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red, and so on, or their manner of termination, as to a number of petty squares, triangles, or the like, at every change, whether of colour or shape, the organ has a sort of relaxation or rest; but this relaxation and labour so often interrupted, is by no means productive of ease; neither has it the effect of vigorous and uniform labour. Whoever has remarked the different effects of some strong exercise, and some little piddling action, will understand why a teasing, fretful employment, which at once wearies and weakens the body, should have nothing great; these sorts of impulses, which are rather teasing than painful, by continually and suddenly altering their tenor and direction, prevent that full tension, that species of uniform labour, which is allied to strong pain, and causes the sublime. The sum total of things of various kinds, though it should equal the number of the uniform parts composing some one entire object, is not equal in its effect upon the organs of our bodies. Besides the one already assigned, there is another very strong reason for the difference. The mind in reality hardly ever can attend diligently to more than one thing at a time ; ! if this thing be little, the effect is little, and a number of other little objects cannot engage the attention; the mind is bounded by the bounds of the object; and what is not attended to, and what does not exist, are much the same in effect; but the eye, or the mind, (for in this case there is no difference,) in great, uniform objects, does not readily arrive at their bounds; it has no rest whilst it contemplates them; the image is much the same everywhere. So that jeverything great by its quantity must necessarily be one, (simple and entire.
SECT. XI.—THE ARTIFICIAL INFINITE. We have observed, that a species of greatness arises from the artificial infinite; and that this infinite consists in an uniform succession of great parts: we observed, too, that the same uniform succession had a like power in sounds. But because the effects of many things are clearer in one of the senses than in another, and that all the senses bear analogy to and illustrate one another, I shall begin with this power in sounds, as the cause of the sublimity fr: m succession
is rather more obvious in the sense of hearing. And I shall: here, once for all, observe, that an investigation of the natural and mechanical causes of our passions, besides the curiosity of the subject, gives, if they are discovered, a double strength and lustre to any rules we deliver on such matters. When the ear receives any simple sound, it is struck by a single pulse of the air, which makes the ear-drum and the other membranous parts vibrate according to the nature and species of the stroke. If the stroke be strong, the organ of hearing suffers a considerable degree of tension. If the stroke be repeated pretty soon after, the repetition causes an expectation of another stroke. And it must be observed, that expectation itself causes a tension. This is apparent in many animals, who, when they prepare for hearing any sound, rouse themselves, and prick up their ears : so that here the effect of the sounds is considerably augmented by a new auxiliary, the expectation. But though, after a number of strokes, we expect still more, not being able to ascertain the exact time of their arrival, when they arrive, they produce a sort of surprise, which increases this tension yet further. For I have observed, that when at any time I have waited very earnestly for some sound, that returned at intervals, (as the successive firing of cannon,) though I fully expected the return of the sound, when it came it always made me start a little; the ear-drum suffered a convulsion, and the whole body consented with it. The tension of the part thus increasing at every blow, by the united forces of the stroke itself, the expectation, and the surprise, it is worked up to such a pitch as to be capable of the sublime; it is brought just to the verge of pain. Even when the cause has ceased, the organs of hearing being often successively struck in a similar manner, continue to vibrate in that manner for some time longer; this is an additional help to the greatness of the effect.
SECT. XII.—THE VIBRATIONS MUST BE SIMILAR. But if the vibration be not similar at every impression, it can never be carried beyond the number of actual impressions ; for move any body, as a pendulum, in one way, and it will continue to oscillate in an arch of the same circle, until the known causes make it rest; but if after first putting it Táin nuption in one direction, you push it into another, it can naty never reassume the first direction; because it can never move umu itself, and consequently it can have but the effect of that last
motion; whereas, if in the same direction you act upon it Tu several times, it will describe a greater arch, and move a sing longer time.
