and conclusion in silence, and to produce as an objection, some poetical passage which does not seem easily accounted for upon the principles I endeavor to establish. This manner of proceeding I should think very improper. The task would be infinite, if we could establish no principle until we had previously unraveled the complex texture of every image or description to be found in poets and orators. And though we should never be able to reconcile the effect of such images to our principles, this can never overturn the theory itself, whilst it is founded on certain and indisputable facts. A theory founded on experiment, and not assumed, is always good for so much as it explains. Our inability to push it indefinitely is no argument at all against it. This inability may be owing to our ignorance of some necessary mediums; to a want of proper application; to many other causes besides a defect in the principles we employ. In reality, the subject requires a much closer attention, than we dare claim from our manner of treating it. If it should not appear on the face of the work, I must caution the reader against imagining that I intended a full dissertation on the Sublime and Beautiful. My inquiry went no farther than to the origin of these ideas. If the qualities. which I have ranged under the head of the Sublime be all found consistent with each other, and all different from those which I place under the head of beauty; and if those which compose the class of the Beautiful have the same consistency with themselves, and the same opposition to those which are classed under the denomination of Sublime, I am in little pain whether any body chooses to follow the name I give them or not, provided he allows that what I dispose under different heads are in reality different things in nature. The use I make of the words may be blamed, as too confined or too extended; my meaning cannot well be misunderstood. To conclude; whatever progress may be made towards the discovery of truth in this matter, I do not repent the pains I have taken in it. The use of such inquiries may be very considerable. Whatever turns the soul inward on itself, tends to concentre its forces, and to fit it for greater and stronger flights of science. By looking into physical causes, our minds are opened and enlarged; and in this pursuit, whether we take or whether we lose our game, the chase is certainly of service. Cicero, true as he was to the academic philosophy, and consequently led to reject the certainty of physical, as of every other kind of knowledge, yet freely confesses its great importance to the human understanding; "Est animorum ingeniorumque nostrorum naturale quoddam quasi pabulum consideratio contemplatioque naturæ." If we can direct the lights we derive from such exalted speculations, upon the humbler field of the imagination, whilst we investigate the springs, and trace the courses of our passions, we may not only communicate to the taste a sort of philosophical solidity, but we may reflect back on the severer sciences some of the graces and elegances of taste, without which the greatest proficiency in those sciences will always have the appearance of something illiberal. IX. The final cause of the difference between the Passions IV. Of the difference between Clearness and Obscurity with XVI. Color considered as productive of the Sublime XVII. Sound and Loudness XVIII. Suddenness XIX. Intermitting XX. The Cries of Animals XXI. Smell and Taste. Bitters and Stenches XXII. Feeling. Pain PART III. PAGE. 98 ib. 99 II. Proportion not the cause of Beauty in Vegetables IV. Proportion not the cause of Beauty in the Human Species 132 X. How far the idea of Beauty may be applied to the qualities 146 XI. How far the idea of Beauty may be applied to virtue 147 . 148 V. How the Sublime is produced VI. How Pain can be a cause of Delight |