS TERRIBLE IN ITS OWN NATURE.
Perhaps it may appear on inquiry, that blackness and darkness are in some degree painful by their natural operation, independent of any a.s.sociations whatsoever. I must observe, that the ideas of darkness and blackness are much the same; and they differ only in this, that blackness is a more confined idea. Mr. Cheselden has given us a very curious story of a boy who had been born blind, and continued so until he was thirteen or fourteen years old; he was then couched for a cataract, by which operation he received his sight. Among many remarkable particulars that attended his first perceptions and judgments on visual objects, Cheselden tells us, that the first time the boy saw a black object, it gave him great uneasiness; and that some time after, upon accidentally seeing a negro woman, he was struck with great horror at the sight. The horror, in this case, can scarcely be supposed to arise from any a.s.sociation. The boy appears by the account to have been particularly observing and sensible for one of his age; and therefore it is probable, if the great uneasiness he felt at the first sight of black had arisen from its connection with any other disagreeable ideas, he would have observed and mentioned it. For an idea, disagreeable only by a.s.sociation, has the cause of its ill effect on the pa.s.sions evident enough at the first impression; in ordinary cases, it is indeed frequently lost; but this is because the original a.s.sociation was made very early, and the consequent impression repeated often. In our instance, there was no time for such a habit; and there is no reason to think that the ill effects of black on his imagination were more owing to its connection with any disagreeable ideas, than that the good effects of more cheerful colors were derived from their connection with pleasing ones. They had both probably their effects from their natural operation.
SECTION XVI.
WHY DARKNESS IS TERRIBLE.
It may be worth while to examine how darkness can operate in such a manner as to cause pain. It is observable, that still as we recede from the light, nature has so contrived it, that the pupil is enlarged by the retiring of the iris, in proportion to our recess. Now, instead of declining from it but a little, suppose that we withdraw entirely from the light; it is reasonable to think that the contraction of the radial fibres of the iris is proportionally greater; and that this part may by great darkness come to be so contracted, as to strain the nerves that compose it beyond their natural tone; and by this means to produce a painful sensation. Such a tension it seems there certainly is, whilst we are involved in darkness; for in such a state, whilst the eye remains open, there is a continual nisus to receive light; this is manifest from the flashes and luminous appearances which often seem in these circ.u.mstances to play before it; and which can be nothing but the effect of spasms, produced by its own efforts in pursuit of its object: several other strong impulses will produce the idea of light in the eye, besides the substance of light itself, as we experience on many occasions. Some, who allow darkness to be a cause of the sublime, would infer, from the dilatation of the pupil, that a relaxation may be productive of the sublime as well as a convulsion: but they do not, I believe, consider, that although the circular ring of the iris be in some sense a sphincter, which may possibly be dilated by a simple relaxation, yet in one respect it differs from most of the other sphincters of the body, that it is furnished with antagonist muscles, which are the radial fibres of the iris: no sooner does the circular muscle begin to relax, than these fibres, wanting their counterpoise, are forcibly drawn back, and open the pupil to a considerable wideness. But though we were not apprised of this, I believe any one will find, if he opens his eyes and makes an effort to see in a dark place, that a very perceivable pain ensues. And I have heard some ladies remark, that after having worked a long time upon a ground of black, their eyes were so pained and weakened, they could hardly see. It may perhaps be objected to this theory of the mechanical effect of darkness, that the ill effects of darkness or blackness seem rather mental than corporeal: and I own it is true that they do so; and so do all those that depend on the affections of the finer parts of our system. The ill effects of bad weather appear often no otherwise than in a melancholy and dejection of spirits; though without doubt, in this case, the bodily organs suffer first, and the mind through these organs.
SECTION XVII.
THE EFFECTS OF BLACKNESS.
Blackness is but a _partial darkness_; and therefore it derives some of its powers from being mixed and surrounded with colored bodies. In its own nature, it cannot be considered as a color. Black bodies, reflecting none, or but a few rays, with regard to sight, are but as so many vacant s.p.a.ces, dispersed among the objects we view. When the eye lights on one of these vacuities, after having been kept in some degree of tension by the play of the adjacent colors upon it, it suddenly falls into a relaxation; out of which it as suddenly recovers by a convulsive spring.
