BOOK II. jects excite in the mind. The simple perception of the object may be pleasing, but it is insufficient to awaken those emotions of beauty or sublimity which amount to delight, unless it is accompanied with this operation of the mind; unless the imagination is seized, and the fancy busied in the contemplation of the chain of ideas which that object suggests. Thus, the sight of the ocean is no otherwise sublime, than as it excites in the mind a train of ideas of immensity, danger and uncontrollable power, which altogether produce the emotion of sublimity: the scenery of the country in spring, is no otherwise beautiful, than as it suggests a train of ideas of cheerfulness, gladness, tenderness and serene enjoyments. The author brings a positive proof of his propo sition from an elaborate detail of the various trains of association which the qualities of objects are fitted to produce; and a negative demonstration, from the invariable phenomenon, that when these associations are dissolved, or when the material qualities cease to produce them, there is an end to the emotions of sublimity or beauty. On this theory, which rests upon one beautiful philosophic thought, and which is not only supported by great acuteness of reasoning, but by a surprising variety of ingenious and apposite illustrations, I shall only remark, that if there should still remain a doubt, whether the principle of association be, as the author supposes, absolutely exclusive of all others in the excitement of the emotions of beauty and sublimity, he has at least brought the most convincing evidence, that it has a very universal and powerful influence, both in the production, and in the improvement of those emotions. It were tedious to enter into a particular account of all the works of merit in the department of criticism which have proceeded from the same school; as, the Essays of Dr Beattie on Poetry and Music, and his Illustrations on Sublimity; the Observations on Modern Gardening by Mr Whately; Mr Brown's Remarks on the Poetry and Music of the Italian Opera; the ingenious Essays of Professor Richardson on Shakespeare's Dramatic Characters; or the excellent specimens of similar disquisition by Mr. Mackenzie, and other writers, in the Mirror and Lounger. From these and other recent works of taste, it will be seen, that criticism has of late years assumed a new character, and is now as generally associated with philosophy, as formerly it was limited to mechanical rules, or didactic precepts, resting on the sole foun-dation of authority, and the practice of the ancient writers.. CHAP. IV. Other works. in philoso. phic criticism. END OF BOOK SECOND.. VOL. I. T t. APPEN |