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Пllus. 2. Regularity appears beautiful to us, chiefly, if not only, on account of its suggesting the ideas of fitness, propriety, and use―qualities which have always a greater connection with orderly and proportioned forms, than with those which appear not constructed according to any certain rule. It is clear that Nature, who is undoubtedly the most graceful artist, hath, in all her ornamental works, pursued variety, with an apparent neglect of regularity.

Examples. Cabinets, made after a regular form, in cubes, doors, and windows, constructed in the form of parallelograms, with exact proportion of parts, by being so formed, please the eye: the reason is obvious; being works of use, they are, by such figures, the better suited to the ends for which they were designed. But plants, flowers, and leaves, are full of variety and diversity. A straight canal is an insipid figure, in comparison of the meanders of rivers. Cones and pyramids are beautiful; but trees, growing in their natural wildness, are infinitely more beautiful than when trimmed into pyramids and cones; as is the fashion, for instance, in almost all gardens and pleasuregrounds. The apartments of a house must be regular in their disposition, for the conveniency of its inhabitants; but a garden, which is designed merely for beauty, is exceedingly disgusting, when it has as much uniformity and order in its parts as a dwelling-house.*

416. Hogarth, in his Analysis of Beauty, has observed, that figures, bounded by curve lines, are, in general, more beautiful than those bounded by straight lines and angles.

Illus. He pitches upon two lines, on which, according to him, the beauty of figure principally depends; and he has illustrated and supported his doctrine, by a surprising number of instances.

Example 1. The one is the waving line, or a curve bending backwards and forwards, somewhat in the form of the letter S.

Analysis. This he calls the line of beauty; and shows how often it is found in shells, flowers, and such other ornamental works of nature; and how common it also is in the figures designed by painters and sculptors, for the purpose of decoration.

Example 2. The other line, which he calls the line of grace, is the former waving curve, twisted round some solid body. The curling worm of a common jack is one of the instances he gives of it. Twisted pillars, and twisted horns, also exhibit it.

Analysis. In all the instances which he mentions, variety plainly appears to be so material a principle of beauty, that he seems not to err much, when he defines the art of drawing pleasing forms, to be the art of varying well. For the curve line, so much the favourite of painters, derives, according to him, its chief advantage, from its perpetual bending and variation from the stiff regularity of the straight line. 417. MOTION furnishes another source of beauty, distinct from figure. Motion of itself is pleasing; and bodies in motion are, "cæteris paribus," preferred to those in rest. It is, however, only gentle motion that belongs to the beautiful; for, when it is very swift, or very forcible, such as that of a torrent, it partakes of the sublime. (Illus. 2. Art. 392.)

*See Lord Kames' Elements of Criticism, vol. ii. chap. 24.

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Example 1. The motion of a bird gliding through the air is extremely beautiful; the swiftness with which lightning darts through the heavens is magnificent and astonishing.

Obs. And here it is proper to observe, that the sensations of sublime and beautiful are not always distinguished by very distant boundaries; but are capable, in several instances, of approaching towards each

other.

Example 2. Thus, a smooth running stream is one of the most beautiful objects in nature: as it swells gradually into a great river, the beautiful, by degrees, is lost in the sublime.

3. A young tree is a beautiful object; a spreading ancient oak is a venerable and a grand one.

4. The calmness of a fine morning is beautiful; the universal stillness of the evening is highly sublime.

Illus. But, to return to the beauty of motion, it will be found to hold, very generally, that motion in a straight line is not so beautiful as in an undulating, waving direction; and motion upwards is commonly, too, more agreeable than motion downwards.

Example 5. The easy curling motion of flame and smoke may be instanced, as an object singularly agreeable; and here Mr. Hogarth's waving line recurs upon us as a principle of beauty.

Corol. That artist observes, very ingeniously, that all the common and necessary motions for the business of life, are performed by men in straight or plain lines; but that all the graceful and ornamental movements are made in waving lines; an observation not unworthy of being attended to, by all who study the grace of gesture and action.

418. Though colour, figure, and motion, be separate principles of beauty; yet, in many beautiful objects, they all meet, and thereby render the beauty both greater and more complex.

