THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES A N ESS AY O N TASTE. B Y ALEXANDER GERARD, M. A. Profefibr of Moral PHILOSOPHY and LOGIC, in the MARISCHAL COLLEGE of Aberdeen. WITH THREE DISSERTATIONS On the fame SUBJECT. B Y Mr. De VOLTAIRE. Mr. D ' A L E M B E R T, F. R. S. Mr. De M o N T E s o^u i E u. Omnes tacito quodam fenfu, fine ulla arte aut ratione, quae fint in artibus ac rationibus rea et prava jud leant. Ci c. de Oratore, lib. iii. LONDON, Printed for A. MILLAR in the Strand, A. KINCAID and J. BELL, in Edinburgh. M D C C L I X. ADVERTISEMENT, 'THEEDINBURGH SOCIETY for the encouragement of arts, fciences, ma- nufatfures, and agriculture propofed, in the year i/55> a gold medal to thebeft ESSAY en T A s T E -, and, not having affigned it that year, repeated the propofal in 1756. "This determined the author to enter on the following enquiry into the nature of tfajle -, the general principles of which only he presented to the So- ciety, fufpefting that the whole might exceed the limits which they had Jixed, by requiring an effay. rfhe judges appointed for that fub- jeft, having been pleafed to ajfign the premium to him, he is encouraged to offer the whole, as it was atfrjl compofed, to the public; CON- 541036 ENGLISH [iii] CONTENTS. INTRODUCTION. page I. PART I. fajle refolded into it's fimple principles. SECT. I. Of the fenfe or tafle of Novelty. 3; SECT. II. Of the fenfe or tajle of Sublimity. 13. SECT. III. Oftbefenfe or tafle of Beauty. 3 1. SECT. IV. Ofthefenfeor tafle of Imitation. 49. SECT. V. Of 'the fen fe or tafle of Harmony. 59. SECT. VI. Oftbefenfe or tafle of Oddity and Ridicule. - - 66. SECT. VII. Ofthefenfeor tafle of Virtue. 74. PART II. 'fhe formation of tafle by the union and improve- ment ofifsfimple principles. SECT. I. Of the union of the internal fenfes and the ajjijlance they receive from delicacy of pajjion. - - 79. a 2 SECT. CONTENTS. ill, SECT. II. Of the influence of judgment upon tajle. - - 90. SECT. III. Tiajle improvable; how; and in what refpeffs. - - - 99. SECT. IV. Offenfjbility offafle. 1 06. SECT. V. Of refinement ofTafle. 1 16. SECT. VI. Ofcorretfnefs of Tafte. 1 34. SECT. VII. Of the due proportion of the prin- ciples of ) 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. 'Ov vsain* iw' *p(2a? /*.- x^rr/o^y, AA* tnee. xctra^iretv, xj ru dx^xr^ aviiivoti, > Xoyi^sj'- 6 f| atra* yvvieis yeig TO tXX;.9f JTTO era y'wrou tv/jki^'- Tff^-' TfiT&? yap ixwru Jox Jia a\ t TJ a^og^tr) trct-^n^K^Ta. cta- Tu TB avn'itou' TO ol mdvrot u$ a-t/ovra X^ynv, x.'ira.yivuffX.<,vT:i !'OJKE 1-5 ax^inS. AHMHT. 4>AA. vrt i-py. cx. o-X. L'homme eft naturellement fi amoreux de ce qu'il produit, et cette ac- tion de noftre aime qui contrefait le creation, 1'eblouit, et la trompe fi infenfiblement et fi doucement ; que les efprits judi- cieux otjfervei'it, qu'un des plus feurs nnoycns de plaire, n'eft pas tant de dire et de penfer, comme de faire penfer, et de faire dire. Ne faifant qu'ouvrir 1'efprit du ledleur, vous luy donnez lieu de le faire agir ; ct il attribue ce qu'il penfe et ce 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. I. Of 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 of many fubjects enhances our fatisfaction, yet the former principle, without any aid from this, often renders very great labour, not only fupportable, but agreeable. Witnefs the de- light, with which antiquaries beftow indefa- tigable pains on recovering or illuftrating an- cient fragments, recommended only by their age, and cbfcurity, and fcarce apprehended to be, on any other account, of great impor- tance. This is in general the caufe of our pleafure in all enquiries of mere curiofity. NOT only the performance of aclionr, but alfo the conception of moft objects, to which we have not been accuftomed, is attended with difficulty. On this account, when new objects are in themfelves indifferent, the ef- forts, that are necefiary for conceiving them, exalt and enliven the frame of the mind, make it receive a ftrong impreffion from them, and thus render them in fome meafure agree- able. When the objects are in themfelves mais on fait naiftre dans fon cceur une indignation fccrettc, luy donnant fujet de croire qu'on fe dcfie de fa capacitc. Bouhourt, La man. de bien penf. Quatr. Dial. B 3 agreeable, 6 ~ Of the tajte of novelty. PART. I. agreeable, thefe efforts heighten our fatisfao tion. A fine country or ah agreeable pro- fpeuint. Injl. Otat. lib. viii. cap. 6. . produce, lo Of the tajle of novelty. PART. 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 expectation of attracting the notice of his companions. It gratifies the vanity of a fine lady, to be among the firft in a fafbion ; it feems to proclaim her rank, to diftinguim her from the vulgar, and to command refpect. THE pleafure of novelty is fometimes alfo heightened by reflection. When the con- ception of an object is attended with very confiderable difficulty, the pleafure which we feel in the exertion of mind, neceflary for overcoming this difficulty, is increafed by the joy, with which we reflect on our fuc- cefs in having furmounted it. When objects are of fuch a nature that we reckon our ac- quaintance with them an acquifition in know- ledge, the pleafure of their novelty arifes in part from the fatisfaction, with which we reflect on our having made this acquifition. Both thefe circumftances, the concioufnefs of fuccefs, and the opinion of improvement, contribute to that delight, which a mathema- tician SECT. I. Of tie tafte of novelfy. i r tician enjoys, the firft time that he compre- hends a difficult and curious demonftration. IT may be farther obferved, that novelty in the works of genius and art derives addi- tional charms from another principle, to be explained afterwards, the ingenuity which it 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. II. Of the fenfe or tafte of grandeur and fublimity. GRANDEUR or fublimity gives us a ftill higher and nobler pleafure, by means of a fenfe appropriated to the percep- tion of it j while meannefs renders any ob- ject, to which it adheres, difagreeable and diftafteful. Objects are fublime, which pof- fefs quantity or amplitude, and fmplicity in conjunction (d). CONSIDERABLE magnitude or largenefs of extenfion, in objects capable of it, is neceflary to produce fublimity. It is not on a fmall rivulet, however tranfparent and beautifully winding; it is not on a narrow valley, though 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 J4 Of the tajte of PART. I. beftow the epithet fublime : but on the Alps, the Ni/e, the ocean, the wide expanfe of hea- ven, or the immenfity of fpace uniformly ex- tended, without limit or termination (e). WE always contemplate objects and ideas with a difpofition fimilar to their nature. When a large object is prefented, the mind expands itfelf to the extent of that object, and is filled with one grand fenfation, which totally pofleffing it, compofes it into a folemn fedatenefs, and ftrikes it with deep filent wonder and admiration : it 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 this occafions, it fometimes imagines itfelf prefent in every part of thefcene, which it contemplates ; and, from the fenfe of this immenfity, feels a noble pride, and entertains a lofty conception of its own capacity (f). : ttiUtcH *a v A" ov Ta> iixet <47 SctvjLx^o- ev (uxsavoc. AOTFIN. wtpi o-^a:. T^r^. Xi. (/) Longinus contents himfelf with refolving the fenfation of fublimhy into the la ft of thefe principles, without inveftigat- ing the others, of which // is but a confequence. *MW y ? vc iVa-Ti TI r,.vt YI -vr x &v fi a>oi$-rix LARGE SE c T . 1 1. grandeur and fublitnity. i LARGE objects can fcarce indeed produce their full effect, unlefs they are alfo/w/>&, .or made up of parts, in a great meafure fimilar. Innumerable little iflands fcattered in the ocean, and breaking the profpect, greatly di- minim the grandeur of the fcene. A va- riety of clouds, diverfifying the face of the heavens, may add to their beauty, but muft detract from their grandeur (g). OBJECTS cannot poflefs that largenefs, which is neceffary for infpiring a fenfation of the fublime, without fimplicity. Where this is wanting, the mind contemplates, not one large , but many fmall objects (b) : it is (g) It is not meant that, in thefe cafes, the fublimity of the ocean, or of the heavens, is deftroyed ; it is only afferted that it is diminifhed. A confiderable degree of fublimity will remain, on account of the fimilarity, that ftill fubfifts among the parts. (b) Simplicity is recommended, by an antient critic, as re- quifite to fublimity in painting, on the very principle here afligned, which muft render its ncceffity univerfal, as it ex- tends equally to every other fubjeft. Nxue? y o ^. AHMHT. OAA. vt^l sepv. or. It is on the fame princi- ple that Longinus accounts for the production of the fublime, by expreffing in the fingular, what is ordinarily exprefled in the plural. To yap / x ru XtygiifAtiwr s; rai wvptvct i-jriFvrzQa* Qr. rit^i V$>. TfC*| *'' pained 1 6 Of the to/It of PART I. pained with the labour requtfite to creep from one to another ; and is difgufted with the imperfection of the idea, with which, even after all this toil, it muft remain contented. But we take in, with eafe, one entire con- ception of a fimple object, however large : in confequence of this facility, we naturally ac- count it one : the view of any (ingle part fuggefts the whole, and enables fancy to ex- tend and enlarge it to infinity, that it may fill the capacity of the mind. MANY things are indeed denominated fub- lime, which, being deftitute of extenfion, feem incapable of amplitude, the firft and fun- damental requifite of the fublime. But fuch objects will be found, on examination, to poffefs qualities, which have the fame power to exalt the difpofition of the obferver. Length of duration ; prodigious numbers of things fimilar united, or fo related, as to con- ftitute a whole, partake of the nature of quan- tity, and, as well as extenfion, enlarge and elevate the mind, which contemplates them. Eternity is an object, which fills the whole capacity of the foul, nay exceeds its compre- henfion ; 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 gran- deur ; which arifes, not fo much from the largenefs of the fpace they occupy, as from the numbers of men or {hips, which are in them united under one direction, and co-ope- rate to a common end ; the union and fimi- litude of the parts adding fmplicity to the tyaftnefi of their number. Hence too is de- rived the fublime of fcience, which lies in univerfal principles and general theorems, from which, as from an inexhauftible fource, flow multitudes of corollaries and fubordinate truths. BUT do not we attribute grandeur and fublimity to fame things, which are deftitute of quantity of every kind ? What can be more remote from quantity, than the pafiions and affections of the foul ? Yet the moft imperfect and uncultivated tafle is fenfible of a fubli- mity in heroifm, in magnanimity, in a con- tempt of honours, of riches, of power, in a noble fuperiority to things external, in pa- triotifm, in univerfal benevolence. To ac- count for this, we muft obferve, that, as no pafllon can fubfift 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 of PA*T t. felves with conceiving it as a fimple emotion in the mind, but we run over, in thought, the objects about which it is employed, the things by which it is produced, and the ef- fects by which it difcovers itfelf. And as thefe always enter into our conception of the paffion, and are often connected with quan- tity, they naturally render the paffion fub- lime. What wonder that we efteem hero- ifm grand, when, in order to imagine it, we i'uppofe a mighty conqueror, in oppolition to the moft formidable dangers, acquiring power over multitudes of nations, fubjedting to his dominion wide extended countries, and purchafing renown, which reaches to the extremities of the world, and ihall continue through all the ages of futurity ? What can be more truly great than the object of that benevolence, which, unconfined by the nar- row limits of vicinity or relation, compre- hends multitudes, grafps whole large focie- ties, and even extends from pole to pole ? IT muft alfo be remarked, that whatever excites in the mind a fenfation or emotion ilmilar to what is excited by vaft objects is on this account denominated fublimej it be- ing natural to reduce to the fame fpecies, to exprefs SECT. II. grandeur and fubllmlty. 19 exprefs by the fame name, and even fre- quently to confound together thofe objefts, which we contemplate with the fame or a like difpofhion. Hence the raging of the fea in a ftorm, and the loud 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 manner, we admire as fublime fu- perior excellence of many kinds j fuch emi- nence in ftrength, or power, or genius, ds is uncommon, and overcomes difficulties, which are infurmouhtable 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, power, pain, death ; fetting him above 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 am- plitude. A great degree of quality has here the fame effecl: upon the mind, as vaftnefs of quantity, and that by the fame principles, by C 2 flretching 20 Of the tafle of PART I ftretching and elevating the mind in the con- ception of it. WE (hall but juft obferve that the fublime paffions, habitually prevailing in the temper, and uniformly difplaying themfelves in fuita- ble expreffions and effeds, conftitute dignity and fublimity of character. BUT in order to comprehend the whole extent of the fublime, it is proper to take no- tice that objects, which do not themfelves pofiefs that quality, may neverthelefs acquire it, by ajficiation with fuch as do. It is the nature of afTociation to unite different ideas & clofely, that they become in a manner one. In that fituation, the qualities of one part are naturally attributed to the whole, or to the other part. At leaft aflbciation ren- ders the tranfition of the mind from one idea to another fo quick and eafy, that we con- template both with the fame difpofition, and are therefore fimilarly affected by both. Whenever, then, any object uniformly and conftantly introduces into the mind the idea of another that is grand, it will, by its con- nexion with the latter, be itfelf rendered grand. Hence words and phrafes are deno- minate SECT. II. grandeur and fublimity* 21 minated lofty and majeftic. Sublimity of ilyle arifes, not fo much from the found of the words, though that doubtlefs may have fome influence, as from the nature of the ideas, which we are accuftomed to annex to them, and the character of the perfons, among whom they are in moft common ufe. This too is the origin of the grandeur we af- cribe to objects high and elevated in place; of the veneration, with which we regard things in any direction diftant ; and of the fuperior admiration excited by things remote in time \ efpecially in antiquity or pail du- ration (/). (/) The author of a Treatife of Human Nature has very in- genioufly reduced thefe phenomena into the principle of affo- ciation. B. ii. P. 3,S. g. The fum of his reafoning, fo far as it is neceffary tc take notice of it here, is as follows. " Be- caufe 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 force exerted in 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 could have in any other direction. The fenfation of ampli- tude, which by this means comes to attend the interpofed diflance, is transferred to, and confidcred as excited by the oh- jeft that is eminent and above us ; and that object, by thi* transference, acquires grandeur and fublimhy. And here we may obferve in paflmg, that this natural tendency to affociatr ideas of grandeur with things above us is the reafon, \?hy the C 3 Bur 22 Of the tajle of PART I. BUT the fine arts prefent the moft nume- rous examples of grandeur produced by aflb- ciation. In all of them, the lublime is at- tained, chiefly by the artift's exciting ideas of fublime objecls ; and in fuch as are mimical, this quality is chiefly owing to our being led by the exaclnefs of the imitation to form ideas and conceive images of fublime originals. , Thought is a lefs intenfe energy than fenfe : Yet ideas, 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- fure to the reflex fenfes, when impreffed up- on the mind by a fkilful imitation. term fublime * metaphorically applied to excellence of any kind, efpecially to that fpecies of it, which elates the mind 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 regard, and the value we fet upon things remote in place. And becaufe we find greater difficulty, and muft employ fu- perior energy, in running over the- parts of duration, than thofe of fpace ; and in afcending through paft duration, tha n in defcending through what is future j therefore we value higher, and contemplate with greater veneration things diftant in tim e than things remote in fpace, and the perfons and objefts of antiquity, than thofe which we figure to ourfelves in the ages f futurity, ". GRANDEUR SECT. II. grandeur and fublimity. 23 GRANDEUR in works of architecture may, in fome inilaaces, arife from their largenefs : for we generally eftimate the magnitude of things, by comparifon with thofe of the fame fpecies : and though no edifice is equal in quantity to many works of nature by no means accounted great ; yet lofty palaces and pyramids, far exceeding the bulk of other buildings, have a comparative magnitude, which has the fame influence upon the mind, as if hey had been abfolutely large. But (till the principal fource of grandeur in architecture is affociatlon^ by which the columns fugged ideas of ftrength and durability, and the whole ftrufture introduces the fublime ideas of the riches and magnificence of the owner, IN painting, fublimity is fometimes intro- duced by an artful kind of difproportion, which affigns to fome well chofen member a greater degree of quantity than it commonly has (k) : 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 24 Of the tajle of . PART I. lime natural objects, and fuggeft ideas of them (/) j or, by the exprefiivenefs of the features and attitudes of the figures, lead us to conceive fublime paffions operating in the originals. And fo complete is the power of affociation, that a fkillful painter can exprefs any degree of fublimity in the fmalleft, as well as in the largefl compafs. It appears in the miniatures of Julio C/ovio, as really as in the paintings of Titian or Michelangelo. THE fublime of thofe arts, in which the inftrument of imitation is language, muft evidently arife entirely from affociation ; as it is the only principle, from which words de- rive their force and meaning. And in thefe (/) It may be here obferved that, though the figures, in painting, can feldom have fo great quantity, as is Aifficient of itfelf to produce fublimity ; yet the comparative magnitude, and alfo the JimpJieitj of the figures, parts, and members, are among the principal means by which a work fuggefts fublime ideas, 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 figna. Ex longo dedufta fluant, non fefla minutint, Quippe folet rerum nimio difyerfa tumulta Majeftate carere gravi . PR ESN. de arte graph, ver, 108. 156. 204. 419. arts, SECT. II. grandeur and fublimity. 25 arts, fublimity precifely confidered, will be found refolvable into a very few general qua- 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 claffing fentiments that are fublime, the firfl place is afllgned by critics, to thofe which have a relation to the Gods (m). When Homer would convey a fublime idea of pis-* CORD, he gives greatnefs of quantity to this imaginary perfon, afiigning her fuch prodi- gious 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 tajh of PAI*T I, THE fublimity cf the rival fentiments of the two latin poets, with refpett to Cafo t arifes in like manner from the grandeur of the fubjecT:, from the dignity of the character deicribed. Et cunfta t err arum fubaRa Prater atrocem animum Catonis. HOR, Secret of qut pios, bis dantemjura Catonem. VIRG. ON account "of the fuperior grandeur of the fubject, the latter claims an undoubted preference. The former indeed derives ad- ditional force from the art of the compofition, by means of which the firft hint of an excep- tion from Ctefars power occafions a fufpenfe of 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, which they naturally excite. IF an author's main fubject is deftitute of innate grandeur, it may be rendered grand, by comparing or fomeway afTociating it with objecls SECT. II. grandeur and fublimlty. 27 objects naturally fuch. By the fame means the real greatnefs of a fubjeft is increafed. Hence metaphor, comparifon, and imagery are often productive of (ublimity (n). Cicero raifes Ctefars idea of clemency, by reprefent- ing it as godlike (o). Seneca (p) gives a fub- lime idea of Cicero's genius, by comparing it with the majefty and extent of the Roman empire. The effect of the comparifon is fometimes augmented, by the writer's infinu- ating the fuperiority of his fubjecT: to that, with whkh he compares it, and artfully an- nexing fome circumftances to the latter, which, without rendering it mean (for that would deftroy the effect: of the comparifon) yet deprefs it below the former. In this way Homer contrives to give a great idea of the Grecian army, by introducing Priam fpeak- ing magnificently of the armies he had for- merly feen in Phrygia, but at the fame time acknowledging it far fuperior to them (q), () AHMHT. AA. J. v ( . (0} Homines ad Deos nulla re propius acccdunt, quam ft- lutehominibusdanda. Pro Ligar. (/) Illud ingcnium, quod folum populus Romanus par ia* perio fuo habuit. Controv. lib. i. (q) *HJ>) cj ^gvynjn tK7XuSc a/?riXoiarar, ' l.xSa i'd'or Tftetra, Oft/yac , citigs atXo7rJ?>4{t ?- ^ Mv7?t>- oe'mSfcio, By - 2 8 Of the tajle of PART I. By the fame means, an Italian poet reprefents Venice^ which he celebrates, as greater than "Rome. Sipelago I'yberim prefers, urbem adfpicc utramqite ; Illam homines dices ^ bane poftiiffe Deos. SANAZAR. Venice becomes grand by the metaphori- cal ufe of pelagus, and by the relation, which it is faid to bear to the Gods ; and its grand- eur is increafed, by companion with Rome t acknowleged great, but at the fame time pur- pofely degraded, by the oppofition of fyber to pelagitSy and its relation to men. The power of imparting fublimity to objects which . naturally have it not, by giving them a rela- tion to others, is an advantage peculiar to the arts, which imitate by language ; for the reft can attain the fublime, only by copying fuch objects as are themfelves poffefled of that quality (r). *Oi gat TOT' irpatTsWlo itct o^Saj Eayyaj^js, Kati yetg lyuv lirixu%&' etv ptTci n.6yu ir* ret WYI. In this latitude he explains it, treating of the neryoui, the vehement, and even the beautiful and elegant. die 3& ' Of the tafle of, &cT ' PART 1 the orders below them; 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 contempt. Meannefs arifes often likewife from aflbciation, when low arid gro- veling ideas are fuggefted ; as when images and fimiles, taken from mean objedts, are applied to an important fubjeft. Thus alib, words and phrafes become mean, when they excite mean ideas, either by their proper fig- nification, or by their being ordinarily ufed only by thofe of inferiour rank. SECT. 1 31] SECT. III. Of the fenfe or tafle of Beauty* BEAUTIFUL objeds are of different kinds, and produce pleafure by means of different principles of human nature. THE firft fpecies of beauty is that otfigure* and belongs to objects pofleffed of uniformity^ variety ', and proportion. Each of thefe qua- lities pleafes in fome degree j but all of them united give exquifite fatisfaction. FACILITY in the conception of an object, if it is moderate, gives us pleafure : the mind thinks well of itfelf, when it is able to form it's conception without pain or labour. This conftitutes the value of perfpicuity of thought and language, which is agreeable in oppoii- tion to obfcurity, as this occafions an uneafy fearch into the meaning of the parts or the tendency of the whole, which requires greater labour than we are willing to beftow. Hence too it is that uniformity and fimpllclty become agreeable. Objects endued with thefe qua- * lities 32 Of the tafte of beauty. PART L lities enter eafily into the mind : (hey do not diftradl our attention, or hurry us too fait from one fcene to another : the view of apart fuggefts the whole, and, impelling the mind to imagine the red:, produces a grateful exertion of its energy. ACCORDINGLY, in all the beautiful works of nature, uniformity is preferved in the ge- neral 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 perplexity and confufion. Regular figures are in general preferred to irregular j and fuch as have parallel fides to fuch. as have not. Equality is requifite to the beauty of every piece of painting (s). Even when a perfeft fimilarity in the appearance of the counterparts feems to be fludioufly fhunned, (s) Alters pars tabula- vacuo ne frigida camro^, Aut deferta fiet, dom 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 ambas t, gerr.inas cumulando zequaliter oras. FRESN.de Art. Graph, ver. 14;. as SECT. III. Of the tafle of beauty. 3 3 as in a fide view of a human face, the atti- tude of the body, or the profile of a build- ing ; yet ftill it muft be fo contrived, that, though it does not exhibit a fenfation, it may notwithstanding, according to the rules of perfpe&ive, fuggeft the idea of exacl uni- formity. To beftow fimplicity upon a mul- titude of feparate phenomena, the philofo- pher traces them up to common qualities; and general caufes ; and it is only when he has done fo, that the beauty of fcience be- gins (/) BUT uniformity, when perfect and Un- mixed, is apt to pall upon the fenfe, to grow languid, and to fink the mind into an uneafy ftate of indolence. It cannot therefore alone produce pleafure, either very high, or of very long duration. Variety is neceflary to enli- ven it. Where this is wanting, uniformity degenerates into dull formality. Variety iri fome meafurc gratifies the fenfe of novelty, as our ideas vary in pafiing from the contem- plation of one part to that of another. This (/) Uniformity and Tim;, licity are, flriflly fpeafdhg, diftinft ideas ; the former implying the fimilarity of the correspondent parts ; the latter the fcwnef. of linhke parts in the whole ob- jett. But as both pleafe by the fame principle, it was? judged uoneceflary precifdy to diftingaifl) them here. D tran- 34 Of the tajle of beauty. PART I. tranlition puts the mind in action, and gives it employment, the confcioufnefs of which is agreeable (). IN the works of nature we find variety ftudioufly fought after, as in the uneven fur- face of the globe ; the infinity of fhapes and hues in the flowers that adorn it ; the intri- cate windings of rivers ; the wildneffes of na- ture, which we even fet ourfelves to copy by artj and in ten thoufand 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). (a) Intricacy, which often greatly contributes tcf beauty, may be confidered as a fpecies of variety ; at lead its agreea_ blenefs is derived from the fame caufe ; and variety is mofl 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 membra, Tranfverfeque aliis pugnent, et czetera frangant. ^, FRESN. de Art. Graph, ver. 137. So great is the power of variety in producing beauty, that aa mgenious artift, who has lately anatyeJit, not altogether witli- i WERE SECT. III. Of the tajle of beauty. j WERE the variety indeed boundlefs, the mind would be fatigued and pained with con- tinual (hitting from part to part, without the; profpect of any end of its labour : it would be difpleafed and difgiifted, when it found that, after numberlefs efforts to conceive the object, the endlefs diflimilitude and per- plexed comppfition of the parts ftill baffled its endeavours, and hindered it from perfect- ing its idea. A certain degree of uniformity mufl therefore be blended with the variety of objects; other ways this variety, 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 plea- out reafon, refolves almoft the whole of it into that principle and defines the art of compoftng to be nothing elfe but " th* " art of varying well." He holds uniformity no further ne- teflary, than it is requifite to convey the idea of reft or motion, without poffibility of falling. But here he goes too far. It were eafy to point out inftances, where uniformity is ftudied, though it cannot have any degree of this effeft : and he ac- knowleges that beauty refides only in a comfofed variety ; which neceflarily implies a mixture of uniformity. He indeed fuf- ficiently proves that uniformity is not the only, or chief princi- ple of perfeft beauty. Yet it often by itfdf conftitutes fomef degree of it ; as in the ftraight and parallel fides of a canal. D 2 furc 36 Of the tajle of beauty. PART I. fure refulting from each : giving the mind at once the oppofite gratifications of facility and aftive exertion, mixed with, and mellowing 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 inftantaneoufly to perceive, better than any artificial methods can determine it. Its in- fluence on beauty is therefore derived from ftnefs () Cic. ibid. D 4 The 49 Of the tajle of beauty. PART I, The fplendor of a finglc figure in hiftory- painting will but augment its faultinefs, if it takes off the eye from what ought to be the principal, and obftructs the effect which fhould be produced by the whole. In com- pofition the moft refined reflections, the m oft elaborate defcriptions, the warmeft pathos difpleafe j if they break the unity, if they do not promote, much more if they retard, the main defign, to which all the parts mould be fubordinate f Sed nunc non trat his locus . The impropriety of their pofition wholly defaces their intrinfic beauty. In general, it is from the end and defign of works of ge- nius that their peculiar rules can be deduced : this directs the author in the choice, difpo- fition, and embellishment of the parts : and by this the critic muft regulate his judgment. It is from the relation 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. III. Of the tqfle of beauty. 