To ill.u.s.trate this: let us consider that when we intend to sit on a chair, and find it much lower than was expected, the shock is very violent; much more violent than could be thought from so slight a fall as the difference between one chair and another can possibly make. If, after descending a flight of stairs, we attempt inadvertently to take another step in the manner of the former ones, the shock is extremely rude and disagreeable: and by no art can we cause such a shock by the same means when we expect and prepare for it. When I say that this is owing to having the change made contrary to expectation; I do not mean solely, when the _mind_ expects. I mean likewise, that when any organ of sense is for some time affected in some one manner, if it be suddenly affected otherwise, there ensues a convulsive motion; such a convulsion as is caused when anything happens against the expectance of the mind.
And though it may appear strange that such a change as produces a relaxation should immediately produce a sudden convulsion; it is yet most certainly so, and so in all the senses. Every one knows that sleep is a relaxation; and that silence, where nothing keeps the organs of hearing in action, is in general fittest to bring on this relaxation; yet when a sort of murmuring sounds dispose a man to sleep, let these sounds cease suddenly, and the person immediately awakes; that is, the parts are braced up suddenly, and he awakes. This I have often experienced myself, and I have heard the same from observing persons. In like manner, if a person in broad daylight were falling asleep, to introduce a sudden darkness would prevent his sleep for that time, though silence and darkness in themselves, and not suddenly introduced, are very favorable to it. This I knew only by conjecture on the a.n.a.logy of the senses when I first digested these observations; but I have since experienced it. And I have often experienced, and so have a thousand others, that on the first inclining towards sleep, we have been suddenly awakened with a most violent start; and that this start was generally preceded by a sort of dream of our falling down a precipice: whence does this strange motion arise, but from the too sudden relaxation of the body, which by some mechanism in nature restores itself by as quick and vigorous an exertion of the contracting power of the muscles? The dream itself is caused by this relaxation; and it is of too uniform a nature to be attributed to any other cause. The parts relax too suddenly, which is in the nature of falling; and this accident of the body induces this image in the mind. When we are in a confirmed state of health and vigor, as all changes are then less sudden, and less on the extreme, we can seldom complain of this disagreeable sensation.
SECTION XVIII.
THE EFFECTS OF BLACKNESS MODERATED.
Though the effects of black be painful originally, we must not think they always continue so. Custom reconciles us to everything. After we have been used to the sight of black objects, the terror abates, and the smoothness and glossiness, or some agreeable accident of bodies so colored, softens in some measure the horror and sternness of their original nature; yet the nature of the original impression still continues. Black will always have something melancholy in it, because the sensory will always find the change to it from other colors too violent; or if it occupy the whole compa.s.s of the sight, it will then be darkness; and what was said of darkness will be applicable here. I do not purpose to go into all that might be said to ill.u.s.trate this theory of the effects of light and darkness; neither will I examine all the different effects produced by the various modifications and mixtures of these two causes. If the foregoing observations have any foundation in nature, I conceive them very sufficient to account for all the phenomena that can arise from all the combinations of black with other colors. To enter into every particular, or to answer every objection, would be an endless labor. We have only followed the most leading roads; and we shall observe the same conduct in our inquiry into the cause of beauty.
SECTION XIX.
THE PHYSICAL CAUSE OF LOVE.
When we have before us such objects as excite love and complacency, the body is affected, so far as I could observe, much in the following manner: the head reclines something on one side; the eyelids are more closed than usual, and the eyes roll gently with an inclination to the object; the mouth is a little opened, and the breath drawn slowly, with now and then a low sigh; the whole body is composed, and the hands fall idly to the sides. All this is accompanied with an inward sense of melting and languor. These appearances are always proportioned to the degree of beauty in the object, and of sensibility in the observer. And this gradation from the highest pitch of beauty and sensibility, even to the lowest of mediocrity and indifference, and their correspondent effects, ought to be kept in view, else this description will seem exaggerated, which it certainly is not. But from this description it is almost impossible not to conclude that beauty acts by relaxing the solids of the whole system. There are all the appearances of such a relaxation; and a relaxation somewhat below the natural tone seems to me to be the cause of all positive pleasure. Who is a stranger to that manner of expression so common in all times and in all countries, of being softened, relaxed, enervated, dissolved, melted away by pleasure?
