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ORIGIN OF OUR IDEAS
SUBLIME AND BEAUTIFUL.
AN INTRODUCTORY DISCOURSE
AND SEVERAL OTHER ADDITIONS.
I HAVE endeavoured to make this edition something more full and satisfactory than the first. I have sought with the utmost care, and read with equal attention, every thing which has appeared in publick against my opinions; I have taken advantage of the candid liberty of my friends ; and if by these means I have been better enabled to discover the imperfections of the work, the indulgence it has received; imperfect as it was, furnished me with a new motive to spare no reasonable pains for its improvement. Though I have not found sufficient reason, or what appeared to me sufficient, for making any material change in my theory, I have found necessary in many places to explain, illustrate, and enforce it. I have prefixed an introductory discourse concerning Taste: it is a matter curious in itself; and it leads naturally enough to the principal inquiry. This, with the other explanations, has made the work considerably larger; and by increasing its bulk has, I am afraid, added to its faults; so that, notwithstanding all my attention, it may stand in need of a yet greater share of indulgence than it required at its first appearance.
They who are accustomed to studies of this nature will expect, and they will allow too for many faults. They know that many of the objects of our inquiry are in themselves obscure and intricate ; and that many others have been rendered so by affected refinements or false learning; they know that there are many impediments in the subject, in the prejudices of others, and even in our own, that render it a matter of no small difficulty to shew in a clear light the genuine face of nature. They know that whilst the mind is intent on the general scheme of things, some particular parts must be neglected ; that we must often submit the style to the matter, and frequently give up the praise of elegance, satisfied with being clear.
The characters of nature are legible, it is true; but they are not plain enough to enable those who run, to read them. We must make use of a cautious, I had almost said, a timorous method of proceeding. We must not attempt to fly, when we can scarcely pretend to creep. In considering any complex matter, we ought to examine every distinct ingredient in the composition, one by one; and reduce every thing to the utmost simplicity; since the condition of our nature binds us to a strict law and very narrow limits. We ought afterwards to re-examine the principles by the effect of the composition, as well as the composition by that of the principles. We ought to compare our subject with things of a similar nature, and even with things of a contrary nature; for discoveries may be and often are made by the contrast, which would escape us on the single view. The greater number of the comparisons we make, the more general and the more certain our knowledge is like to prove, as built upon a more extensive and perfect induction.
If an inquiry thus carefully conducted, should fail at last of discovering the truth, it may answer an end perhaps as useful, in discovering to us the weakness of our own understanding. If it does not make us knowing, it may make us modest. If it does not preserve us from errour, it may at least from the spirit of errour; and may make us cautious of pronouncing with positiveness or with haste, when so much labour may end in so much uncertainty.
I could wish that in examining this theory, the same method were pursued which I endeavoured to observe in forming it. The objections, in my opinion, ought to be proposed, either to the several principles as they are distinctly considered, or to the justness of the conclusion which is drawn from them. But it is common to pass over both the premies and conclusion in silence, and to produce as an objection, some poetical passage which does not seem easily accounted for upon the principles I endeavour 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 unravelled 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 real
a ity, 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 concenter its forces, and to fit it for greater and strong VOL. I.