41 in agreeable language, might fully gratify our tafte, however unconnected with one another. THAT we may comprehend the nature of that pleafure which is produced by fitnefs, it muft be obferved, that, whenever we difcover in effects a greater degree of uniformity or well adapted complication, than could be ex- pected from the laws of chance ; efpecially when we recognize a fitnefs for anfwering an important end; we then infer, not only in- tention, 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 of contrivance, by fuggefting imperfect fkill and want of ge- nius, difpleafes us greatly. When therefore we fee a work, it leads us by a natural aflb- ciation to conceive its end j prone to com- parifon, we examine the propriety of the parts in relation to this end 3 if any of them are prejudicial to it, we are difgufted with the want of fkill, which this imperfection be- trays. We dwell in imagination on the in- conveniences which muft arife from the un- fitnefs of the ftructure ; we form ftrong ideas of them, which produce almoft the fame un- eafy 42 Of the tafte of beatify. PART I. eafy fentiments and paflions, as if we actually experienced them ; and by this means often obliterate all the pleafing impreflions, which the other qualities of the object might have caufed. But when, on examination, the fit- nefs of all the parts appears, the fatisfaction, with which we think on the {kill and inge- nuity thus difplayed, communicates itfelf to the effect fo nearly allied to it, fo clofely con- nected with it by caufation : and we fympa- thetically enter into a ftrong feeling of the de- light which muft attend the pofleffion or ufe of what is fo well defigned and executed. THE beauty of colours is entirely diftincl: from both the former, and pleafes us from principles wholly different. Colours being nothing elfe than various degrees and modi- fications of light, fome of them are lefs hurt- ful to the organs of fight than others ; and are, on that account, in fome inftances ap- proved as beautiful. SOME colours again, by their fplendor, af- ford a lively and vigorous fenfation, which gratifies us, by producing a chearful and vi- vacious difppfition of mind in contemplating them. BUT SECT. III. Of the 'tajle of beauty. 43 BUT the beauty of colours is, in 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 being inoffenfive to the eye, but chiefly by its fuggefting the pleafant idea of fertility. Heath in bloom would form a carpet agree- able enqugh to fight, if we could feparate from its appearance the idea of the barren- nefs of the mountains and wilds it covers. In drefs colours are either beautiful or the con- trary, according to the nature of the idea which they lead us to form of the ftation, fen-r 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, it forms a kind of ftandard in drefs, for perfons in certain ftations or profeflions. We come to perceive a propriety in conforming to it ; and wo 44 Oftbt tafle of beauty. PART I. we are difpleafed with the indecency of devi- ating remarkably from it. WHEN the idea fuggefted by drefs is dif- ferent in different perions, fo alfo is the relifh for the colour -, what fuggefts to one a live- linefs and vivacity of turn, gives another the idea of gaudinefs and levity ; the fame drefs may convey to fome the idea of gravity and fedatenefs, to others that of dullnefs 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 bo- dies, by fuch an artful and ingenious imita- tion, as itfelf delights us, in a way hereafter to be explained. THE beauty of colours may be heightened by the addition of variety^ a circumftance 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. III. Of the tafle of beauty. 45 difpofed as to fet off to advantage the feparatc brightnefs or beauty of each other. THERE is perhaps no term ufed in a loofer fenfe than beauty, which is applied to almolt every thing that pleafes us.. Though this ufage is doubtlefs too indefinite, we may, without a faulty deviation from precifion, ap- ply this epithet to every pleafure which is conveyed by the eye, and which has not got a proper and peculiar name j to the pleafure we receive, either when an object of fight fuggefts pleafant ideas of other fenfes ; or whea the ideas fuggefled are agreeable ones form- ed, from the fenfations of fight j or when both thefe circumflances concur. In all thefe cafes, beauty is, at leaft in part, refolva- ble into afTociation. THE firft method of effecting beauty, we have already feen exemplified in colours, which are themfelves objects of light introdu- cing pleafant ideas not derived from fight. Thus alfo the ftructure of a human face 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 46 Of the tajle of beauty. PART I. - bad affections, exprefled in the look, throw deformity upon the fineft features. > ^ IN the fecorid way is produced the only beauty of thought or fentiment, which comes properly under the prefent head j that beauty which arifes, 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 pafto- ral ; 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, by figure and colour, owe their beauty. It is obfervable that the arts which ufe the/e in- ftruments have greater advantages for imitat- ing beauty than fublimity. This they can 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 magni- tude, its moft efTential requifite, But imita- (f) The other qualities which render fentiments beautiful or agreeable, as metaphor, fable, antithefls morality, elev** tiou, &c. belong to other clafles. tions SECT. III. Of the tafte of beauty. 47 tions of beautiful originals, independent of their refemblance to thefe, are beautiful ; fmce they cannot other ways exhibit their beauties to the thought, than by themfelves poflefling them in fome degree : and often they poffefs them as perfectly as their arche- types. A ftatue has the fame regularity and proportion as its original. A painting may equal the object it reprefents, not only in fymmetry and propriety, but in colour. THE clafTes of beauty, which we have been explaining, are diftinct in their princi- ples, though by reafon of the fimilitude of their feeling, they are reduced to the fame genus. But they are often in things varioufly united, and by their union they render our fatisfaction more intenfe. In a fine face all the principles of beauty are combined. To an exact fymmetry and regular proportion of varied features, and parts nicely adapted to their feveral purpofes, is fuperadded complex- ion, compofed of white and red, colours beau- tiful 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, faga- city, fedatenefs, fweetnefs, or the like amiable qualities, in the mind which animates the ele- gant form j while the approbation attending this perception is refkdled back upon thg face which gave occafion to it. SECT, t49 J SECT. IV. Of the fenfe or tafte of imitation* EXACTNESS and livelinefs of imita- tion fupply us with another pleafurc of tafte, which, as it has no peculiar name, is commonly exprefled by that of beauty ; and is by fome termed relative or fecondary, to diftinguifh it from the kinds above explained, which are called abfolute or primary (d). We have a natural fenfe, which is highly gratified by a defigned refemblance, though there be nothing agreeable in the original. Similitude is a very powerful principle of aflb- ciation, which, by continually connecting the ideas in which it is found, and leading our thoughts from one of them to the other, produces in mankind a ftrong tendency to comparifon. As comparifon implies in the very acl: a gentle exertion of the mind, it is on that account agreeable. As a farther ener- gy is requifite for difcovering the original by the copy ; and as this difcovery produces a grateful confcioufnefs of our own difcern- (J) See HUTCH ESON'S Enquiry into the original of ouc ideas of beauty and virtue. Treat. I. Seft. iv. E merit 50 Of the ta/lc of imitation. Part I. ment and fagacity, and includes the pleafant feeling of fuccefsj the recognizing refem- blance, in confequence of comparifon, aug- ments our pleafure (e). And when the imi- tation is intended, our admiration of the (kill 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 emi- nent matters in painting or fculpture. Hence the main excellence of poetical or eloquent defcriptions j the characteriftical perfection of which arifes from the author's judicioufly felecting the mod efTential and ftriking qua- lities of his fubject, and combining them in- to fuch a picture as quickly revives in the reader, and ftrongly imprefles on his mind a lively idea of the original. The fundamen- tafceauty of metaphor and allegory lies in their inunuating the analogies of things -, that of fimi- litude and comparifon in their more explicitly propofing thefe analogies. By this they com- ( e) Ates yei(> rwro jgaijyTi rxf ttKorxt ygutTe( f CTJ ffvf*^i?t &aireti xati ffvHwyifafyau, TI tuotfott API2TOT. xtp. y. municatc Sett. IV. Of tie tafle of imitation. 5 1 municate finenefs to a fentiment. 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 into his audience. Improbability, which is a want of refemblance to natural things, al- ways renders a fable or ftory lefs entertaining j and if the improbability be very great, or ex- tend to the material parts, it often makes it wholly naufeous. WHEN excellent originals are imitated, the copies derive their charms, not merely from exactnefs of imitation, but alfo from the ex- cellence which they reprefent; and the grati- fication which thefe copies afford may almoft as properly be afcribed to beauty or fublimity as to imitation. As the beauty here is com- plicated in it's principles, it will of confequence be alfo compounded in its effect, and will ra- vifh the mind much more than either of its con- ftituents alone. An Hercitles y exhibiting pro- portion, ftrength, and fortitude in perfection, muftbe a finerftatue than the exadeft imitation of a ^berfitei vrSilenus. The works of Pc/ygno- tus, which reprefented beautiful objects, were E 2 doubt- 52 Of the tafte of imitation. Part L doubtlefs more delightful than the pictures of Dionyfius or Paufon, however Skillfully they might reprefent ordinary or faulty objects (f). The ancient Greek, or the modern Italian painters will always be preferable to the Fle- mijh, who, though they imitate well t do not make a judicious choice of fuch beauties of na- ture as defer veto be imitated (g). TheMargites of Homer could not have given us fo high en- tertainment as we receive from the Iliad. A 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) Tlokvyiurot pit KWr?ot, Tlctvjui $e ^a'got/f, A> ) A yaif avrct Xt,"7T)? ojwfAii 1 , THTcji 1 Ta? riK'-iow/Aj'i'ac, ^ottfciA-n Sittftimf tier iit\uv ft ( ta,Tut xai ffxpwr. ATlZT. rip VQHT. xtp. if. E 3 and 54 Of tie tajle of imitation. PART I. and abhorrence which they excite. The character of lago is deteftable, but we ad- mire Shakefpear's reprefentation of it. Nay imperfect and mixt characters are, in all kinds of writing, preferred to faultlefs ones, as being jufter copies of real nature. The pleafant fenfation refulting from the imita- tion is fo intenfe, that it overpowers and con- verts into delight even the uneafy impreflions, which fpring from the objects imitated. There can be no ftronger proof of the force of imitation in conferring on its effects the power of pleafing, than its rendering thofe paffions agreeable, when excited by it, which, when produced in 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 fym- pathy, afford not only a more ferious, but a much intenfer and nobler fatisfaction, than all the laughter and joy, which farce or co- medy can infpire, When thus fecondarily produced, they agitate and employ the mind, and roufe and give fcope to its greatefl activi- ty ; while at the fame time our implicit knowledge that the occafion is remote or fic- titious, enables the pleafure of imitation to relieve SECT. IV. Of the tafte of imitation. 55 relieve the pure torment, which would at- tend their primary operation. j;iftc/,,;,- rt*- FROM what has been faid, it is obvious that the pleafure of imitation arifes from a combination of caufes. Befides the aft of comparifon, which is the fame in all inftan- ces, the exaclnefs of the refemblance, our difcovery of it, and the art we conceive ne- ceflary for producing it, concur to make up our gratification. EXACTNESS of refemblance is fcarce farther approved, than as it evidences fkill and ena- bles us to to difcover the original. Ca- ravaggio is cenfurable for too clofely follow- ing the life, as well as Giofeppino for wanton- ly deviating from it into fantaflical extrava- gances. Among the antient ftatuaries like- wife, Demetrius is cenfured for being 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 like- nefs, carried it no farther than was confident with beauty (/), Exadtnefs of refemblance may {) Ad veritatem Li/ippum et Praxitelem acceffific optime affirm ant. Nam Demetrius tanquam nimius in ea reprehen- 4 be 56 Of the fafte of imitation. PART I. be carried fo far in 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- perior art. However, thatinftrument of imi- tation is doubtlefs the mofl perfect, which is capable of producing the moil perfect likenefs. Among the fine arts, this preeminence, in moft fubjects, belongs to fculpture ; and more to painting, in fubjecls perfectly adapted to it, than to poetry. BUT even the imperfection of the inftru- ment of imitation may fometimes add merit to the effect. Though it renders the refem- blance lefs accurate, this very circumftance enhances the pleafure, by producing a con- fcioufnefs of greater fagacity in difcovering the original j at the fame time that the pro- duction of likenefs with unapt materials, im- plying greater difficulty, gives rife to an high- er approbation of the ingenuity of the artift. In this refpect painting is more artificial than ftatuary. For that reafon a fine picture will infpire full as great pleafure as a ftatue. Its reprefenting folid bodies, only by the difpo- fition of light andfhade,tho' itfelf a plane, is a ditnr, et fuit fimilitudinis quam pulchritu dim's amantior. 3>*it, Ixjlit. Oral, lib. xii, cap. 10. proof SECT. IV. Of the ftfjleof imitation. 57 proof of the higheft (kill. And could a per- fon be formed to delicacy of tafte, and yet kept from feeing a picture till he were adult ; it is fcarce conceivable what rapture he mould feel, when he fir ft difcovered 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 cavities which it reprefents (k). And as every difficulty of execution heightens our idea of the fkill by which it is furrnounted, not only the importance of the work, but alfo the difficulty of reprefenting paffion and character by figure and colour, increafe the beauty of hifto- ry-painting. In this view poetry, imitating by inftituted fymbols, noways refembling things, is on moft fubjects more imperfectly mimetic than the other arts : but this imperfection gives it a kind of merit, as that art is able notwith- Handing to fugged very lively ideas of its ob jects. But what conflitutes its unqueftionable (k} Hence in the celebrated contcft between a painter and a ftatuary, concerning the merit of their arts, both argued from real principles of excellence ; the lUtuary pleading the per- fection of refemblance in his art ; the painter the fuperior in- genuity wLich his difcovered. The blind man gave the pre- ference to the latter. The controverfy cannot b determined, till it is previoufly fixed, which principle is, on the whole, eligible. fuperi- 58 Of the tafte of imitation. PART I. fuperiority to all its fifter arts, is its peculiar and unrivaled power of imitating the noblefl and moft important of all fubjedts, the calmeft fentiments of the heart, and human charac- ters difplayed in a long feries 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, which they refpedively claim j but alfo the moment of what they 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 ht^ t xcti ^n tit *u- SECT. < ( 59 ) SECT. V. Of the fenfe or tafte of harmony. TH E fenfe of harmony, which confers a kind of beauty upon found, not only is converfant in all the arts which employ language, but itfelf lays the fole foundation of the art of mufic. By it the ear derives from its objects a pleafure fimilar to what the eye receives from forms. This pleafure is refolvable into the agreeablenefs of Jingle founds, and into the charms and energy of a fkillful complication of them. SINGLE founds are either loud or low, acute or grave, (lender or full, even or bro- ken. To theie qualities attention muft be paid, if we would pleafe the ear. If founds are too lew, they do not ftrike with force enough to gratify: if too loud, they confound us. Great acutenefs lacerates the organ : and an excefs of gravity renders the impreffion too dull and fpiritlefs to pleafe. Exility hin- ders founds from fufficiently filling the ear, 1 and thence is attended with a perception of meannefs 60 Of the tajle of imitation. PART. IV meannefs and futility : but full and fwelling notes, by occupying its whole expansion, ac- quire grandeur and infpire delight. Broken founds grate the ear, by their harm inequa- lities : fmoothnefs and evennefs is 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 ar- ticulate founds do not eafily concur ; the tranfition from one configuration of the or- gans of fpeech to the other, is difficult and uneafy j and the hearer is led by a delicate fympathy with the fpeaker, to feel this pain and labour. It is the frequency of fuch com- binations, that prevents euphony in any tongue 5 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 repe- tition 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 tbe tafte of barwny. 6 1 The importance of variety we (hall acknow- ledge, if we but reflect how tirefome fame- nefs of cadence is. The fuperior harmony of Poetry is produced by the greater facility of its combinations, joined to a considerable degree of uniformity, and a regular proportion in time; the proper method of obtaining which, in every language, determines its prof- 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 arifes from a fuc- cefiion of founds, it is a perception of a 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 de- light, 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 acquaint- ed with : our underdanding them more tho- roughly counterbalances the power of novelty. Hence too it is, that we often acquire in time a fond- 62 Of ibe tafte of harmony. PART I. a fondnefs for what at firft we did not highly relifh ; the anticipation, which repetition enables us to make of the fucceeding note, fupplying the defect in the fenfation of the prefent, and the idea of the pad found when 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 difpo- fed, efpecially in mufic, fill us with exquifite delight. IT is obfervable that the proper and pleaf- ing difpofition of founds in melody bears a great refemblance, in its principles, to that arrange- ment of parts, which conftitutes the beauty of 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. I. Of tie tafte of harmony. 63 tions are all in themfelves agreeable, fuch as are taken in by the ear with eafe, and are fub- ordinate to the key which governs the whole, THE fame principles are not lefs obvious in harmony-, the fuperior delight of which fpriogs from no other cauie, but its poilefling fome of thefe qualities in greater perfection. The uniformity is preferved almofl undiminifhed ; the different parts being fo combined, that no diflbnance is occafioned by their multiplicity ; but the concordant notes, melted into one ano- ther, ftrike the ear together without confu- flon or diffraction. With this fimplicity, an immenfe variety is made confident ; each le- parate part being a diftinct feries of artfully varied founds ; the melody of all the parts being enjoyed at once : the vibrations of the concords coinciding not always, but at regu- lar periods ; the diverfity of the concords and their fucceffions producing a great diverfity of harmonies j and the judicious intermixture 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 64 QJ the tajle of harmony. PART I. of it is introduced by their comparative firength. So great is the efficacy of thefe principles, that they alone produce very high pleafure, though no paffion is excited by the mufic. BUT ftill the chief excellence of Mufic lies in its expreffion. By this quality, mufic is ap- plied to a determinate Aibject : by this it ac- quires a fitnefs, becomes adapted to an end, and agitates the (oul with whatever paffion the artift choofes (n). Its power to operate on the paffions is its moft important virtue* And indeed as all fenfations and emotions re- fembling in their feeling, tend to introduce each other into the mind ; mufic, producing by its harmony a pleafant difpofition of foul, renders us peculiarly prone to every agreeable afFe&ion. But it makes ufe too of other in- ftruments. By the natural fitneis of found for accomplifiiing an imitation of, or afTocia- (n) Hence different kinds of mufic may, in a confiitence with their being all agreeable, anfwer different and even oppb. fite purpofes. KaXoc fx.lv \v TTO^W T9 o^Siov, xaXoK $} & ffv^v(,alki 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 ^ ^croc. fi.wjfftt, aM* ri r^ ofuiw VA9H. MAS. TIP.' >.-y. fi lion i SECT. V. Of the tafte of harmony. 65 tion with their objedls and natural expref- fions, it infufes into the breaft paffions corre- fpondent ; fettles into calm ferenity, melts in- to tendernefs or pity, finks into forrow, 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. VI. Of the fenfe or tajle of Ridicule. IN our enumeration of the fimple powers which conftitute Tafte, we muft not omit that fenfe, which perceives, and is gra- tified by the odd, the ridiculous, the humo- rous, the witty 3 and whofe gratification of- ten produces, and always tends to mirth, laughter, and amufement. Though inferior in dignity to the reft, it is far from being de- fpicable. It has a province, lefs important indeed than that of the others, yet both ufe- ful 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 furprifing and uncommon mixture of relation and contrariety in things. More explicitely; it is gratified by an inconfiftence and diffonance of circumftances in the fame object ; or in objects nearly related in the main ; or by a Jimilitude or relation unexpected between things on the whole oppofite and unlike. JARRING SECT. VI. Of the tqfte of ridicule. 67 JARRING and incongruous clrcumilances meeting in the fame fubject form an abiur- dity, with which we are apt to be diverted. Such are cowardice in a boafter ; ignorance in a man of what he ought or pretends to know ; dignity of any kind blended with meannefs ; fentiments or ftyle in compofition unfuitable to the fubject. We are difpofed to combine the parts of things into a whole, and to beflow upon them unity and intimate relation j we expect that they mould be all confident, fuitable, and of a piece ; and when we find them otherways, we pronounce them ridiculous and abfurd. WE compare in this light not only the qualities of the fame fubjecl:, but alfo of fub- jecls refembling or orherways nearly connec- ted ; and their contrariety affects us with a fimilar fenfation. An oppofition of charac- ters and behaviour in different perfons, efpe- cially of the fame family or profeffion, often forms a diverting contraft. A paflion intenfe in its feeling, excited by a trifling caufe, moves our laughter. A glaring difpropor- tion betwixt the means and the end, when the means are cither unequal to its attain- F 2 men:, 63 Of the tafte of ridicule. PART!. ment, or too laborious and expenfive for its importance, is on the fame principle ridicu- lous. So excurfive is the human fancy, that it continually leads us to compare things the moft diffimilar ; and as on the former com- parifons the appearance of incongruity, fo on this the difcovery of unlocked for likenefles, analogies, and relations, proves a fource of pleafure and amufement. 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 Tidicule : but they may excite at the fame time a more important feeling, which, by occupying the mind prevents our attending to the incongruity, or extinguishes the fenti- ment thence refulting, as foon as it begins to rife. Enormous vice, though of all things the mod incongruous to the natural fyftem / of our minds, is never efleemed ridiculous (0). (p) Nee injjgnis improbitas, et fcelere junfta, nee rurfus mi- feria infignis agitata ridetur : facinorofos majore quadam vi, quam ridiculi, vulnerari volunt ; miferos illudi nolunt, niii fe forte jadant. Cic. deQrat* lib. ii. Pain SECT. VI. Of the tafte of ridicule. 69 Pain or miiery is never in itfelf ridiculous; it can become fuch only by being accidental- ly connected with unfuitable circumftances, and by failing to excite pity fo intenfe as may fvvallow up the ludicrous fenfation. WIT, Humour ', and Ridicule (p) are (kill- ful imitations of odd and incongruous origi- nals ; which pleafe us not only by (hewing them often more perfectly than we could have ourfelves obferved them ; but alfo by fuperadding the gratification which refults from imitation. This gratification is in its. own nature feribus, but is altered by the fen- timent which attends the objeds imitated, and only ferves to heighten the contempt or amufement which they produce. (/>) The author is well award that thefe three modes- of imitation are widely different. It would be a 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 very narrow compafs. And a large difquifition would be more than falls to i's fhare in an enquiry concerning tafte in general. It 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. V F 3 In . 70 Of the tafte of ridicule. PART L IN all thefe 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 all ranks as intent on reforming the church and the ftate, he employs a furprizing complication of wit and humour in order to ridicule the epidemical diftrac~tion. There is a wonderful mixture of diffonance and relation j dijfinance, between, the ordinary occupations of low mechanics, and the difficult and noble office of legifla- tion and political government - t relation, not only as the perfons thus incontinently em- ployed are the fame, but alfo as their demands of redrefs are generally expreffed in language adapted to the ftyle of their refpeclive voca- tions (q). The defcription of Hudi brass learning becomes witty, by the ftrange con- traft between the dignity of the fciences afcri- bed to him, and the proofs of his underftand- (y) 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 nor fervice book. HVDIB. Par. i. Ca.nt. 2. ver. 536, &<\ ine SECT. VI. Of the tajle of ridicule. 