The Works of the Right Honourable Edmund Burke, Vol. 01 (of 12)

On the whole, my lord, if political society, in whatever form, has still made the many the property of the few; if it has introduced labors unnecessary, vices and diseases unknown, and pleasures incompatible with nature; if in all countries it abridges the lives of millions, and renders those of millions more utterly abject and miserable, shall we still worship so destructive an idol, and daily sacrifice to it our health, our liberty, and our peace? Or shall we pass by this monstrous heap of absurd notions, and abominable practices, thinking we have sufficiently discharged our duty in exposing the trifling, cheats, and ridiculous juggles of a few mad, designing, or ambitious priests? Alas! my lord, we labor under a mortal consumption, whilst we are so anxious about the cure of a sore finger. For has not this leviathan of civil power overflowed the earth with a deluge of blood, as if he were made to disport and play therein? We have shown that political society, on a moderate calculation, has been the means of murdering several times the number of inhabitants now upon the earth, during its short existence, not upwards of four thousand years in any accounts to be depended on. But we have said nothing of the other, and perhaps as bad, consequence of these wars, which have spilled such seas of blood, and reduced so many millions to a merciless slavery. But these are only the ceremonies performed in the porch of the political temple. Much more horrid ones are seen as you enter it. The several species of government vie with each other in the absurdity of their constitutions, and the oppression which they make their subjects endure. Take them under what form you please, they are in effect but a despotism, and they fall, both in effect and appearance too, after a very short period, into that cruel and detestable species of tyranny: which I rather call it, because we have been educated under another form, than that this is of worse consequences to mankind. For the free governments, for the point of their space, and the moment of their duration, have felt more confusion, and committed more flagrant acts of tyranny, than the most perfect despotic governments which we have ever known. Turn your eye next to the labyrinth of the law, and the iniquity conceived in its intricate recesses. Consider the ravages committed in the bowels of all commonwealths by ambition, by avarice, envy, fraud, open injustice, and pretended friendship; vices which could draw little support from a state of nature, but which blossom and flourish in the rankness of political society. Revolve our whole discourse; add to it all those reflections which your own good understanding shall suggest, and make a strenuous effort beyond the reach of vulgar philosophy, to confess that the cause of artificial society is more defenceless even than that of artificial religion; that it is as derogatory from the honor of the Creator, as subversive of human reason, and productive of infinitely more mischief to the human race.

If pretended revelations have caused wars where they were opposed, and slavery where they were received, the pretended wise inventions of politicians have done the same. But the slavery has been much heavier, the wars far more bloody, and both more universal by many degrees. Show me any mischief produced by the madness or wickedness of theologians, and I will show you a hundred resulting from the ambition and villany of conquerors and statesmen. Show me an absurdity in religion, and I will undertake to show you a hundred for one in political laws and institutions. If you say that natural religion is a sufficient guide without the foreign aid of revelation, on what principle should political laws become necessary? Is not the same reason available in theology and in politics? If the laws of nature are the laws of God, is it consistent with the Divine wisdom to prescribe rules to us, and leave the enforcement of them to the folly of human institutions? Will you follow truth but to a certain point?

We are indebted for all our miseries to our distrust of that guide which Providence thought sufficient for our condition, our own natural reason, which rejecting both in human and divine things, we have given our necks to the yoke of political and theological slavery. We have renounced the prerogative of man, and it is no wonder that we should be treated like beasts. But our misery is much greater than theirs, as the crime we commit in rejecting the lawful dominion of our reason is greater than any which they can commit. If, after all, you should confess all these things, yet plead the necessity of political institutions, weak and wicked as they are, I can argue with equal, perhaps superior, force, concerning the necessity of artificial religion; and every step you advance in your argument, you add a strength to mine. So that if we are resolved to submit our reason, and our liberty to civil usurpation, we have nothing to do but to conform as quietly as we can to the vulgar notions which are connected with this, and take up the theology of the vulgar as well as their politics. But if we think this necessity rather imaginary than real, we should renounce their dreams of society, together with their visions of religion, and vindicate ourselves into perfect liberty.

You are, my lord, but just entering into the world; I am going out of it. I have played long enough to be heartily tired of the drama. Whether I have acted my part in it well or ill, posterity will judge with more candor than I, or than the present age, with our present passions, can possibly pretend to. For my part, I quit it without a sigh, and submit to the sovereign order without murmuring. The nearer we approach to the goal of life, the better we begin to understand the true value of our existence, and the real weight of our opinions. We set out much in love with both; but we leave much behind us as we advance. We first throw away the tales along with the rattles of our nurses: those of the priest keep their hold a little longer; those of our governors the longest of all. But the passions which prop these opinions are withdrawn one after another; and the cool light of reason, at the setting of our life, shows us what a false splendor played upon these objects during our more sanguine seasons. Happy, my lord, if instructed by my experience, and even by my errors, you come early to make such an estimate of things, as may give freedom and ease to your life. I am happy that such an estimate promises me comfort at my death.

