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In a private condition, our desires are perpetually repressed by poverty and subordination ; but the lives and labours of millions are devoted to the service of a despotic prince, whose laws are blindly obeyed, and whose wishes are instantly gratified. Our imagina

ion is dazzled by the splendid picture; and whatever may be the cool dictates of reason, there are few among us, who would obstinately refuse a trial of the comforts and the cares of royalty. It may therefore be of some use to borrow the experience of the same Abdalrahman, whose magnificence has perhaps excited our admiration and envy, and to transcribe an authentic memorial which was found in the closet of the deceased caliph. “I have now reigned above fifty years in victory or peace; beloved by my subjects, dreaded by my enemies, and respected by my allies. Riches and honours, power and pleasure, have waited on my call, nor does any earthly blessing appear to have been wanting to my felicity. In this situation I have diligently numbered the days of pure and genuine happiness which have fallen to my lot: they amount to fourteen. O man! place not thy confidence in this present world.”



[Dr. Hugh BLAIR is chiefly known to the world by his Lectures on Rhetoric, and a collection of admirable Sermons on various important practical subjects. The extracts which follow are from the former of these works. ]

On Sublimity. It is not easy to describe in words the precise impression which great and sublime objects make upon us when we behold them; but every one has a conception of it. It produces a sort of internal elevation and expansion; it raises the mind much above its ordinary state, and fills it with a degree of wonder and astonishment which it cannot well express. The emotion is certainly delightful, but it is altogether of the serious kind ; a degree of awfulness and solemnity, even approaching to severity, commonly attends it when at its height, very distinguishable from the more gay and brisk emotion raised by beautiful objects.

The simplest form of external grandeur appears in the vast and boundless prospects presented to us by nature; such as wide extended plains, to which the eye can see no limits, the firmament of heaven, or the boundless expanse of the ocean. All vastness produces the impression of sublimity. It is to be remarked, however, that space, extended in length, makes not so strong an impression as height or depth. 25


Though a boundless plain be a grand object, yet a high mountain, to which we look up, or an awful precipice or tower, whence we look down on the objects which lie below, is still more so. The excessive grandeur of the firmament arises from its height, joined 10 its boundless extent; and that of the ocean not from its extent alone, but from the perpetual motion and irresistible force of that mass of waters. Wherever space is concerned, it is clear that amplitude or greatness of extent in one dimension or other is necessary to grandeur. Remove all bounds from any object, and you presently render it sublime. Hence infinite space, endless numbers, and eternal duration, fill the mind with great ideas.

From this some have imagined that vastness or amplitude of extent is the foundation of all sublimity. But I cannot be of this opinion, because many objects appear sublime which have no relation to space at all. Such, for instance, is great loudness of sound. The burst of thunder, or of cannon, the roaring of winds, the shouting of multitudes, the sound of vast cataracts of water, are all incontestably grand objects. “ I heard the voice of a great multitude, as the sound of many waters, and of mighty thunderings, saying Hallelujah.” In general, we may observe, that great power and force exerted always raise sublime ideas; and perhaps the most copious source of these is derived from this quarter. Hence the grandeur of earthquakes and burning mountains ; of great confiagrations ; of the stormy ocean and overflowing waters; of tempests of wind; of thunder and lightning; and of all the uncommon violence of the elements: nothing is more sublime than mighty power

and strength. A stream that runs within its banks is a beautiful object, but when it rushes down with the impetuosity and noise of a torrent, it presently becomes a sublime one. From lions, and other animals of strength, are drawn sublime comparisons in poets. A race-horse is looked upon with pleasure: but it is the war-horse, “whose neck is clothed with thunder,” that carries grandeur in its idea. The engagement of two great armies, as it is the highest exertion of human might, combines a variety of sources of the sublime, and has accordingly been always considered as one of the most striking and magnificent spectacles that can be either presented to the eye, or exhibited to the imagination in description.

For the further illustration of this subject, it is proper to remark, that all ideas of the solemn and awful kind, and even bordering on the terrible, tend greatly to assist the sublime; such as darkness, solitude, and silence. What are the scenes of nature that elevate the mind in the highest degree, and produce the sublime sensation ? Not the gay landscape, the flowery field, or the flourishing city; but the hoary mountains, and the solitary lake, the aged forest, and the torrent falling over the rock. Hence, too, night scenes are commonly the most sublime. The firmament, when filled with stars, scattered in such vast numbers, and with such magnificent profusion, strikes the imagination with a more awful grandeur than when we view it enlightened with all the splendour of the sun. The deep sound of a great bell, or the striking of a great clock, are at any time grand, but, when heard amid the silence and stillness of the night, they become doubly so. Darkness is very commonly applied for

adding sublimity to all our ideas of the Deity: “ He maketh darkness his pavilion, he duelleth in the thick cloud.” So Milton :

. . . . . How oft, amidst
Thick clouds and dark, does heaven's all-ruling Sire
Choose to reside, his glory unobscured,
And with the majesty of darkness, round
Circles his throne.

Observe with how much art Virgil has introduced all those ideas of silence, vacuity, and darkness, when he is going to introduce his hero to the infernal regions, and to disclose the secrets of the great deep :

Ye subterranean gods, whose awful sway
The gliding ghosts and silent shades obey;
Oh, Chaos, hear! and Phlegethon profound !
Whose solemn empire stretches wide around !
Give me, ye great tremendous powers, to tell
Of scenes and wonders in the depth of hell ;
Give me, your mighty secrets to display
From those black realms of darkness to the day.- Pitt.

Obscure they went; through dreary shades, that led
Along the waste dominions of the dead;
As wander travellers in woods by night,
By the moon's doubtful and malignant light.-Dryden.

These passages I quote at present, not so much as instances of sublime writing, though in themselves they truly are so, as to show, by the effect of them, that the objects which they present to us belong to the class of sublime ones.

Obscurity, we are further to remark, is not unfavourable to the sublime. Though it render the object indistinct, the impression, however, may be great; for,

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