7 1 3 ng them, drawn from the loweft inftances (r). A hofe ufed for a cupboard, the bafket-hilt ofafwordfor holding broth, a dagger for 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 ref- tive horfe to an unmanageable body politic ; courage whetted by martial muiiCj to ale (r) He was in Logic a great critic, Profoundly {killed in Analytic, &c. He'd undertake to prove by force Of argument a man's no horfe ; He'd prove a buzzard is no fowl, And that a Lord may be an owl ; A calf an Alderman, a goofe a Juflice, Arid rooks committee-men and truftees, &c. Cant. i. vcr. 65. For Rhetoric, he could not 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 72 Of the tafte of ridicule. PART I. turned four by thunder ; torn breeches to a leaky veffel ; the dawning of the day to the change of colour in boiling a lobfter ; that when they are brought into view at once by comparifon, metaphor, insinuation, or al- lufion, their unexpected fimilitude in fome circumftances produces mirth (t). In Addi- foris humourous reprefentation of 'Tinfel's terror, it is the oddity and prepofterous na- ture of the paffion that diverts us j it is con- trary to his profefled principles and pretended 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. My Galligafkins that have long withftood The winter's fury and encroaching frofts, By time fubdu'd, (what will not time fubdue !^ An horrid chafm difclofe, &c. Thus a well-fraught (hip, &c. Spltndid Shilling. The fun had long fince in the lap Of Tbttit taken out his nap, And, like a lobfter boil'd, the morn From black to red began to turn. HUD. Par. H. Cant 2. ver. 29. trifling SECT. VI. Of the tajle of ridicule. 73 trifling occafion, When Swift ridicules hu- man foibles, whether he makes the attack by wit or by humour, he paints their incongru- ity and abfurdity. Attempts to produce learn- ed volumes by the motions of a mechanical engine; to extract funbeams from a cucum- ber ; to build houfes downward from the roof j to improve cobwebs into (ilk ; to foft- en marble for pillows and pinculhions j to propagate a breed of naked meep; are pal- pably impoffible or ufelefs, or both at once. SECT. [74] SECT. VII. Of the fenfe or tafle of virtue. TH E moral fenfe is not only itfelf a tafte of a fuperior order, by which in chara&ers and condudl we diftinguim be- tween the right and the wrong, the excel- lent and the faulty ; but it alfo fpreads its influence over all the moft confiderable works of art and genius. It is never 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 requires an attachment to morality in the epos and the drama, and it pronounces the quickeft flights of wit, without it, phrenfy and diftraftion. Something moral has in- finuated itfelf, not only into the ferious defigns of Raphael, but alfo into the humourous re- prefentations of Hogarth. NAY our moral fenfe claims authority fu- perior to all the reft. It renders morality the chief requifite ; and where this is in any degree SECT. VII. Of the tafte of virtue'. 75 degree violated, no other qualities can attonc for the tranfgrefiion. Particular beauties may be approved , but the work is, on the whole, condemned. How great a part of the fentiments pro- duced by works of genius ariies from the exertion of this fenfe, approving or condemn- ing, is too obvious to require our dwelling on it. The nobleft and moft delightful fubjedts of imitation are affections, characters, and actions : and their peculiar merit arifes almofl entirely from their continually drawing out and employing the moral faculty. By its approbation, more effectually than by any 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 ex- cited, of the vicious. When profperity and fuc- cefs attend the former, we feel his good defert, we rejoice to find it meet its due reward, we are compofed into delightful ferenity, compla- cence and affiance in righteous providence : when he is funk into difappointment and ad- verfity, we are fenfible that he deferved it not, and tafte the plcafurable pain of com- I paffion j6 Of tie taftg of virtue. PART I,, paffion for his fufferings, and virtuous re- fentment againft the authors of them. When the vicious man is profperous, \ve glow with indignation, we feel a kind of melancholy de- fpondence : when he fuffers, we become fenfible to the danger of vice, to the terrors of guilt ; we allow his ill defert, but mix pity with our blame. We are thus agitated by thofe moft important paffion s ; the infufion of which conftitutes the higheft entertainment that works of tafte can give. BUT what extenfive influence the moral fenfe has on tafte of every kind, it will be unnecefFary particularly to defcribe, if we only recollect: the various perceptions which it conveys. To it belongs our perception of the fairnefs, beauty, and lovelinefs of vir- tue, of the uglinefs, deformity, and hateful- nefs of vice, produced by the native qualities of each confidered fimply. From it is deri- ved 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 it we perceive that virtue is obligatory, right, and due ; and that vice is undue, unlawful, and SECT. VII. Of tit tajlt of virtue. 77 and wrong : the perception fprings from the fupremacy of our approving and difapproving \ faculty, as our internal governour prefcribing 1 a law of life. The fame fenfe conveys a per- ception of merit and good defert in virtue, of dement and ill defert in vice ; a perception, which never fails to be excited, when we think at once of moral and natural good or evil. From tV:s variety of fenfations arifc all the reflex paffions which reganj good or bad men as their objects. How much thefe fentiments and affections enter into the per- ceptions of tafte, the leaft reflection will in- form us. THUS much may fuffice for an Analyfis of tafte into thofe fimple powers of human nature, which are its principles. There arc qualities in things, determinate and (table, independent of humour, or caprice, that arc fit to operate on mental principles, common to all men, and, by operating on them, are naturally productive of the fentiments of tafte in all its forms. If, in any particular in- ftance, they prove ineffectual, it is to be afcribed to fome weaknefs or diforder in the perfon, who remains unmoved, when thefe qualities are exhibited to his view. Men are, 78 Of the tajle of virtue. PART. ! are, with few exceptions, affected by the qualities, we have inveftigated : but thefe qualities themfelves are, without any excep- tion, the conftituents of excellence or faulti- nefs in the feveral kinds. What is neceffary for perceiving them with perfect relifh, we fhall next examine. PART [79 PART II. 'The formation of T'a/ie ly the union and improvement of its fimpk Prin- ciples. SECT. I. Of the union of the internal fenfes, and the affif- lance they receive from delicacy ofpaffion. ANY one of the internal fenfes, exifting in vigor and perfection, forms a par- ticular branch of tafte, and enables a man to 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 its juft extent. This union is 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 reci- procal influence on one another. Concomi* tant emotions, related by their feeling, their direction, 80 Of the union of PART II. direction, or their objects, or even without any relation exifting in the mind together, run into one, and by their mixture produce an intenfe ienfation. Hence different grati- fications, either of the fame or diverfe fenfes, occurring to the mind at once, give it a com- plicatecl joy. The ftillnefs and ferenity of a fummer morning, the fweet fragrance of flowers, the mufic of birds, and a thoufand other agreeable circumftances are even com- monly obferved to beflow extraordinary force on the grandeur or beauty of rural fcenes. THO' each object of tafte has fomc lead- Ing character by which it is peculiarly fitted to produce one principal fenfation, it may at the fame time, by \tsfubordinate qualities pro- duce attendant feelings, which will render the principal one higher and more intenfe, by their confpiring with it. But if the princi- ples of Tafte, adapted to thefe, are weak or deficient, we not only lofe entirely feme of the pleafures, which the object might con- vey ; but cannot even enioy any of them with perfect relifh, as we are infenfible to the heightenings, which each receives from its connection with the reft. NONE SECT. I. the internal fe?ifes. 8 1 NONE of our fenfations is more able tofup- port itfelf, without foreign aid, than that of grandeur; of which a great critic reckons it a necefTary character, that it pleafe dill more the oftener it is examined (/). Yet every one is fenfible how much more intenfe it is ren- dered by novelty j how weakly the fublimeft objects often ftrike us, when by long cuftom they have become familiar. The fublimity of the heavens could not fail to enrapture one unaccuftomed 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- ings. which will increafe it by their conjunc- tion. _^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 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 Union of PART II. as deflined for Empire univerfal, as prefcri- bing laws at pleafure, and forcing into fub- jection the moft haughty oppofers. But he artfully renders it more fublime, by infinua- ting that they exercifed their power in cle- mency to willing fubjects (u). This pro- cures our moral approbation, and augments the fentiment of grandeur, which it accom- panies. In architecture, the feparate plea- fures, arifing from the beauty, proportion, fit- cefs, and ornaments of the parts, heighten the fublime. In painting the fublime is ge- nerally attended by the graceful. POETRY is a complication of beauties, re- flecting by their union additional luftre on one another. The fublime, the new, the ele- gant, the natural, the virtuous, are often blended in the imitation j brighten'd by the power of fiction, and the richeft variety of imagery ; and rendered more delightful by the harmony of numbers. When Poetry is fet to well adapted mufic, both gain new power by their alliance. The mufic, by () Tu regcre imperio populos, Romane, memento. Hae tibi erunt artes j pacifque imponere morem, Parcere fuljeflif, et debellare fuperbos. ./Ex. vi. ver. 847. ex- SECT. I. the internal fejifes 83 exciting the requifite affe&ions, puts the mind in a difpofition to conceive ideas fuited to them with peculiar facility, vivacity, and pleafure. Thefe ideas the Poet raifes : and they, in their turn, enliven the affections, and preferve them from languishing or ex- piring, by rendering their objects more de- terminate. But in order to experience 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. THE degree offeree with which objects flrike us, has a great dependence on the pre- vailing difpofition of the mind. Things of- ten affect us deeply, when we are in an hu- mour fuited to them, tho' at another time they would make fmallimpreffion. Thefmal- left injury may produce fury in a perfon na- turally paffionate, or by accident chagrined. When the temper of the mind is fuch, as* gives it an habitual turn to one kind of fen- timents and affections, it enters into them, whenever they occur, with extraordinary fpi- rit. As they fall in with its predominant bent, no force is required to -adapt it to the perception of them j it fpontancouily, and G 2 even 84 Pf the union of PART II. even eagerly embraces them, as perfectly con- formable to its frame. Now as all the objects of the fame inter- nal fenfe, however various, have their com- mon qualities, j fo all thefe fenfes are analo- gous in their principles and feeling. The fame turn of mind is, on this account, con- gruous to them all. The prevalence and ex- ercife, of any one of them difpofes and at- tunes the mind to all the reft. And this pre- vious difpofition to them beftows ftrength and vigour on all their exertions. In fad!:, the kindred powers of tafte are feldom difu- nited. Where all of them have confiderable vigour, one may be, in comparifon with the reft, predominant? either by the natural con- ftrudtion of the mind, or by peculiar culture. But where one of them is remarkably dull, or altogether wanting, the others fcarce ever appear in full perfection. THE union of thefe powers has a farther influence in forming tafte, as that union opens a new field, in which tafte may exercife it- felf and gather flowers to adorn the native beauty of its objects. As the fine arts are truly fifters, derived from the fame common parent SECT. I. the internal fcnfes. 85 parent Nature^ they bear to one another, and to their original various fimilitudes, relations, and analogies (#). Thefe one, who poflefles all the internal fenfes vigorous, and has em- ployed them all about their various objecls, is able to trace out. They have charmed every genuine critic ; and every reader of tafte is delighted with the metaphors and comparifons, which are founded on the per- ception of them. In obferving them we find a noble and exquifite entertainment. They continually occur to an extenfive tafte ; and, mingling with the more immediate and confined gratification of each power of ima- gination, increafe its delightfulnefs. As one fcience, by fupplying illuftrations, makes an- other better underflood ; fo one art^ by throw- ing luftre on another, makes it more exqui- fitely relijhed. This enlargement of tafte, places one as it were upon an eminence, and not only enables him to take in a wider prof- peel: j but alfo improves all the parts of it, by comparing or contrafting them together. (*) Eft etiam ilia Platonis vera-- vox, Omnem doftrinam harum ingenuarum et humanarum artium, uno quodam focie- tatis vinculo contineri.--- Mirus quidam omnium quafi con- fenfus dodrinarum, concentufque reperitur. Cic. de Qrat. Jib. ill. G 3 Iw 86 Of the union of PART II. IN all thefe ways our interior fenfes, mere- ly by their union, tend to form and perfeft Tafle. WE may here take occafion to mention a principle, diftincl: from all the internal fen- fes, from which tafte will, in many inftances, receive afMance. It is fuch a fenfibility of heart, as fits a man for being eafily moved, and for readily catching, as by infection, any paffion, that a work is fitted to excite. The fouls of men are far from being alike fuf- ceptible of imprefllons of this kind. A hard hearted man can be a fpedlator of very great diftrefs, without feeling any emotion : A man of a cruel temper has a malignant joy in producing mifery. On the other hand,- many are compofed of fo delicate ma- terials, that the fmalleft uneafinefs of their fellow creatures excites their pity. A fimi- lar 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 latter turn will be in- \ terefted by a very indifferent one. A per- formance, which can infufe the keeneft paflions into the breafl of an Italian, will af- feft SECT. I. the internal fenfes. 87 fecfl a Frenchman very little, and leave an EngliJJjman perfectly unconcerned. We are apt to be aftonimed, when we read of the prodigious force, with which eloquence wrought upon the delicate fpirits of the Athe- nians, and feel fo little of any thing analo- gous to it, that nothing but the moft unex- ceptionable evidence could make it credible. This diverfity in the formation of the heart will produce a confiderable diverfity in the fentiments, which men receive from works of tafte, and in the judgment, which they form concerning them. A VERY great part of the merit of moft works of genius ariies from their fitncfs to agitate the heart with a variety of paflions. In the moft excellent mufic, the agreeable- nefs of the melody, and the richnefs of the harmony, are only fubfervient to the expref- fion. It is fo much the bufmefs of painting and poetry to affecl: us, by infufing fuitable pillions, that a very ingenious critic (y) has miftaken it for the only bufmefs of thefe arts. Some kinds of poetry are addrefled princi- pally to the powers of imagination, and at- (y) The ABBE DU Bor. See Rffex. Crit'q, fur la po'ef* \3 fur la, peinture, paflim, G 4 tain 88 Of -the union of PART II. tain their ultimate end, by exhibiting pictures of fuch objects as gratify our internal fenfes. Such particularly is defcriptive poetry. But even this kind will foon grow languid and 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 pleafes the internal fenfes is fubordinate to this end, and becomes faulty, if it be not con~ ducive to it. SINCE, therefore, the pathetic is a quality of fo great moment in works of tafte, a man, who is deftitute of fenfibility of heart, muft be a very imperfect judge of them. He is a .flrangertothofe feelings, 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 inferior qualities. In a tragedy, he might perceive whether defcriptions of natural ob- jects are beautiful or fublime, whether the characters are natural and well fupported, whether the fentiments are juft and noble ; he might examine, with coldnefs and indif- ference, the beauties and the faults of the i SECT. I. the internal fenfes. 89 competition : but whether it has accomplifh- ed its main end, whether the fable is fit to produce pity and terror in the fpedlators, he muft be totally at a lofs to determine. In a word, he can have no relifli for any thing that is addreiTed to the heart. DELICACY of paflion muft be united with vigorous internal fenfes, in order to give tafte its juft extent. Where this union takes place, works of genius produce their full ef- fecl: 5 and infpire a complicated pleafure. A man receives adequate perceptions of all their qualities, and, by this, means, has it in his power to allow each its proper weight in de- termining his judgment concerning the me- rit of the whole. Delicacy of pafllon may intereft a perfon fo much, that he cannot for fome time examine a performance with cri- tical exaclnefs j but it gives him exquifite delight in the mean time, and enables him to pafs a juft fentence at laft. SECT. [ 9 ] SECT: II. Of the influence of Judgment upon 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 truth from faliehood, and compares together objects and their qualities. Judgment muft indeed accompany even their moft imperfett exertions. They do not operate, till certain qualities in objects have been perceived, dif- criminated from others fimilar, compared and compounded. In all this judgment is employed : it bears a part in the difcern- ment and production of every form that {hikes them, But in affifting their perfett energies, it has a" ftill more extenfive in- fluence. Good fenfe is an indifpenfable , in- ingredient in true tafte, which always im- plies a quick and accurate perception of things as they really are. THAT SECT. II. *fbe influence cf &c. 91 THAT judgment may compleatly exhibit to the internal fenfes, the beauties and ex- cellencies of nature^ it meafures the ampli- tude of things, determines their proportions, and traces out their wife conftruction and be- neficial tendency. It ufes all the methods, which art and fcience indicate for difcovering thofe qualities that lie too deep fpontaneoufly to flrike the eye. It inveitigates the laws~~\ and caufes of the works cf nature : it com- pares and cOntrafts them with the more im- perfect works of art ; and thus fupplies materials, from which fancy may produce ideas and form combinations, that will ftrongly affect the mental tafte. _J JUDGMENT finds out the general charac- ters of each art, and, by comparing them, craws conclufions concerning the relations, which fubftft between different arts, Till it has difcovered thefe, none of them can acquire that additional power of pleafing, which is imparted to them by their recipro- cal connection. IN every art, a jufl performance confifts of various parts, combined into one fyftem, and fubfervicnt to one defign, But without the 92 *Tbe influence of PART 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 intro- duced, 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 compa- rifon determines their refpeclive merit and due proportion. It enables the ear, from its difcovery of the general relations, to diftin- guifh 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 mean- ing of the piece, not only remotely, as it is the instrument of that previous knowledge, which is neceflary for underftanding it ; but alfo more immediately, as from the ftru&ure and relation of the parts it infers the general defign, and explains their fubferviency to the main end of the whole. It compares the imitation with its exemplar, and fees its likenefs. It is judgment, working on our exjje- SECT. II. judgment upon tafte. 93 experience, that puts it in our power to know, whether the painter has fixed upon the atti- tudes and airs in nature appropriated to the pafllons, characters, and actions he would re- prefent; and, when thefe attitudes are various, whether he has chofen thofe, which moft per- fectly correfpond with the unity and propriety of his defign. Painting being circumscribed to aninftantof time, judgment alone can perceive, whether that inftant is properly felected, whether the artift has pitched on that mo- ment, which comprehends the circumftances moft effential to the grand event, and beil al- lows, without a deviation from fimplicity, the indication of the other requifite circumftances. It eftimatesthe due proportion of all the fi- gures, in dignity, elegance, and luftre, and their due fubordination to the principal. In fine, it is neceftarily employed in that exhibi- tion of the object to the fenfes, which muft be previous to their perception of it. IN order to approve or condemn in poetry or eloquence, we muft take into view at once, and compare fo many particulars, that none can helitate to acknowledge the abfolute ne- ceffity of a found and vigorous judgment. We muft determine, whether the fable or defign 94 ^e influence of PART IT. dcfign is well imagined in congruity to the fpecies of the poem or difcourfe j whether all the incidents or arguments are natural members of it ; which of them promotes its force or beauty, or which, by its want of connection, obftrudts the end, or debilitates its gennine effect j what degree of relation is fufficient to introduce epifodes, illuftrations or digreffions, fo that they may appear, not excrefcences and deformities, but fuitable de- corations. It is fenfe, which is pleafed or difpleafed, when thefe things are determined t but judgment alone can determine them, and prefent to fenfe the object of its perception. By an accurate fcrutiny of the various rela- tions of the parts, judgment fixes that fitua- tion, in which they will appear with greateft advantage, and moft promote that regular organization, on which both the elegance and vigour of the whole depends. It com- pares characters with nature ; and pronoun- ces them either real, or monftrous. It com- pares them with other characters j and finds them good or bad in the kind, properly or improperly marked. It compares them with themfelves ; and difcovers whether they are confident or inconfiftent, well or ill fupport- ed, whether their peculiar decorum is pre- ferved SECT. II. judgment upon tajle. 95 ferved or violated. Truth and juftnefs is/ the foundation of every beauty in ientiment : It imparts to it that folidity, without which it may dazzle a vulgar eye, but can never pleafe one who looks beyond the firft appear- ance. And to aicertain truth, to unmafk falfehood however artfully difguifed, is the peculiar prerogative of judgment. . The fineft fentiments, if applied to fubjedrs unfuit- able, may not only lofe their beauty, but even, throw deformity upon the whole : and judg- ment alone perceives the fitnefs or unfltnefs of their application. This faculty arrogates alfo to itfelf, in fome degree, the cognizance of ftyle and language ; and, by bringing it to the teft of cuftom, difcovers its propriety, purity, and elegance. Judgment, not fatis- fied with examining the feparate parts, com- bines them and the feelings they produce, in order to eftimate the merit of the whole. It fettles the relative value of different poems and difcourfes, of the fame or various kinds, by a ftudious and fevere comparifoa of the dignity of their ends, the moment of their effects, the fuitablenefs, difficulty, and ingenuity of the means employed. THUS '96 fke Influence of PART II. THUS in all the operations of tafle, judg- ment is employed ; not only in prefenting the fubjects, on which the fenfes exercife themfelves j but alfo in comparing and weighing their perceptions and decrees, and thence pafling ultimate fentence upon the whole. BUT, though the reflex fenfes and judg- ment meet, yet, in a confiflence with true tafle, they may be united in very different proportions. In fome, the acutenefs of the Jenfes, in others, the accuracy of judgment is the predominant ingredient. Both will de- termine juflly, but they are guided by dif- ferent lights j the former, by the perception of fenfe, the latter, by the conviction of the underflanding. One feels what pleafes or difpleafes ; the other knows what ought to gratify or difguft. Senfe has a kind of in~ flinctive infallibility, by means of which, when it is vigorous, it can preferve from er- ror, 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 dul- nefs of imagination. Where that prevails, one's SECT. II. judgment ttpan tafte yf one's chief entertainment from Works of ge- nius lies in what he feels : where this is predo- minant, one enjoys principally the intellectual pleafure, which refults from difcovering the caufes of his feelings. This diverfity in the form and conftitution of tafte is very obferva- ble in two of the greateft critieks of antiqui- ty. Longinus is juftly character ifed An ardent judge i ivho, "zealous in his trujt\ With warmth gives fcntence. > IN him the internal fenfes were exquifite- ly delicate > but his judgment, though good, was not in proportion. On this account he delivers juft fentiments, with rapture and enthufiafm, and, by a kind of contagion, infufes them into his readers, without always explaining to them the reafon of their being fo affected. Arijlotle on the contrary appears to examine his fubject, perfectly cool and un- affected j he difcovers no warmth of imagina- 'tion, no fuch admiration or extacy, as can, without reflection, tranfport his readers into his opinion. He derives his decifions, not from the livelinefs of feeling, but from the depth of penetration j and feldom H ~. pronounces 98 *f he influence of PART IL pronounces them, without convincing us they are juft. Some degree of the fame diverfity may be remarked in Boubours and BoJJu among the Moderns. SECTJ ( 99 ) SECT. III. *fajle improFueable ; how ; and in that cuftom dimini&es the ftrength of their imprefTicns. But facility, if moderate, is a fcource of pleafure : it will therefore, by it's immediate influence, for fome time prevent our delight from being weakened. It alfo renders our conceptions, though lefs Jinking, yet more complete and accurate. A more perfect object is prefentcd to the mind, than could be, previous to ufe : and it's greater perfection may increafc 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, we do not obferve the qualities from, which thcfe fentiments fliould no Offenfibllity of tajie. PART!!. fhould refult. A perfon unfkilled in poetry or painting will furvey a work with perfect indifference, becaufe he does not really fee it's beauties or it's blemifhes. But let thefe be pointed out to him, by one more knowing in the art ; immediately he begins to approve or difapprove. Cuftom fupplies the place of an external 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 muft always bear fome proportion to the vigour of their caufes. The mind acquires a habit of enlarging itfelf into the fentiment of fublimity, by being accuf- totned to expand its faculties to the dimenfions of a large object : by ufe, it becomes fkillful in compounding uniformity with variety; in meafuring proportion j in tracing out defign ; in SECT. IV. Of fenfibility of tafle. \ 1 1 in judging of imitation j in blending hetero- geneous qualities. This expertnefs gives force and boldnefs to the fentiments produced, and heightens the attendant confciouthefs of our own abilities. OBJECTS imprefs us more or lefs, accor- ding to the degree of attention^ which we beftow upon them. Cuftom enables us to apply our minds more vigoroufly to objects, than we could at firft. It is not only difficult to form a complete conception of new objects, but when they excite neither furprize nor curiofity, it is fometimes even difficult to attempt conceiving them, and to bring our- feves fleadily to contemplate them. Cuftom wears off this indifpofition ; begets an apti- tude and previous biafs to the emotions, which beauty and deformity infpire ; and thus ren- ders us prone to their peculiar fentiments. Works 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 ac- cuftomed to. A man of tafte places the pleafures of imagination in a higher clafs than other 112 Of fenftbility of tafle. PART* II. other men are apt to do ; he efteems them more noble and fubftantial : and the opinion acquired by cuftom, of their value and impor- tance transfufes itfelf into each gratification. THE fentiments of tafle depend very much on affociation* So far as they proceed from this, cu'om muft augment them, as cuftom, by adding a new principle of union, renders the connection more intimate, and introduces the related ideas more quickly and forcibly. Cuftom likewife begets new 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, be- flows 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 fenfibility of tafte is even augmented^ notwith- flanding the tendency of habit to diminijh it* Its gratification or difguft. is often more ex- quiiite, than any of the emotions which at- tend appetite and paflion. It becomes fo acute that the fmallefl beauties and blemimes have force fufficient to affect it. But tho' ths I SECT. IV. Offenfibitity of tape. i i 3 the vivacity of its perceptions mould fome- times decay by repetition ; yet cuftom, pro- ducing the other perfections of tafte, gives a refinement, elegance, and afltirance to our fentiments, which may compenfate their vio- lence at firft. Judgment may approve with | greateft confidence and juftice, when Jaricy is no longer enraptured and 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 improvement of judgment. The want of it is one ingredient in many forts of falfe tafte ; but does not conftitutc fo much one fpecies of wrong tafte, as a total deficience or great weaknefs of tafte. Senfibility may fometimes become exceffive; and render us extravagant both in liking and difliking, in commending and blaming. But, in truth, this extravagance proceeds much lefs 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 of excellence or faultinefs. Inftead of for- ming an adequate idea of the nature of the I beauty I 1 4 Of fenfibility of ta/le. PART II. beauty or deformity, we go beyond all bounds of moderation ; and when we want to exprefs our fentiments, can .do it only in general terms, tumid and exaggerated. If 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 rhapfo- dift, who, without underftanding the princi- ples of art, or the fenfe of an author, like a madman, really agitated by the fury which the poets feigned, could recite orpraife them with fuch vehemence as tranfported himfelf, and aftonifhed his auditors (m). (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, to repeat beautiful paflages from the poets, particu- larly Homer, with a rapturous and enthufiaftic pronunciation, as if they had an exquifite and warm perception of their excellence. It is probable that theyalfo declaimed in praife of their favourite verfes; this feems to be implied in the ex- preflions, irc^} TTOI)T hatiytv, irt^i 'O/nr/^a Xsy x^ <&-n<>r&>, and is infmuated by the proof which Socrates produces of their ig- norance of art, from the capacity of every real artift to dif- tinguifh SECT. IV. Offenfibllity oftafle. 