A

PHILOSOPHICAL INQUIRY

INTO THE ORIGIN OF OUR IDEAS OF

THE SUBLIME AND BEAUTIFUL

WITH

AN INTRODUCTORY DISCOURSE

CONCERNING

TASTE,

AND SEVERAL OTHER ADDITIONS

*** The first edition of this work was published in 1756;
        the second with large additions, in the year 1757.

PREFACE.

They who are accustomed to studies of this nature will expect, and they will allow too for many faults. They know that many of the objects of our inquiry are in themselves obscure and intricate; and that many others have been rendered so by affected refinements, or false learning; they know that there are many impediments in the subject, in the prejudices of others, and even in our own, that render it a matter of no small difficulty to show in a clear light the genuine face of nature. They know that whilst the mind is intent on the general scheme of things, some particular parts must be neglected; that we must often submit the style to the matter, and frequently give up the praise of elegance, satisfied with being clear.

The characters of nature are legible, it is true; but they are not plain enough to enable those who run, to read them. We must make use of a cautious, I had almost said, a timorous method of proceeding. We must not attempt to fly, when we can scarcely pretend to creep. In considering any complex matter, we ought to examine every distinct ingredient in the composition, one by one; and reduce everything to the utmost simplicity; since the condition of our nature binds us to a strict law and very narrow limits. We ought afterwards to re-examine the principles by the effect of the composition, as well as the composition by that of the principles. We ought to compare our subject with things of a similar nature, and even with things of a contrary nature; for discoveries may be, and often are made by the contrast, which would escape us on the single view. The greater number of the comparisons we make, the more general and the more certain our knowledge is likely to prove, as built upon a more extensive and perfect induction.

If an inquiry thus carefully conducted should fail at last of discovering the truth, it may answer an end perhaps as useful, in discovering to us the weakness of our own understanding. If it does not make us knowing, it may make us modest. If it does not preserve us from error, it may at least from the spirit of error; and may make us cautious of pronouncing with positiveness or with haste, when so much labor may end in so much uncertainty.

I could wish that, in examining this theory, the same method were pursued which I endeavored to observe in forming it. The objections, in my opinion, ought to be proposed, either to the several principles as they are distinctly considered, or to the justness of the conclusion which is drawn from them. But it is common to pass over both the premises and conclusion in silence, and to produce, as an objection, some poetical passage which does not seem easily accounted for upon the principles I endeavor to establish. This manner of proceeding I should think very improper. The task would be infinite, if we could establish no principle until we had previously unravelled the complex texture of every image or description to be found in poets and orators. And though we should never be able to reconcile the effect of such images to our principles, this can never overturn the theory itself, whilst it is founded on certain and indisputable facts. A theory founded on experiment, and not assumed, is always good for so much as it explains. Our inability to push it indefinitely is no argument at all against it. This inability may be owing to our ignorance of some necessary mediums; to a want of proper application; to many other causes besides a defect in the principles we employ. In reality, the subject requires a much closer attention than we dare claim from our manner of treating it.

If it should not appear on the face of the work, I must caution the reader against imagining that I intended a full dissertation on the Sublime and Beautiful. My inquiry went no farther than to the origin of these ideas. If the qualities which I have ranged under the head of the Sublime be all found consistent with each other, and all different from those which I place under the head of Beauty; and if those which compose the class of the Beautiful have the same consistency with themselves, and the same opposition to those which are classed under the denomination of Sublime, I am in little pain whether anybody chooses to follow the name I give them or not, provided he allows that what I dispose under different heads are in reality different things in nature. The use I make of the words may be blamed, as too confined or too extended; my meaning cannot well be misunderstood.

To conclude: whatever progress may be made towards the discovery of truth in this matter, I do not repent the pains I have taken in it. The use of such inquiries may be very considerable. Whatever turns the soul inward on itself, tends to concentre its forces, and to fit it for greater and stronger flights of science. By looking into physical causes our minds are opened and enlarged; and in this pursuit, whether we take or whether we lose our game, the chase is certainly of service. Cicero, true as he was to the academic philosophy, and consequently led to reject the certainty of physical, as of every other kind of knowledge, yet freely confesses its great importance to the human understanding: "Est animorum ingeniorumque nostrorum naturale quoddam quasi pabulum consideratio contemplatioque naturæ." If we can direct the lights we derive from such exalted speculations upon the humbler field of the imagination, whilst we investigate the springs, and trace the courses of our passions, we may not only communicate to the taste a sort of philosophical solidity, but we may reflect back on the severer sciences some of the graces and elegances of taste, without which the greatest proficiency in those sciences will always have the appearance of something illiberal.