SECT. XIII. -THE EFFECTS OF SUCCESSION IN VISUAL
OBJECTS EXPLAINED. If we can comprehend clearly how things operate upon one of our senses, there can be very little difficulty in conceiving in what manner they affect the rest. To say a great deal therefore upon the corresponding affections of every sense, would tend rather to fatigue us by an useless repetition, than to throw any new light upon the subject by that ample and diffuse manner of treating it; but as in this discourse we chiefly attach ourselves to the sublime, as it affects the eye, . we shall consider particularly why a successive disposition of uniform parts in the same right line should be sublime, and upon what principle this disposition is enabled to make a comparatively small quantity of matter produce a grander effect, than a much larger quantity disposed in another manner. To avoid the perplexity of general notions ; let us set before our eyes a colonnade of uniform pillars planted in a right line; let us take our stand in such a manner, that the eye may shoot along this colonnade, for it has its best effect in this view. In our present situation it is plain, that the rays from the first round pillar will cause in the eye a vibration of that species ; an image of the pillar itself. The pillar immediately succeeding increases it; that which follows renews and enforces the impression ; each in its order as it succeeds, repeats impulse after impulse, and stroke after stroke, until the eye, long exercised in one particular way, cannot lose that object immediately; and, being violently roused by this continued agitation, it presents the mind with a grand or sublime conception. But instead of viewing a rank of uniform pillars, let us suppose that they succeed each other, a round and a square one alternately. In this case the vibration caused by the first round pillar perishes as soon as it is formed;
1 Part II. sect. 10.
and one of quite another sort (the square) directly occupies its place; which however it resigns as quickly to the round one; and thus the eye prcceeds, alternately, taking up one image, and laying down another, as long as the building continues. From whence it is obvious, that, at the last pillar, the impression is as far from continuing as it was at the very first; because, in fact, tbe sensory can receive no distinct impression but from the last; and it can never of itself resume a dissimilar impression: besides, every variation of the object is a rest and relaxation to the organs of sight; and these reliefs prevent that powerful emotion so necessary to produce the sublime. To produce therefore a perfect gran. vleur in such things as we have been mentioning, there should be a perfect simplicity, an absolute uniformity in disposition, shape, and colouring. Upon this principle of succession and uniformity it may be asked, why a long bare wall should not be a more sublime object than a colonnade; since the succession is no way interrupted; since the eye meets no check; since nothing more uniform can be conceived ? A long bare wall is certainly not so grand an object as a colonnade of the same length and height. It is not altogether difficult to account for this difference. When we look at a naked wall, from the evenness of the object, the eye runs along its whole space, and arrives quickly at its termination; the eye meets nothing which may interrupt its progress; but then it meets nothing which may detain it a proper time to produce a very great and lasting effect. The view of the bare wall, if it be of a great height and length, is undoubtedly grand; but this is only one idea, and not a repetition of similar ideas : it is therefore great, not so much upon the principle of infinity, as upon that of vastness. But we are not so powerfully | affected with any one impulse, unless it be one of a prodigious I force indeed, as we are with a succession of similar impulses; because the nerves of the sensory do not (if I may use the expression) acquire a habit of repeating the same feeling in such a manner as to continue it longer than its cause is in action; besides, all the effects which I have attributed to expectation and surprise in sect. 11, can have no place in a bare wall.
SECT. XIV.—LOCKE'S OPINION CONCERNING DARKNL 88
CONSIDERED. It is Mr. Locke's opinion, that darkness is not naturally an idea of terror; and that, though an excessive light is painful to the sense, the greatest excess of darkness is nc ways troublesome. He observes indeed in another place, that a nurse or an old woman having once associated the idea of ghosts and goblins with that of darkness, night, ever after, becomes painful and horrible to the imagination. The authority of this great man is doubtless as great as that of any man can be, and it seems to stand in the way of our general principle. We have considered darkness as a cause of the sublime; and we have all along considered the sublime as depending on some modification of pain or terror: so that if darkness be no way painful or terrible to any, who have not had their minds early tainted with superstitions, it can be no source of the sublime to them. But, with all deference to such an authority, it seems to me, that an association of a more general nature, an association which takes in all mankind, may make darkness terrible; for in utter darkness it is impossible to know in what degree of safety we stand; we are ignorant of the objects that surround us; we may every moment strike against some dangerous obstruction; we may fall down a precipice the first step we take; and if an enemy approach, we know not in what quarter to defend ourselves; in such a case strength is no sure protection ; wisdom can only act by guess; the boldest are staggered, and he, who would pray for nothing else towards his defence, is forced to pray for light.
Ζεύ πάτερ, αλλά συ ρύσαι υπ’ ήέρος υίας 'Αχαιών:
'Εν δε φάει και όλασσον.As to the association of ghosts and goblins ; surely it is more natural to think, that darkness, being originally an idea of terror, was chosen as a fit scene for such terrible representations, than that such representations have made darkness terrible. The mind of man very easily slides into an error of the former sort; but it is very hard to imagine,
i Part II. sect. 3.