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form towards which nature is continually inclining, like various lines terminating in the centre; or it may be compared to pendulums vibrating in different directions over one central point; and as they all cross the centre, though only one passes through any other point, so it will be found that perfect beauty is oftener produced by nature than deformity; I do not mean than deformity in general, but than any one kind of deformity. To instance in a particular part of a feature: the line that forms the ridge of the nose is beautiful when it is straight; this then is the central form, which is oftener found than either concave, convex, or any other irregular form that shall be proposed. As we are then more accustomed to beauty than deformity, we may conclude that to be the reason why we approve and admire it, as we approve and admire customs and fashions of dress for no other reason than that we are used to them; so that, though habit and custom cannot be said to be the cause of beauty, it is certainly the cause of our liking it; and I have no doubt but that, if we were more used to deformity than beauty, deformity would then lose the idea now annexed to it, and take that of beauty; as, if the whole world should agree that yes and no should change their meanings, yes would then deny, and no would affirm. Whoever undertakes to proceed further in this argument, and endeavours to fix a general criterion of beauty respecting different species, or to shew why one species is more beautiful than another, it will be required from him first to prove that one species is really more beautiful than another. That we prefer one to the other, and with very good reason, will be readily granted; but it does not follow from thence that we think it a more beautiful form ; for we have no criterion of form by which to determine our judgment. He who says a swan is more beautiful than a dove, means little more than that he has more pleasure in seeingaswan than a dove, either from the stateliness of its motions, or its being a more rare bird; and he who gives the preference to the dove, does it from some association of ideas of innocence that he always annexes to the dove: but, if he pretends to defend the preference he gives, to one or the other by endeavouring to prove that this more beautiful form proceeds from a particular gradatios; cf magnitude, undulation of a curve, or direction of a line, or whatever other conceit of his imagination he shall fix on as a criterion of form, he will be continually contradicting himself, and find at last that the great Mother of Nature will not be subjected to such narrow rules. Among the various reasons why we prefer one part of her works to another, the most general, I believe, is habit and custom: custom makes, in a certain sense, white black, and black white; it is custom alone determines our preference of the colour of the Europeans to the AEthiopians, and they, for the same reason, prefer their own colour to ours. I suppose nobody will doubt, if one of their painters were to paint the goddess of beauty, but that he would represent her black, with thick lips, flat nose, and woolly hair; and, it seems to me, he would act very unnaturally if he did not; for by what criterion will any one dispute the propriety of his idea? We, indeed, say that the form and colour of the European is preferable to the AEthiopian; but I know of no reason we have for it, but that we are more accustomed to it. It is absurd to say that beauty is possessed of attractive powers, which irresistibly seize the corresponding mind with love and admiration, since that argument is equally conclusive in favour of the white and the black philosopher.

The black and white nations must in respect of beauty, be considered as of different kinds; at least a. different species of the same kind; from one of which to the other, as I observed, no inference can be drawn. Novelty is said to be one of the causes of beauty: that novelty is a very sufficient reason why we should admire, is not denied; but, because it is uncommon, is it therefore beautiful? The beauty that is produced by colour, as when we prefer one bird to another, though of the same form, on account of its colour, has nothing to do with this argument, which reaches only to form. I have here considered the word beauty as being properly applied to form alone. There is a necessity of fixing this confined sense; for there can be no argument, if the sense of the word is extended to every thing that is approved. A rose may as well be said to be beautiful because it has a fine smell, as a bird because of its colour. When we apply the word beauty, we do not mean always by it a more beautiful form, but something valuable on account of its rarity, usefulness, colour, or any other property. A horse is said to be a beautiful animal; but had a horse as few good qualities as a tortoise, I do not imagine that he would be then esteemed beautiful. A fitness to the end proposed is said to be another cause of beauty; but supposing we were proper judges of what form is the most proper in an animal to constitute strength or swiftness, we always determine concerning its beauty before we exert our understanding to judge of its fitness. From what has been said it may be inferred that the works of nature, if we compare one species with another, are all equally beautiful ; and that preference is given, from custom, or some association of ideas; and that, in creatures of the same species, beauty is the medium or centre of all various forms. To conclude, then, by way of corollary: if it has been proved that the painter, by attending to the invariable and general ideas of nature, produces beauty, he must, by regarding minute particularities and accidental discriminations, deviate from the universal rule, and pollute his canvass with deformity”.

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I SUPPOSE you have forgotten that many weeks ago. I promised to send you an account of my companions at the Wells. You would not deny me a place among the most faithful votaries of idleness, if you knew how often I have recollected my engagement, and contented myself to delay the performance for some reason which I durst not examine because I knew it to be false; how often I have sitten down to write, and rejoiced at interruption; and how often I have praised the dignity of resolution, determined at night to write in the morning, and deferred it in the morning to the quiet hours of night.

I have at last begun what I have long wished at an end, and find it more easy than I expected to continue my narration.

* By sir Joshua Reynolds.

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Our assembly could boast no such constellation of intellects as Clarendon’s band of associates. We had among us no Selden, Falkland, or Waller; but we had men not less important in their own eyes, though less distinguished by the publick; and many a time have we lamented the partiality of mankind, and agreed that men of the deepest inquiry sometimes let their discoveries die away in silence, that the most comprehensive observers have seldom opportunities of imparting their remarks, and that modest merit passes in the crowd unknown and unheeded.

One of the greatest men of the society was Sim Scruple, who lives in a continual equipoise of doubt, and is a constant enemy to confidence and dogmatism. Sim’s favourite topick of conversation is the narrowness of the human mind, the fallaciousness of our senses, the prevalence of early prejudice, and the uncertainty of appearances. Sim has many doubts about the nature of death, and is sometimes inclined to believe that sensation may survive motion, and that a dead man may feel though he cannot stir. He has sometimes hinted that man might perhaps have been naturally a quadruped; and thinks it would be very proper, that at the Foundling Hospital some children should be inclosed in an apartment in which the nurses should be obliged to walk half upon four and half upon two legs; that the younglings, being bred without the prejudice of example, might have no other guide than nature, and might at last come forth into the world as genius should direct, erect or prone, on two legs or on four.

The next in dignity of mien and fluency of talk was Dick Wormwood, whose sole delight is to find every thing wrong. Dick never enters a room but he shews that the door and the chimney are ill-placed. He never

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