Example 1. Thus, in flowers, trees, and animals, we are entertained at once with the delicacy of the colour, with the gracefulness of the figure, and sometimes, also, with the motion of the object.

Analysis. Although each of these produces a separate agreeable sensation, yet they are of such a similar nature, as readily to mix and blend in one general perception of beauty, which we ascribe to the whole object as its cause; for beauty is always conceived by us as something residing in the object which raises the pleasant sensation; a sort of glory which dwells upon it, and that invests it.

Example 2. Perhaps the most complete assemblage of beautiful objects that can any where be found, is presented by a rich natural landscape, where there is a sufficient variety of objects; fields in verdure, scattered trees and flower, running waters, and animals grazing.

Analysis. If to these be joined some of the productions of art which suit such a scene, as a bridge with arches over a river, smoke rising from cottages in the midst of trees, and the distant view of a fine building seen, at the same time, with the rising sun; we then enjoy, in the highest perfection, that gay, cheerful, and placid sensation which characterizes beauty.

Corol. To have an eye and a taste formed for catching the peculiar beauties of such scenes as these, is a necessary requisite for all who attempt poetical description.

419. The beauty of the human countenance is more complex than any that we have yet considered. It includes the beauty of colour, arising from the delicate shades of the complexion; and the beauty of figure, arising from the lines which form the different features of the face. But the chief beauty of the countenance depends upon a mysterious expression, which it conveys, of the qualities of the mind; of good sense, or good humour; of sprightliness, candour, benevolence, sensibility, or other amiable dispositions.

Analysis. How it comes to pass, that a certain conformation of features is connected, in our idea, with certain moral qualities; whether we are taught by instinct, or by experience, to form this connection, and to read the mind in the countenance, belongs not to us now to inquire, nor is it indeed easy to resolve. The fact is certain, and acknowledged, that what gives the human countenance its most distinguishing beauty, is what is called its expression; or an image, which it is conceived to shew, of internal moral dispositions.

Scholia 1. This leads us to observe, that there are certain qualities of a mind, which, whether expressed in the countenance, or by words, or by actions, always raise in us a feeling similar to that of beauty.

2. There are two great classes of moral qualities; one is of the high and the great virtues, which require extraordinary efforts, and turn upon dangers and sufferings; as heroism, magnanimity, contempt of pleasures, and contempt of death. These excite in the spectator an emotion of sublimity and grandeur. (Illus. Art. 396.)

3. The other class is generally of the social virtues, and such as are of a softer and gentler kind; as compassion, mildness, friendship and generosity. These raise in the beholder a sensation of pleasure, so much akin to that produced by beautiful external objects, that, though of a more dignified nature, it may, without impropriety, be classed under the same head.

420. A species of beauty, distinct from any that we have yet mentioned, arises from design, or art; or, in other words, from the perception of means being adapted to an end; or the parts of any thing being well fitted to answer the design of the whole.

Illus. When, in considering the structure of a tree, or a plant, we observe how all the parts, the roots, the stem, the bark, and the leaves, are suited to the growth and nutriment of the whole; much more when we survey all the parts and members of a living animal; or when we examine any of the curious works of art, such as a clock, a ship, or any nice machine; the pleasure we have in the survey is wholly founded on this sense of beauty. It is altogether different from the perception of beauty produced by colour, figure, variety, or any of the causes formerly mentioned.

Analysis. When you look at a watch, for instance, the case of it, if finely engraved, and of curious workmanship, strikes you as beautiful in the former sense; bright colour, exquisite polish, figures finely raised and turned. But when you examine the spring and the wheels, and examine the beauty of the internal machinery; your pleasure then

arises wholly from the view of that admirable art, with which so many various and complicated parts are made to unite for one purpose.

421. This sense of beauty in fitness and design, has an extensive influence over many of our ideas. It is the foundation of the beauty which we discover in the proportion of doors, windows, arches, pillars, and all the orders of architec

ture.

Пlus 1. Let the ornaments of a building be ever so fine and elegant in themselves, yet, if they interfere with this sense of fitness and design, they lose their beauty, and hurt the eye like disagreeable objects.

2. Twisted columns, for instance, are undoubtedly ornamental; but, as they have an appearance of weakness, they always displease when they are made use of to support any part of a building that is massy, and that seems to require a more substantial prop.