1 1 5 tinguifh beauties from faults, and to point them out in the works of any performer in the kind. Socrates proves, from the conceflions of his antagonift, that neither did his fenti- ments proceed from true tafte, from a vigorous perception of 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 agitation of fpirit, proceeding either from madnefs or from in- fpiration ; and with great humour compares the feveral mufes to as many magnets. The mufe infpires the poet, without any agency or knowledge of his ; he, in the fame manner conveys the infpiration to his rhapfodift, and he to his atten- tive hearers ; juft as the loadftone by, it's imperceptible and unaccountable influence, attracts a ring of iron, that a fecond* and that a third. I 2 SECT, t n6] - SECT. V. Of refinement of tajle. REFINEMENT or elegance, which, as as well as fenfibility, is included in the idea of delicacy, is another quality requifite for forming a perfect tafte. TASTE is fo deeply rooted in human na- ture, that none are pleafed but with fome degree of real excellence and beauty. But a very low degree will fatisfy one who is acquainted with nothing higher. As we can form no fimple idea, till its correfpondent fenfation has been firft perceived j fo, with refpect to many of our ideas, we are con- fined to that precife degree , of which we have had experience, and cannot by any means enlarge them. Our thoughts can fcarce be raifed to a diftinct conception of higher pleafure or pain, than we have actual- ly felt. On this account real excellence, however low, will not only gratify, but Jill the unimproved fenfe (c). But knowledge (<) Je ne comprends pas les has pcuple dans le public ca- pable 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 nicety j makes our pleaiure, when obtained, more elegant ; but renders it more difficult to be obtained, tfhefpis in his cart no doubt charmed his cotemporaries, though his rude and imperfect reprefentations would have afforded little entertainment to their politer fuccefTors, accuflomed to the completer dra- ma of Sophocles and Euripides. The coarfe jefts of Plautus, not only pleafed the general tafte, but gained the approbation of Cicero -, and never loft their credit, till the politenefs of a court produced a refinement in wit and humour (d). A very forry ballad, or the wildeft flights of ungoverned fancy are ad- comme de decider a quel degre ils font excellents. Le mpt de public ne renferme ici que les perfonnes qui font acquis des lumieres, foit par la leclure, foit par la commerce du monde. Elles font les feulee qui puiflent marquer le rang des poemes et des tableaux, quoiqu'il fe rencontre dans les ou- vrages excellents des beautes capable de fe faire fentir au peo- ple du plus bas etage et de 1'obliger a fe recrier. Mais comme jl eft fans connoifiance des autres ouvrages, il n'eft pas en etat de difcerner a quel point le poeme qui le fait pleurer, eft excellent, ni quel rang il doit tenir parmi les autres poemes. Reflex. Crit. fur la poejie et fur la peinture, Part ii. 22. (J) At veftri proavi Plautinos et numeros et Laudavere fales ; nimium patienter utrumque (Ne dicam ftulte) mirati : fi modo ego et vos Scimus inurbaaum lepido feponere didum. HOR. An Poet. ver. 270, I 3 mired 1 1 8 Of refinement of tajle. PART II mired by the vulgar : but nothing inferior to the regular invention and mafterly exe- cution of Homer czn. fully fatisfy a perfed: tafte. An indifferent tune on a bad inftrument con- tents the many : but the imperfection or groflhefs of its harmony is intolerable to a fine ear. HABIT, as was obferved, tends to dimi- nifh the fenfibility of tafte. From this, re- finement in fome degree proceeds. In pro- portion as our gratifications lofe their in- tenfenefs by repetition, we become indiffe- rent to the imperfett degrees of beauty, which fully fatisfied us before. We are no longer touched with ordinary charms , but acquire a kind of avidity, which demands the utmoft beauty and perfection. Where- ever 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. V-. Of refinement of tafte. 119 a variety of produftions. For we fliould thus be able to compare our prefent object with others of the kind. And though men are well enough fatisfied with indifferent performances in every art, while they are ignorant of better j yet no fooner do they become acquainted with what has fuperior merit, than they readily, of their own accord, give it the preference. And as companion has a great influence on the mind, many things which might be tolerable, if viewed by themfelves, will difguft, when fet in com- petition with others. To one who has been little converfant in works of art or genius, That may wear the charm of novelty, and appear to have the merit of invention j which another difcerns to be trite and common, or a mere fervile copy. What has in itfelf 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, what one who is acquaint- ed with more artful contrivance, or more ingenious imitation, cenfures as arrant bung- ling. To a tafte refined, and by practice qualified for making comparifons, an infe- I 4 rior I2.O Of refinement of tafte. PART II. rior fort or degree of beauty appears a real and pofitive blemijh (e). HABITUAL acquaintance with the objecls of tafte, not only thus fupplies a flock of knowledge, but alfo wonderfully improves the judgment There is none of our facul- ties, on which cuftom has a greater influence. Though at firft it could only difcover and diftinguim the mod obvious qualities of things, it may, by exercife, acquire acutenefs, fuffi- cient to penetrate into fuch as are moft la- tent, and to perceive fuch as are moft deli- cate. At firft it can take in only the fimpleft combinations of qualities or fhort trains of (ej An ingenious French Critic well remarks the impor- tance of being enabled to form comparifons, by having had opportunity of ftudying many excellent performances. *' On " ne parle pas de Texpreffion aufli bien qae Pline et les au- " tres Ecrivains del'Antiquite en ont parle, quand on ne s'y 4< connoit pas. D'ailleurs il falloit que des ftatue?, ou il fe *' 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 j'ai citees, avoient encore ' une infinite d'autres pieces de comparaifon excellentes, ne *' pouvoient pas fe tromper en jugeant de I'expreffion dans ' les tableaux, ni prendre le mediocre en ce genre pour 1'ex- " quis." Reflex, Crit. fur la po'efu, et fur la peinture. Part i. ^ 38. The fame author repeats and illuftrates this obferva- tion in many other paffages. ideas : SECT. V. Of refinement cf ta/le. 121 ideas : but by being often employed, it ac- quires enlargement ; and is enabled to com r prehend, to retain diftinctly, and to compare with eafe, the moft complicated habitudes, and the largeft and moft intricate compofi- tions of ideas. In confequence of culture, it difcovers, in objects, qualities fit to operate on tafte, which lie too deep for the obfer- vation of a novice; it can ioveftigate the niceft and moft complex perfections, and lay open the moft trivial faults (f). Hence what was at firft cenfured as a fault, often on our tafte becoming refined, appears a beauty. When reafon is weak, it lofes itfelf in a long and intricate demonftration ; it cannot retain the connection of the whole ; it fees nothing but confufion ; and obtains neither conviction nor delight. In like manner, in matters of tafte, judgment, when rude and unimproved, is bewildered amidft the complexneis of its object, or loft in its obfcurity; and by being baffled excites difguft. But, as foon as cuf- tom has enabled it to furmount this difficul- ty, and enlarge its views, it excites high ap- (f) Quam multa vident piftores in umbris et in eminen- tia, quae nos non videmus ? quam multa, quae nos fugiunt in cantu, exaudiunt in eo genere exercitati ? Cic. Acad. Quafi. lib. ii. probation 122 Of refinement of tape. PART II. probation of thofe beauties, which were for- merly difrelifhed. As the moft complicated reafonings become moft entertaining, the ">.' mo&Jubtle excellencies produce the moft re- fined approbation. Being remote, and veil- ed, as it were, they give exercife to our fa- culties ; and, by drawing out the vigour of the mind, continue to pleafe, when the grof- jer and more palpable qualities have entirely palled upon the fenfe. They are like thofe delicate flavours, which, though not fo agree- able at firft, pleafe much longer than fuch as are too lufcious, or too much ftimulate the organ (g). The profulion of ornament, (g) The truth of this obfervation Cicero, without affigning the caufe, illuftrates in a variety of inftances, with regard both to tatte and the external fenfes. " Difficile enim diftu ( eft, quaenam caufa fit, cur ea, quae maxime fenfus noftros ' impellun , voluptate, et fpecie prima acerrime commovent, ' ab iis celerrime faftidio quodam et fatietate abalianemur. ' Quanto colorum pulchritudine, et varietate floridiora funt ' in picturis novis pleraque, quam in veteribus ? quae tamen * etiam, fi primo afpe&u nos ceperunt, diutius non deleftant: ' cum iidem nos in antiquis tabulis illo ipfo horrido obfole- ' toque teneamur. Quanto molliores funt, et delicatiores in ' cantu flexiones, et falfae voculae, quam certa? et feverx ? quibus tamen non modo aufteri, fed, fi fxpius fiunt, mul- titudo ipfa reclamat. Licet hoc videre in reliquis fenfibus, unguentis minus diu nos deleftari, fumma et acerrima fua- vitate conditis, quam his moderatis : et magis laudari quod terrain, quam quod crocum olere videatur. In ipfo taclu ' efle modum et mollitudinis et Izevitatis. Quinetiam guf- be- I SECT. V. Of refinement of ta/le. 123 beftowed on the part^ in Gothic flruclures, may pleafe one who has not acquired en- largement of mind, fufficient for conceiving at one view their relation to the whole j but no fooner is this acquired, than he perceives fuperior elegance in the more fimple fym- metry and proportion of Grecian architecture. Italian mulic gives fmall delight at firft but when once the ear is opened to take in the complexity of its harmony, and the de- licate relations of difcords, introduced with ikillful preparations and refolutions, it then gives exquifite delight. The lame may be obferved of the refinements of poetry and eloquence, of wit and humour. The copious and varied declamation of Cicero will make a quicker impreffion, than the fimple, ner- vous eloquence of Demcfthcnes ; but this gives the higheft and moft durable fatisfac- tion 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 eit, afpernatur cc rcfpuit ? quis potionc uti, aut cibo diilci diutius poteft ? cum utroque in enere ea, qux leviter fenfum voluptatc movcant, facillime fugiant " fatietatem. Sic omnibus in rebus, voluptatibus maximia " failidium fmitimum eft," Cic. dc Orat. lib. iii. j . which 124 Of refinement of tafle. PART II. which would efcape the notice of a vulgar eye. IT is poflible to acquire fo great refinement, cpecially when tafte is accompanied with ge- nius, that we conceive in idea a ftandard of higher excellence, than was ever mfatt pro- duced 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 of his pictures unfinished. When imagina- tion is inflamed and elevated by the perfection exhibited to it, it goes on of its own accord 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. InJidebat videlicet in ejus mente fpecies eloquentiae, quam cernebat animo,re ipfanon videbat. Malta ct in fe, et in aliis defiderans, neminem plane qui rele ap- pellari eloquens pofiet videbat. % Habuit profeftocomprehen- fam animo quandam formam eloquenti, cui quoniam nihil de- erat, eos, quibus aliquid, aut plura deerant, in earn formam non poterat includere. Ipfe Demofthenes, quamquam unus eminet inter omnes in omni genere dicendi, tamen non fern, per implet aures meas : ita funt avid^ et capaces : et femper ali- quid irumenfum, infinitumque defiderant. Cic. Orat. o SECT. V. Qf refinement of tafte. 125 of fome unpliablenefs in the materials em- ployed, the execution feems always to fall jfhort of our conception. No performer can excell in every thing : each is characterifed by fome predominant talent. The particular excellence of one enables us to difcern the faultinefs of another. And by combining the virtues-that are difperfed among the dif- ferent 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 perfection, the parts of which, though taken from different originals, are rendered confident, by the fkill with which they are articulated. A man of genius pof- fefled of fo fublime a ftandard, endued with fuch exquifite refinement of tafte, in what- ever art he pradtifes, will reprefent his ob- jects, not merely as they are, but, like So- phocles, as they ought to be (). A tafte (0 P/in. H'ijt. Nat. lib. xxxv. Cap. 9. (k) Indeed the great matters in every art imitate, not fo much individual nature, as a fublimer ftandard, which exifts only in their own conceptions. This Ariftotle obferves in po_ etry, irtfi vwr. xi$. 9'. The fame is true of painting. See above, Part i. Sett. 4. This fubjeft is explained with equal iolidity and elegance, by the author of A Commtntary and Notes n Heract't epijile to the Pifoes. Note on ver. 317. thus 126 Of refinement cf tajle. PART II. thus refined will not capricioufly reject what- ever it perceives to be deficient : Nam nequs chorda fonum reddit, quern volt ma* nus et mens ; Nee femper firiet, quodcunqm minabltur arcus. But it can be fatisfied and filled, only with the higheft perfection that is 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 ex- cellence ; and thofe are chiefly to be dwelt upon, which difplay new beauties on every review. The moil confpicuous virtues will be at firft perceived. Farther application will difcover fuch as lie too deep to ftrike a fuper- ficial eye j efpecially if we aid our own acute- nefs by 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 com- pofitions of genius, or the productions of art, which, without fuch alMance, would have long, SECT. V. Of refinement of tafte. 127 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 habitual refinement, a capacity of making fimilar ones, with facility and quicknefs. WHERE refinement is wanting, tafte mud be coarfe and vulgar. It can take notice only of the grofTer beauties ; and is difgufted only with the moft (hocking faults. The thineft difguife, the leaft depth is fufficient to elude its fcrutiny. It is infenfible to the delicacies of art and nature : they are too fine, and make too flight an imprcffion to be obferved. As favages can be touched with ' nothing, but what excites the utmoff extra- vagance of paffion, fo a grofs and barbarous tafte can relifh nothing that is not either pal- pable or overdone. Chafte beauties it has not acutenefs to perceive ; complex ones it has not force enough to comprehend. Look- ) ing only to the furface, it often approves what is really faulty or defective, and is indif- ferent to what poflefles the utmoft elegance. Its decifions are, of confequence, difpropor- tioned to the real merit of the objects: the moft glaring, the leaft artificial performances are 128 Of refinement of tape. PAR T It. are.fure to gain the preference. It has been often remarked, that a certain groflhefs and want- of refinement in the ILnglifi tafte, al- lows, and. even demands a boldnefs, a groflhefs, and indelicacy in their theatrical entertain- ments, which .would be intolerable to the ele- gant tafte of a French audience. ' BUT, an excefiive or falfe refinement, is equally to be avoided (I). It is like a weak- ly conftitution, which is difordered by the minuteft accident ; or like a diftempered fto- mach, which naufeates every thing. It is a capricioufnefs of mind, which begets an ha- bit of conftantly prying into qualities that are remote, of difcoverin'g imaginary delica- cies, or faults which none clfe can perceive ; while one is blind to what lies perfectly open to his view j like the old Philofopher, who was fo intent on the contemplation of the heavens, that he could not fee the pit that had been dug directly in his way. Or it is a minutenefs of tafte, which leads one to feek (I) True tafte is a proper medium betwixt tbefe extremes '' Ce difcerncment fait connoitre les chofes telles qu'elles font " .en elles-me'ines, fans qu'on demeure court, comme le peu- -< 4 ,ple, qui s'oxr^re a la fuperfbie ; ni auffi fans qu'on aille trop * loin, comme ces efprits rafinez, qui a force de fubtilizer s'e- .*.: vaporetit en des imaginatipns vaines et chimeriques.'* En- tret, iv. 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 true genius. Or it is a faftidioufncfs of judgment, which will allow no merit to what has not the greateft^ will bear no medi- ocrity or imperfection ; but, with a kind- of 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. The younger Pliny fays, " The Gods ce took Nerva from the earth, when he had " adopted Trajan, left he (hould do any adlLon ). This fimilitude ftrongly and beautifully expreffes the courage and ala- crity, with which he met his rival. But this does not fatisfy fome of his fcholiafts. They will have Paris compared to a goat for his incontinence, and to a deer for his cowardice, and his love of mufic. In Jupiter's golden chain (y), fome have difcovered an emblem of the excellence of abfolute monarchy; and in Agamemnon** cutting off the head and hands of Antimachuss fon (r), have imagined an allufion to the crime of the father, who had propofed to lay bands on the ambaffadors that demanded the return of Helen ^ and from whofe head the advice to detain her had pro- ceeded. Falfe refinement diflikes on grounds equally chimerical and inadequate as thofe which procure its approbation. The 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 which it is, with great propriety, related, on purpofe to reprefent to Achilles the fatal mifchiefs that fpring from (p) i*ia*\ V* ver. n. (q) IX $'. (r) !A. X'. K 2 ungo Of refinement of tajle. PART. if. ungoverned fury and refentment (j). The ni- cety of Rymer is difgufled with the cunning 'and villany of lago, as unnatural and abfurd, foldiers being commonly defcribed with open- nefs and honefty of character (/). To cri- tics of this clafs, Homer's low fimilitudes, and fimple manners, or Shakefpears irregula- rities and unharmonious numbers, are intole- rable faults. FALSE delicacy in critics may in fome mea- fure proceed from an exceflive fenfibility of tafte, or fubtlety of judgment indulged without diftinction or referve. But moft commonly, it is the off-fpring of vanity and ignorance. Pride leads us to affect a refinement, which we have not. We know not in what real excel- lence confifts j we therefore fix fome partial or whimfical ftandard, and, judging by it, run into falfe elegance, and capricious nicety. True tafte penetrates into all the qualities of its objects, and is warmly affected with what- . (s) IX. . ver. 460. To* pt lyfc ^aXius-a, x. T. X. This ni- CCty Plutarch juftly cenfures, as capricious and ill applied, 'o f*iy a *Apir*^X? i|X Tea/To, TO. earn' t^et Si <7ffo<; TOV xaipw o^Sfc 1 ,-, tffOt T'-X/XWCTJ, fAIJ ^flJ^ll Tied; & rot tclr 7ro.r,p,xTi.'y Ktnietr. (3-) See RSYMER'S View of Tragedy, Chap. vii. ever SECT. V. Of refinement of tape. 133 ever it perceives. Its mimic, falfe refine- ment, fearful left any thing mould efcape its/ notice, imagines qualities, which have no' exigence, and is extravagantly touched with the chimeras of its own creation. SECT. [ J34 ] S E c T. VI. Of. correttnefs of tape. SENSIBILITY difpofes us to be ftrongly affedted with whatever beauties or faults we perceive. Refinement makes us capable of difcovering both, even when they are not obvious. Corre&nefs muft be fuperadded, that we may not be impofed upon by falfe appearances ; that we may neither approve mining faults, nor condemn chafte virtues; but be able to aflign to every quality its due proportion of merit or de- merit. 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. Though we never approve, or difapprove, when thofe cha- SECT. VI. Of correftnefs of tafle. 135 characters, which are the natural grounds of cither, are known to be wanting j yet we of- ten embrace a cloud for Juno, we miftake the femblance for the fubftance, and, in ima- gination, attribute 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 con- nection between fpirits and darknefs, which prejudice has eftablimed in fome, produces as great terror, as if they were in nature coiv- flantly conjoined. EVERY excellence is a middle between two extremes, one of which always bear v fome likenefs to it, and is apt to be confounded with it. The right and the wrong are not feparated by an uncontefted boundary. Like day and night they run infenfibly into one another : and it is often hard to fj& the pre-< cife point, where one ends and tbe other be- gins. In attempting it, the unikilful may readily mifapply their cenfure or their praife. In every art fublimity is mimicked by prodi- gious forms, empty fwelling, and unnatural exaggeration. K 4 Z>w Of corretfnefi of tajle. PART II, Dum vitat buMum y xubes et inan'ia captat. ,\*\b Some of Homer's images, admired by Longi- tins as eminently great, lefs judicious critics have, notwithftanding his authority, arraign- ed as monftrous and tumid (u) : and many pafiages, which he rejedts, would have given no offence to a judge of lefs correclnefs : he condemns as extravagantly hyperbolical the image ufed by an orator to exprefs the flupi- dity of the Athenians, " that they carried their " brains in the foles of their feet (#);" which yet Hcrmogenes y a critic of confiderable accu- racy, approves. The former of thefe critics charges Gorgias with the tumid for calling vultures " living fepulchres (y) j" and the latter thinks the author worthy of fuch a fe- pulchre, for ufmg fo unnatural a figure (3). But Boi/eau is of opinion that it would efcape all cenfure in poetry j and Bouhours adopts his (K) Such as his defcription of Difcord, already taken notice of, which is highly blamed by Scaliger, Poet. 1. v. c. 3. (x) This fentiment is afcribed by fome to Demoflbenes, by others to his Collegue Hegejippus. It is blamed by Longinus irifi t-^. TfjLt, X^. But Hermogenet Vi^l l$iv> t T/X. a. xt. r'. ad- mits it as a genuine beauty. (y) TvT)j x\'.\t' ;}*. >*. : -;.,* 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 difficult to be compared. The latter- incapacitates us for perceiving the re- lations even of the cleareft perceptions, or the moft diftinguimable qualities. In either cafe, the mind is diftrafted with fufpenfe and doubt. This is an uneafy ftate, from which we are defirous to extricate ourfelves, by any means. If we have not vigour of tafte enough, to determine the merit of the object, HF.CT. VI. Of corretfnefs of taftt. 143 object, by its intriniic characters, we take up with any flandard, however foreign or improper, that can end our wavering. Au- thority in all its forms ufurps the place of truth and reafon. The ufage of an admired genius t will procure approbation even to faults, from one whofe tafte is languid. He is 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 wrong ; and confequently prevent his fcru- tiny. Like the fpots of the fun, which can- 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: till thefe are invigorated by culture, they will dif- appear in the general fplendor. The genius of Shake/fear may 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 Cowley an undiftinguifhed admiration. One may be too much pleafed with Congreves wit, to remark its incongruity to the characters to which it is afcribed. The veneration we have for antiquity, aided by the (how of learning, 144 Q/ correffnefs of tajle. learning, which acquaintance with it implies, and by the malignant joy, which envy feels in depreciating cotemporaries, often ftamps a value on its productions, difproportioned to their intrinfic merit : Et nifl qu. TJ*. Xy AJ-. 2 Where 156 \Of tbe principles of ta/te. P^RT II. Where eminent merit is found, real 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 which the principles of tafte muft be confi- jied, to form its juft extent ; and the finifli- ing it muft receive, in order to its perfection, As it neceiTarily includes both judgment and all the reflex fenfes j fo it muft by culture, be improved in fenfibility, refinement, cor- redtnefs, and the due proportion of all its parts. In whatever degree any of thefe qua- lities are wanting, in the fame, tafte muft be imperfect. Could any critic unite them all in a great degree, to his fentiments we might appeal, as to an unerring ftandard of merit, in all the productions of the fine arts. The 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 principles of tafle. 