The universal voice of mankind, faithful to their feelings, concurs in affirming this uniform and general effect: and although some odd and particular instance may perhaps be found, wherein there appears a considerable degree of positive pleasure, without all the characters of relaxation, we must not therefore reject the conclusion we had drawn from a concurrence of many experiments; but we must still retain it, subjoining the exceptions which may occur according to the judicious rule laid down by Sir Isaac Newton in the third book of his Optics. Our position will, I conceive, appear confirmed beyond any reasonable doubt, if we can show that such things as we have already observed to be the genuine const.i.tuents of beauty have each of them, separately taken, a natural tendency to relax the fibres. And if it must be allowed us, that the appearance of the human body, when all these const.i.tuents are united together before the sensory, further favors this opinion, we may venture, I believe, to conclude that the pa.s.sion called love is produced by this relaxation. By the same method of reasoning which we have used in the inquiry into the causes of the sublime, we may likewise conclude, that as a beautiful object presented to the sense, by causing a relaxation of the body, produces the pa.s.sion of love in the mind; so if by any means the pa.s.sion should first have its origin in the mind, a relaxation of the outward organs will as certainly ensue in a degree proportioned to the cause.
SECTION XX.
WHY SMOOTHNESS IS BEAUTIFUL.
It is to explain the true cause of visual beauty that I call in the a.s.sistance of the other senses. If it appears that _smoothness_ is a princ.i.p.al cause of pleasure to the touch, taste, smell, and hearing, it will be easily admitted a const.i.tuent of visual beauty; especially as we have before shown, that this quality is found almost without exception in all bodies that are by general consent held beautiful. There can be no doubt that bodies which are rough and angular, rouse and vellicate the organs of feeling, causing a sense of pain, which consists in the violent tension or contraction of the muscular fibres. On the contrary, the application of smooth bodies relaxes; gentle stroking with a smooth hand allays violent pains and cramps, and relaxes the suffering parts from their unnatural tension; and it has therefore very often no mean effect in removing swellings and obstructions. The sense of feeling is highly gratified with smooth bodies. A bed smoothly laid, and soft, that is, where the resistance is every way inconsiderable, is a great luxury, disposing to an universal relaxation, and inducing beyond anything else that species of it called sleep.
SECTION XXI.
SWEETNESS, ITS NATURE.
Nor is it only in the touch that smooth bodies cause positive pleasure by relaxation. In the smell and taste, we find all things agreeable to them, and which are commonly called sweet, to be of a smooth nature, and that they all evidently tend to relax their respective sensories. Let us first consider the taste. Since it is most easy to inquire into the property of liquids, and since all things seem to want a fluid vehicle to make them tasted at all, I intend rather to consider the liquid than the solid parts of our food. The vehicles of all tastes are _water_ and _oil_. And what determines the taste is some salt, which affects variously according to its nature, or its manner of being combined with other things. Water and oil, simply considered, are capable of giving some pleasure to the taste. Water, when simple, is insipid, inodorous, colorless, and smooth; it is found, when _not cold_, to be a great resolver of spasms, and lubricator of the fibres; this power it probably owes to its smoothness. For as fluidity depends, according to the most general opinion, on the roundness, smoothness, and weak cohesion of the component parts of any body, and as water acts merely as a simple fluid, it follows that the cause of its fluidity is likewise the cause of its relaxing quality, namely, the smoothness and slippery texture of its parts. The other fluid vehicle of tastes is _oil_. This too, when simple, is insipid, inodorous, colorless, and smooth to the touch and taste. It is smoother than water, and in many cases yet more relaxing.
