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but, with respect to seeing and hearing, being insensible of the organic impression, we are not misled to assign a wrong place to the pleasant or painful feelings caused by that impression; and therefore we naturally place them in the mind, where they really are: upon that account, they are conceived to be more refined and spiritual, than what are derived from tasting, touching, and smelling; for the latter feelings, seeming to exist externally at the organ of sense, are conceived to be merely corporeal.

The pleasures of the eye and the ear, being thus elevated above those of the other external senses, acquire so much dignity as to become a laudable entertainment. They are not, however, set on a level with the purely intellectual; being no less inferior in dignity to intellectual pleasures, than superior to the organic or corporeal: they indeed resemble the latter, being, like them, produced by external objects; but they also resemble the former, being, like them, produced without any sensible organic impression. Their mixed nature and middle place between organic and intellectual pleasures, qualify them to associate with both; beauty heightens all the organic feelings, as well as the intellectual: harmony, though it aspires to inflame devotion, disdains not to improve the relish of a banquet.

The pleasures of the eye and the ear have other valuable properties beside those of dignity and elevation: being sweet and moderately exhilarating, they are in their tone equally distant from the turbulence of passion, and the languor of indolence: and by that tone are perfectly well qualified, not only to revive the spirits when sunk by sensual gratification, but also to relax them when overstrained in any violent pursuit. Here is a remedy provided for many distresses; and, to be convinced of its salutary effects, it will be sufficient to run over the following particulars. Organic pleasures have naturally a short duration; when prolonged, they lose their relish; when indulged to excess, they beget satiety and disgust: and, to restore a proper tone of mind, nothing can be more happily contrived than the exhilarating pleasures of the eye and ear. On the other hand, any intense exercise of intellectual powers, becomes painful by overstraining the mind: cessation from such exercise gives not instant relief; it is necessary that the void be filled with some amusement, gently relaxing the spirits;* organic pleasure, which hath no relish but while we are in vigour, is ill qualified for that office; but the finer pleasures of sense, which occupy without exhausting the mind, are finely qualified to restore its usual tone after severe application to study or business, as well as after satiety from sensual gratification.

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Our first perceptions are of external objects, and our first attachments are to them. Organic pleasures take the lead: but the mind, gradually ripening, relisheth more and more the pleasures of the eye and ear; which approach the purely mental, without exhausting the spirits; and exceed the purely sensual, without danger of satiety. pleasures of the eye and ear have accordingly a natural aptitude to draw us from the immoderate gratification of sensual appetite; and the mind, once accustomed to enjoy a variety of external objects without being sensible of the organic impression, is prepared for enjoying internal objects where there cannot be an organic impression. Thus

* Du Bos judiciously observes, that silence doth not tend to calm an agitated mind; but that soft and slow music hath a fine effect.

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the Author of nature, by qualifying the humati mind for a succession of enjoyments from low to high, leads it by gentle steps from the most grovelling corporeal pleasures, for which only it is fitted in the beginning of life, to those refined and sublime pleasures that are suited to its maturity.

But we are not bound down to this succession by any law of necessity: the God of nature offers it to us, in order to advance our happiness; and it is sufficient, that he hath enabled us to carry it on in a natural course. Nor has he made our task either disagreeable or difficult; on the contrary, the transition is sweet and easy, from corporeal pleasures to the more refined pleasures of sense; and no less so, from these to the exalted pleasures of morality and religion. We stand therefore engaged in honour, as well as interest, to second the purposes of nature, by cultivating the pleasures of the eye and ear, those especially that require extraordinary culture,* such as arise from poetry, painting, sculpture, music, gardening, and architecture. This especially is the duty of the opulent, who have leisure to improve their minds and their feelings. The fine arts are contrived to give pleasure to the eye and the ear, disregarding the inferior senses. A taste for these arts is a plant that grows naturally in many soils; but, without culture, scarce to perfection in any soil: it is susceptible of much refinement; and is, by proper care, greatly improved. In this respect, a taste in the fine arts goes hand in hand, with the moral sense, to which indeed it is nearly allied: both of them discover what is right and what is wrong; fashion, temper, and education have an influence to vitiate both, or to preserve them pure and untainted: neither of them are arbitrary nor local; being rooted in human nature, and governed by principles common to all men. The design of the present undertaking, which aspires not to morality, is, to examine the sensitive branch of human nature, to trace the objects that are naturally agreeable, as well as those that are naturally disagreeable; and by these means to discover, if we can, what are the genuine principles of the fine arts. The man who aspires to be a critic in these arts must pierce still deeper: he must acquire a clear perception of what objects are lofty, what low, what proper or improper, what manly, and what mean or trivial. Hence a foundation for reasoning upon the taste of any individual, and for passing sentence upon it: where it is conformable to principles, we can pronounce with certainty that it is correct; otherwise, that it is incorrect, and perhaps whimsical. Thus the fine arts, like morals, become a rational science; and, like morals, may be cultivated to a high degree of refinement.

* A taste for natural objects is born with us in perfection; for relishing a fine countenance, a rich landscape, or a vivid colour, culture is necessary. The observation holds equally in natural sounds, such as the singing of birds, or the murmuring of a brook. Nature here, the artificer of the object, as well as of the percipient, hath accurately suited them to each other. But of a poem, a cantata, a picture, or other artificial production, a true relish is not commonly attained, without some study and much practice.

Manifold are the advantages of criticism, when thus studied as a rational science. In the first place a thorough acquaintance with the principles of the fine arts, redoubles the pleasure we derive from them. To the man who resigns himself to feeling without interposing any judgment, poetry, music, painting, are mere pastime. In the prime of life, indeed, they are delightful, being supported by the force of novelty, and the heat of imagination: but in time they lose their relish; and are generally

neglected in the maturity of life, which disposes to VOL. I.

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more serious and more important occupations. To those who deal in criticism as a regular science, governed by just principles, and giving scope to judgment as well as to fancy, the fine arts are a favourite entertainment; and in old age maintain that relish which they produce in the morning of life.*

In the next place, a philosophic inquiry into the principles of the fine arts, inures the reflecting mind to the most enticing sort of logic: the practice of reasoning upon subjects so agreeable, tends to a habit; and a habit, strengthening the reasoning faculties, prepares the mind for entering into subjects more intricate and abstract. To have, in that respect, a just conception of the importance of criticism, we need but reflect upon the ordinary method of education; which, after some years spent in acquiring languages, hurries us, without the least preparatory discipline, into the most profound philosophy. A more effectual method to alienate the tender mind from abstract science, is beyond the reach of invention: and accordingly, with respect to such speculations, our youth generally contract a sort of hobgoblin terror, seldom if ever subdued. Those who apply to the arts, are trained in a very different manner: they are led, step by step, from the easier parts of the operation, to what are more difficult; and are not permitted to make a new motion, till they are perfected in those which go before. Thus the science of criticism may be considered as a middle link, connecting the different parts of education into a regular chain. This science furnisheth an inviting opportunity to

* "Though logic may subsist without rhetoric or poetry, yet so necessary " to these last is a sound and correct logic, that without it they are no better "than warbling trifles." Hermes, p. 6.

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