This betrays entire absence, or at least great poverty of genius. Of this, there are abundance of examples, and these commented upon with much humour, in the Treatise on the art of Sinking, in Dean Swift's works; the instances taken chiefly from Sir Richard Blackmore. One of these, I had occasion already to give, in relation to mount Etna, and it were needless to produce any more. The Bombast lies, in forcing an ordinary or trivial object out of its rank, and endeavouring to raise it into the Sublime ; or, in attempting to exalt a Sublime object beyond all natural and reasonable bounds. Into this error, which is but too common, writers of genius may sometimes fall, by unluckily loosing sight of the true point of the Sublime. This is also called fustian, or rant. Shakespeare, a great, but incorrect genius, is not unexceptionable here. Dryden and Lee, in their tragedies, abound with it.

Thus far of the Sublime; of which I have treated fully, because it is so capital an excellency in fine writing, and because clear and precise ideas on this head are, as far as I know, not to be met with in critical writers.

Before concluding this Lecture, there is one observation which I choose to make at this time; I shall make it once for all, and hope it will be afterwards remembered. It is with respect. to the instances of faults, or rather blemishes and imperfections, which, as I have done in this Lecture, I shall hereafter continue to take, when I can, from writers of reputation. I have not the least intention thereby to disparage their character in the general. I shall have other occasions of doing equal justice to their beauties. But it is no reflection on any human performance, that it is not absolutely perfect. The task would be much easier for me, to collect instances of faults from bad writers. But they would draw no attention, when quoted from books which nobody reads. And I conceive, that the method which I follow, will contribute more to make the best authors be read with pleasure, when one properly distinguishes their beauties from their faults; and is led to imitate and admire onwhat is worthy of imitation and admiration.

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LECTURE V.

BEAUTY, AND OTHER PLEASURES OF TASTE.

AS Sublimity constitutes a particular character of composition, and forms one of the highest excellencies of eloquence and of poetry, it was proper to treat of it at some length. It will not be necessary to discuss so particularly all the other pleasures that arise from Taste, as some of them have less relation to our main subject. On beauty only I shall make several observations, both as the subject is curious, and as it tends to improve Taste, and to discover the foundation of several of the graces of description and of poetry.*

Beauty, next to Sublimity, affords, beyond doubt, the highest pleasure to the imagination. The emotion which it raises, is very distinguishable from that of Sublimity. It is of a calmer kind; more gentle and soothing; does not elevate the mind so much, but produces an agreeable serenity. Sublimity raises a feeling, too violent, as I showed, to be lasting; the pleasure arising from Beauty admits of longer continuance. It extends also to a much greater variety of objects than Sublimity; to a variety indeed so great, that the feelings which Beautiful objects produce, differ considerably, not in degree only, but also in kind, from one another. Hence, no word in the language is used in a more vague signification than Beauty. It is applied to almost every external object that pleases the eye, or the ear; to a great number of the graces of writing; to many dispositions of the mind; nay, to several objects of mere abstract science. We talk currently of a beautiful tree or flower; a beautiful poem; a beautiful character; and a beautiful theorem in mathematics.

* See Hutchinson's Enquiry concerning Beauty and Virtue.-Gerard on Taste, chap. iii.—Enquiry into the Origin of our Ideas of the Sublime and Beautiful.-Elements of Criticism, chap. iii.—Spectator, vol. vi.—Essay on the Pleasures of 'Taste.

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Hence we may easily perceive, that, among so great a variety of objects, to find out some one quality in which they all agree, and which is the foundation of that agreeable sensation they all raise, must be a very difficult, if not, more probably, a vain attempt. Objects, denominated Beautiful, are so different, as to please, not in virtue of any one quality common to them all, but by means of several different principles in human nature. The agreeable emotion which they all raise, is somewhat of the same nature; and therefore, has the common name of Beauty given to it; but it is raised by different causes.

Hypothesis, however, have been framed by ingenious men, for assigning the fundamental quality of Beauty in all objects. In particular, Uniformity amidst Variety, has been insisted on as this fundamental quality. For the Beauty of many figures, I admit that this accounts in a satisfactory manner. But when we endeavour to apply this principle to Beautiful objects of some other kind, as to Colour, for instance, or Motion, we shall soon find that it has no place. And even in external figured objects, it does not hold, that their Beauty is in proportion to their mixture of Variety with Uniformity ; seeing many please us as highly Beautiful, which have almost no Variety at all; and others, which are various to a degree of intricacy. Laying systems of this kind, therefore, aside, what I now propose is, to give an enumeration of several of those classes of objects in which Beauty most remarkably appears; and to point out, as far as I can, the separate principles of Beauty in each of them. Colour affords, perhaps, the simplest instance of Beauty, and therefore the fittest to begin with. Here, neither Variety, nor Uniformity, nor any other principle that I know, can be assigned, as the foundation of Beauty. We can refer it to no other cause but the structure of the eye, which determines us to receive certain modifications of the rays of light with more pleasure than others.