157 none of them is wanting, a peculiar predo- minance of one will by no means vitiate tafte. They are fo analogous, that an emi- nent degree of one will fupply the place of another, and in fome meafure produce the fame effect : or rather, perhaps, one cannot exift in full perfection, without implying all the reft, at leaft in an inferior degree. Lon- gi?2S, Dionyfms of HaUcarnaffus y and Arijlo- tle, all poflefTed fine tafte. But it will fcarce be denied, that the firft peculiarly excel- led in fenfibility, the fecond in refinement, and the laft in corretfnefs and enlargement. There is none of the ancients, in whom all the four appear to have been more equally, or in a 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 III. 'The Province and Importance of Tajle. SECT. I. How far tfajle defends en the Imagination. IT has been obferved above, that thofc internal fenfes, from which tafte is form- ed, are commonly referred to the imagina- tion ; which is 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- fions of our faculties are generally fuperfi- cial and inaccurate. Our mental operations, though of all things the mod intimately pre- fent to us, are of fuch a fubtle and tra.nfitory nature, that, when they are reflected on, they i in a great meafure elude our view, and their limits and diftinctions appear involved in ob- fcurity and confufion. The common diftri- bution of our moft obvious powers, our ex- ternal i6o Trf^ and imagination. PA&T III, ternal fenfes, is acknowledged to be faulty : much more may we expect inaccuracy in the ordinary methods of claffing fuch as are Icfs generally attended to. All divisions of 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, we flrike out jufter divifions, than could have been expected, without reflection on the real foundation of them. This holds in the pre- fent cafe. If we will but recollect and com- pare thofe qualities of human nature, from which tafte has been explained, we fhall be convinced, that all its phenomena proceed, either from the general laws of fenjation, or from certain operations of the imagination. Tafte therefore, though itfelf a fpecies of fenfation, is, in refpect of its principles, juftly reduced to imagination. THAT tafte is properly a kind of fenfa- 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. fajle and imagination^ 161 different from all that we receive by exter- nal fenfe or by reflection. Thefe make u& acquainted with the forms and inherent qua- lities of things external; and with the nature of our own powers and operations : but tafte exhibits a fet of perceptions, which, though confequent on thefe, are really dif- ferent ; which refult from, but are not in- cluded in, the primary and direct perception of objects. They are however equally un- compounded in their feeling, as incapable of being conceived prior to experience, as im- mediately, neceffiirily, and regularly exhibit- ed in certain circumftances, as any other fenfation whatfoever (gj. Tafte is fubject- (g) Indeed'as our external fenfes are ultimate and original principles, it may perhaps be taken for granted that this cii% cumitance is effential to the idea of a fenfe, and that no power of the mind can be properly exprefled by this name, which is derived and compounded, and capable of being rc- folved into fimpler principles. According to this hypothefis, the powers of tafte would not be fenfes. To enquire whe- ther they are or are not, may perhaps be deemed a difputc about words, as the determination will depend upon the defi- nition of a fenfe. It is however of fome real moment, that the powers of the mind be reduced into clafles, according to their real differences and analogies ; and therefore, that no definition be received, which would difturb the regular dif- tribution of them. And that the powers of tafte may with, the greatcft propriety be reckoned fenfes, though they be de- M cd 1 62 *Tafle find imagination. PART III, ed to the fame general laws, which regulate -our other fenfes. To trace out all thefe rived faculties, will, it is hoped, appear from the following obfcrvations. We are dire&ed by the phenomena of our fa- culties, in reducing them to claffes. The obvious phasnome- tia ofafenfezre thefe. It is a power, which fupplies us with fueh fimple perceptions, as cannot be conveyed by any other channel to thofe who are deftitute of that fenfe. It is a power which receives its perception immediately, as foon as its object is exhibited, previous to any reafon concerning the qualities of the object, or the caufes of the perceptions. It Is a power which exerts itfelf independint of 'volition, fo that, 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 cannot pofli- bly receive. A man who opens his eyes at noon immediate- ly perceives light ; no efforts of the will can prevent his per- ceiving it, while his eyes are open j and no volition could make him perceive it at midnight. Thefe characters evi- dently belong to all the external fenfes, and to reflexion or con- feioufnefs, by which we perceive what pafTes in our minds. They likewife belong to the powers oftafte; harmony, for example, is 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 tune. The powers oTta*fte~are therefore to be reckoned fen- fee. Whether they are ultimate powers, is a fubfequentquef- tion. Thofe who are unacquainted with philofoph) reckon all our powers ultimate qualities of the mind. But nature- de- lights in Simplicity, and produces numerous effefts, by a few of txtenfive influence; and it is die bufmefs of phi. would 4 SECT. I. T'afte and imagination. 163 Would be foreign to our fubjed:. We fhall mention but one law of fenfation, which has lofophy to inveftigate thefe caufes, and to explain the pheno- mena from them. On enquiry it appears that the internal fenfes are not ultimate principles, becaufe all their phaenomena can be accounted for, by fimpler qualities of the mind. Thus the pleafure we receive from beautiful forms is refolvible into the pleafure of facility and that of moderate exertion. But* notwithftanding this difcovery of the caufes of our reflex fen- fations, we may continue to terra them fenfes, fince it does not contradict any of the phenomena, on account of which this name was originally beftowed upon them. Beautiful 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 qualities. We find, on examination, that uniformity and pro- portion are agreeable. As they enable us to conceive the objeft with facility and variety ; as it hinders this facility from degenerating into languor ; and thence we conclude, that the pleafant fentiment of beauty is the refult of thofe fim- ple principles which difpofe us to relifh moderate facility, and moderate difficulty ; but the fentiment of beauty arifes, with- out our reflecting on this mixture. This fentiment is com- pound in its principles, but perfectly fimple in its feeling. If, this mould feem to imply a contradiction, let it be remem- bered that two liquors of different flavours may, by their mix- ture, produce a third flavour, which fhall excite in the palate a fenfation as fimple, as that which it receives from any of the ingredients. In like manner, the perception of white- nefs is as fimple as that of any colour ; but philofophers know that, in refpeft of its caufe, it is compounded of the fcven primary colours. Lord Verulam * concludes from fome experiments that the external fenfe of tafte is compounded of * AW. Qrg. lib. ii.aph. a6. M 2 been 164 faftc and imagination. PART III. been fo often hinted at already, and which, by its immediate effects and remoter confe- quences, has fo great influence on the fenti- ments of tafte, that it will be proper in a few words to illuftrate it. When an object is prefen- ted to any of our fenfes,the mind conforms it felf to its nature and appearance, feels an emotion, and is put in a frame fuitable and analogous j of which we have a perception fmell and touch. Suppofe this conclufion juft, tafte would be a derived power; but ftill it would be a diftinft fenfe, as its perceptions are peculiar, and fpecifically different in their feeling both from odours and tangible qualities. Juft fo each principle of tafte is with reafon accounted a particular fenfe, becaufe its perceptions, however produced, are peculiar to it, and fpecifically different from all others. Each conveys perceptions, which, in refpeft of their feeling, are original, though the powers, by which they are conveyed, are derived. It is fcarce neceflary to obferve that our afcribing the fenti- jnents of tafte to mental procefles is totally different from af- lerting that they are deductions of reafon. We do not prove that certain objects are grand by arguments, but we perceive them to be grand, in confequence of the natural conftitution of our mind, which difpofes us, without reflection, to be pleafed with largenefs and fimplicity. Reafoning may, Lowever, be employed in exhibiting an objeft to the mind, and yet the perception that it has, when the objed is once exhibited, may properly belong to a fenfe. Thus rea- foning may be 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 S E c T . I. fafle and imagination. 165 by confcioufnefs or reflection. Thus diffi- culty produces a confcioufnefs of a grateful exertion of energy : facility of an even and regular flow of fpirits : excellence, perfect- ion, or fublirnity, begets an enlargement of mind and confcious pride ; deficience or im- perfection, a depreffion of foul, and painful humility. This adapting of the mind to its prefent object is the immediate caufe of many of the pleafures and pains of tafte ; and, by its confequences, it augments or dimi- nifhes many others. Though the actions of the mind fucceed one another with furprifing quicknefs, they are not inftantaneous : it re- quires fome time to pafs from one difpofition or employment to another. Every frame of mind has a kind of firmnefs, tenacity, or ob- ftinacy, which renders it averfe to quit it's hold. Every fenfation or emotion, as much as poflible, refifts diminution or extinction. We find it difficult to difmifs at once any object, which has engrofled our thoughts, and to turn in an infhnt to another (b). Even after an object is removed, the frame it produced, the impetus it gave the mind, continues, and ur- ges us to go on in the fame direction : it re- quires time and labour to deftroy it. If the (h) Difficile eft mutarc habitum animi fcmel conftitutunn. QUINT. In/1 Oret. lib. iv. cap. 2. M 3 . fucceed* 1 66 Fafte and Imagination. PART III. fucceeding object demand a different confor- mation of mind, our application to it muft, on this account, be lefs vigorous, and its im- preffion fainter. But if it be analagous to the preceding, it finds the fuitable difpofidon already raifed, and therefore ftrikes the fenfe with all its force. Hence the mighty effi- cacy, which perceptions acquire, in poetry or eloquence, by being introduced in a pro- per order, and with due preparation. Hence the influence of an habitual and prevailing x temper or turn of mind, in enlivening con- gruous perceptions, and in debilitating fuch as are incongruous. As far as the fentiments of tafte depend on thefe principles, fo far they arife immediately from the general laws of fenfation. WE can explain our external fenfes no otherwife, than by marking their differen- ces, reducing them to claffes, and delineating the laws of exertion common to all, or pecu- liar to each. They are original qualities of human nature, not refolvible into any others, more ultimate and fimple ; but tafte, in moft of its forms, at leaft, is a derivative and fe- condary power. We can trace it up to lim- pler principles, by pointing out the mental procefs that produces it, or enumerating the qua-r SECT. I. T*ajle and imagination. 167 qualities, by the combination of which it is formed. Thefe are found, on examination, to be no other than certain exertions of ima- gination. That this may become more ob- vious, we mall briefly afcertain the nature and extent of fancy, by exhibiting a detail of its principal operations, as far as they con- cern the prefent fubject. IMAGINATION is firft of all employed in prefenting fuch ideas, as are not attended with remembrance, or a perception of their having been formerly in the mind. This de- fect of remembrance, as it prevents our re- ferring them to their original fenfations, djf- folves their natural connection. But when memory has loft their real bonds of union, fancy, by its aflbciating power, confers upon them new ties, that they may not lie perfectly loofe, ranges them in an endlefs variety of forms. Many of thefe being reprefenta- tions of nothing that exifts in nature, what- ever is fictitious or chimerical is acknowledged to be the offspring of this -faculty, and is termed imaginary. But wild and lawlefs as 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 tfafte and Imagination. PART III that are conjoined, either merely by cuftom, or by the connection of their objects in vici- nity, cotxiftencf, 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 im- portant operations (/'). WHEREVER fancy fuppofes, or perceives in ideas any of the uniting qualities juft now mentioned, it readily, and with a kind of ea- gernefs, pafles from one idea to its aflbciates ; it beftows fuch a connection on them, that they become almoft infeparable, and generally appear together. Their union is fo ftrong, the tranfition from one to the other is fo eafy, that the mind takes in a long train of related ideas with no more labour than is requifite for viewing a fingle perception j and runs over the whole feries with fuch quicknefs, as to be fcarce fenfible that it is mifting its objects. On this account, when a number of diftinct (/) For inftance, fome ideas are of fuch a nature, that, whenever they occur, they impel to aftion. It is by making fuch ideas frequently occur, by constantly fuggefting them, that repetition produces the cuftomary tendency, and habi- tual pronenefs to an aftion, which is an effential part in every active habit. ideas SECT. I. Falte and imagination. 169 ideas are firmly and intimately conne&ed, it even combines them into a whole, and confi- ders them as all together compofing one percep- tion. This is the origin of all our complex per- ceptions. It is fancy which thus beftows unity 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 made by fancy, certain parts or qualities of things, which it combines into complex modes. IDEAS, which are thus compounded, or which are even, without competition, only aflbciated, communicate, by the clofenefs of their relation, their qualities to one ano- ther. The difpofition with which the mind contemplated the firft, by its own firmnefs, which makes force requifite to deftroy or change it, and by the ftrength of the- union, which keeps this force from being applied, continues while we view the others. And we imagine, by a kind of illufion, that they produced the difpofition, which in reality was brought to the perception of them ; and we afcribe to them the qualities which are necef- fary for its production. A perception, by being 170 To/I e and imagination. PART III, being connected with another, that is flrong, pleafant, or painful, becomes itfelf vigorous, agreeable or difagreeable. Hence may be deduced the force ofympatby y which enlivens 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 re- verfed, the effecT: of the comparifon overbal- lancing that of the ajjociation. An idea will appear weaker, lefs pleafant, or lefs painful than it really is, by being introduced by one which poflefTes a greater degree of thefe qua- lities, if it is at the fame time compared with it. IMAGINATION fometimes operates fo ftrongly, as not only to aflbciate, or even combine, but alfo to confound together ideas or fenfations that are related, and to miftake one for the other. This is the caufe of our often afcribing the pleafure or the pain, which refults merely from our own operations, to the objeds about which they happen -to be employed 5 and of our confounding together objeds, SECT. I. fajte and imagination. objects, or ideas, which are contemplated with the fame or a like difpofition. It is likevvife the fource of many figures, in which one thing is ufed for another, as metaphor, denomination, abufion, and the like. IMAGINATION does not confine itfelf to its own weak ideas j but often ads in con- junction with our fenfes, and fpreads its in- fluence on their impreflions. Senfatilons, emotions, and affections are, by its power, aflbciated with others, readily introducing fuch as referable them, either in their feeling or direction. Nay, they are capable of a clofer union, than even our ideas ; for they may not only, like them, be conjoined, but alfo mixed and blended fo perfectly together, that none of them {hall be diftinctly perceiv- able in the compound, which arifes from their union. ALL thefe are operations of imagination, which naturally proceed from its fimpleft exertions, and are the principles, from which the fentiments of tafte arife. Thefe fenti- ments are not fantaftical, imaginary, or un- fubftantial ; but are univerfally produced by the energies of fancy, which are indeed of the 172 Fa/it and imagination. PART III. the utmoft confequence, and have the moft extenfive influence on the operations of the mind. By being compounded with one an- other, or with other original qualities of hu- man nature, they generate moft of our com- pounded powers. In particular, they pro- duce affeftion, and tafle of every kind ; the former, by operating in conjunction with thofe qualities of the mind, which fit us for action j the latter, by being combined with the general laws of fenfation. . SECT. ( '73 ) SECT. II. Of the connexion of tafte with genius*. TASTE may be confidered either as an eflential Party or as a neceflary atten- dant of genius ; according as we confider ge- nius in a more or lefs extenfive manner. Every one akn ow ledges that they have a very near connexion. It is fo evident, that it has almofl paft into a maxim, that the ableft performers are alfo the bed judges in every art. How far the maxim is juft will beft appear, by briefly determining the narure and principles of genius. THE firft and leading quality of genius is invention, which confifts in an extenfive comprehenfivenefs of imagination, in a rea- dinefs of aflbciating the remoteft ideas, that are any way related. In a man of genius 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 from a quantity of matter the ferruginous particles, which hap- pen 174 Of the connexion of PART lit. pen to be fcattered through it, without making an impreffion on other fubftances ; fo imagination, by a fimilar ^rnpathy, equally inexplicable, draws out from the whole com- pafs of nature fuch ideas as we have occalion for, without attending to any others ; and yet prefents them with as great propriety, as if all poffible conceptions had been explicitly expofed to our view, and fubjected to our choice. AT firft thefe Materials may lie in a rude and indigefted chaos : but when we attentive- ly 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, which it points out as the moft natural. Thus from a con- fufed heap of materials, collected by fancy, genius, after repeated reviews and tranfpoli- tions, defigns a regular and well proportioned whole (k). (k) This operaiion of genius, in defigning it's productions, isdefcribed with all the beauties of poetical expreffion, in The f leafures of imagination t B. iii. ver., 348 410. SECT. II, tafte with genius. THIS brightnefs and force of imagination throws a luftre on it's effeds, which will for ever diftinguifh them from the lifelefs and infipid productions of inanimated induf- try. Diligence and acquired abilities may aflift or improve genius ; but a fine imagina- tion alone can produce it. Hence is derived it's inventive power in all the fubje&s to which it can be applied. This is poflefTed in com- mon by the mufkian, the painter, the poet, the orator, the philofopher, and even the 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- tion, education, example, or fludy, more ftrongly turned to one kind than the others. 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 apt materials. Without this, it would not only be imperfect, but would for ever lie latent, undifcovered, and ufelefs. It is chief- ly the peculiar modification of this capacity, which adapts a genius to one art rather than another 176 j'&e connexion of PART III. another. To form a painter, the ideas af- fembled by fancy muft give him a view of their correfpondent objects, in fuch order and proportion, as will enable him to exhibit the original to the eye, by an imitation of it's figure and colour. To form a poet, they 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 connected; fo that he may employ them with propriety, force, and harmony, in ex- citing flrong ideas of his fubject. 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 expreffion. Painting requires a mechanical (kill, produced by exercife : mufic a know- ledge of the power of founds, derived from experience : poetry and eloquence an acquain- 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 amf- tance SECT. II. Ofiafte llejl 'with a poet's fire. (m) Lc be! efprit eft de la nature de ces pierres precieufes, qui n'ont pas moins de folidite, que d'eclat. II n'y a rien d e plus beau qu*un diamant bien poli et bien net; il eclatc de tous cotez, etdans toutes fes parties. Quanta fodtzxa, tanto ha fplendore. C'eft un corps folide qui brille ; c'eft un brillant qui a de !a cocfiilence et du corps. iv. Entrtt. J*jtriff$ tt d* Eugene. N 2 IT 180 Of tails with genius. PART 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 it's fublimity in his explication of it. Quintilian, by the fame union of genius with tafte, delivers his fentiments with the utmoft elegance, and en- livens the abflractnefs of precept by the mofl beautiful and appofite figures and images. SECT. SECT. III. Of the influence of Tafte on critkifm. AS tafte gives the laft finishing to genius in the author or performer, fo is it the fundamental ingredient in the character of the critic. The greateft refinement and juftnefs of tafte is necefTary, but not alone fufficient, to qualify one for this office. A critic muft not only feel, but pofTefs that accuracy of difcern- ment, which enables a perfon to refeft upon his feelings with diftindtnefs ? and to explain, them to others, TASTE perceives the particular beauties and faults, and thus fupplies the facts, for which we are to account; and the experi- ments, from which our conclufions are to be deduced. But thefe conclufions cannot be formed without 4 vigorous abftracting facul- ty, the greateft force of reafon, a capacity for the moft careful and correct induction, and a deep knowledge of the principles of hu- man nature. One does not merit the name of a critic, merely by being able to make a collection of beauties and faults from perfor- N 3 mance 1 82 Of taftc en criticifm. PART III, tnances in the fine arts j to "tell in general that thofe pleafe, thefe difpleafe j fome more, feme lefs. Such particular obfervations fall 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, tafte mud be attended with a rjhilofophical genius, which may fubject thefe materials to a regular induction, reduce them into claiTes, and determine the general rules which go- vern them (n). In all this operation refpeft muft be had to the fubjecls in which the excel- lencies or blemimes refide, and to the fimili- tude of the qualities themfelves, or of the fenti- ments which they excite. Thefe are the circum-r () Nihil eft, qod ad artem redigi poffit, nifi ille prius, ^ui ilia tenet, quorum artem inftituere vult, habeat illam fcien- tiam, ut ex is rebus, quarum ars nondum fit, artem efficere poflit. Omnia fere, quz funt conclufa nunc artibus, jifperfa et difllpata quondam fuerunt, ut in muficis, in hac denique ipfarationedicendi. Adhibita eft igitur ars quon- dam extrinfecus^x alio genere quodam, quod f.bi totuni fkilofophi affumunt, quae rem diflblutam, divulfamque conglu. linaret, et ratione qutdam coftrhigeret. Cic. dt Orat. lib. i. fiances SCT. III. Of tap on criticifm. j 8 j ftances common to a variety of particular phenomena, which mud regulate our diftri- bution of them. It is not enough to difcover that we are pleafed or difpleafed ; we muft alcertain the preciie fpecies of either ; and refer it to the fentiment or the expreffion ; 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- fied with them. By renewing the induction, and pufhing it to a greater degree of fubtlety, he will afcertain the lefs conspicuous proper- ties, which unite feveral inferior fpecies under the fame genus (0) ; and will carry on his ana- 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 mere excellence or faultinefs in general (/>). (e) Turn funt notanda genera, et ad certum numerum, pau.. citatemque revocanda. Genus autem eft id, quod fui fimileis communione quadam, fpecie autem diiFerenteis, duas aut plu r reis compleftitur panels. Partes autem funt, quie generibu iis, ex quibus emanant, fubjiciuntur. Cic. ibid. (p) This order of proceeding from the more particular, to the more general diftinftions of our fentiments may, perhaps* N 4 To 184 Of fade on criticifm. PART 1IL , To complete the criticifm, and render it truly philofophical, the common qualities of the fevcral claffes, both fuperior and fubordi- nate, muft be compared with the principles of human nature, that we may learn by what means they pleafe or difpleafe, and for what reafon. AXL this is included in perfect criticifm, which requires therefore the greateft philo? fophical acqtenefs, united with the mod ex- 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. The common defedl, with, which they are charged, is, that their obfervations are too ge- neral. This is undoubtedly the cafe, /as criticifm has been, generally, managed: and the reafon is, that it has been fei- dom cultivated by a regular and juft induction. It was long ago obferved by Lord Vtrulam, that there are two kinds of in- dudtion, 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- dually from lefs general, to more general principles. " Dux *' viae funt, atque efle poffunt, ad inquirendam et inveniendam *' veritatem. Altera a fenfu etparticularibus advolat ad axio- ' mata maxime generalia, atque haec via in ufu eft. Al- " tera a fenfu et particularibus excitat axiomata, afcendendo * continentur et gradatim, ut ultimo loco perveniatur ad max- ' ime generalia ; quae via vera eft, fed intentata." AW. Org. jib. i. aph. 19. In criticifm, as well as in philofophy, the farmer method has been generally praftifed. Indeed in what- quifite SECT. III. Of tafte on criticifm. 