3. We cannot look upon any work whatever, without being led, by a natural association of ideas, to think of its end and design, and of course to examine the propriety of its parts, in relation to this design and end. When their propriety is clearly discerned, the work seems always to have some beauty; but when there is a total want of propriety, it never fails of appearing deformed.

4. Our sense of fitness and design, therefore, is so powerful, and holds so high a rank among our perceptions, as to regulate, in a great measure, our other ideas of beauty. This observation is of the utmost importance, to all who study composition. For, in an epic poem, a history, an oration, or any work of genius, we always require, as we do in other works, a fitness, or adjustment of means, to the end which the author is supposed to have in view. Let his descriptions be ever so rich, or his figures ever so elegant; yet, if they are out of place, if they are not proper parts of that whole, if they suit not the main design, they lose all their beauty; nay, from beauties they are converted into deformities. Such power has our sense of fitness and congruity, to produce a total transformation of an object whose appearance otherwise would have been beautiful.

422. After having mentioned so many various species of beauty, it now only remains to take notice of beauty, as it is applied to writing or discourse; a term commonly used in a sense altogether loose and undetermined. For it is applied to all that pleases, either in style or in sentiment, from whatever principle that pleasure flows; and a beautiful poem or oration means, in common language, no other than a good one, or one well composed.

Illus. 1. In this sense, it is plain, the word is altogether indefinite, and points at no particular species or kind of beauty.

2. There is, however, another sense, somewhat more definite, in which beauty of writing characterizes a particular manner; when it is used to signify a certain grace and amenity, in the turn either of style or sentiment, for which some authors have been peculiarly distinguished.

3. In this sense, it denotes a manner neither remarkably sublime, uor vehemently passionate, nor uncommonly sparkling; but such as

raises in the reader an emotion of the gentle placid kind, similar to what is raised by the contemplation of beautiful objects in nature; which neither lifts the mind very high, nor agitates it very much, but diffuses over the imagination an agreeable and pleasing serenity.

Scholia. 1. Addison is a writer altogether of this character; and is one of the most proper and precise examples that can be given of it. Fenelon, the author of the Adventures of Telemachus, may be given as another example. Virgil too, though very capable of rising on occasions into the sublime, yet, in his general manner, is distinguished by the character of beauty and grace, rather than of sublimity. Among orators, Cicero has more of the beautiful than Demosthenes, whose genius led him wholly towards vehemence and strength.

2. This much it is sufficient to have said upon the subject of beauty. We have traced it through a variety of forms; because, next to sublimity, it is the most copious source of the pleasures of taste; and because the consideration of the different appearances, and principles of beauty, tends to the improvement of taste in many subjects.

3. But it is not only by appearing under the forms of sublime or beautiful, that objects delight the imagination. From several other principles, also, they derive their power of giving it pleasure.

423. NOVELTY, for instance, has been mentioned by Addison, by Kames, and by every writer on this subject. An object that has no merit to recommend it, except its being uncommon or new, by means of this quality alone, produces in the mind a vivid and an agreeable emotion. Hence that passion of curiosity, which prevails so generally among man

kind.

Illus. Objects and ideas which have been long familiar, make too faint an impression to give an agreeable exercise to our faculties. New and strange objects rouse the mind from its dormant state, by giving it a quick and pleasing impulse. Hence, in a great measure, the entertainment afforded us by fiction and romance. The emotion raised by novelty is of a more lively and pungent nature than that produced by beauty; but much shorter in its continuance. For if the object have in itself no charms to hold our attention, the shining gloss thrown upon it by novelty soon wears off.

424. Besides novelty, imitation is another source of pleas ure to taste. This gives rise to what are termed the secondary pleasures of imagination; which form, doubtless, a very extensive class.

Illus. For all imitation affords some pleasure; not only the imitation of beautiful or great objects, by recalling the original ideas of beauty or grandeur which such objects themselves exhibited; but even objects which have neither beauty nor grandeur, nay, some which are terrible or deformed, please us in a secondary or represented view.

to taste.

425. The pleasures of melody and harmony belong also There is no agreeable sensation we receive either from beauty or sublimity, but what is capable of being heightened by the power of musical sound. Hence the de

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