And we see accordingly, that, as the organ of sensation varies in different persons, they have their different favourite colours. It is probable, that association of ideas has influence, in some cases, on the pleasure which we receive from colours. Green, for instance, may appear more beautiful, by being connected in our ideas with rural prospects and scenes; white, with innocence; blue, with the serenity of the sky. Independent of asso

ciations of this kind, all that we can farther observe concerning colours is, that those chosen for Beauty are, generally, delicate, rather than glaring. Such are those paintings with which nature hath ornamented some of her works, and which art strives in vain to imitate; as the feathers of several kinds of birds, the leaves of flowers, and the fine variation of colours exhibited ́by the sky at the rising and setting of the sun. These present to us the highest instances of the Beauty of colouring; and have accordingly been the favourite subjects of poetical description in all countries.

From Colour we proceed to Figure, which opens to us forms of Beauty more complex and diversified. Regularity first occurs to be noticed as a source of Beauty. By a regular figure, is meant, one which we perceive to be formed according to some certain rule, and not left arbitrary, or loose, in the construction of its parts. Thus, a circle, a square, a triangle, or a hexagon, please the eye, by their regularity, as beautiful figures. We must not, however, conclude, that all figures please in proportion to their regularity; or that regularity is the sole, or the chief, foundation of Beauty in figure. On the contrary, a certain graceful variety is found to be a much more powerful principle of Beauty; and is therefore studied a great deal more than regularity, in all works that are designed merely to please the eye. I am, indeed, inclined to think, that regularity appears beautiful to us, chiefly, if not only, on account of its suggesting the ideas of fitness, propriety, and use, which have always a greater connexion with orderly and proportioned forms, than with those which appear not constructed according to any certain rule. It is clear, that nature, who is undoubtedly the most graceful artist, hath, in all her ornamental works, pursued variety, with an apparent neglect of regularity. Cabinets, doors, and windows, are made after a regular form, in cubes and parallelograms, with exact proportion of parts: and by being so formed they please the eye; for this good reason, that, being works of use, they are by such figures, the better suited to the ends for which they were designed. But plants, flowers, and leaves are full of variety and diversity. A straight canal is an insipid figure, in comparison of the meanders of rivers. Cones and pyramids are beautiful; but trees growing in their natural

wildness, are infinitely more beautiful than when trimmed into pyramids and cones. The apartments of a house must be regular in their disposition, for the conveniency of its inhabitants; but a garden, which is designed merely for Beauty, would be exceedingly disgusting, if it had as much uniformity and order in its parts as a dwelling-house.

Mr. Hogarth, in his Analysis of Beauty, has observed, that figures bounded by curve lines are, in general, more beautiful than those bounded by straight lines, and angles. He pitches upon two lines, on which, according to him, the Beauty of figure principally depends; and he has illustrated and supported his doctrine, by a surprising number of instances. The one is the Waving Line, or a curve bending backwards and forwards, somewhat in the form of the letter S. This he calls the Line of Beauty; and shews how often it is found in shells, flowers, and such other ornamental works of nature; as is common also in the figures designed by painters and sculptors, for the purpose of décoration. The other Line, which he calls the Line of Grace, is the former waving curve, twisted round some solid body. The curling worm of a common jack is one of the instances he gives of it. Twisted pillars, and twisted horns, also exhibit it. In all the instances which he mentions, Variety plainly appears to be so material a principle of Beauty, that he seems not to err much when he defines the art of drawing pleasing forms, to be the art of varying well. For the curve line, so much the favourite of painters, derives, according to him, its chief advantage, from its perpetual bending and variation from the stiff regularity of the straight line.

Motion furnishes another source of Beauty, distinct from Figure. Motion of itself is pleasing; and bodies in motion are," cæteris paribus," preferred to those in rest. It is, however, only gentle motion that belongs to the Beautiful; for when it is very swift, or very forcible, such as that of a torrent, it partakes of the Sublime. The motion of a bird gliding through the air, is extremely Beautiful; the swiftness with which lightning darts through the heavens, is magnificent and astonishing. And here, it is proper to observe, that the sensations of Sublime and Beautiful are not always distinguished by very distant boundaries; but are capable, in several instances,