Oil is in some degree pleasant to the eye, the touch, and the taste, insipid as it is. Water is not so grateful; which I do not know on what principle to account for, other than that water is not so soft and smooth. Suppose that to this oil or water were added a certain quant.i.ty of a specific salt, which had a power of putting the nervous papillae of the tongue into a gentle vibratory motion; as suppose sugar dissolved in it. The smoothness of the oil and the vibratory power of the salt cause the sense we call sweetness. In all sweet bodies, sugar, or a substance very little different from sugar, is constantly found. Every species of salt, examined by the microscope, has its own distinct, regular, invariable form. That of nitre is a pointed oblong; that of sea-salt an exact cube; that of sugar a perfect globe. If you have tried how smooth globular bodies, as the marbles with which boys amuse themselves, have affected the touch when they are rolled backward and forward and over one another, you will easily conceive how sweetness, which consists in a salt of such nature, affects the taste; for a single globe (though somewhat pleasant to the feeling), yet by the regularity of its form, and the somewhat too sudden deviation of its parts from a right line, is nothing near so pleasant to the touch as several globes, where the hand gently rises to one and falls to another; and this pleasure is greatly increased if the globes are in motion, and sliding over one another; for this soft variety prevents that weariness, which the uniform disposition of the several globes would otherwise produce. Thus in sweet liquors, the parts of the fluid vehicle, though most probably round, are yet so minute, as to conceal the figure of their component parts from the nicest inquisition of the microscope; and consequently, being so excessively minute, they have a sort of flat simplicity to the taste, resembling the effects of plain smooth bodies to the touch; for if a body be composed of round parts excessively small, and packed pretty closely together, the surface will be both to the sight and touch as if it were nearly plain and smooth. It is clear from their unveiling their figure to the microscope, that the particles of sugar are considerably larger than those of water or oil, and consequently that their effects from their roundness will be more distinct and palpable to the nervous papillae of that nice organ the tongue; they will induce that sense called sweetness, which in a weak manner we discover in oil, and in a yet weaker in water; for, insipid as they are, water and oil are in some degree sweet; and it may be observed, that insipid things of all kinds approach more nearly to the nature of sweetness than to that of any other taste.
SECTION XXII.
SWEETNESS RELAXING.
In the other senses we have remarked, that smooth things are relaxing.
Now it ought to appear that sweet things, which are the smooth of taste, are relaxing too. It is remarkable, that in some languages soft and sweet have but one name. _Doux_ in French signifies soft as well as sweet. The Latin _dulcis_, and the Italian _dolce_, have in many cases the same double signification. That sweet things are generally relaxing, is evident; because all such, especially those which are most oily, taken frequently, or in a large quant.i.ty, very much enfeeble the tone of the stomach. Sweet smells, which bear a great affinity to sweet tastes, relax very remarkably. The smell of flowers disposes people to drowsiness; and this relaxing effect is further apparent from the prejudice which people of weak nerves receive from their use. It were worth while to examine, whether tastes of this kind, sweet ones, tastes that are caused by smooth oils and a relaxing salt, are not the originally pleasant tastes. For many, which use has rendered such, were not at all agreeable at first. The way to examine this is, to try what nature has originally provided for us, which she has undoubtedly made originally pleasant; and to a.n.a.lyze this provision. _Milk_ is the first support of our childhood. The component parts of this are water, oil, and a sort of a very sweet salt, called the sugar of milk. All these when blended have a great _smoothness_ to the taste, and a relaxing quality to the skin. The next thing children covet is _fruit_, and of fruits those princ.i.p.ally which are sweet; and every one knows that the sweetness of fruit is caused by a subtle oil, and such a salt as that mentioned in the last section. Afterwards custom, habit, the desire of novelty, and a thousand other causes, confound, adulterate, and change our palates, so that we can no longer reason with any satisfaction about them. Before we quit this article, we must observe, that as smooth things are, as such, agreeable to the taste, and are found of a relaxing quality; so on the other hand, things which are found by experience to be of a strengthening quality, and fit to brace the fibres, are almost universally rough and pungent to the taste, and in many cases rough even to the touch. We often apply the quality of sweetness, metaphorically, to visual objects. For the better carrying on this remarkable a.n.a.logy of the senses, we may here call sweetness the beautiful of the taste.
SECTION XXIII.
VARIATION, WHY BEAUTIFUL.
