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Canitiem alarum, et glaucos miratur ocellos.
Nempe sibi semper constat, crescitque quotannis
Lucida progenies, custos confessa parentes;
Dum virides inter saltus lucosque sonoros
Vere novo exultat, plumasque decora juventus
Explicat ad solem patriisque coloribus ardet.
The feather'd husband, to his partner true;
Preserves connubial rites inviolate.
With cold indifference every charm he sees,
The milky whiteness of the stately neck,
The shining down, proud crest, and purple wings:
But cautious with a searching eye explores
The female tribes, his proper mate to find,
With kindred colours mark’d: did he not so,
The grove with painted monsters would abound,
The ambiguous product of unnatural love.
The blackbird hence selects her sooty spouse
The nightingale, her musical compeer,
Lur'd by the well known voice: the bird of night,
Smit with her dusky wings and greenish eyes,
Wooes his dun paramour.

The beauteous race
Speak the chaste loves of their progenitors;
When, by the spring invited, they exult
In woods and fields, and to the sun unfold
Their plumes, that with paternal colours glow.

There is a second kind of beauty that we find in the several products of art and nature, which does not work in the imagination with that warmth and violence as the beauty that appears in our proper species, but is apt, however, to raise in us a secret delight, and a kind of fondness for the places or objects in which we discov. er it. This consists either in the gaiety or variety of colours, in the symmetry and proportion of parts, in the arrangement and disposition of bodies, or in a just mixture and concurrence of all together. Among these several kinds of beau

ty the

eye takes most delight in colours. We no wbere meet with a more glorious or pleasing show in nature, than what appears in the heavens at the rising and setting of the sun, which is wholly made up of those different stains of light that show themselves in clouds of a different situation. For this reason we find the poets, who are always addressing themselves to the imagination, borrowing more of their epithets from colours than from any other topic.

As the fancy delights in every thing that is great, strange, or beautiful, and is still more pleased the more it finds of these perfections in the same object, so it is capable of receiving a new satisfaction by the assistance of another

Thus any continued sound, as the music of birds, or a fall of water, awakens every moment the mind of the beholder, and makes him more attentive to the several beauties of the place that lie before him. Thus, if there arises a fragrancy of smells or perfumes, they heighten the pleasures of the imagination, and make even the colours and verdure of the landscape appear more agreeable; for the ideas of both senses recommend each other, and are pleasanter together, than when they enter the mind separately; as the different colours of a picture, when they are well disposed, set off one another, and receive an additional beauty from the advantage of their situation. ADDISON.

0.

sense.

No. 413. TUESDAY, JUNE 24.

PAPER III,

OF TRE PLEASURES OF THE IMAGINATION

CONTENTS.

Why the necessary cause of our being pleased with what is

great, new, or beautiful, unknown. Why the final cause more known and more useful. The final cause of our being pleased with what is great. The final cause of our being pleased with what is new. The final cause of our being pleased with what is beautiful in our own species. The final cause of our being pleased with what is beau. tiful in general.

-Causa latet, vis est notissima Ovid. METAM. The cause is secret, but the effect is known. ADDISON.

Though in yesterday's paper we considered how every thing that is great, new, or beautiful, 18 apt to affect the imagination with pleasure, we must own that it is impossible for us to assign the necessary cause of this pleasure, because we know neither the nature of an idea, nor the substance of a human soul, which might help us to discover the conformity or disagreeableness of the one to the other; and therefore, for want of such a light, all that we can do, in speculations of this kind, is to reflect on those operations of the soul that are most agreeable, and to range, under their proper heads, what is pleasing or displeasing to the mind, without being able to trace out the several necessary and efficient causes from whence the pleasure or displeasure arises.

Final causes lie more bare and open to our observation, as there are often a greater variety that belong to the same effect; and these, though they are not altogether so satisfactory, are generally more useful than the other, as they give us greater occasion of admiring the goodness and wisdom of the first contriver.

One of the final causes of our delight in any thing that is great may be this. The Supreme Author of our being has so formed the soul of man, that nothing but himself can be its last, adequate and proper happiness. Because therefore a great part of our happiness must arise from the contemplation of his being, that he might give our souls a just relish of such a contemplation, he has made them naturally delight in the

apprehension of what is great or unlimited. Our admiration, which is a very pleasing motion of the mind, immediately arises at the consideration of any object that takes up a great deal of room in the fancy, and, by consequence, will improve into the highest pitch of astonishment and devotion when we contemplate his nature, that is neither circumscribed by time nor place, nor to be comprehended by the largest capacity of a created being.

He has annexed a secret pleasure to the idea of any thing that is new or uncommon, that he might encourage us in the pursuit after knowledge, and engage us to search into the wonders of his creation; for every new idea brings such a pleasure along with it, as rewards any pains we have taken in its acquisition, and consequently serves as a motive to put us upon fresh discoveries, He has made every thing that is beautiful in our

own species pleasant, that all creatures might be tempted to multiply their kind, and fill the world with inhabitants, for it is very remarkable, that wherever nature is crossed in the production of a monster (the result of any unnatural mixture,). the breed is incapable of propagating its likeness, and of founding a new order of creatures; so that unless all animals were allured by the beauty of their own species, generation would be at an end, and the earth unpeopled.

In the last place, he has matle every thing that is beautiful in all other objects pleasant, or rather has made so many objects appear beautiful, that he might render the whole creation more gay and delightful. He has given almost every thing about us the power of raising an agreeable idea in the imagination, so that it is impossible for us to behold his works with coldness or indifference, and to survey so many beauties without a secret satisfaction and complacency. Things would make but a poor appearance to the eye if we saw them only in their proper figures and motions: and what reason can we assign for their exciting in us many of those ideas which are different from any thing that exists in the objects themselves, (for such are light and colours,) were it not to add supernumerary ornaments to the universe, and make it more agreeable to the imagination? We are every where entertained with pleasing shows and apparitions: we discover imaginary glories in the heavens, and in the earth, and see some of this visionary beauty poured out upon the whole creation; but what a rough unsightly sketch of nature should we be entertained with, did all her colouring disappear, and the

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