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stupendous wisdom with which these expressions are united in almost every form. "And here, I think," "says Mr. Hogarth," will be the proper place to speak "of a most curious difference between the living ma"chines of nature in respect of fitness, and such poor "ones in comparison with them, as men are only capa"ble of making. A clock, by the government's order, "has been made by Mr. Harrison for the keeping of "true time at sea; which is perhaps one of the most "exquisite movements ever made. Happy the ingen"ious contriver! although the form of the whole, or "of every part of this curious machine, should be ever so confused, or displeasingly shaped to the eye, and "although even its movements should be disagreeable to look at, provided it answers the end proposed: an "ornamental composition was no part of his scheme, "otherwise than as a polish might be necessary; if "ornaments are required to be added to mend its shape, 66 care must be taken that they are no obstruction to "the movement itself, and the more as they would be "superfluous as to the main design. But, in nature's "machines, how wonderfully do we see beauty and use go hand in hand! Had a machine for this purpose "been nature's work, the whole and every individual part might have had exquisite beauty of form, without danger of destroying the exquisiteness of its motion, "even as if ornament had been the sole aim; its move"ments too might have been graceful without one "superfluous title added for either of these lovely pur"6 poses. Now this is that curious difference between "the fitness of nature's machines, and those made by "mortal hands.

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The application of this fine observation, to innumer

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able instances, both of inanimate and animated forms, it is in the power of every one to make; and I am much more willing to leave the impression which it must make upon every mind entire, than to weaken it by any illustrations of my own.

CHAPTER V.

Of the Beauty and Sublimity of Motion.

MOTION is in many cases productive of the emotions of sublimity and beauty. With this quality, accordingly, we have many interesting and affecting associations. These associations arise either from the nature of motion itself, or from the nature of the bodies moved. The following illustrations may perhaps show, that the beauty and sublimity of motion arises from these associations, and that we have no reason to believe, that this quality of matter is in itself either beautiful or sublime.

1.

All motion is produced either by visible or invisible power by some cause which we perceive, or by some which is not the object of sense.

With all motions of the latter kind, we connect the idea of voluntary power; and such motions are in fact expressive to us of the exertion of power. Whether this association is the consequence of experience, or whether it is the effect of an original principle, it is not at present material to inquire. The instance of children, and even of animals, who uniformly infer life, where they perceive motion without any material cause, are sufficient evidences of the fact.

That the sublimity and beauty of motion arises from their expression of power, seems to be evident from the two following considerations :

1. There is no instance where motion, which is the apparent effect of force, is beautiful or sublime. It is impossible to conceive the motion of a body that is dragged or visibly impelled by another body, as either sublime or beautiful.

2. All beautiful or sublime motion is expressed in language by verbs in the active voice. We say even in common language, that a torrent pours-a stream glides a rivulet winds-that lightning darts-that light streams.-Change these expressions, by means of any verbs in the passive voice, and the whole beauty of their motion is destroyed. In poetical composition, the same circumstance is uniformly observable. If motion were in itself beautiful or sublime, o if any particular kinds of motion were so, these circumstances could not happen; and such motions would still be beautiful or sublime, whether they were expressive of power or not.

The character of power varies according to its degree, and produces, according to this difference, different emotions in our mind. Great power produces an emotion of awe and admiration. Gentle, or moderate, or diminutive power, produces an emotion of tenderness, of interest, of affection. To every species of power that is pleasing, the idea of superiority to obstacle is necessary. All power, whether great or small, which is inferior to obstacle, induces the idea of imperfection, and is considered with a kind of dissatisfaction.

These considerations will probably explain a great part of the absolute sublimity and beauty of motion.

Motion differs according to its DEGREE, and according to its DIRECTION.

1. Of the DEGREE of MOTION. All motion, when rapid, is, I apprehend, accompanied with the idea of great power. When slow, on the other hand, with the idea of gentle or diminutive power. For the truth of this remark, I must appeal to the reader's own observation. Rapid motion, accordingly, is sublime, slow motion beautiful.

II. Of the DIRECTION of MOTION. Motion is either in a straight line, in an angular line, or in a serpentine or curvilinear line.

1. Motion in a straight line chiefly derives its expression from its degree. When rapid, it is simply sublime: When slow, it is simply beautiful.

2. Motion in an angular line is expressive of obstruction, or of imperfect power. When considered therefore in itself, and without relation to the body moving, it is simply unpleasing.

3. Motion in curves is expressive of ease, of freedom, of playfulness, and is consequently beautiful.

The truth of this account of our associations with motion, I refer to the examination of the reader. The real beauty and sublimity of the different appearances of motion, seem to me to correspond very accurately with the expressions which the different combinations of the degree, and the direction of motion, convey to us. 1. Rapid motion, in a straight line, is simply expressive of great power. It is accordingly, in general, sublime. Rapid motion in angular lines, is expressive of great, but imperfect power, of a power which every obstacle is sufficient to overcome. I believe that mo

tion of this kind is accordingly very seldom sublime. Rapid motion in curve lines is expressive of great power, united with ease, freedom, or playfulness. Motion of this kind, accordingly, though more sublime than the preceding, is less sublime than the first species of motion. The course of a torrent, when in a straight line, is more sublime than when it winds into curves, and much more sublime than when it is broken into angles. The impetuous shooting of the eagle would lose much of its sublimity, if it were to deviate from the straight line, and would be simply painful, if it were to degenerate into an angular line.

2. Slow motion in a straight line, is simply expressive of gentle and delicate power. It is accordingly beautiful. Slow motion in angular lines, is expressive of gentle power, and of imperfection or obstruction. These expressions, however, do not well accord, and mutually destroy each other. Motion of this kind, is, accordingly, very seldom beautiful. Slow motion in curves is expressive of gentle power, united with ease, freedom, and playfulness. It is accordingly peculiarly beautiful. The soft gliding of a stream, the light traces of a summer breeze upon a field of corn, are beautiful when in a straight line; they are much more beautiful when they describe serpentine or winding lines: but they are scarcely beautiful, when their direction is in sharp angles, and sudden deviations.

The most sublime motion, is that of rapid motion in a straight line. The most beautiful, is that of slow motion in a line of curves. I humbly apprehend, that these conclusions are not very distant from common experience upon this subject,

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