their third, harmonic or correlative arises, so there are instances in which, by an admixture of two primary sapors, their third is produced: thus the intense acid of nitre, and the sweetest of substances, honey or sugar, concur chemically in producing a compound pre-eminently bitter; as do also those bitter-acid and acid-bitter compound chemicals, the Nitrate of silver, and the Hypo-sulphate of soda, in the production of a sweet compound. Sulphuric acid may also be so employed with bitter vegetals, that sweet sugar shall be produced; and in these instances acid and bitter, which are the extremes of sapors, have a tendency to produce their mean.

1158. Chemistry affords us, also, a singular illustration of this analogy, in which the three tastes are conjoined in unity, and developed, like colours, prismatically,—we allude to boracic acid, which becomes first warm and sour in the mouth, gradually changes to a cool and bitter flavour, and ultimately tempers upon the palate to an agreeable sweetness; as colours devolve from light by the prism, warm and yellow, cool and blue, and having red between them.

1159. Chemistry assures us, also, that pure nutritious fecula differs only in the minutest proportion of its elements from sugar; and that from the insipidity of the one, by the slight action of spirit of vitriol, is developed the highly sapid sweetness of the other; which, again, by the action of weak spirit of nitre, is converted into a most powerful

and poisonous acid; and, finally, that by a more intense action of the same acid of nitre, the same sweet substance is metamorphosed into a nauseous substance intensely bitter, as above stated; all of which is strictly analogous with the like chemical developement of colours from colourless substances.

1160. Again, of the chemical fermentation of saccharine liquids, there are, we have seen, three kinds and degrees: one of which is vinous, and its product a sweet spirit; another acetous, and its product an acid; and an ultimate third kind, or putrefactive fermentation, the produce of which is alkaline, ammoniacal, nauseous, and bitter. To these might be added other illustrations from Chemistry, this branch of Esthetics being closely allied to the physics of bodies.

1161. Again, in vegetal nature, the lemon, which is yellow in colour and acid in flavour, is another indication that colour and flavour are regulated according to the same analogy, and we might also adduce instances of a similar association of figures and colours in natural objects: there seems, indeed, to be a natural tendency to conjugation among the senses and their objects, of which the union of odours and sapors affords not the only instance, although it is perhaps the most intimate, smell being in a great measure essential to taste, and given to animals to conduct to, and determine

*The Oxalic.

them in the choice of their food. And thus it is that colour unites with figure, as sculpture does with architecture, and figurative language, or poetry, with musical sounds, &c.

1162. As some persons have a natural ear for distinguishing harmonious sounds, and others an eye for colours or figure, so there is perhaps in others a natural distinguishing acuteness predominant in the other senses. There are, on the other hand, individuals altogether deficient in one or other of them; while few are without some discernment in them all, and of the power of comparing them; whence, if it were inquired what taste or flavour the colour red most resembles, however paradoxical the question may appear, they would hardly hesitate to answer that it most resembles sweet; and so on. Such inquiries are, however, as boundless as are the particulars of allvarious nature,- so multifarious and wonderful in diversity, so simple and admirable in unity!

1163. The above may afford sufficient evidence of the relations of the Appetitive Senses in a general view it remains only, therefore, that we indicate for completeness the analogy or relations of the Passions, on the opposite extreme of the sensitive system.

CHAPTER VI.

THE ANALOGY OF THE PASSIONS.

1164. The Passions, although they are a topic of never-failing fecundity, are still without a science. The term itself, in its widest signification, comprehends the emotions of the internal passive principle, or sentient, in man, as distinguished from the internal active principle, or will.

1165. But the Passions, thus defined, include the Appetites, Senses, and Affections; while, in an esthetical view, the passions, affections, and appetites, are subordinate to the Senses: so that, in truth and common acceptation, these terms are convertible with the view.

1166. In the present view, which is esthetical, Sensation is the genus, of which the Appetites, Senses, and Passions, are species; and of which the first are principally of external or material relation, and the latter of internal or intellectual relation. The one is sensible emotion connected with body, the other sensible emotion connected with mind, and they are both distinguished from the

senses by desire or aversion: for the gratifications of esthetic sense are not consequent to desire, although they are often the antecedents thereof.

1167. So intimately and reciprocally are the Passions, Appetites, and Senses connected and related, that each in some respect involves the others. Hence, the Passions are loves or aversions, sympathies or antipathies, affections or defections, either appetitive, sensitive, or intellective, in accordance with the external, medial, and internal; and they engage the Will either in the acquisition of goods or the averting of evils.

1168. Thus, in external and material relation, there is the Passion for Power and possessions, or avarice; in medial and sensible relation, there are the Sensual Passions; and, in internal and intellectual relation, there is the Passion for knowledge, or curiosity. Of these, however, the sensual passions are principal, because sense, or passive intellect, is the source of passion; and, accordingly, they are that which is commonly understood by the term passions: but which, in an entire sense, are either desires of goods, or aversions of evils, present or in prospect, material, sensible, or intellectual.

1169. The passions are, therefore, loves or aversions of beauty or deformity, pleasure or pain, happiness or misery: if present, they are joys or sorrows; if in prospect, they are hopes or fears.

1170. As beauty is the perfection and good of material being, and happiness is the perfection and