CONTENTS.

•   Page
• INTRODUCTION: On Taste  79
• PART I 101
• • I. Novelty 101
  • II. Pain and Pleasure 102
  • III. The Difference between the Removal of Pain and Positive Pleasure 104
  • IV. Of Delight and Pleasure, as opposed to each other 106
  • V. Joy and Grief 108
  • VI. Of the Passions which belong to Self-Preservation 110
  • VII. Of the Sublime 110
  • VIII. Of the Passions which belong to Society 111
  • IX. The Final Cause of the Difference between the Passions belonging to Self-Preservation, and those which regard the Society of the Sexes 113
  • X. Of Beauty 114
  • XI. Society and Solitude 115
  • XII. Sympathy, Imitation, and Ambition 116
  • XIII. Sympathy 117
  • XIV. The Effects of Sympathy in the Distresses of Others 119
  • XV. Of the Effects of Tragedy 120
  • XVI. Imitation 122
  • XVII. Ambition 123
  • XVIII. The Recapitulation 125
  • XIX. The Conclusion 126
• PART II. 130
• • I. Of the Passion caused by the Sublime 130
  • II. Terror 130
  • III. Obscurity 132
  • IV. Of the Difference between Clearness and Obscurity with regard to the Passions 133
  • [IV.] The Same Subject continued 134
  • V. Power 138
  • VI. Privation 146
  • VII. Vastness 147
  • VIII. Infinity 148
  • IX. Succession and Uniformity 149
  • X. Magnitude in Building 152
  • XI. Infinity in Pleasing Objects 153
  • XII. Difficulty 153
  • XIII. Magnificence 154
  • XIV. Light 156
  • XV. Light in Building 157
  • XVI. Color considered as productive of the Sublime 158
  • XVII. Sound and Loudness 159
  • XVIII. Suddenness 160
  • XIX. Intermitting 160
  • XX. The Cries of Animals 161
  • XXI. Smell and Taste—Bitters and Stenches 162
  • XXII. Feeling.—Pain 164
• PART III. 165
• • I. Of Beauty 165
  • II. Proportion not the Cause of Beauty in Vegetables 166
  • III. Proportion not the Cause of Beauty in Animals 170
  • IV. Proportion not the Cause of Beauty in the Human Species 172
  • V. Proportion further considered 178
  • VI. Fitness not the Cause of Beauty 181
  • VII. The Real Effects of Fitness 184
  • VIII. The Recapitulation 187
  • IX. Perfection not the Cause of Beauty 187
  • X. How far the Idea of Beauty may be applied to the Qualities of the Mind 188
  • XI. How far the Idea of Beauty may be applied to Virtue 190
  • XII. The Real Cause of Beauty 191
  • XIII. Beautiful Objects Small 191
  • XIV. Smoothness 193
  • XV. Gradual Variation 194
  • XVI. Delicacy 195
  • XVII. Beauty in Color 196
  • XVIII. Recapitulation 197
  • XIX. The Physiognomy 198
  • XX. The Eye 198
  • XXI. Ugliness 199
  • XXII. Grace 200
  • XXIII. Elegance and Speciousness 200
  • XXIV. The Beautiful in Feeling 201
  • XXV. The Beautiful in Sounds 203
  • XXVI. Taste and Smell 205
  • XXVII. The Sublime and Beautiful compared 205
• PART IV. 208
• • I. Of the Efficient Cause of the Sublime and Beautiful 208
  • II. Association 209
  • III. Cause of Pain and Fear 210
  • IV. Continued 212
  • V. How the Sublime is produced 215
  • VI. How Pain can be a Cause of Delight 215
  • VII. Exercise necessary for the Finer Organs 216
  • VIII. Why Things not Dangerous sometimes produce a Passion like Terror 217
  • IX. Why Visual Objects of Great Dimensions are Sublime 217
  • X. Unity, why requisite to Vastness 219
  • XI. The Artificial Infinite 220
  • XII. The Vibrations must be Similar 222
  • XIII. The Effects of Succession in Visual Objects explained 222
  • XIV. Locke's Opinion concerning Darkness considered 225
  • XV. Darkness Terrible in its own Nature 226
  • XVI. Why Darkness is Terrible 227
  • XVII. The Effects of Blackness 229
  • XVIII. The Effects of Blackness moderated 231
  • XIX. The Physical Cause of Love 232
  • XX. Why Smoothness is Beautiful 234
  • XXI. Sweetness, its Nature 235
  • XXII. Sweetness relaxing 237
  • XXIII. Variation, why Beautiful 239
  • XXIV. Concerning Smallness 240
  • XXV. Of Color 244
• PART V. 246
• • I. Of Words 246
  • II. The Common Effect of Poetry, not by raising Ideas of Things 246
  • III. General Words before Ideas 249
  • IV. The Effect of Words 250
  • V. Examples that Words may affect without raising Images 252
  • VI. Poetry not strictly an Imitative Art 257
  • VII. How Words influence the Passions 258

