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either primarily or secondarily, in producing a tension, contraction, or violent emotion of the nerves, they agree likewise in everything else. For it appears very clearly to me, from this, as well as from many other examples, that when the body is disposed, by any means whatsoever, to such emotions as it would acquire by the means of a certain passion; it will of itself excite something very like that passion in the mind.
To this purpose Mr. Spon, in his Recherches d'Antiquité, gives us a curious story of the celebrated physiognomist Campanella. This man, it seems, had not only made very accurate observations on human faces, but was very expert in mimicking such as were any way remarkable. When he had a mind to penetrate into the inclinations of those he had to deal with, he composed his face, his gesture, and his whole body, as nearly as he could into the exact similitude of the person he intended to examine; and then carefully observed what turn of mind he seemed to acquire by this change. So that, says my author, he was able to enter into the dispositions and thoughts of people as effectually as if he had been changed into the very men. I have often observed, that on mimicking the looks and gestures of angry, or placid, or frighted, or daring men, I have involuntarily found my mind turned to that passion, whose appearance I endeavoured to imitate; nay, I am convinced it is hard to avoid it, though one strove to separate the passion from its correspondent gestures. Our minds and bodies are so closely and intimately connected, that one is incapable of pain or pleasure without the other. Campanella, of whom we have been speaking, could so abstract his attention from any sufferings of his body, that he was able to endure the rack itself without much pain; and in lesser pains everybody must have observed, that, when we can employ our
"I do not here enter into the question debated among physiologists, whether pain be the effect of a contraction, or a tension of the nerves. Either will serve my purpose ; for by tension, I mean no more than a violent pulling of the fibres, which compose any muscle or membrane, in whatever way this is done,
attention on anything else, the pain has been for a tiine suspended : on the other hand, if by any means the body is indisposed to perform such gestures, or to be stimulated into such emotions, as any passion usually produces in it, that passion itself never can arise, though its cause should be never so strongly in action; though it should be merely mental, and immediately affecting none of the senses. As an opiate, or spirituous liquors, shall suspend the operation of grief, or fear, or anger, in spite of all our efforts to the contrary; and this by inducing in the body a disposition" contrary to that which it receives from these passions.
SECT. V.-HOW THE SUBLIME IS PRODUCED. HAVING considered terror as producing an annatural tension and certain violent emotions of the nerves; it easily follows, from what we have just said, that whatever is fitted to produce such a tension must be productive of a passion similar to terror, and consequently must be a source of the . sublime, though it should have no idea of danger connected with it. So that little remains towards showing the cause of the sublime, but to show that the instances we have given of it in the second part relate to such things as are fitted by nature to produce this sort of tension, either by the primary operation of the mind or the body. With regard to such things as affect by the associated idea of danger, there can be no doubt but that they produce terror, and act by some modification of that passion; and that terror, when sufficiently violent, raises the emotions of the body just mentioned, can as little be doubted. But if the sublime is built on terror, or some passion like it, which has pain for its object, it is previously proper to inquire how any species of delight can be derived from a cause so apparently contrary to it. I say delight, because, as I have often remarked, it is very evidently different in its cause, and in its own nature, from actual and positive pleasure.
SECT. VI.—HOW PAIN CAN BE A CAUSE OF DELIGHT.
PROVIDENCE has so ordered it, that a state of rest and in. action, however it may flatter our indolence, should be pro
i Part II. sect. 2.
ductive of many inconveniences; that it should generate such disorders, as may force us to have recourse to some labour, as a thing absolutely requisite to make us pass our lives with tolerable satisfaction ; for the nature of rest is to suffer all the parts of our bodies to fall into a relaxation, that not only disables the members from performing their functions, but takes away the vigorous tone of fibre which is requisite for carrying on the natural and necessary secretions. At the same time, that in this languid inactive state, the nerves are more liable to the most horrid convulsions, than when they are sufficiently braced and strengthened. Melancholy, dejection, despair, and often self-murder, is the consequence of the gloomy view we take of things in this relaxed state of body. The best remedy for all these evils is exercise or labour; and labour is a surmounting of difficulties, an exertion of the contracting power of the muscles; and as such resembles pain, which consists in tension or contraction, in everything but degree. Labour is not only requisite to preserve the coarser organs in a state fit for their functions; but it is equally necessary to those finer and more delicate organs, on which, and by which, the imagination, and perhaps the other mental powers, act. Since it is probable, that not only the inferior parts of the soul, as the passions are called, but the understanding itself, makes use of some fine corporeal instruments in its operation; though what they are, and where they are, may be somewhat hard to settle: but that it does make use of such, appears from hence; that a long exercise of the mental powers induces a remarkable lassitude of the whole body; and, on the other hand, that great bodily labour, or pain, weakens, and sometimes actually destroys, the mental faculties. Now, as a due exercise is es. sential to the coarse muscular parts of the constitution, and that without this rousing they would become languid and diseased, the very same rule holds with regard to those finer parts we have mentioned; to have them in proper order, they must be shaken and worked to a proper degree.