Another princ.i.p.al property of beautiful objects is, that the line of their parts is continually varying its direction; but it varies it by a very insensible deviation; it never varies it so quickly as to surprise, or by the sharpness of its angle to cause any twitching or convulsion of the optic nerve. Nothing long continued in the same manner, nothing very suddenly varied, can be beautiful; because both are opposite to that agreeable relaxation which is the characteristic effect of beauty. It is thus in all the senses. A motion in a right line is that manner of moving, next to a very gentle descent, in which we meet the least resistance; yet it is not that manner of moving, which next to a descent, wearies us the least. Rest certainly tends to relax: yet there is a species of motion which relaxes more than rest; a gentle oscillatory motion, a rising and falling. Rocking sets children to sleep better than absolute rest; there is indeed scarcely anything at that age, which gives more pleasure than to be gently lifted up and down; the manner of playing which their nurses use with children, and the weighing and swinging used afterwards by themselves as a favorite amus.e.m.e.nt, evince this very sufficiently. Most people must have observed the sort of sense they have had on being swiftly drawn in an easy coach on a smooth turf, with gradual ascents and declivities. This will give a better idea of the beautiful, and point out its probable cause better, than almost anything else. On the contrary, when one is hurried over a rough, rocky, broken road, the pain felt by these sudden inequalities shows why similar sights, feelings, and sounds, are so contrary to beauty: and with regard to the feeling, it is exactly the same in its effect, or very nearly the same, whether, for instance, I move my hand along the surface of a body of a certain shape, or whether such a body is moved along my hand. But to bring this a.n.a.logy of the senses home to the eye; if a body presented to that sense has such a waving surface, that the rays of light reflected from it are in a continual insensible deviation from the strongest to the weakest (which is always the case in a surface gradually unequal), it must be exactly similar in its effects on the eye and touch; upon the one of which it operates directly, on the other indirectly. And this body will be beautiful if the lines which compose its surface are not continued, even so varied, in a manner that may weary or dissipate the attention. The variation itself must be continually varied.
SECTION XXIV.
CONCERNING SMALLNESS.
To avoid a sameness which may arise from the too frequent repet.i.tion of the same reasonings, and of ill.u.s.trations of the same nature, I will not enter very minutely into every particular that regards beauty, as it is founded on the disposition of its quant.i.ty, or its quant.i.ty itself. In speaking of the magnitude of bodies there is great uncertainty, because the ideas of great and small are terms almost entirely relative to the species of the objects, which are infinite. It is true, that having once fixed the species of any object, and the dimensions common in the individuals of that species, we may observe some that exceed, and some that fall short of, the ordinary standard: those which greatly exceed are, by that excess, provided the species itself be not very small, rather great and terrible than beautiful; but as in the animal world, and in a good measure in the vegetable world likewise, the qualities that const.i.tute beauty may possibly be united to things of greater dimensions; when they are so united, they const.i.tute a species something different both from the sublime and beautiful, which I have before called _fine_; but this kind, I imagine, has not such a power on the pa.s.sions, either as vast bodies have which are endued with the correspondent qualities of the sublime; or as the qualities of beauty have when united in a small object. The affection produced by large bodies adorned with the spoils of beauty, is a tension continually relieved; which approaches to the nature of mediocrity. But if I were to say how I find myself affected upon such occasions, I should say that the sublime suffers less by being united to some of the qualities of beauty, than beauty does by being joined to greatness of quant.i.ty, or any other properties of the sublime. There is something so overruling in whatever inspires us with awe, in all things which belong ever so remotely to terror, that nothing else can stand in their presence. There lie the qualities of beauty either dead or unoperative; or at most exerted to mollify the rigor and sternness of the terror, which is the natural concomitant of greatness. Besides the extraordinary great in every species, the opposite to this, the dwarfish and diminutive, ought to be considered. Littleness, merely as such, has nothing contrary to the idea of beauty. The humming-bird, both in shape and coloring, yields to none of the winged species, of which it is the least; and perhaps his beauty is enhanced by his smallness. But there are animals, which, when they are extremely small, are rarely (if ever) beautiful. There is a dwarfish size of men and women, which