INTRODUCTION.

On a superficial view we may seem to differ very widely from each other in our reasonings, and no less in our pleasures: but, notwithstanding this difference, which I think to be rather apparent than real, it is probable that the standard both of reason and taste is the same in all human creatures. For if there were not some principles of judgment as well as of sentiment common to all mankind, no hold could possibly be taken either on their reason or their passions, sufficient to maintain the ordinary correspondence of life. It appears, indeed, to be generally acknowledged, that with regard to truth and falsehood there is something fixed. We find people in their disputes continually appealing to certain tests and standards, which are allowed on all sides, and are supposed to be established in our common nature. But there is not the same obvious concurrence in any uniform or settled principles which relate to taste. It is even commonly supposed that this delicate and aerial faculty, which seems too volatile to endure even the chains of a definition, cannot be properly tried by any test, nor regulated by any standard. There is so continual a call for the exercise of the reasoning facility; and it is so much strengthened by perpetual contention, that certain maxims of right reason seem to be tacitly settled amongst the most ignorant. The learned have improved on this rude science, and reduced those maxims into a system. If taste has not been so happily cultivated, it was not that the subject was barren, but that the laborers were few or negligent; for, to say the truth, there are not the same interesting motives to impel us to fix the one, which urge us to ascertain the other. And, after all, if men differ in their opinion concerning such matters, their difference is not attended with the same important consequences; else I make no doubt but that the logic of taste, if I may be allowed the expression, might very possibly be as well digested, and we might come to discuss matters of this nature with as much certainty, as those which seem more immediately within the province of mere reason. And, indeed, it is very necessary, at the entrance into such an inquiry as our present, to make this point as clear as possible; for if taste has no fixed principles, if the imagination is not affected according to some invariable and certain laws, our labor is likely to be employed to very little purpose; as it must be judged an useless, if not an absurd undertaking, to lay down rules for caprice, and to set up for a legislator of whims and fancies.

The term taste, like all other figurative terms, is not extremely accurate; the thing which we understand by it is far from a simple and determinate idea in the minds of most men, and it is therefore liable to uncertainty and confusion. I have no great opinion of a definition, the celebrated remedy for the cure of this disorder. For, when we define, we seem in danger of circumscribing nature within the bounds of our own notions, which we often take up by hazard or embrace on trust, or form out of a limited and partial consideration of the object before us; instead of extending our ideas to take in all that nature comprehends, according to her manner of combining. We are limited in our inquiry by the strict laws to which we have submitted at our setting out.

A definition may be very exact, and yet go but a very little way towards informing us of the nature of the thing defined; but let the virtue of a definition be what it will, in the order of things, it seems rather to follow than to precede our inquiry, of which it ought to be considered as the result. It must be acknowledged that the methods of disquisition and teaching may be sometimes different, and on very good reason undoubtedly; but, for my part, I am convinced that the method of teaching which approaches most nearly to the method of investigation is incomparably the best; since, not content with serving up a few barren and lifeless truths, it leads to the stock on which they grew; it tends to set the reader himself in the track of invention, and to direct him into those paths in which the author has made his own discoveries, if he should be so happy as to have made any that are valuable.

But to cut off all pretence for cavilling, I mean by the word taste, no more than that faculty or those faculties of the mind, which are affected with, or which form a judgment of, the works of imagination and the elegant arts. This is, I think, the most general idea of that word, and what is the least connected with any particular theory. And my point in this inquiry is, to find whether there are any principles, on which the imagination is affected, so common to all, so grounded and certain, as to supply the means of reasoning satisfactorily about them. And such principles of taste I fancy there are; however paradoxical it may seem to those, who on a superficial view imagine that there is so great a diversity of tastes, both in kind and degree, that nothing can be more indeterminate.