185 quifite perfection of tafte. If tafte is wanting our conclusions muft be defective, faulty, or precarious : if philofophical genius, our ob- fervations will be trifling, fuperficial, uncon- nected, and perplexed with too great parti- cularity. ' 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 philo- fophy. It has fallen into the hands of inca- 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, in fome meafure, to diftinguifh them, though not with fufficient precifion. But it requires attention and acutenefs to mark the lefler varieties of fentiment, which correfpond to the fpecies of each. The matter of faft objecled only ftiews. therefore, that criticifm has been cultivated by a wrong method of induction. The confequence has been, that even thofe general diftinclions, which appear to be afcertained, are loofc uncertain, and ill defined j a defeft that can never be reme- died, till the other fort of induftion is applied, and critics b e content to rife from particular principles, gradually, to fuch ""as arc more general. Thus only can our concept ons of all the fentimeRts of tafte, and of the qualities by which they arc excited, be rendered accurate and determinate. fcribc 1 86 Of tajle on critlclfm. PART III. fcribe rules, formed by their own imagina- tions. The accidental ufage of an eminenj author on a particular emergency, has been converted into a flanding law, and applied to cafes no ways fimilar: arbitrary reftraints have been impofed without neceffity, and even mining faults have been recommended as beauties. But thefe falfe fyftems of criti- cifm, like their kindred ones in philofophy, have obtained only a local and temporary re- ception. Genuine criticifm is evidently very different; and is juftly efteemed a faithful tranfcript of nature. For itinveftigates thofe qualities in it's objects, which, from the in- variable principles of human nature, mud always pleafe or difpleafe j defcribes and dif- tinguimes the fentiments, which they in fact produce \ and impartially regulates it's moft general conclufions according to real pheno- mena. SECT* SECT. IV. Of the objetfs of tafte* feOff WE have fecn the importance of tafte, both to the performer, and the judge. But its proper office and extenfive influence will perhaps appear flill farther, by confidering its objects in a fomewhat dif- ferent light. It may be conceived as em- ploying itfelf about nature, arf, and fciencf. With regard to nature, which is the com- mon fubject of the other two, tafte and rea- fon are employed in conjunction. In art, tafte is the ultimate judge, and reafon but its ininifter. In fcience, reafcn is fupreme, but may fometimes reap advantage, from pfing tafte as an auxiliary. As reafon inveftigates the laws of nature, tafte alone difcovers its beauties. It fills us 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 il- literate; with the beauty and variety of co- 1 louri, 1 88 ^ Of the cbjetfs of tatle. PART III. lours, which tinge the face of nature ; with the fitnefs and utility of all its productions ; with the inexhauftible diverfity, and endlefs fucceffion of new objects, which it prefents to view. ' Flowers difclofe a thoufand deli- cate or vivid hues. Animals appear in come- ly fymmetry. Here the ocean fpreads forth it's fmooth and boundlefs furface 5 there the earth forms a verdant carpet. Mountains rife with rugged majefty 5 the valleys wear a pleafant bloom ; and even the dreary wil- dernefs is not deflitute of auguft fimplicity. The day is ufhered in by a fplendid lumina- ry, whofe beams expofe to view the beauties of the world, and gild the face of nature. And when the curtain of night veils terref- trial objects from our eye, the wide expanfe appears fpangled with ftars, and opens the profpeft of multitudes of worlds paft rec- koning. Spring, fummer, autumn, prefent us with natural beauties, in the fucceflive periods of their growth ; and even ftern winter leaves many objects undeftroyed, from which a vigorous tafte may extract no incon- ilderable degree of entertainment. SCARCE any art is fo mean, fo entirely mechanical, as not to afford fubjects of tafte. Drefs, SECT. IV". Of the objefis of fajle. i S0 Drefs, furnitnre, equipage will betray a good or bad tafle : nay the loweft utenfil may be beautiful or ugly in the kind (q). But the finer arts, which imitate the excellencies of nature, fupply it with more proper materials ; and thence derive their merit. Mufic, paint- ing, ftatuary, architecture, poetry, and elo- quence, conftitute it's peculiar and domeflic territory, in which it's authority is abfolutely fupreme. In this department, genius receives it's decrees with implicit fubmiflion ; and reafon is but it's minifter, employed to bring into view, and reduce into form, the fubjecls of which it is to judge. THE fciences are fufceptible, not only of truth or falfehood ; but alfo of beauty or deformity, excellence or defect. As the for- jner are primarily regarded, reafon, by which they are diftinguifhed, here reigns fupreme, and is the immediate and proper judge of merit. Tafte exercifes only a fubordinate jurifdiclion, and muft be employed in fubfer- vience to understanding. When this fub- (q) In how great a degree the beauty of thefe meaner fub- jefti is regulated by the fame principles, from which ihat of the nobler fprings, appears in man/ inilanccs, produced by Mr Hfgarti, in his jinalvfu f Ltuuij. ordination Of the objects of tajtt. ART lit. ordination is perverted, and tafte is principal- ly regarded, falfe and erroneous theories arc! introduced* Imagination is fubftituted for reafon ; prejudice fupplies the place of evi- dence j plaufible fables are embraced inftead of folid truths. An immoderate attachment to novelty or antiquity, to fublimity or fim- plicity,has often in fcience given rife to whim- fical principles, and diftorted explications of the phaenomena of things. To one or other of thefe caufes, we may afcribe moft of the fyftems of falfe philofophy, that have ever prevailed in the world. BUT tafte, when under the entire controul of reafon, and ufed only as it's afiiftant, is highly ufeful in fcience. It 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 know- ledge of nature, difcovers fome new beauty in the conftitution of things, and fupplies ad- ditional gratification to taire. The pleafure, which attends the perceptions of this faculty, ftrongly prompts us to exert reafon in philo- fophical enquiries, and, with unremitted affi- duity, to explore the iecrets of nature that we may obtain that pleafure. By it's approbation, it confirms the deductions of SECT. IV. Of the. cbjetts of ta/le. 191 of reafon, and, by making us feel the beauty , heightens our convidtion of the truth of it's conclufions. The Newtonean theory is not more fatisfying to the under- {landing, by the juft reafonings on which it is founded, than agreeable to tafte, by it's fimplicity and elegance. As the operations of tafte are quick, and almoft inftantaneous, it is fometimes difgufted with the bungling appearance of principles, and leads us to fuf- ped: them, before reafon has had time to dif- cover where the falfehood lies. A king of Spain, who had made confiderable progrefs in aftronorny, is faid to hare been highly difgufted with the confufion and perplexity, in which the Ptolemaic fyftem involves the motipns of the celeftial bodies. His reafon fubmitted to that hypothefis ; but his tajle difliked it. Inftead of cenfuring the confti- tution of nature, he (hould have fufpecled the explication, which reprefented it as irregular, and ill contrived. When the mun- dane fyftem is juftiy explained, it appears to be adjufted with the niceft regularity and proportion j the fenfe of which at once con- firms the theory, and fills us with admiration of the fupreme wifdom. SECT. I t SECT. V. Of the pkafures of Tajle. THE obfervationswehave madeconcer 1 * 1 ning the fubjecls of tafte not only af- certain it's genuine province, but likewife, in fome meafure, evince it's extenfive utility and importance. It will not however be impro- per to complete our view of it's advantages, by confidering it's effects, both immediate and remote. IT is the immediate fource of pleasures, not only innocent, but elegant and noble. The powers of imagination are a ftriking inftance ,of the munificence of our creator, who has furnimed us not only with thofe faculties, which are neceffary for the prefervation of our being, but fuch alib as may fit us for recei- ving a rich variety of enjoyment. And by the improvement of thefe powers, our pleafures may be ftill farther multiplied, and rendered more exquifite. A fine tafte qualifies a man for enjoyments, to which others are perfect (hangers, and enables him to derive enter- tainment from almoft every thing in art or nature. It enlarges his fphere of happinefs, SECT. I. Of the pleafures oftajli. 1 93 by yielding delights, which employ the mind without fatiguing it, and gratify without cloying. THE pleafures of taft*, though lefs im- proving than fuch as are mtelle&ual, are often as great, generally more rapturous, always more univerfally attainable. We need but attend, and they are infufed by every objeclr, without labour or expence of thought. The beauties of nature are open to all : and tho* few can have the property , moft men may have the enjoyment of many of the wonders of art. The improvement of tafte is eafier, 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 it, as not to receive fome pleafure from it's proper objects. Though all cannot attain fuch juftnefe of difcernment, as may qualify them for being judges, or gain them authority as critics j there are fcarce any, who may not acquire the fenfibi- lity y that is requifite for their own gratifi- cation. THE pleafures of tafte are not like the gra- tifications of external fenfe, followed by un- O eafinefs 1 94 Of the pleafures of tajle. PA*T III. . cafmefs or fatiety ; nor reflected upon with diffatisfaction. They are confefiedly of an higher order. A relifh for them adds digni- ty to a character, and commands no inconfi- derable degree of approbation. A man, who devotes a confiderable part of his time to the gratification of fenfe, is an object of contempt or indignation : but a perfon who can fill up thofe parts of life, that afford no opportunities for focial offices, with pleafures of tafte, who can find entertainment for many hours in a gallery of pictures, or in a collection of poems, is efteemed on this very account. Juftnefs of tafte procures an author as high a degree of reputation, as the moft curious ab {tract difquifitions. Ariftotle's critical works are more generally valued than his logic. To the later he owed the veneration of his implicit followers; a veneration which free enquiry has already extinguished : but on account of the former, all ages will probably admire him. THE fentiments of tafte fpread a luftre over moft of our enjoyments. The pleafures of fenfe and the external decorations of life would be infipid and defpicable to every man of underftanding, if ideas of elegance and mag- SECT. I. Of the pkafures of tafie. magnificence, derived from tafte, were not aflbciated with them. Tafte ftamps a value upon riches, as the procuring it's gratifications is the great end, for which they are defired, and the worthieft ufe to which they can be applied, the execution of benevolent and .vir- tuous defigns alone excepted. 2 SECT, i 9 6 S E C T. VI. Of the effeEls of Tafle on the char after and paffions. THE more remote advantages of tafte arife from the influence it has on the paffions and the character. THE paffions, as well as tafte, depend for their production on the imagination \ and may therefore reafonably be expected to bear fome analogy to it. Were it proper to enter on a full difcuffion of the origin of the paf- fions, it might be fhown, not only that they derive their exiftence, their particular turn, and their various degrees of ftrength, from the operations of fancy, but alfo that they owe them, in many iuftances, .to the very fame operations of fancy, which produce the fentiments of tafte. Fancy forms the pic- tures which affect tafte, by compounding fe- veral diffant ideas into one whole ; and thefe fame pictures excite the paffions. AJfocia- iion has a very great influence on tafte; and every philofopher, who has examined the affections SECT. VI. Of tie efetfs of to/If. 197 affections with tolerable care, has remarked the great dependence which they have on aflbciation. Many of them arife from fym- pafby ; and this principle is likewife the fource of many fentiments of tafte. Both our fentiments and our affections are often rendered more intenfe by the mixture of con- comitant emotions. A flrong imagination' 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 confi- derable meafure fimilar, They likewife mu- tually influence one another, and hence de- rive a farther fimilarity. We have remark- ed already, that the- prevailing paffion often enlivens the fenfations of tafte, and deter T mines it's particular form. Tafte as often aug- ments the. vigour of the paflions, and fixes their prevailing character. Prefent a mere abftract idea of good or evil ; the mind feels no emotion. Mention a particular advantage or difadvantage ; defire or averfion, joy or forrow is immediately arroufed. Tell us that a man is generous, benevolent, or compaf- O 3 fionate, '198 Of the effttfs of tajle PART III. fionate, or on the contrary that he is fordid felfifh, or hardhearted ; this general account of his character is too indefinite to excite ei- ther love or hatred. Rehearfe a feries of ac- tions, in which thefe characters have been difplayed; immediately the ftory draws out the affections correfpondent. It is only a per- ception enlivened by fancy, that affects our active powers. A very general idea is fo un- flable, that fancy cannot lay hold of it : but when a particular idea is prefented, the ima- gination dwells upon it, cloaths it with a va- riety 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 affection. Now if we examine the colours, which imagination throws upon our ideas, in order to enable them to excite the paf- fions, we fhall find that the greateft part of them are extracted from the fentiments of tafte. Honours have a great influence on mod men ; but greateft on thofe, whofe tafte is of fuch a ftrudture, as to give them a high relifli of the magnificence and pomp, which the poffcffion of honours naturally procures. There is fcarce any quality, that recommends a perfon more ftrongly to our friendship, than SECT. VI. Of the effetfs of tafle. 199 than a fitnefs for gratifying our tafte in fome way or another. A genius for mufic or painting will fometimes more fpeedily and certainly introduce a flranger to the notice or good offices of a man, who is a tolerable judge in thefe arts, than more important ac- complifhments, of which he is not equally qualified to judge. A fenfe of beauty has gene- rally much greater influence upon the amo.- rous paflion, than the mere appetite for fen- fual pleafure -, and is fometimes fo powerful, as even to overbalance, in our choice, the na- tural approbation of agreeable mental quali- ties. An elegant entertainment is prepared, not to fatisfy hunger, but to pleafe tafte. We may perhaps venture to aflert, that every ap- petite and paflion in our nature, except ava- 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 aflb- ciates with the object of that paflion. This being the cafe, the paflions will naturally re- ceive one tincture or other, in every man, according to the particular conftitution of his tafte, O 4 WE 200 Of the efefis of tafle. PART III, WE find by experience fuch a connexion between the taftes and the paffions of men, as thefe obfervations would lead us to expect. ( Great fenfibility of taftc is generally accom- /panied with lively paffions. Women have always been confidered as pofleffing both in a more eminent degree than men. Quick- nefs of tafte is effential to poetic genius j and Horace has affigned to poets the correfpon- dent turn of paffion, when he characterifes them genus irritabile. A grofs, uncultivated tafte produces a groflhefs and indelicacy of ! paffion, But wherever a delicate tafte pre- vails, it beftows a certain refinement and ele- gance on our principles of action, which makes us defpife many objects as grofs and coarfe, which vulgar minds purfue with ar- dour : and even when we are attached to the very fame things with other men, it gives a peculiar politenefs to our manner of affecting them. Savages haAe a grofsnefs both of tafte and of paffion, which diftinguimes them from civilized nations. The vulgar in every na- tion are diftinguifhed, by the fame circum- ftance, from the polite. Whatever quality gives a tincture to the tafte of a nation, is found to tinge alfo the national character. The SECT. VI. Of the effetfs of tajle. 201 The. French have a peculiar delicacy of tafte : and a peculiar vivacity and elegance runs through their manners. The irregularity and boldnefs of the Englijh tafte correfponds ex- actly with the general fpirit of the nation. The ftatelinefs, which the Spaniards affect in their behaviour, is analagous to the lofti- nefs which they approve in compofition. It is no difficult matter to trace a like connec- tion between 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 tafte gives to the paffions : efpecially when we recollect that the ideas which ex- cite the paffions are, in a great meafure, de- rived 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, it's importance would be ftill more conlpi- cuous. Thofe who have enquired, whether it has this tendency, feem to have run into extremes. Some reprefent thefc qualities in actions 202 Of the ffetfs cf tafte. PART III. adtions and affections, which excite our mo- ral approbation, as the fame with thofe qua- lities, which, in a picture or a poem, produce the gratification of tafte ; and think that it is the fame faculty, which is pleafed in both cafes (r). But experience will fcarce fup- port this opinion. A tafte for the fine arts, and a high fenfe of virtue, which, on this hypothefis, would be the fame, are often fe- parated : and a careful examination of the moral faculty, would probably lead us to de- rive it from other principles, than thofe from which tafte has been explained. There feems however to be as little reafon for de- termining with others, that tafte has no in- fluence upon morality (s). It may be fepa- rated from virtue j it may accidentally lead men to act vicioufly, for it's gratification : but that it is naturally more favourable to virtue than to vice, may be inferred from many of the acknowledged qualities of the human mind. MOST wrong paflions may be traced up to fome perverfion of tafte, which produces (r) This is often aflerted, or very direftly infinuated, by Lord SHAFTESBURY. See Charafleriflics, paffim . (j) This opinion is maintained by Mr. BROWN, EJfey on iicsy 7. them, SECT. VI. Of the efetfs of tafte. 203 them, by leading us to mifapprehend their objects. It would be almoft fuperfluous to undertake a formal proof, that luxury, prodi- gality, ambition, arife chiefly from this caufe. And it is evident, that, if tafte were perfectly formed, fo as to difcover that it is a falfe beauty or fublimity, or at lead an in- ferior fpecies, that belongs to thefe vices or their objects ; and if it were accuftomed to , the purer and nobler fubjects about which it may be employed, thofe ideas, which now miflead fo many, muft lofe a great influence upon them, Vice is often promoted by tafte ill formed or wrong applied : let tafte be rendered correct and juft, vice will be almoft extinguifhed ; for our opinions of things will 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 far inferior. A relifh for the gratifications of tafte will enable a man, in fome degree, to undervalue the pleafures of fenfe, and to dif- regard the calls of appetite, which are the greateft obftrudions to the prevalence of good affections. A man of an improved tafte puts very little value on fenfual delights, ex- cept 204 Of the effetfs of tafte PART III. cept fo far as they come to him, recommend- ed by an opinion of elegance. And it has been already obferved that a perfectly juft tafte would enable him to ftrip this recom- mendation in a great meafure of it's force. ANY fentiment or affection which is fuita- ble to the prevailing biafs of the mind, will derive peculiar ftrength from that biafs. A juft and elegant tafte, frequently employed puts the mind into an habitual difpofition, more congruous to the agreeable feeling, and gentle impulfes of kind affection, than to the more tumultuous agitations of the rougher paffions. The exercife of tafte begets fereni- ty, and fatis faction. When thefe prevail, the mind is prone to benevolence. This af- fection finds the mind already in a temper fuited to itj and it ftrikes deep it's roots, as in a foil, which fupplies it with it's natural nourishment, in great abundance. A man is feldom better difpofed to friendftip, generofi- ty, love, and the whole train of kind affections, 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 arifes, in a great mcafure, from the circum- ftance which we are now confidering. Their immediate gratifications, by producing a con- gruous difpofition, prepare the mind for being deeply imprefTed with the moral fentiments and affections, which they are fitted to in- fmuate. ALL the principles of the human mind have fo near a connection, that one of them can fcarce be confiderably altered, but it pro- duces a fimilar alteration in the reft. A vi- gorous tafte, 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 of tafte makes a man fufceptible of delicate feelings on every occafion -, and thefe increafe tKe~acutenefs of the moral fenfe, and render all it's perceptions ftronger and more exqui- fite. On this account a man of nice tafte will have a ftronger abhorrence of vice, and a keener relifli for virtue, in any given fitu- ation, than a perfon of dull organs can have, in the fame circumftances. Hence it proceeds in part that many actions are reckoned either virtuous or vicious by civilized nations, which to favages appear perfectly indifferent. This may 20 6 Of the effetfs of tajlt. PART IIL may rather be afcribed to an elegance of tafte gradually introduced by fociety, than to any peculiar difpofition to virtue. The moral fenfe is, in favages, fo dull that the qualities of thefe actions are imperceptible to them, and their fentiments in other inftances are weak in proportion. Civilized nations have delicacy fufficient to perceive moral qualities in actions, which make no impreiTion on a favage ; and this delicacy renders more vigo- rous, in proportion, the perceptions which they have from thofe actions that are approved 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 more powerful to reprefs the vicious paffions, and iupport the virtuous. IT is likewife to be obferved that, though tafte and the moral fenfe are diftinct powers, yet many actions and affections are fit to gra- tify both. What is virtuous and obligatory js often alfo beautiful or fublime. What is vicious may be at the fame time mean, de- formed, or ridiculous. A man, whole tafte is uncultivated, has no motive in thefe cafes, but what arifes from the moral principle. A perfon of improved tafte, not only has this in SECT. VI. Of tie efetfs of tafte. 207 in it's greateft ftrength, but is capable of ad- ditional motives derived from tafte ; and, hav- ing thus a double impulfe, mufl be more ftrongly prompted than the other. It muft be acknowledged indeed that fome vices ap- pear fublime or elegant, and may therefore be recommended by tafte. But they always have thefe qualities in a lefs degree than the oppofite virtues. Superiority to external things is nobler than ambition. Admiration of thefe vices therefore implies a defect of juft tafte. Where this faculty is perfect, it always prefers virtue to vice. .ftiilN order to give the foregoing obfervations their full weight, it is neceflary to remember that many 'different caufes concur in forming the characters of men. Tafte is but one of thefe caufes j and not one of the moft power- * fill. It is not therefore to be expected that the character fhould be, in every inftance, perfectly analogous to the tafte. Other caufes may counteract the influence of this principle and render the turn of the paflions diflimilar to it's ftructure. On this account, examples of a good tafte joined with grofs paflions or a vicious character are far from being fufticient to prove that tafte has no connection with 4 morals. 208 Of the effetts of tajle. PART 111. morals. This heterogeneous competition may be otherwife accounted for. All our conclufions concerning human nature muft be founded on experience : but it is not ne- cefTary that every conclufion mould be imme- diately deduced from experiment. A conclu- fion is often fufficiently eftablimed, if it be ihewn that it neceffarily refults from general qualities of the human mind, which have been afcertained by experiment and induction. This is the natural method of eftabliming fynthetical conclufions j efpecially where an effect is produced by a complication of caufes. This is the cafe in the fubject of our prefent l^jenquiry. The character and the paflions are affected by many different caufes ; of which tafte is one. Tafte in the fine arts may ap- pear 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 vigo- rous, 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 may ren- der them unfuitable to the turn of tafte ; ha- bit may make them run counter to it : but tafte has, notwithftanding, a natural tenden- cy to influence them. THREE DISSERTATIONS O N ' A S T E. B Y Mr. De VOLT A i R E, Mr. De M o N T E s QJJ i E u, AND Mr. D'A L E M B E R T. ADVERTISEMENT. H E 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 title to a place in this volume, which, by fuch a va- luable addition, will contain, perhaps, all that can be faid concerning the principles , the nature, the characters and extent, the rife and decline of true tafte; matters hitherto injudicioujly treated by many pens, and but fuperficially by the beft. But notwitbftanding the merit of thefe ejjays, it is owing to Mr. GERRARD'S candid and generous permijpon y that they are admitted into a volume which was appropriated to his own excellent performance. 'The genuine love of truth difpells thofe anxious fears of ri- vality, which are the refult of a narrow and felfijh ambition, and not of a noble and generous emulation. Bejides, Mr. GERRARD'S talents render fuch anxious fears entirely groundlefs. P 2 On 212 ADVERTISEMENT. On the other hand, our ingenious profejjbr cannot be difpleafed, that his name Jhould go down to pojlerity in company with thofe of MONTESQUIEU, D'ALEMBERT, and VOL- TAIRE. effays of the two latter are finijhed pieces. Tfhat of the late prefident MONTES- QUIEU is an imperfect fragment, an ajjem- blage offcattered thoughts, the frjl firokes of his pencil, in which we fee the noble fubjett Jketched out in part, and the principal colours that enter into the compofition of true tafte thrown carelejly upon the canvafs. For while the noble artiji was drawing his outlines, and gathering materials for his work, he 'was feized with a diforder, which prevented him from giving it the fnifliing touch, and depri- ved the republick of letters of one of it's bright- eft ornaments, the thoughts, however, offuch an original genius, unconnected as they may be, 'will be highly acceptable to fuch as know that there is a true fublime always to be found in the frjl and mojl imperfect Jketches of great mailers, and that the rude dejigm of a RUBENS are infinitely more valuable than many a correfl and jfinijhed piece. A N kV s T A A N S O N S A T Y E. By MR. DE VOLTAIRE, TH E external fenfe, with which nature has furnifhed us, and by which we diftinguifh and relifh the various kinds of nourifhment, that are adapted to health and pleafure, has in all languages given occafion to the metaphorical word tafte> by which we exprefs our perception of beauty, deformity, or defect in the feveral arts* fafte then, in general, is a quick difcernment, a fudden perception, which, like the fenfation of the palate, anticipates reflexion ; like the palate, it relifhes what is good with an exquifite and P 3 voluptuous 2i 4 Mr. DE VOLTAIRE'S voluptuous fenfibility, and rejects the contrary with loathing and difguft ; like the palate alfo, it is often doubtful, and, as it were, be- wildered, not knowing whether it mould relifo or reject certain objects, and frequent- ly requires the influence of habit to 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 in a lively and fenfible manner. This feeling however, in order to conftitute true tafle t 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 of the object we contemplate. And in this we fee another ftriking refemblance between the intellectual taftc and the fenfual one ; for as a nice palate perceives immediately the mixture of different wines, fo the man of tafte will quickly difcern the motley mixture of different ftyles in the fame production ; and let the beauties and defects be ever fo clofely ESSAY ON TASTE* clofely blended in an object, will always be capable of diftinguifhing the former from the latter. As the corruption of the fenfual tafle dif- covers itfelf by a relifh for only thofe delicate and high feafoned dimes, in which all the refinements of art have been employed to ex- cite a forced fenfation of pleafure j fo the de- pravity of the intelleftual tafle manifests itfelf by an attachment to far-fetched and iludied ornaments, and by a want of relifli for thofe beauties which are unaffected and natural. The corruption of the fenfual tafle, which makes us delight in fuch aliments as are dif- 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 fub- lime, and the laboured ftiffnefs of art, to the 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 what at firft excited loath- ing and difguft $ yet it does not feem to have P 4 been ai6 Mr. DE VOLTAIRE'S been the intention of nature, that the general- ity of mankind fhould acquire by cuflom and experience, thofe fenfations and perceptions which are neceffary to their prefervation. It is otherwife with the intellectual tajle : it's formation requires time, inftruclion, and ex- perience. A young man uninftrucled in the arts of mufic and painting, let his natural fenlibility be ever fo quick and lively, will 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 art by which the drama is fo managed, that no perfon enters upon the fcene nor quits it without an evident reafon, nor yet that ftill more nice and difficult art of making the va- rious ESSAY ON TASTE. 