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sharp and angular objects of sight, are introduced by the most judicious composers, in their accompaniments to the sweetest and most flowing melodies, in order to relieve the ear from that languor and weariness, which long continued smoothness always brings on. But, on the other hand, should a composer from too great a fondness for discords and extraneous modulations, neglect the flow and smoothness of melody, or should he smother a sweet and simple air beneath a load even of the richest harmony, he would resemble an architect, who from a false notion of the picturesque, should destroy all repose and continuity in his designs, by the number of breaks and projections, or should try to improve some elegant and simple building, by loading it with a profusion of ornaments. The most beautiful and melodious of all sounds, that of the human voice in its highest perfection, appears to the greatest advantage when there is some degree of sharpness in the instrument which accompanies it; as in the harp, the violin,

or the harpsichord: the flute, and even the organ have too much of the same qua lity of sound; they give no relief to the voice; it is like accompanying smooth water with smooth banks yet will any one say, that separately considered, the sound of the harp or the violin is as beautiful as that of a fine human voice, or that they ought to be classed together? or that discords are as beautiful as concords, or that both are beautiful, because when they are mixed with judgment, the whole is more delightful? Does not this shew that what is very justly called beautiful, from the essential qualities of beauty being predominant, is frequently, náy generally composite; and that we act against the constant practice of nature and of judicious art, when we endeavour to make objects more beautiful, by depriving them of what gives beauty some of its most powerful attractions?

CHAPTER VI.

THE various and striking lights in which Mr. Burke has placed the alliance between smoothness and beauty in objects of sight, and the very close and convincing arguments he has drawn by analogy from the other senses, I should have supposed would have left but little doubt on the subject. As I find, however, that the position has been questioned by persons to whose opinions much respect is due, I shall venture, notwithstanding the copious and masterly manner in which the subject has been

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treated, to mix a few observations on smoothness with some farther remarks I have to offer on the opposite quality of roughness. I am indeed highly interested in the question, for if this principle of Mr. Burke's should be false, if smoothness should not be an essential quality of beauty, if objects be as generally beautiful where roughness, as where smoothness prevails, and lastly, if, as many have supposed, all that strongly attracts and captivates the eye be included in the sublime and the beautiful, my distinction of course must fall to the ground. I cannot help flattering myself, however, that the having considered and compared the three characters together, has thrown a reciprocal light on each; and that the picturesque fills up a vacancy between the sublime and the beautiful, and accounts for the pleasure we receive from many objects, on principles distinct from them both; which objects should therefore be placed in a separate class.

In the last chapter I have endeavoured

to shew how nature has blended a certain portion of the qualities of the picturesque, of roughness, sharpness, &c. in many ob jects generally allowed to be beautiful, and that the same mixture has been adopted in many of the most approved works of art: and that although smoothness be the ground-work of beauty, yet that roughness is its fringe and ornament, and that which preserves it from insipidity. I shall now try to point out, what, according to my notions, is the most usual effect of the two qualities, and in what manner roughness and smoothness act upon the organs and upon the mind.

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One principal charm of smoothness, whether in a literal or a metaphorical sense, is, that it conveys the idea of repose; roughness, on the contrary, conveys that of irritation, but at the same time of animation, spirit, and variety. This is very strongly exemplified in the sense of hearing. Smooth and flowing strains in music, give a pleasing and voluptuous repose to the ear and the mind; an effect which is

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