Page images
PDF
EPUB

us of this value. Instances of this kind are innumerable.

There are different professions in every country, which are distinguished by different coloured dresses. Whatever may have led to this appropriation, and however fanciful and extravagant it may sometimes be, after it is established, there is felt a kind of propriety in the dress; and it is strongly associated in our minds with the qualities with which such professions seem to indicate. We are in some measure disappointed, therefore, when we see a professional man not in the dress of his profession; and when he is in this dress, we conceive that there is a propriety and beauty in such a colour. Change the colours of these several dresses, and all this species of beauty is destroyed. We should not only laugh at the supposition of the army and navy being dressed in black, and the church and the bar in scarlet; but we should feel also a discontent, as if these colours had in themselves a separate expression, and were in these cases misapplied. Even in reversing the dress of individuals of these different professions, the whole beauty of their dress is destroyed; and we are conscious of a feeling of impropriety, as if the qualities which are peculiar to such professions were necessarily connected with the dress they So strong is this association even in trifles, and so naturally do colours become expressive to us of the qualities with which we have found them generally connected.

wear.

In natural objects the same circumstance is very apparent. There are colours perhaps more generally beautiful than those which distinguish trees, or rocks, or waters, or cottages, or ruins, or any of the ordinary ingredients of rural scenery; yet no colours, but the natural, could possibly be beautiful, in the imitation of such

scenes; because no other colours could be expressive to us of those qualities which are the sources of our emotion from such objects in nature. That all the beauty, in the same manner, of plants or animals, would be destroyed, if any new colours, however generally beautiful, were substituted in the place of those by which nature has distinguished their different classes, and which are of conse quence associated in our minds with all the qualities which they possess, is so obvious, that it is altogether unnecessary to attempt the illustration of it. That this principle applies also to the colours of dress, and that the same colour is beautiful or not, as the expression which it has is suited to the character or situation of the person who wears it, every person may satisfy himself by a little attention. As thus there is no colour whatever, which in all situations is beautiful, and as, on the contrary, the beauty of every colour is destroyed, whenever the associations we have with it are dissolved, it seems reasonable to conclude, that the beauty of such qualities arises from their expression, and not from any original fitness in them to produce this emotion.

4. If the beauty of colours arose from any original fitness in them to produce this emotion, it is apparent, that they who are incapable of such perceptions, must be incapable of such emotion. That the blind, however, may receive the same delight, from the ideas which they associate with colours, that they do who see, is a fact which I think every one will be convinced of, who reads the poems of Dr. Blacklock. No man who is not acquainted with the history of their ingenious author, could perceive that he had the misfortune to loose his sight in early infancy. That from conversation, and from the perusal of books of poetry, it was possible for him to learn the distinguish

ing colours of certain objects, and to apply them with sufficient propriety in his own verses, I do not deny; but the circumstance of importance at present is this, that his poetry is full of the same sentiments, and expresses the same admiration with regard to the different visible qualities of matter, with that of poets who have had no such defect; and that the same power is ascribed to them in producing the emotions of beauty, and with as great accuracy with regard to particular instances, as in the compositions of those who have had the sense of sight in its fullest perfection. If our perception of the beauty of colours arose from some original fitness in such qualities to produce this emotion, it is obvious, that the blind must be as incapable of perceiving this beauty, as of perceiving the colours themselves; but if the beauty of colours arises from the associations we connect with them, this fact, in the case of Dr. Blacklock, admits of a very simple solution. From reading, and from conversation, he has acquired the same associations with the words that express such colours, as we have with the colours themselves; that the word white, for instance, signifies a quality in objects expressive of cheerfulness and innocence; the word purple, the quality of majesty; the word black, the quality of gloom and melancholy, &c. In this case, it is obvious, that he may feel the same emotions from the use of these words, that we do from the colours which they express; and that from the permanence of these associations in a great variety of cases, he may apply the terms with sufficient propriety, either in sublime or beautiful description. As this is in reality the case, it seems to be a very strong confirmation of the opinion, that the beauty of such qualities arises from the associations we connect with them, and not from any original or independent beauty in the colours themselves.

CHAPTER IV.

Of Forms.

Or all material qualities, that which is most generally, and most naturally productive of the emotions of sublimity and beauty, is form. Other qualities may be separated from most objects, without destroying their na ture; but the form of every material object, in a great measure constitutes its nature and essence, and cannot be destroyed, without destroying the individual subject to which it belongs. From whatever cause, therefore, the beauty of any material object proceeds, it is natural to ascribe it to the form, or to that quality which most intimately belongs to the object, and constitutes its essence to our senses. The common opinion, therefore, undoubtedly is, that forms in themselves are beautiful; that there is an original and essential beauty in some particular forms; and that this quality is as immediately discernible in them, as the forms themselves.

Philosophers, however, have not been satisfied with this common opinion. The supposition of such an original and independent beauty in forms, has been found inconsistent with many phenomena, and some more general principle was wanted, under which the different facts upon this subject might be tolerably arranged. Many theories accordingly have been formed to account for this species of beauty. Some have resolved it into a sense of proportion, and endeavoured to establish, by analogy from our other senses, certain proportions which are immediately and permanently beautiful. Others have accounted for this beauty from the union of uniformity and variety. Some have supposed it to arise from the consideration of utility. Others have asserted, that the beauty of forms arises from their commonness, and that

the beautiful form is that which is most generally met with in objects of the same kind. Mr. Hogarth, in opposition to all, considers the beautiful form, as being described by lines of a particular kind, and has produced a great variety of instances in support of his opinion.

It is not my design at present, to enter into any examination of these several opinions. In all of them, I believe, thre is something true to a certain extent, though I believe also, that they have arisen from a partial view of the subject, and are inadequate to account for the greater number of the phenomena.

I may be allowed, however, to observe, that of the two, the common opinion is by much the most defensible. To reduce the great variety of instances of beauty in forms to any single principle, seems at first sight altogether impossible; not only from this variety, but also, in innumerable cases, from the contrary nature of the forms, which, in fact, are beautiful. As no theory, besides, can possibly be maintained without some foundation in nature, the number of theories which have been produced upon this subject, are in themselves an evidence, that this beauty arises from more causes than any one of these theories comprehends.

The principle which I have endeavoured to illustrate, with regard to the beauty and sublimity of sounds and colours, will, perhaps, be found to be equally applicable to the beauty or sublimity of forms: and, as far as I can judge, is free from the objections which may be stated both to the common and the philosophical opinions. In the observations which follow, I shall therefore endeavour to shew, that the sublimity or beauty of forms arises altogether from the associations we connect with them, or the qualities of which they are expressive to us; and I shall endeavour to explain, with as much accuracy as I

« PreviousContinue »