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both by increasing its natural expressions, and by rendering these expressions more definite and precise. I am unwilling, however, to swell these very imperfect remarks, by illustrations which every one can so easily prosecute for himself.

From the whole, I am induced to conclude, that music is productive to us of two distinct and separate pleas

ures:

1. Of that mechanical pleasure, which by the constitution of our nature accompanies the perception of a regular succession of related sounds.

2. Of that pleasure which such compositions of sound may produce, either by the expression of some pathetic or interesting affection, or by being the sign of some pleasing or valuable quality, either in the composition or the performance.

That it is to this last source the beauty or sublimity of music is to be ascribed, or that it is beautiful or sublime only when it is expressive of some pleasing or interesting quality, I hope is evident from the preceding observations.

CHAPTER III.

Of the Objects of Sight.

THE HE greatest part of the external objects, in which we discover sublimity or beauty, are such as are perceived by the sense of sight. It has even been imagined by some philosophers, that it is to such objects only that the name of beauty is properly applied, and that it is only from analogy that the same term is applied to the objects of our other senses. This opinion however, seems at first sight ill-founded. The terms beauty and sublimity are applied by all men to sounds, and even sometimes to

smells. In our own experience, we very often find, that the same emotion is produced by sounds, which is pro. duced by forms or colours; and the nature of language sufficiently shows, that this is conformable also to general experience. There seems no reason therefore for limiting the objects of sublimity or beauty to the sole class of visible objects.

It must, however, be acknowledged, that by far the greatest number of these objects are such as we discover by means of this sense; nor does it seem difficult to assign the reason of this superiority. By the rest of our senses, we discover only single qualities of objects; but by the sense of seeing, we discover all that assemblage of qualities which constitute, in our imaginations, the peculiar nature of such objects. By our other senses, we discover, in general, such qualities, only when the bodies are in contact with us; but the sense of sight affords us a very wide field of observation, and enables us to make them the objects of attention, when they are at very considerable distances from ourselves. It is natural, therefore, that the greater power of this sense should dispose us to greater confidence in it, and that the qualities of bodies which we discover by means of it, should more powerfully impress themselves upon our imagination and memory, than those single qualities which we discover by the means of our other senses. The visible qualities of objects, accordingly, become to us not only the distinguished characteristics of external bodies, but they become also in a great measure the signs of all their other qualities; and by recalling to our minds the qualities signified, affect us in some degree with the same emotion which the objects themselves can excite. Not only the smell of the rose, or the violet, is expressed to us by their colours and forms; but the utility of a machine, the

elegance of a design, the proportion of a column, the speed of the horse, the ferocity of the lion, even all the qualities of the human mind are naturally expressed to us by certain visible appearances; because our experience has taught us, that such qualities are connected with such appearances, and the presence of the one immediately suggests to us the idea of the other. Such visible qualities, therefore, are gradually considered as the signs of other qualities, and are productive to us of the same emotions with the qualities they signify.

But, besides this, it is also to be observed, that by this sense we not only discover the nature of individual objects, and therefore naturally associate their qualities with their visible appearance; but that by it also we discover the relation of objects to each other; and that hence a great variety of objects in nature become expressive of qualities which do not immediately belong to themselves, but to the objects with which we have found them connected. Thus, for instance, it is by this sense we discover that the eagle inhabits among rocks and mountains; that the red-breast leaves the woods in winter, to seek shelter and food among the dwellings of men; that the song of the nightingale is peculiar to the evening and the night, &c. In consequence of this permanent connexion, these animals acquire a character from the scenes they inhabit, or the seasons in which they appear, and are expressive to us in some measure of the character of these seasons and scenes. It is hence that so many objects become expressive, which perhaps in theinselves would never have been so; that the curfew is so solemn from accompanying the close of day, the twitter of the swallow so cheerful, from its being heard in the morning, the bleating of sheep, the call of the goat, the lowing of kine, so beautiful from their occurring in pas

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toral or romantic situations; in short, that the greatest number of natural objects acquire their expression from their connexion with particular or affecting scenes.

As, in this way, the visible qualities of objects become expressive to us of all the qualities which they possess; and besides, in so many cases receive expression from their connexion with other objects, it is extremely natural, that such qualities should form the greatest and most numerous class of the objects of material beauty.

I proceed to a more particular investigation of the sublimity and beauty of some of the most remarkable classes of these qualities.

SECTION I.

Of the Beauty of Colours.

THE greatest part of colours are connected with a kind of established imagery in our minds, and are considered as expressive of many very pleasing and affecting quali

ties.

These associations may perhaps be included in the following enumeration: 1st, Such as arise from the nature of the objects thus permanently coloured. 2dly, such as arise from some analogy between certain colours, and certain dispositions of mind: and 3dly, Such as arise from accidental connexions, whether national or particular.

1. When we have been accustomed to see any object capable of exciting emotion, distinguished by some fixed or permanent colour, we are apt to extend to the colour the qualities of the object thus coloured; and to feel from it when separated, some degree of the same emotion which is properly excited by the object itself.

Instances of this kind are within every person's observation. White, as it is the colour of day, is expressive to us of the cheerfulness or gaiety which the return of day brings. Black, as the colour of darkness, is expressive of gloom and melancholy. The colour of the heavens, in serene weather, is blue: blue therefore is expressive to us of somewhat of the same pleasing and temperate character. Green is the colour of the earth in spring : It is consequently expressive to us of some of those delightful images which we associate with that season. The colours of vegetables and minerals acquire, in the same manner, a kind of character from the character of the species which they distinguish. The expression of those colours, which are the signs of particular passions in the human countenance, and which, from this connexion, derive their effect, every one is acquainted with.

2. There are many colours which derive expression from some analogy we discover between them and certain affections of the human mind. Soft or strong, mild or bold, gay or gloomy, cheerful or solemn, &c. are terms in all languages applied to colours; terms obviously metaphorical, and the use of which indicates their connexion with particular qualities of mind. In the same manner, different degrees or shades of the same colour have similar characters, as strong, or temperate, or gentle, &c. In consequence of this association, which is in truth so strong, that it is to be found among all mankind, such colours derive a character from this resemblance, and produce in our minds some faint degree of the same emotion, which the qualities they express are fitted to produce.

3. Many colours acquire character from accidental association. Purple, for instance, has acquired a character of dignity, from its accidental connexion with the

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