at a painting which has come from the hand of some master of his art, we are distinctly conscious at first sight of a pleasing emotion; but we examine it further, and make ourselves acquainted with a number of things less prominent than others, but still decidedly showing the skill of the painter, which escaped our first view, and we are conscious of a distinct change in that emotion. It becomes more decided, more full, in precise conformity with the increased knowledge which we have obtained of the merit which the picture actually possesses. And it is so, if no unusual disturbing influence is interposed, in every other case, showing not only the intimate but proximate connexion between the emotions and the intellective acts, and the dependence of the former on the latter.

251. Emotions characterized by rapidity and variety.

When we assert that the position of emotions is between intellections on the one hand, and desires and obligations on the other, we imply, of course, that there is a real and marked distinction between them and the latter mental states. And this distinction exists. If consciousness gives us a knowledge of emotions, the same consciousness can hardly fail to give a knowledge of the mental states that are subsequent to them; and the difference of knowledge, resulting from these different acts of consciousness, involves necessarily a difference in the things known.

(1.) Among other things, if we consult our consciousness for the purpose of ascertaining the comparative nature of the mental states in question, we shall undoubtedly be led to notice that the emotions, as compared with the others, are generally more prompt and rapid in their origin, as well as more evanescent. They arise and depart on the surface of the mind, swelling and sinking almost instantaneously, like the small waves and ripples that play upon the scarcely agitated surface of a summer's lake, and which have no sooner arrested the eye of the beholder than they are gone. The desires and feelings of obligation not only arise subsequently and more slowly, but obviously possess a greater tenacity and inflexibility of nature

When a strong desire or a decided sentiment of duty has once entrenched itself in the soul, it is well known that it is comparatively difficult to dislodge it.

(2.) There is another circumstance involved in the dis tinction between them. The emotions have less unity in kind; in other words, are more various. Desires and ob Lgations, although liable, like other mental states, to be modified by peculiar circumstances, are, in themselves considered, always one and the same. But of emotions we find many varieties, such as the emotions of cheerfulness and joy, of melancholy and sorrow, of shame, of surprise, astonishment, and wonder. We have furthermore the emotions, differing from all others, of the ludicrous, the emotions of beauty and sublimity, also the moral emotions of approval and disapproval, and some others. -If the reader will bear these statements in mind, taken in connexion with some things to be said hereafter, he will feel less objection, than he might otherwise have felt, to the general and subordinate classifications which we have thought ourselves authorized to make. These divisions we hold to be fundamental. They are necessarily involved, as we apprehend, in a thorough and consistent knowledge of the mind. Important points, for instance, in the doctrine of the Will, will be found to depend upon distinctions which are asserted to exist in the sensibilities. It is desirable, therefore, that the grounds of such distinctions should be understood, so that they may not only be above rejection, but above doubt.

CHAPTER II.

EMOTIONS OF BEAUTY.

252. Characteristics of emotions of beauty.

We do not profess to enter into an examination of every possible emotion. They are so various and multiplied, it would be difficult to do it; nor would any important object be answered. Proceeding on the principle of se

to

lecting those which, either in themselves, or by reason of their relation to the arts and to human conduct, appear be most interesting and important, we shall begin with emotions of Beauty.-We have already had occasion to remark, that all emotions are undefinable. This remark is applicable to those under consideration as well as others. Of the emotions of beauty it will be as difficult to give a definition, so as to make them clearer to any one's comprehension than they already are, as to define the simple sensations of colour, sound, or taste. We find in them, however, these two marks or characteristics.

(1.) The emotion of beauty, in the first place, is always a pleasing one. We never give the name to one which is painful, or to any feeling of disgust. Whenever, therefore, we speak of an emotion of beauty, we imply, in the use of the terms, some degree of satisfaction or pleasure. All persons, the illiterate as well as the scientific, use the phrase with this import. (2.) We never speak of emotions of beauty, to whatever degree may be our experience of inward satisfaction, without referring such emotions to something external. The same emotion, which is called satisfaction or delight of mind when it is wholly and exclusively internal, we find to be termed an emotion of beauty if we are able to refer it to something without, and to spread its charms around any external object.

