4. Variety is another source of beauty; not, however, simple variety, but variety combined with order and symmetry. Variety is, therefore, rather an enhancement of the beauty of symmetry than an independent source of beauty. Of this principle also the Deity has availed himself in beautifying the world. The variety of organised forms in the mineral, vegetable, and animal kingdoms is inconceivably great. Every such object possesses variety combined with symmetry. When the countenances and forms of men and other animals are traced latitudinally, they consist of two parts, as we have said, precisely corresponding to one another. When traced longitudinally, from the head to the feet, the outline is continually' varying. Here, then, if not an independent original source of beauty, we have an enhancement of the beauty of form.

Sublimity in material objects.

The feeling of sublimity is not, as some have supposed, the feeling of beauty exaggerated. A minute flower may be exquisitely beautiful, and perhaps will appear the more beautiful the more minute it is; but it can never be sublime. The tones of a little musical box may be exquisitely beautiful, from their being a varied succession of the tones of the scale, frequently combined into chords, and accompanied with the order of rhythm or accent, and with a certain symmetry of composition, one part answering to another as in the spectrum of the kaleidoscope; but by no arrangement could such sounds ever be made sublime. The sources of beauty which we have enumerated are in truth rather unfavourable to sublimity than otherwise. Harmony of colour or of sound, symmetry, order with variety, not only could never of themselves excite the feeling of sublimity, but would detract from the sublimity of objects that without them would be sublime. A mountain cut into the regular form of a cube or a pyramid, would be less

N

sublime than the same mountain left in its original irregular form, with its yawning chasms, its jutting crags, and stupendous precipices. The various sounds of a powerful ring of bells, heard in succession, are more beautiful, but less sublime, than the clash of all the bells together; although that makes a hideous discord, utterly devoid of beauty.

There are two qualities in external objects that seem to be the chief, if not the only, sources of the conception and feeling of sublimity,—namely, vastness, and power or energy.

Anything vast, that puts our faculties to the stretch to comprehend it, or still more, if it pass our comprehension, is felt as sublime. The vault of heaven, the boundless ocean, the immense distances of the heavenly bodies, as discovered by astronomy, are in the highest degree sublime. Abstract notions, such as infinite space or eternity, are sublime, from their including an incomprehensible vastness.

The other source of sublimity is power, force, or energy. A cataract, a tempest, a loud peal of thunder, a flash of lightning, a volcano, whether at rest or in active eruption, are sublime, from the conception of great power which they communicate. Great force, in comparison with human strength, though immeasurably inferior to these natural objects, may excite the notion and feeling of sublimity, as the fire of artillery, the spring and roar of a lion, the coil of the boa constrictor, the terrible energy of the shark, are sublime objects. From the same cause, venomous animals,—the scorpion, the cobra capello, the rattlesnake, and other deadly serpents, may, in many situations, be felt as sublime.

Both of these sources of sublimity, in external objects, are increased by obscurity. A lofty mountain, the expanse of ocean, are more sublime in the twilight, or covered with a certain amount of mist, than in bright, clear sunshine. The sublimity of a tempest, and of

thunder and lightning, is greater in the night than during the day. So the rattle of a rattlesnake, although we may be in perfect safety from its assault, becomes sublime when heard in the darkness of night.

In short, clearness, regularity, symmetry, polish, in external objects, and variety connected with these qualities, communicate the pleasure of beauty; whereas, vastness, power, obscurity, awaken the conception and feeling of sublimity.

We are much inclined to think, with Burke, that a certain degree of fear is a necessary ingredient in the feeling of sublimity. Not a sense of personal danger, for subjective sublimity has high enjoyment connected with it, and the dread of danger would be inconsistent with that enjoyment; but that degree of awe which comes over the spirit when we contemplate any object of vast extent or magnitude, or any great exhibition of power or energy.

II.-Qualities of mind that awaken the conception and feeling of beauty and sublimity.

MENTAL BEAUTY.-Those qualities of mind that excite the feeling of beauty are more diversified than those in matter. They are, however, analogous to the qualities in matter which awaken a feeling of beauty: order, regularity, calmness amidst incentives to contention, gentleness, well-regulated affections, generosity, a symmetrical mind, in which the various faculties are in well-balanced exercise. In regard to intellect, that mind is beautiful that is enlightened with important knowledge, that with apparent ease and little labour, can discern differences and resemblances in material or mental objects, can classify them judiciously, so as to have its knowledge always at command. To be beautiful, there must also be a just proportion between the intellect and the emotions. A mind may be deformed

by having a great excess of feeling over its intellectual power, or great intellectual power with little sensibility.

MENTAL SUBLIMITY-The sublime in minds viewed as objects, as in matter, consists in qualities that convey the conception and feeling of vastness or energy. In intellect, a wide grasp of understanding, such as that of Sir Isaac Newton, is a sublime object. The mind of a great monarch, swaying an extensive empire with wisdom and calm dignity, is another sublime object. Minds of great energy-Achilles, as painted by Homer, Alexander of Macedon, Julius Cæsar, Bonaparte, and others-are sublime. Such barbarians as Genghis Khan, Timor Beg, Alaric, and others, are too destitute of intellect and too ferocious to be sublime. Their invasions were too like mere eruptions of hungry wolves, with power from their numbers to destroy, but without any exhibition of mental energy, to be sublime. Passions and affections may become sublime if they beget acts of great self-denial, the braving of imminent danger, the surmounting of great obstacles, the enduring of great sufferings with equanimity. Even vices may acquire a sort of sublimity by their fearful intensity. A kind of awe is upon the spirit, which, if not sublimity, is nearly akin to it in contemplating the artful, dark, unscrupulous and energetic character of Cæsar Borgia. Lord Byron seemed most to delight in attempting to excite this variety of the sublime. In short, it is in mind as it is in matter, calmness, clearness, order, symmetry, polish, benevolence, beneficence, contribute to beauty; whereas, great expanse or force of intellect, and more especially great energy of character, heightened also by darkness and mystery, contribute to sublimity.

We must, however, take care not to confound those objective qualities of mind or matter which excite conceptions and feelings of beauty or sublimity, with the artificial awakening of the subjective sublime or beautiful.

III.-The artificial excitement of the emotions of beauty and sublimity.

All works of art aim at the excitement of the one or the other of these emotions. The painter, the statuary, the architect, the musical composer, the poet, so far as their works are to be regarded as works of art, seek to excite feelings of beauty or of sublimity. Other aims may mingle with these, as communicating information, pathos, utility; but it is the exciting of conceptions of beauty, or sublimity, that entitles their works to rank among specimens of the fine arts.

The artificial excitement of beauty.

Here the artist has a much wider range of objects to make use of, than those which are in themselves beautiful. All objects, even the homeliest, which suggest thoughts of comfort and happiness, become beautiful when vividly recalled by such arts as painting, music, and poetry. The sleeping peasant, the parlour, the kitchen fire, may have no beauty in themselves, yet may, when skilfully introduced by the artist seeking to fill the mind with pleasant thoughts, become exceedingly beautiful. In addition, therefore, to objects beautiful in themselves, material or mental, the artist may employ all objects fitted to recal pleasant sensations or emotions of any kind.

2. Artists must avail themselves of those qualities which in themselves are sources of beauty, according to the nature of their several arts.

Musicians must avail themselves of clear, pleasing tones, and of the notes of the diatonic scale, and the combined tones of the triad. They must convey notions of order and symmetry by the regular return of their accents and cadences, by their corresponding passages,