217 rious fubordinate interefts terminate and cen- ter in one, which abforbs them all. It is only by the force of habit and reflexion, that he will diftinguim thefe feveral objects of tafte, and feel delightful fenfations from cir- cumftances, of which formerly he had little or no idea. ELEGANT and able artifts may communi- cate their feelings and their difcernment to others, and thus excite tape in a nation, which, without them, had never known it's refined pleafures. By frequently contempla- ting the works of great and eminent matters in the various arts, the powers of nature arife into tofte, and we imbibe, as it were, the fpirit of thefe illuflrious men, fo as to come at length to look at a gallery of paintings with the eyes of a Le Brun, a PouJJin^ or a Le Sueur; to hear the declamation of Quinaut's operas, 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, with a portion of that fpirit that appears in their compofition. IP in the firft periods of the culture of the arts and fciences it has fometimes happened that US' Mr. DE VOLTAIRE'S that a 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 difcern- ment 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 Lucilius, who had been in the higheft repu- tation among the Romans, funk into oblivion when Horace arofe ; and Regnier was univer- fally admired by the French, until Boileau appeared j and if there are feveral ancient 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, that there is no difpttting about taftes : And if by tafte here be undcrftood the palate, which loaths certain aliments and relimes others, the maxim is jultj becaufe it is needlefs to difpute about what ESSAY ON TASTE. 219 what cannot be corrected, or to attempt re- forming the conftitution and mechanifm of organs merely corporeal. But the maxim is falie and pernicious, when applied to that intetteflual tafte t which has for it's objects the arts and fciences. As thefe objects have real charms, fo there is in reality a good ~tafte which perceives them, and a bad one which perceives them not$ and there are certain methods, by which we may often correct thofe mental defects which produce a depra- ved tape. But it muft be granted, at the fame time, that there are certain phlegmatick fpirits, which nothing can enflame, and alfo certain diftorted intellects, which it is im- poflible to rectify ; with fuch therefore, it is in vain to difpute about taftes, becaufe they have none at all. IN many things Tafle feems to be of an arbitrary nature, and without any fixed or 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 arts. In this low fphere it mould be diftin- guifhed, methinks, by the name of fancy 5 for it \sfancy rather than tafte> that produces fuch Mr. DE VOLTAIRE'S fuch an endlefs variety of new and contradio tory modes. THE tafte of a nation may degenerate and become extremely depraved ; and it almoft always happens that the period of it's perfec- tion 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- tiful fimplicity of nature, which their prede- ceflbrs invariably kept in view. In thefe ef- forts there is a certain degree of merit, which arifes from induftry and emulation, and cafts a veil over the defects which accompany their productions. The publick, fond of novelty, applauds their invention ; but this applaufe is foon fucceeded by fatiety and difguft. A new fet of artifts ftart up, invent new me- thods to pleafe a capricious tafte, and depart ftill further from nature than thofe who firft ventured from it's paths into the wilds of fancy. Thus the tafte of a people degene- rates into the grofleft corruption. Over- whelmed with new inventions, 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 cufto- dy of certain choice fpirits the fublime plea- fures of true tafte, which they cherifh and enjoy in their little circle, remote from the profane eye of the depraved and capricious multitude. THERE are vaft countries, where tafte has not yet been able to penetrate. Such are thofe uncultivated waftes, where 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 fculp- ture are feverely prohibited by the laws of religion. Nothing renders the mind fo narrow, and fo little, if I may ufe that expreflion, as the want of focial inter- courfe j this confines it's faculties } blunts the edge of genius, damps every noble paffion, and leaves in a ftate of languor and inactivity every principle, that could contribute to the formation of true tafte. Befides, where feveral of the finer arts are wanting, the reft mud neceflarily languifh 4 and 222 Mr. DE VOLTAIRE'S 6V. and decay, fince they are infeparably con- nected together, and mutually fupport each other. This is one reafon, why the Afi- aticks have never excelled in any of the arts, and hence alfo it is that true tafle has been confined to certain countries in Europe. REFLEXIONS REFLEXIONS ON THE USE and ABUSE o F PHILOSOPHY In MATTERS that are properly relative T O TASTE. ByMr.D'ALEMBERT, F. R. S. Member of the French academy, of the Royal academy of Sciences at Paris, and of the Royal academies of Prujfia and Sweden, &c. REFLEXIONS O N t H E tJSEaiid ABUSE of PHILOSOPHY In MATTERS that are properly relative TO T A S T E*. TH E philofopriical fpirit, fo celebrate ed by one part of our nation, and fo decried by another, has produced different fcnd even contrary effects, according as we confider it with refpecT: to the Sciences, or in relation to the Belles Lettres. Operating in the fphere of fcience, to which it properly Thefe Reflexions were read by Mr. d'Alemlert before the Profit academy, the f 4th of March 1757. belongs 224 Mr. D'ALEMBERT'S belongs, it has fet limits to that paffion for explaining all things which arofe from the towering pride of fyftem ; but entering into the circle of Belles Lettres it has prefumed, on the contrary, to analyfe our pleafures, to call before it's tribunal the more elegant feelings of the human mind, and to fubmit to it's examination the various objects of tafte. If the wife moderation, which has been obferved, in thefe later times, by phi- lofophers 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 phi- lofophical 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 opinion baniihed, and that, merely becaufe it is new. This way of thinking, 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 amufe- ment, even though, in many cafes, that liberty mould be utterly unfuccefsful in it's efforts. The flight of genius muft be un- reftrained, ESSAY ON TASTE, retrained, fince it is often in the midft of it's wildeft excurfions that it creates the true fublime. Such alfo is the cafe with the fa- 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 ob- jects of our pleafures, and by that means put it in a capacity of ftriking out new paths, and conducting genius itfelf into unknown regions. ONE of the great advantages of philofophy in it's application to matters of tafte, is it's being fo admirably adapted to cure, or to prevent, that exceffive veneration for a certain clafs of authors, which we may call by the name of literary fuperflition. It will juftify our efteem of the ancients by rendering that cfteem rational, and reducing it within it's proper bounds; it will prevent our admiring them in their defects ; it will (hew us their equals in feveral of our modern writers, who, becaufe they have followed the models exhi- bited by the ancients, are fo unreafonably modeft as to efteem themfelves inferior to their mafters. But it will be afked, whether this method of analyzing metaphyfically mat- Q, 2 ter$ Mr. D'ALEMBERT'S ters of feeling and fentiment, will not be at- tended with many inconveniencies ? Whe- ther it will not often engage us to enquire into the reafons of things which have no rea- fon at all, damp our pleafure by leading us into the cuftom of difcufling coldly what was defigned by nature to touch and to inflame, and put fuch (hackles upon true genius, as to render it fervilely timorous, and check it's enterprizing ardour? Let us endeavour to give a fatisfa&ory anfwer to thefe important queftions. TASTE, though far from being generally poflefled, yet is by no means an arbitrary thing. This is a truth acknowledged on all fides, both by thofe who reduce tafte to mere feeling and perception, and by thofe alfo who would bring it within the fphere of rea- foning and difcuffion. But we muft obferve 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- jects of tafte, whofe perceptions are lefs ex- tenfive than many are apt to imagine. There are certain charms of a fublime and ftriking kind, which equally affect all obfervers, and of which, consequently, all the various or ders ESSAYONTASTE. 227 ders of mankind, in all ages and nations of the world, are competent judges. But there is alfo another fpecies of beauty, which only affects thofe minds, that are poflefled of a certain delicacy of feeling, and which remains imperceptible to vulgar fpirits. The beauties which belong to this clafs, are beauties only of a fecond order; becaufe objects, which excite the idea of grandeur, furpafs thofe which affect us only by their gracefulnefs and elegance. The charms however of this fe- cond clafs of objects are thofe, which it re- quires the moft fagacity to difcern, and the greateft delicacy to feel truly ; and according- ly they abound moft in thofe nations where focial intercourfe has contributed to the per- fection of the arts, and multiplied the fources of pleafure and enjoyment. It is then in this clafs of beauty, which is adapted to the contemplation of the difcerning few, that we are properly to look for the objects of tafte. Thefe obfervations lead us naturally to define tafte, as the Faculty of diftinguijhing, in the works of art, the various qualities which are adapted to excite pleafure or difgujl^ in minds that are fufceptible of delicate fentiments and perceptions. CL3 IF 228 Mr. D'ALEMBERT'S IF then tafte be not an arbitrary thing, it muft be founded on fixed and evident princi- ples, by the application of which, we may form a decifive judgment of all the various pro- ductions of art. The truth is, that the fource of our pleafures and of our difgufts lies folely and intirely within ourfelves ; fo that, if we reflect with attention upon our mental frame, we mall find there general and invariable rules of tafte, whicrTwill ferve as the criterion of beauty and deformity, in all the objects, 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 en- quiries about the nature and qualities of thofc objects that are without us, ought, on the contrary, to animate our refearches with ref- pect to the objects and the nature of taffe, which -lies obvious to our examination, as it exifts within us, and conflitutes a part of our mental frame. The true philofopher will, at the fame time, eafily perceive that this examination mutt be confined within proper limits. We muft never, in our re- fearches upon any fubject, flatter ourfelves With the hopes of rifing to Firfl frinciples y which ESSAY ON TASTE. 229 which a thick veil perpetually conceals from the eyes of mortals. To inveftigate the pri- mitive and mctaphyfical caufe of our various pleafures would be as chimerical a project, as to attempt explaining the operation of ex- ternal objects upon our fenfes. But as the origin of our knowledge has been reduced to 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 in which we perceive and feel. Thus far the true fage extends his re- feaFches, but here alfo he (lops, and defcends from hence, as from firft principles, to thofe confequences that refult from his accurate obfervations. IN analyzing taftt we (hall find many qua- lities neceflary to the proper exercife of that perceptive power which cfcape the notice of inattentive obfervers. It does not confift wholly in accuracy and rectitude of judg- ment, however rare and precious this quality may be, nor yet in a delicate fenfibility alone. No : 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 into the account. A few examples will il- luftrate this obfervation. When we read a fublime piece of poetry, what are the powers aqd faculties of our nature to which the bard addrefles himfelf ? They are various ; fome- times he fpeaks to our imagination, fome- tjmes to our affections, fometimes to our reafon, but always to the external fenfe or organ of hearing. Verfe is a fpecies of har- mony, with refpecl to which the ear is too Delicate to admit of the leaft defect; fo that reafon itfelf, upon fome occaftons, is obliged to make certain facrifkes to rhime. A plulo- fopher then, with all his penetration and de- licacy of fentiment, will be an incompetent judge of poetry, if he has not a good ear. He will aflert that the pleafures which refult from poetick harmony are merely chimerical j that all authors of whatever kind their pro- ductions may be, ought to addrefs themfelves alone to the underftanding and the heart; nay, by captious reafonings he will caft an apparent ridicule upon the care and induftry, which are employed in arranging words and periods, fo as to render them harmonious and pleafing to the ear. Thus a natural philofopher, who pofTefled no other external ftnft ESSAY ON TASTE. 231 fenfc but that of feeling, would hold it as a thing impbffible, that diftant objects fhould operate upon our bodily organs, and would prove his aflertiun by fophifrical arguments, to which no fatisfadory anfwer could be gi- ven, 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 for poetry. He imagines he does no real injury to a poem, when, by tranfpofing the words, he deftroys their har- mony and cadence, and he will attribute the languor and flatnefs, which the poem acquires by this change, to the power of prejudice and cuftom, to which he acknowledges his own 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 air by deftroying the proportion and fymmetry -pf the founds, of which it was compofed. IT 232 Mr. D'ALEMBERT'S IT is not thus that the true philofopher will judge of the pleafures that arife from po- etry, Avoiding wifely all extremes, he will neither attribute them entirely to nature on the one hand, nor wholly to opinion on the other. He will obferve, that, as all nations are more or lefs agreeably affected with the charms of mufick in general, though they may not all delight in the fame particular kinds of melody ; fo, in like manner, they are all, in general, fufceptible of pleafure from poetick harmony, though the poetry of one people may differ extremely from that of another. It is by examining attentively >his difference, that the true fage will be able at length to determine how far the pleafures we receive from poetry and mufick are in- fluenced 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 is arbitrary, and merely founded on opinion ; a diftindtion hitherto not fufficiently attended to, in treating this fubjec~t, but which, not- withftanding, daily experience fufficiently juftifies. ESSAYONTASTE. 233 juftifies. There are certain pleafures that flrike us immediately, and that pervade the foul the very moment that their objects are prefented ; there are others, which require time to produce their proper effect ; which are received with indifference or difguft, un- til 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 excited afterwards in us the moft extatick raptures, when, by it's being often repeated, the car has been at length able to diflinguKh it's complicated charms, and to perceive the whole delicacy and force of it's exprefli- on. THIS is a {hiking inftance of the pleafures which arife from habit, and which muft by no means be looked upon as arbitrary, be- caufe they may be, at firfr, received with indifference, and have the force of prejudice them, THUS 234 Mr. D'ALEMBERT'S THUS a philofophical connoiffeur will be careful to maintain every faculty and every fenfe in their refpe&ive privileges, and to at- tribute to a good ear the authority that be- longs to it, in deciding concerning the merit of poetical competitions. But, at the fame time, he will be far from thinking, that the poet's attention to pleafe the external fenfe 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 his views. As he is perfuaded that the firft and moft im- portant rule of good writing requires a con- formity between the ftyle of an author, and the matter which he treats, fo nothing will difguft him more than common and trivial ideas expreffed with affectation, and adorned with the vain pomp and harmony of poe- try. A plain and eafy profe 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 alfo of the charms of poetick imagery, he is, on that very account, pleafed with fuch ima- ges ESSAY ON TASTE, ges alone, as are new and flriking; and yet even to thefe he will prefer, without hefita- tion, thofe beautiful fentiments which unfold, in a noble and affecting manner, truths that are ufeful to mankind. 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 weari- nefs and difguft ; and yet his ftyle abounds with all the grand characters of poetry, and is full of imagination, fentirnent, and har- mony j but his imagination, entirely occupied about matters purely intellectual, confined it's energy to the creation of philofophieal fyilems ; and the high degree of feeling and vivacity with which he was endued, only ferved to make him embrace with ardour, as truth, what was no more than mere hypothe- fis. Though his profe was extremely har- monious, Mr. D'ALEMBERT'S monious, yet poetical harmony had no charms to him ; which may perhaps be owing to one of the following reafons : either that the fen- ilbility of his ear was confined to the harmo- ny of profe j or that a mechanical and natu- ral talent enabled him to write harmonious profe without his perceiving it, juft as hia imagination had ferved him in philofophy without his knowledge, or as a mufical in- ftrument produces, without confcioufnefs, well-proportioned founds. j^;^<*> : '^; v! *; -' 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 er- roneous judgments in matters of tafte. The pleafure we receive from any excellent pro- duction of art, is, or may be derived from different fources. The true philofophicai analyfis confifts therefore, in 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. It has been obferved, that the rules of each art (hould be taken from the moil E S S A Y O N T A S T E. 237 moft excellent compolitions which each ref- pective art has furnilhed, and the ouic; viition is undoubtedly juft. It is not however by the confufed aggregate of pleafure, by the collective reiult of the agreeable perceptions, which thefe competitions have produced in us that we are to fix the rules of taftt ; but by that reflex aft of the 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 piece, or as refting places for the exhaufted attention of the reader, and alfo from thofe where the author has exhibited marks of in- voluntary negligence. For want of obferving this method the imagination warmed by cer- tain 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 ; nay, will tranf- form them into beauties, and conduct us at length to that flupid enthufiafm, which, by admiring every thing indifcriminately, per- ceives, or rather feels nothing truly. Thus by a confufed and mechanical impreffion, many will be led either to eftablifh falfe rules 4>f tajle, or, what is equally pernicious, to fubftitute 2 3 S Mr. D'ALEMBERT'S fubftitute arbitrary notions in the place of fixed principles; to contract the fphere of the 1 arts j to prefcribe bounds to our pleafures in order to render them infipidly uniform, and 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 can- not be too circumfpecl in the choice of the arms, by which this noble deliverance is to be accomplimed. The late Monf. De la motte maintained that verfication was not eflential to dramatical compofitions ; but to prove an opinion fo fufceptible of a rational defence, he injudicioufly launched into para- dox, wrote againft poetry in general, and thereby did nothing but injury to his caufe : he might as well have wrote againft mufick of every kind, in order to prove, that the cho- rus is not effential to tragedy. This ingenious writer was under no necefllty of combating the prejudices of the publick againft his opini- on, by fuch fenfelefs paradoxes. There was, 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 interefting, fhould have encouraged him to venture upon this innovation, and thus the theatre would have been enriched with a new fpecies of dramatick poetry. But an ambi- 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 mif- carrying, obliges them to follow thofe veVy opinions in practice. It is here that we may obferve a confiderable difference between the philofopher and the legiflator j the latter dif- penfes, in his private conduct, with the laws 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 the ancients. Their advocates, under the impulfe of an enthufiaftick admiration, are too prone to exalt their productions upon the whole, on account of the ftriking beau- ties that appear in fome of the parts j while their adverfaries refufe thofe applaufes that are due to the parts, on account of the defects 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 confe- quently employ his principal attention. This error confiftsin applying to the peculiar objects of tafte, principles, which, though true in themfelves, yet have no relation to thefe ob^- jects. Every one is acquainted with thofe lines in the tragedy of the Horatii, Que vouliez vous qu'ilft centre trots ? Qu'U mourut* Ou qu'un beau defefpoir akrs k fecurut*. The heroick expremon of the aged father mouruf, has been juitly and univerfally * To enable thofe, frho don't under/land the Frend> lan- guage, to enter into the true fpirit of this ingenious criticifm it will be proper to obferve, that in CorreiUii tragedy of the fforatii, a mefTenger arrives to inform the old Horntius, that admired ; ESSAY ON TASTE. 241. admired; and the following verfe as juftly and univerfalJy condemned ; and yet the common principles of metaphyficks will fur- nifli arguments or rather fophifms, to juftify this verfe againil all the rules of true tafte. It will be alledged, for inftance, that this fe- cond verfe is necefTary to exprefs all the feel- ings that pafled in the mind of the old Hora- tilts; for though it was his duty to prefer the death of his fon to a life of difhonour ; yet it was ftill more natural to wim that his fon 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 metaphyfi- cal principles, is abfolutely mifapplied in the two of his Tons were killed, and that the third was flying from the three Curiatir. The venerable old man is filled with in- dignation at the condudt of his remaining fon. The meflenger to excufe him, addrcfTes himfelf thus to the incenfed father: What other refource bad be than ft&bt, overpowered as he iva f ty three combatants ? A glorious death (replies the old tiora* tins} or tbatfucfour that is adnilnijlredly a noble defpair. Thefe words Agloriom deatb, which are equivalent to %'// tnourut, conclude the firft line in the French, and give us a linking inftance of the true fublime. What follows is censured by Mr. WMembert for the excellent reafons offered in his elegant obfervations on this paflage. R 2 cafe 242 Mr. D'ALEMBERT'S cafe before us, where the queftion is not concerning the mere expreffion of truth and nature, but concerning fuch expreffions of 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 ; nothing more feeble, flat, and fri- gid than this fecond verfe, even when ref- tored to it's true and natural place. For where is the neceffity for the old Horatius's cxprefling the defire which that verfe con^ tains ? Will not every one fuppofe, without difficulty, that it would have been infinitely more rejoicing to him to have feen his fon living, and crowned with victory, than fal- ling a victim to the fuperior force of his ene- mies ? The poet then had no occafion to ex- prefs a defire which every one muft fuppofe ; the only fentiment which fuited that violent ilate of emotion in which the venerable old man now was, the only affection which was proper to be difcovered upon fuch an occafion, and in circumftances where the glory of his 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 life of dishonour and in- famy. The cold and tardy reafonings of flow and phlegmatick fpirits are very different from the fudden and prodigious bounds* which minds, nobly fired, make towards the true fublime; the latter, difdaining to remain, even for a moment, in the fphere of vulgar fentiments, underftand much more than they exprefs, and foar with a rapid flight to thofe fentiments and paflions that carry the ftrongeft marks of energy and grandeur. Their progrefs refembles that of one of Homer s gods, whofe fourth flride brought him from one end of the univerfe to the other. THUS then it happens, that, in matters of tafte, the demi-philofopher (if 1 may employ that term) leads us from the paths of truth and nature, to which it is the province of true philofophy to reftore our wandering fteps. It is therefore an injury done both to the Belles Lettres and to Philofophy, to imagine that they are either incompatible with, or pre- judicial to each other. Whatever relates to R 3 244 Mr. D'ALEMBERT'S our ideas and perceptions, and even to our fentiments and feelings, is the true domain, the proper fphere of philofophy. It would therefore be as unreafonable to confine her to the heavenly bodies, or to the material fyftem of the univerfe, as it would be to limit poetry to the praifes of the gods, or the pleafures of love. The true fpirit of philo- fophy is fo far from being in oppofition to tofte, that it is, on the contrary, it's moft folid fupport, as it teaches us always to fet out from true and evident principles, to ob- ferve that every art has it's peculiar nature, every fituation and affection of the mind it's proper character, and every object it's diftincl- ive colouring, and thus prevents our con- founding the limits by which the various kinds are fo carefully diftinguifhed. Such is the nature, excellence, and power of the philofophical fpirit, the abufe of which, fhews that it is 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 damp the fire and vigour of genius. But this effect is not to be * feared. ESS AY ON TASTE. 445 Feared. The true philofopher knows that in the moment when genius creates and in- vents, it will not admit of the leaft check or reftraint; that it loves to rum forward without controul and without rule, to produce indifcriminately the monftrous and the fub- lime, and to carry down it's rapid flream gold and mud mingled together by the impe- tuofity of it's courfe. Reafon, therefore, gives to genius, while it creates a boundlefs liberty, and even permits it to continue it's career until it exhaufts it's vigour and finks down to repofe, like thofe firey courfers, which it is impoffible to 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 the productions of genius. Accordingly, it preferves whatever was the off-fpring of a true and noble enthufiafm, effaces, on the 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. Where is the writer of genius and tafte, who does not perceive in the heat of compofition, that one part of his mind (if I R 4 may 246 Mr. D'ALEMBERT'S may fo exprefs myfelf ) feparates itfelf from the other which is employed in competing, in order to obferve it's motions, and to give them a free courfe, and alfo points out before hand what is afterwards to be effaced ? THE true philofopher ufes much the fame method in judging of the productions of others, that he employs in compofing his own. He begins by giving himfelf up to the high and lively fenfations of pleafure, which generally arife from the firft impreffion that a new and mafterly performance makes upon the mind. Perfuaded however, that real beauties gain in proportion as they are atten- tively examined, he recollects himfelf j ex- tends his refearches to the caufes of his fatif- faction j fingles them out one after another j diftinguiihes carefully between illufory fenfa- tions, and deep and lafting impreflions ; and by this analytical procedure is rendered capa- ble of pronouncing with judgment concern- ing the merit of a work in general, and of each of it's particular and conftituent parts. FROM thefe obfervations we (hall be fur- with an anfwer to a queftion, which has ESSAY ON TASTE. 