EXCT. VII.—EXERCISE NECESSARY FOR THE FINER ORGANS. ho As common labour, which is a mode of pain, is the exerWise of the grosser, a mode of terror is the exercise of the finer parts of the system ; and if a certain mode of pain be of such a nature as to act upon the eye or the ear, as they are the most delicate organs, the affection approaches more nearly to that which has a mental cause. In all these cases, if the pain and terror are so modified as not to be actually noxious; if the pain is not carried to violence, and the terror is not ..conversant about the present destruction of the person, as (these emotions clear the parts, whether fine or gross, of a dangerous and troublesome encumbrance, they are capable of producing delight; not pleasure, but a sort of delightful horror, a sort of tranquillity tinged with terror; which, as it belongs to self-preservation, is one of the strongest of all the passions. Its object is the sublime. Its highest degree I call astonishment; the subordinate degrees are awe, reverence, and respect, which, by the very etymology of the words, show from what source they are derived, and how they stand distinguished from positive pleasure.
SECT. VIII.—WHY THINGS NOT DANGEROUS PRODUCE A PAS.
SION LIKE TERROR.
Ý 2 A MODE of terror or pain is always the cause of the sub| lime. For terror, or associated danger, the foregoing explication is, I believe, sufficient. It will require something more trouble to show, that such examples as I have given of the sublime in the second part are capable of producing a mode of pain, and of being thus allied to terror, and to be accounted for on the same principles. · And first of such objects as are great in their dimensions. I speak of visual objects.
SECT. IX.-WHY VISUAL OBJECTS OF GREAT DIMENSIONS
ARE SUBLIME. VISION is performed by having a picture, formed by the rays of light which are reflected from the object, painted in one piece, instantaneously, on the retina, or last nervous part of the eye. Or, according to others, there is but one point of any object painted on the eye in such a manner as to be perceived at once; but by moving the eye, we gather
Part II. sect. 2.
3 Part I. sect. 7. Part II. sect. 2.
, up, with great celerity, the several parts of the object, so as
to form one uniform piece. If the former opinion be allowed, it will be considered that though all the light reflected from a large body should strike the eye in one instant; yet we must suppose that the body itself is formed of a vast number of distinct points, every one of which, or the ray from every one, makes an impression on the retina. So that, though the image of one point should cause but a small tension of this membrane, another, and another, and another stroke, must in their progress cause a very great one, until it arrives at last to the highest degree; and the whole capacity of the eye, vibrating in all its parts, must approach near to the nature of what causes pain, and consequently must produce an idea of the sublime. Again, if we take it, that one point only of an object is distinguishable at once, the matter will amount nearly to the same thing, or rather it will make the origin of the sublime from greatness of dimension yet clearer. For if but one point is observed at once, the eye must traverse the vast space of such bodies with great quickness, and consequently the fine nerves and muscles destined to the motion of that part must be very much strained ; and their great sensibility must make them highly affected by this straining. Besides, it signifies just nothing to the effect produced, whether a body has its parts connected and makes its impression at once; or, making but one impression of a point at a time, it causes a succession of the same or others so quickly as to make them seem united; as is evident from the common effect of whirling about a lighted torch or piece of wood: which, if done with celerity, seems a circle of fire,
SECT. X.-UNITY WHY REQUISITE TO VASTNESS. It may be objected to this theory, that the eye generally receives an equal number of rays at all times, and that therefore a great object cannot affect it by the number of rays, more than that variety of objects which the eye must always discern whilst it remains open. But to this I answer, that admitting an equal number of rays, or an equal quantity of luminous particles, to strike the eye at all times, yet if these rays frequently vary their nature, now to blue, now to
1 Part II. sect. 7.