§ 253. Of what is meant by beautiful objects.

There are many objects which excite the emotion of beauty; that is, when the objects are presented, this. emotion, in a greater or less degree, immediately exists. These objects we call beautiful.-There are other objects which, so far from exciting pleasant emotions within us, are either indifferent, or cause feelings of a decidedly opposite character; so that we speak of them as deformed or disgusting. If there were no emotions, pleasant or unpleasant, excited by either of these classes, or if the emotions which they cause were of the same kind, we should apply to them the same epithets. So that the ground of distinction, which, in speaking of these different objects, we never fail to make, appears to exist in our own feel

ings. In other words, we call an object BEAUTIFUL, because it excites within us pleasant emotions, which, in the circumstances of the case, we cannot well ascribe to any other cause. And when we prefer to say, in other terms, that an object has beauty, we obviously mean the same thing, viz., that the object has a trait or quality (perhaps we may find it difficult to explain precisely what it is} which causes these emotions.

254. Of the distinction between beautiful and other objects

In view of what has been said, we may venture to make two remarks.-(1.) Every beautiful object has something in itself which truly discriminates it from all other objects. This something, this peculiar trait, whatever it is, lays the foundation for those results in the human mind, which, on being experienced, authorize us to speak of the object as beautiful. This is clear, not only from what, on a careful examination, we shall frequently find in the objects themselves, but also from the fact, that the operations of the mind always have their appropriate causes. If the mind experiences a pleasant emotion in view of a certain object, it is because there is something in the object which has a determinate and permanent relation to that particular mental state which distinguishes it from other objects. If it were not for thát distinctive trait in the object, the human mind is so constituted that it could not have experienced the corresponding emotion

(II.) Beautiful objects are distinguished from all others, not only by something in themselves, certain original and inherent traits characteristic of them, but also, and perhaps still more, by a superadded trait, a species of borrowed effulgence, derived and reflected back from the mind itself. When we contemplate a beautiful object, we are pleased; we are more or less happy. We naturally connect this emotion of pleasure with the object which is its cause; and we have been in the habit of doing this, no doubt in most instances unconsciously to ourselves, from early life. The consequence is, the association between the inward delight and the outward cause becomes so strong, that we are unable to separate them; and the objects, additional to their own proper qualities

appear to be surrounded, and to beam out with an effulgence which comes from the mind.

255. Grounds or occasions of emotions of beauty various. The next remark which we have to make on the subject of Beauty is, that the objects by which it is occasioned are not always the same, but are very various; differing from each other not only in their general nature, but also in their subordinate incidents. Accordingly, we may with propriety regard the term BEAUTY not so much a particular as a general or common name, expressive of numerous emotions, which always possess the characteristic of being pleasant, and are in every respect always the same in nature, but which may differ from each other both in the occasions of their origin, and also in the degree or intensity in which they exist.

(I.) In regard to the occasions on which they arise, we may remark more particularly, that emotions of beauty are felt, and frequently in a very high degree, in the contemplation of material objects that are addressed to the sense of sight, such as woods, waters, cultivated fields, and the visible firmament. We look abroad upon nature, in the infinite variety of her works, as she is exhibited in the depths below and in the heights above, in her shells and minerals, in her plants, and flowers, and trees, in her waters, and her stars, and suns; and we find the mind kindling at the sight; fountains of pleasure are suddenly opened within us; and we should do violence to our mental structure if we did not pronounce them beautiful.

(II.) Again, emotions of beauty are felt in the contemplation of intellectual and moral objects. In other words, mind, as well as matter, furnishes the occasion on which they arise. Whenever we discover intelligence, wisdom, truth, honour, magnanimity, benevolence, justice, or other traits of a mind acting as it was created and designed to act, we have a foundation laid for emotions of beauty.The human countenance, considered merely as a material object, and as presenting nothing more than outline and colour, is undoubtedly beautiful; but becomes more so when it distinctly indicates to us intelligence and amiability.