247 has been often propofed, and alfo much de- bated, viz. Whether, in judging concerning a work of tafte y fentiment or feeling is to be preferred before reafoning and difcuffion? Feeling is undoubtedly the natural judge for the firft moment, Difcuffion for the fecond, and the fecond judge will, almoft always, confirm the decisions of the firft in thofe perfons, who, with a quick and delicate fenfe of beauty, are fo happy as to poflefs a juft and accurate difcernment. But the dif- ficulty, it will be alledged, {till remains; for as fentiment and difcufllon will'not always 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, will many afk, to be difputing againft our agreeable fenfations, and what obligations fhall we lie under to philofophy if it mani- feftly tend to diminim our plcafures ? We cannot anfwer this latter quefiion without the utmoft regret; becaufe we are obliged to acknowledge the effect of philofophy to be, in reality, what it is here reprefented to be. THUS Mr. D ' A L E M B E R T ' S SUCH is the unhappy lot of humanity^ that the knowledge we acquire ferves only 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 diminution of our pleasures. The rude iimplicity of our anceftors rendered the im- preffions they received from the monftrous productions of the ancient theatre, more live- ly and ftriking than thofe which we receive, in this polimed age, from the mod perfect of our dramatick performances. The nations, which we furpafs in knowledge and in re- finement, are not lefs happy than we are ; fince both their defires and their wants are lefs numerous than ours, and they are fatif- fied with pleafures of a lefs elegant kind, than thofe which we purfue. We fhould not, however, be willing to exchange our knowledge for the ignorance of thofe nations, 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. 249 rious. Self-love is the reigning paffion, and that which, generally fpeaking, we are the moft eager to gratify. The pleafure we de- rive from thence, is not, like many others, the effect of a fudden and violent impreffion ; it is uniform and permanent, and may there- fore be enjoyed at leifure. THESE reflexions, methinks, will be e- teemed fufficient to juflify philofophy from the accufations that have been brought againft it by ignorance and envy. We cannot how- 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 made by philofophers themfelves. To them alone it belongs to determine the fphere, and to fix the boundaries of the philofophical fpirit ; as it belongs only to thofe who have wit, to plead againft the abufe that may be made of it. But it unluckily happens, in op- pofition to this rule, that thofe who have the leaft 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 250 Mr. D'ALEMBERT'S profound fciences, by fuch as are ignorant of their firft principles; and the age we live in, by thofe writers, whofe productions are the moft adapted to expofe it to con- tempt. AN A N ESSAY O N TASTE. Confidered with refpeft to the pro- ductions 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 of depth rendered him fometimes cbfcure, and a paffion for novelty of thought, and analytical refinement led him frequently aftray. If the following fragment abounds with fine thoughts upon the four res of our intel- lectual pleafures, it muft, at the fame time, be acknowledged, that it's ingenious author has advanced therein fome proportions that are ab- folutely falfe, others that are perhaps trivial, 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 ori- ginal 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 A N s S A Y QN T A S T E. A FRAGMENT found imperfect among the papers of the late Prefident De MONTESQUIEU. TH E conftitution of human nature in it's prefent ftate, opens to the mind three different fources of pleafure; one in it's internal faculties and effen.ce, another in it's union with the body, and a third in thofe impreflions and prejudices, that aretherefult of certain institutions, cuftoms, and habits. S THES* M Mr. DC MONTESQJJIEU'S THESE different pleafures of the mind constitute the proper objects of tafte t thofe objects which we term beautiful, good, agreeable, natural, delicate, tender, grace- ful, elegant, noble, grand, fublime, and majeftick, as alfo the qualities to which we give the name of Je m ftai quol. When, for inftance, the pleafure we enjoy in the contemplation of any object is accompanied with a notion of it's utility to us, we call that object good; but when an object appears merely agreeable, without being advantageous, we then term it beautiful. \ i THE ancients do not feem to have fully apprehended this important diftinction ; they confidered as things of a pofitive nature thofe qualities, or rather perceptions, which are merely relative to the nature and operations of the foul. Hence, thofe dialogues fo ce- lebrated by the ancients, in which Plato gives us an ample account of the reafonings of his great matter, are, in our times, unfufcepti- ble of a rational defence, becaufe they are founded upon the principles of a falfe phi- lofophy. All the reafonings they contain concerning ESSAY ON TASTE. 259 concerning goodnefs, beauty, perfection, wifdom, folly, hardnefs, foftnefs, &c. are intirely inconclu five (-f ), as they fuppofe thefe various perceptions to be what they are not, real and politive qualities. THE fources, therefore, of beauty, good- nefs, &c. lie within us, and, of confequence, when we enquire into their caufes, we do no more than inveftigate the fprings of our men- tal pleafures. LET us then turn the eye of the mind up- on itfelf, examine it's inward frame, confi- der it in it's actions, and it's paffions, and contemplate it in it's pleafures in which it's true nature is beft difcovered. It derives pleafure from poetry, painting, fculpture, architecture, mufick, dancing, in a word, (f) This obfervation is intirely erroneous ; for granting podnefs, beauty, bard, foft, &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 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 objects. The tranflator thought this error of too much con- fequence to pafs it over in filence. S 2 from 260 Mr. De MONTESQUIEU'S from the various productions of nature and art. Let us, therefore, inquire into 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 feelings. This will contribute to the formation of tajle* which is nothing more than the faculty of difcovering with quicknefs and delicacy the degree of pleafure, which we fhould receive from each object that comes within the fphere of our perceptions. Concerning the pleafures of the mind. THE mind, befides thofe pleafures which it receives by the organs of fenfe, enjoys others which are peculiar to it's fpiritual na- ture, and are abfolutely independent on ex- ternal fenfation. Such are the pleafures that arife from curiofity, from the ideas of it's own exiftence, grandeur and perfections, from the 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. 261 Thefe pleafures, which are attached to the nature of every intelligent being, depend not upon the external fenfes, but refide in the ve- ry eilence of the foul ; and it is needlefs to inquire whether the foul enjoys them, in 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 the true and proper objects of tafte. We (hall not, therefore, take any notice here of the diftinction that may be made between the pleafures that the foul derives from it's own eflence, and thofe that refult from it's union with the body, but (hall comprehend both thefe kinds of enjoyment under the com- mon name of natural pleafures. Thefe plea- fures we muft, however, diftinguim from others that have certain connexions with them, and which we may call acquired pleafures. In the fame manner, and alfo for the fame reafons, we diftinguim between the tajh which is natural, and that which is ac- quired. Ir is of great ufe in refearches of this kind to know the fource of thofe pleafures of which tajle is the rule or meafure: Since the S 3 knowledge 262 Mr. De MONTESQUIEU'S knowledge of our pleafures, whether natural or acquired, will contribute much towards the rectifying the two kinds of talie that cor- refpond to them. We cannot truely apprer ciate our pleafures, nor indeed enjoy them with a proper relifh, if we do not carefully examine the nature of thofe pleafures, and their firft fprings in the human conftitution. IF our fouls had not been united to mate- rial 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 is an arbi- trary thing j we might have been otherwife conftituted than we are at prefent 5 and, in that cafe, our perceptions and feelings would have been quite different from what they now are. An external organ of fenfation more or lefs would have given rife to a fpe- cies of poetry and eloquence totally different from that which takes place at prefent j nay, even another contexture of the organs we poflefs ESSAYONTASTE. 26$ poflefs would have changed 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 prefent, this circumflance would have pre- vented the exiftence of thofe rules, which are defigned to adapt the difpoiition of a fub- jecl: to that meafure of attention of which we are capable : Had we been naturally endowed with a more perfect degree of fagacity and penetration, all the rules which are founded upon the degree which we now pofTefs, irmft have been entirely different : In a word, all the laws that derive their exiftence and au- thority from a certain conftitution of our na- ture, would have been totally different, upon the fuppofition of it's being otherwife conftj,- tuted. IF the fenfe of fight had been more feeble ,and confufed than it actually is, it would have been neceflary to have introduced into the plans of the arctyitecT: fewer ornaments, and more uniformity ; but the contrary rule muft have taken place had our fight been more diftinct, piercing, and comprehenfive. S 4 Had 2$4- Mr. De MON T E SQJU I EU' S Had our fenfe of hearing been conftituted like thofe of many other animals, the moft of our mufical inftruments would have required a quite different conftruction and modulation. It is true the relations of things to each other would have ftill continued the fame, let the conftruction of our organs have been ever fo different from what it now is -, but their re- 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 refpec- tive objects in fuch a manner as will render them as agreeable and {biking as is poffible ; fo a different conftitution of our nature from the prefent, would, neceffarily, require a change in the prefent ftate of the arts adapted to the change which that new conftitution would occafion in the means of enjoyment, in the 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. 265 and may judge with confidence concerning all the productions of nature and art. But this 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 fb the mind. It is not, for example, ncccf- fary to know that the pleafure we receive from a certain object which we call beautiful is the effect of furprize j it is enough that the object produces it's effect, and ibrprifes neither more nor lefs than is expedient for that purpofe. ALL, therefore, that can be faid upon the fubject before us, and all the precepts that we can lay down for forming our tafle, can only regard directly that tafle that is to be acqui- red, though they have a diftant and indirect relation to the natural one. This indirect re- lation is manifeft ; for the acquired tajle af- fects, changes, augments and diminishes the -natural one, juft as the former is affected, changed, augmented and diminished by the latter, THE 66 Mr. De M O N T E S QJU 1 E (J S THE moft general definition that can be given of tajle^ confidered antecedently to it's divifion into good and bad, is, that it is fome- thing which attaches us to certain objects by the power of an internal fenfe, or feeling. This account, however, does not fuppofe that 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 felici- ty. The foul acquires knowledge by it's ideas and it's 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 dif- ference between ideas and feelings, yet it is certain that the fou\ feels whatever it perceives, and there are no objects fo abftrufely intellec- tual which it does not either perceive in re- (:) 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 it feveral times in this fenfe, leaving out the particle a, which attaches to it another meaning in our language. Bjt in the plural number we can fcarcely make the fame ufe of it, s by feat intents, we commonly underfland our thoughts and. opinions. 4 ality ESSAY ON TASTE. 267 ality or in fancy, and which, of confequence, it does not feel. Concerning intelleElual excellence in ge- neral. WIT(*)> confidered in a general fenfe, comprehends all the various kinds of intel- lectual endowments, fuch as genius, good fenfe, penetration, an accurate difcernment, peculiar talents, tajle. J'HE pajfage that immediately follows this pa- ragraph is extremely 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 is here given 0s it /lands in the original. " 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 fignifica- tion, 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 Mr. De MONTESQUIEU'S Jrui maluit. HE gives us an idea of the whole Macedo- nian war, when he fays : introijje viftoriafuit. He exhibits to us a ftriking and fublime view of the whole life and exploits of Scipio, when he fpeaks thus concerning his youth ; bic erit Scipio, qui in exit turn Africa? crefcit. HE paints, in the moft lively colours, the reftlefs fpirit of Hannibal, the ftate of the na- tions 272 Mr. De MO N T E SQjUI EU'S tions, and the whole grandeur of the Rom&rt people, when he fays : qui projugus ex Afri- ca, boftem populo Romano toto or be qucerebat. Concerning the pleafures, which arifi from order. IT is not fufficient to exhibit to the mind a multiplicity of objects ; it is farther requi- fite 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- tal pleafures is that which we receive from a confcioufnefs of the extent of our views, and the depth of our penetration; but in a produc- tion 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 form- ed, 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 fa- 1 tigue is without it's effect, and efforts are unfuc- cefsful, ESSAY ON TASTE. 273 ccfsful. Hence the judicious artift always in- troduces a certain order, even amidft confufion, where confufion is not the main object, the principal thing to be exprefled. Hence the painter throws his figures into groups j and when he draws a battle, reprefents, as it were, 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 all forts of productions, variety is no lefs fo ; without 'variety the mind falls into a lifelefs inactivity and languor ; for fimilar objects appear to it as if they were wholly the fame; fo that 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 real- ly a new object without appearing fuch, and would be contemplated without the leaft fen- T fation 274 Mr. De MONTESQJJIEU'S lation of pleafure. The beauties we difcern in the productions of art, as well as in the works of nature, confuting entirely in the pleafure they adminifter, it is neceffary fo to modify thefe beauties as to render them the means of diverfifying our pleafures as far as is 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 from thofe which it may have already experienced. THUS Hiftory pleafes by the variety of facts and relations which it contains; Ro- mance by the variety of prodigies it invents ; and Dramatic Poetry by the 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 infe- parable from a long courfe of inftruction. 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. The fame numbers and cadences become ex- tremely E S S A Y ON T A S T E. 275 tremely tedious in a long poem. If the ac- counts 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 continuance of fuch a dull uniformity. Nay, even profpedts which have the charm of va- riety, ceafe to pleafe, if they be repeated with- out much alteration, and are for a long time prefent to the mind. 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 reafon is, as we have already obferved, that it is naturally framed for contemplation and knowledge. If then the love of variety is fubordinate and adapted to the attainment of knowledge, it is requifite, that variety, whe- ther in the productions of nature or art, be fuch as will facilitate knowledge ; 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 276 Mr. De M O N T E S QJJ I E U ' S THERE are certain objects, which have the appearance of variety, without the reality; and others, that feem to be uniform, but are, in effect, extremely diverfified. THE Gothic architecture appears extremely rich in point of variety, but it's ornaments fa- tigue the eye by their confufion and minute- nefs. 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 hap- pens that this kind of architecture difpleafes in the very circumflances that were defigned to render it agreeable. A Gothic ftructure is to the eye what a rid- dle is to the underftanding ; in the contem- plation of it's various parts and ornaments the mind perceives the fame perplexity and con- fufion in it's ideas, that arife from reading an obfcure poem. THE Grecian architecture, on the contra- ry, 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 is pleating and delightful. GREATNESS in the whole of any produc- tion requires of neceflity the fame quality in the parts. Gigantic bodies muft have bulky members ; large trees muft have large bran- ches, &c. Such is the nature of things. THE Grecian architecture, whofe divisions are few, but grand and noble, feems formed after the model of the great and the fublime. The mind perceives a certain majefty which reigns through all it's productions. THUS the painter diflributes the figures, that are to compofe his work, into various groups ; and in this he follows nature and truth, for a crowd is almoft always divided into feparate companies. In the fame man- ner in every complex piece of painting we fee the lights and {hades diftributed into large mafles, which ftrike the eye at a diftance, be- fore the whole compofition is diflinctly per- ceivcd. T 3 Concerning 278 Mr. De M O N T E S QJJ I E U ' S Concerning the pleafure that arifes from fymmetry. W E have already obferved that variety is pleafing to the human mind ; and we muft 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 we be- hold with admiration and delight. How fhall we reconcile this feeming contradiction ! It will vanifh if we attend to the following 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 it's fimilar arrangements relieve the mind, aid the quicknefs of it's comprehenfion, and enable it, upon a view of the one half of an object, to form immediately an idea of the whole. UPON this obfervation is founded the fol- lowing general rule, That where fymmetry is 4 thus ESSAY ON TA STE. 279 thus ufeful to the mind, by aiding it's com- prehenfion, and facilitating it's operations and it's perceptions, there it is, and muft always be agreeable ; but where it does not produce this effect, it becomes flat and infipid, becaufe, without any good purpofe, it deprives an ob- ject of that variety to which nature has given fuperior charms. In thofe objects which are viewed fucceflively, variety is requilite, be- caufe they are diftindtly perceived without the leaft difficulty. On the contrary, where a 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 build- ing, in a parterre, in a temple ; and there it pleafes extremely for the reafon now men- tioned, it's aiding the mind to take in imme- diately the whole object without pain, per- plexity, or confufion. THE object which the mind views not fucceflively, but, as 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, T 4 that 2 8o Mr. De MONTESQUIEU'S that renders fymmetry pleafing, as it alone properly conftitutes what we call a whole, or the effect of a variety of parts that center in one general defign. THERE is yet another confideration that pleads in favour of fymmetry > and that is the defire, fo natural to the mind, of feeing every thing fmifhed and brought to perfection. In all complex objects there muft be a fort of counterbalance, or equilibrium between the various parts that terminate in one whole-, and an edifice only with one wing, or with one wing fhorter than the other, would be as un- finimed and imperfect a production as a body with only one arm, or with two of unequal length. Concerning contrajls. ism* >*. I F the mind takes pleafure in fymmetry y it is alfo agreeably affected by contrafts. This requires explication, and a few examples will ferve for that purpofe. IF painters and fculptors, in obedience to tjie directions of nature, are careful to obferve 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 oppotition to the eye of the fpeclator. One 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 and infipid famenefs of attitude, fuch as we obferve in the Gothic figures, which all re- femble each other in this refpecl:. Betides, this uniformity of attitude is contrary to our natural frame and conftitution ; nature has not defigned that we fhould imitate in our geftures the ftupid uniformity that is obfer- vable in the Indian Pagods : no ; (he has given us the power of felf- motion and con- fequently the liberty of modifying our air and our poflure as we pleafe. And if iliffnefs and affectation be unfupportable in the human form, can they be pleafing in the productions of art ? THE attitudes therefore, particularly of fuch figures as are reprefented in fculpture, mufl 282 Mr. De M O NT E S QJJIE U ' S mufl be contrafted in order to give them an agreeable air of variety and eafe, What ren- ders this more efpecially neceffary in fculp- ture 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 it's poftures. . BUT as, according to an obfervation al- ready made, the variety which the Gothic architects were ftudious to introduce into their ftrudures gave them an infipid air of uniformity ; fo has it happened that the va- riety, which other artifts propofed efFeclua- ting by the means of contrafts, has degene- rated alfo into a vicious fymmetry. THIS is not only obfervable in certain productions of fculptors and painters, but al- fo in the ftyle of certain authors, who, by perpetual antithefes form a contraft between the beginning and the end of each phrafe. Of this we find feveral examples in St. Auguf- tin, and others, who wrote during the low periods of the Latin language j and alfo in 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 extreme- ly difagreeable and faftidious. Contrafts thus multiplied become intolerably uniform j and thofe oppofitions, that were defigned to pro- duce variety, degenerate, by perpetual repe- tition, into the mofl tedious fymmetry. The mind finds fo little variety in this fort of com- pofition, that having heard but one half of a phrafe, it will always anticipate the other. 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 pe- riod, though harmonious, is yet mod fa- tiguing on account of the conftant return of the fame kind of contrafts. SEVERAL painters have fallen into this vi- cious 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 contrafls has no example in nature, which operates, on the contrary, with a feeming diforder, void of all affecta- tion, 284 Mr. De MONTESQJJIEU'S tion, and, fo far from giving to all bodies a determinate and uniform motion, gives to a great number no motion at all. The hand of nature diverfifies truly her multifarious pro- ductions ; fome bodies me holds in repofe, while fhe imprefles upon others an infinite variety of tendencies and movements. * . IF the merely intellectual faculties of our nature determine us to take pleafure in vari- ety, our feeling powers are not lefs agreeably affected by it. The mind cannot long bear the fame objects, the fame pleafures, the fame fituations, if I may ufe that term, be- caufe it is united to a body to which they are infupportable. The activity of the mind, and it's fenfations and feelings depend upon the courfe of the animal fpirits 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 cef- fation. THUS every thing fatigues us after a cer- tain time j this, at leaft, is undoubtedly true with refpect to thofe pleafures that are ex- tremely intenfe j we quit them always with the ESSAY ON TASTE. 285 the fame fatisfaftion with which we embra- ced them ; the fibres which were their inflm- ments have need of repofe ; we muft there- 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 to perform in rendering us active and happy. THE foul finds it's vigour exhaufted by any long and intenfe feeling. But to be def- titute of fentiment or feeling, is to fall into a void which finks and overwhelms our bet- ter part. We 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 which is the effeEi of furprife. THE fame difpofition that renders variety agreeable to the mind, is alfo the occafion of thofe pleafures which it receives from furprife. This feeling of furprife pleafes both from the nature of it's object, and the quicknefs and rapidity 286 Mr. De M ON TE SQJJ I EU ' S rapidity with which it acts upon the mind, which perceives either an object it did not ex- pect, or an object prefented in a different manner from that which it imagined before- hand. I SURPRISE is excited by fuch objects as are either marvellous, new, or unexpected ; and in thofe cafes where we are ftruck with the marvellous, the principal feeling is accompa- nied with an acceffory fenfation which arifes from this, that the object which we con- template as marvellous is 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 hence alfo arifes the pleafure we take in thofe games in which we are aflbciated with part- ners, for they are alfo a combination of un- forefeen events produced by the joint influ- ence of dexterity and hazard. WE may farther reduce to the fame prin- ciple the chief pleafure we receive from dra- matick ESSAY ON TASTE. 287 nutick competitions, in which we find an important feries of events developed by de- grees, the mod ftriking occurrences fludiouf- ly concealed until the very moment of their arrival, all the powers of invention employed to create new objects of furprife, and in which we are fometimes affected with a par- ticular kind of furprife upon feeing things fall out, juft as we might have conjectured be- fore hand. WE obferve, finally, that the productions of wit and learning are read with eagernefs only becaufe they procure us the lively plea- fure of novelty and furprife; and thus fupply the defeft of converfation which is, almoft always, uniform and infipid, and feldom ex- cites the agreeable feeling now under confi- deration. SURPRISE may be excited either by the ob- ject itfelf that is prefented to our view, or by the manner in which we perceive it, and the circumftances under which we confider it 5 for an object may appear, in our per- ception, greater or lefs than it is in reality ; it may appear different from what it actually 288 Mr. DC MONTESQJJIEU'S is -, and even in thofe cafes where we fee it as it is, we may fee it under circumftances, which excite an accefibry feeling offurprife. Thus in the view of any work the mind may 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 in which it was executed, or of any other circumftances that are inti- mately connected with it. SUETONIUS recites the crimes of 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 flyle fuddenly, and fays, " The " earth, having fuffered fuch a monfter to " breathe upon it's furfaee for fourteen years, to avoid all miftakes, he choofes to give it as it lies in the original. DE ESSAY ON TASTE. 309 " DE meme dans nos penfees, lorfquelles " conticnnent une oppofition, qui eft centre cc le bon fens, lorfque cette oppofition eft '* commune et aifee a trouver, elles ne plaifent A 000 000 269 1