is almost constantly so gross and ma.s.sive in comparison of their height, that they present us with a very disagreeable image. But should a man be found not above two or three feet high, supposing such a person to have all the parts of his body of a delicacy suitable to such a size, and otherwise endued with the common qualities of other beautiful bodies, I am pretty well convinced that a person of such a stature might be considered as beautiful; might be the object of love; might give us very pleasing ideas on viewing him. The only thing which could possibly interpose to check our pleasure is, that such creatures, however formed, are unusual, and are often therefore considered as something monstrous. The large and gigantic, though very compatible with the sublime, is contrary to the beautiful. It is impossible to suppose a giant the object of love. When we let our imagination loose in romance, the ideas we naturally annex to that size are those of tyranny, cruelty, injustice, and everything horrid and abominable. We paint the giant ravaging the country, plundering the innocent traveller, and afterwards gorged with his half-living flesh: such are Polyphemus, Cacus, and others, who make so great a figure in romances and heroic poems. The event we attend to with the greatest satisfaction is their defeat and death. I do not remember, in all that mult.i.tude of deaths with which the Iliad is filled, that the fall of any man, remarkable for his great stature and strength, touches us with pity; nor does it appear that the author, so well read in human nature, ever intended it should. It is Simoisius, in the soft bloom of youth, torn from his parents, who tremble for a courage so ill suited to his strength; it is another hurried by war from the new embraces of his bride, young and fair, and a novice to the field, who melts us by his untimely fate. Achilles, in spite of the many qualities of beauty which Homer has bestowed on his outward form, and the many great virtues with which he has adorned his mind, can never make us love him. It may be observed, that Homer has given the Trojans, whose fate he has designed to excite our compa.s.sion, infinitely more of the amiable, social virtues than he has distributed among his Greeks. With regard to the Trojans, the pa.s.sion he chooses to raise is pity; pity is a pa.s.sion founded on love; and these _lesser_, and if I may say domestic virtues, are certainly the most amiable. But he has made the Greeks far their superiors in the politic and military virtues. The councils of Priam are weak; the arms of Hector comparatively feeble; his courage far below that of Achilles. Yet we love Priam more than Agamemnon, and Hector more than his conqueror Achilles. Admiration is the pa.s.sion which Homer would excite in favor of the Greeks, and he has done it by bestowing on them the virtues which have but little to do with love. This short digression is perhaps not wholly beside our purpose, where our business is to show that objects of great dimensions are incompatible with beauty, the more incompatible as they are greater; whereas the small, if ever they fail of beauty, this failure is not to be attributed to their size.
SECTION XXV.
OF COLOR.
With regard to color, the disquisition is almost infinite; but I conceive the principles laid down in the beginning of this part are sufficient to account for the effects of them all, as well as for the agreeable effects of transparent bodies, whether fluid or solid. Suppose I look at a bottle of muddy liquor, of a blue or red color; the blue or red rays cannot pa.s.s clearly to the eye, but are suddenly and unequally stopped by the intervention of little opaque bodies, which without preparation change the idea, and change it too into one disagreeable in its own nature, conformably to the principles laid down in Sect. 24. But when the ray pa.s.ses without such opposition through the gla.s.s or liquor, when the gla.s.s or liquor is quite transparent, the light is sometimes softened in the pa.s.sage, which makes it more agreeable even as light; and the liquor reflecting all the rays of its proper color _evenly_, it has such an effect on the eye, as smooth opaque bodies have on the eye and touch. So that the pleasure here is compounded of the softness of the transmitted, and the evenness of the reflected light. This pleasure may be heightened by the common principles in other things, if the shape of the gla.s.s which holds the transparent liquor be so judiciously varied, as to present the color gradually and interchangeably, weakened and strengthened with all the variety which judgment in affairs of this nature shall suggest. On a review of all that has been said of the effects, as well as the causes of both, it will appear that the sublime and beautiful are built on principles very different, and that their affections are as different: the great has terror for its basis, which, when it is modified, causes that emotion in the mind, which I have called astonishment; the beautiful is founded on mere positive pleasure, and excites in the soul that feeling which is called love. Their causes have made the subject of this fourth part.
FOOTNOTES:
[29] Part I. sect. 7.
[30] Part I. sect. 10.