All the natural powers in man, which I know, that are conversant about external objects, are the senses; the imagination; and the judgment. And first with regard to the senses. We do and we must suppose, that as the conformation of their organs are nearly or altogether the same in all men, so the manner of perceiving external objects is in all men the same, or with little difference. We are satisfied that what appears to be light to one eye, appears light to another; that what seems sweet to one palate, is sweet to another; that what is dark and bitter to this man, is likewise dark and bitter to that; and we conclude in the same manner of great and little, hard and soft, hot and cold, rough and smooth; and indeed of all the natural qualities and affections of bodies. If we suffer ourselves to imagine, that their senses present to different men different images of things, this sceptical proceeding will make every sort of reasoning on every subject vain and frivolous, even that sceptical reasoning itself which had persuaded us to entertain a doubt concerning the agreement of our perceptions. But as there will be little doubt that bodies present similar images to the whole species, it must necessarily be allowed, that the pleasures and the pains which every object excites in one man, it must raise in all mankind, whilst it operates naturally, simply, and by its proper powers only: for if we deny this, we must imagine that the same cause, operating in the same manner, and on subjects of the same kind, will produce different effects; which would be highly absurd. Let us first consider this point in the sense of taste, and the rather as the faculty in question has taken its name from that sense. All men are agreed to call vinegar sour, honey sweet, and aloes bitter; and as they are all agreed in finding those qualities in those objects, they do not in the least differ concerning their effects with regard to pleasure and pain. They all concur in calling sweetness pleasant, and sourness and bitterness unpleasant. Here there is no diversity in their sentiments; and that there is not, appears fully from the consent of all men in the metaphors which are taken, from the souse of taste. A sour temper, bitter expressions, bitter curses, a bitter fate, are terms well and strongly understood by all. And we are altogether as well understood when we say, a sweet disposition, a sweet person, a sweet condition and the like. It is confessed, that custom and some other causes have made many deviations from the natural pleasures or pains which belong to these several tastes; but then the power of distinguishing between the natural and the acquired relish remains to the very last. A man frequently comes to prefer the taste of tobacco to that of sugar, and the flavor of vinegar to that of milk; but this makes no confusion in tastes, whilst he is sensible that the tobacco and vinegar are not sweet, and whilst he knows that habit alone has reconciled his palate to these alien pleasures. Even with such a person we may speak, and with sufficient precision, concerning tastes. But should any man be found who declares, that to him tobacco has a taste like sugar, and that he cannot distinguish between milk and vinegar; or that tobacco and vinegar are sweet, milk bitter, and sugar sour; we immediately conclude that the organs of this man are out of order, and that his palate is utterly vitiated. We are as far from conferring with such a person upon tastes, as from reasoning concerning the relations of quantity with one who should deny that all the parts together were equal to the whole. We do not call a man of this kind wrong in his notions, but absolutely mad. Exceptions of this sort, in either way, do not at all impeach our general rule, nor make us conclude that men have various principles concerning the relations of quantity or the taste of things. So that when it is said, taste cannot be disputed, it can only mean, that no one can strictly answer what pleasure or pain some particular man may find from the taste of some particular thing. This indeed cannot be disputed; but we may dispute, and with sufficient clearness too, concerning the things which are naturally pleasing or disagreeable to the sense. But when we talk of any peculiar or acquired relish, then we must know the habits, the prejudices, or the distempers of this particular man, and we must draw our conclusion from those.

This agreement of mankind is not confined to the taste solely. The principle of pleasure derived from sight is the same in all. Light is more pleasing than darkness. Summer, when the earth is clad in green, when the heavens are serene and bright, is more agreeable than winter, when everything makes a different appearance. I never remember that anything beautiful, whether a man, a beast, a bird, or a plant, was ever shown, though it were to a hundred people, that they did not all immediately agree that it was beautiful, though some might have thought that it fell short of their expectation, or that other things were still finer. I believe no man thinks a goose to be more beautiful than a swan, or imagines that what they call a Friesland hen excels a peacock. It must be observed too, that the pleasures of the sight are not near so complicated, and confused, and altered by unnatural habits and associations, as the pleasures of the taste are; because the pleasures of the sight more commonly acquiesce in themselves; and are not so often altered by considerations which are independent of the sight itself. But things do not spontaneously present themselves to the palate as they do to the sight; they are generally applied to it, either as food or as medicine; and from the qualities which they possess for nutritive or medicinal purposes they often form the palate by degrees, and by force of these associations. Thus opium is pleasing to Turks, on account of the agreeable delirium it produces. Tobacco is the delight of Dutchmen, as it diffuses a torpor and pleasing stupefaction. Fermented spirits please our common people, because they banish care, and all consideration of future or present evils. All of these would lie absolutely neglected if their properties had originally gone no further than the taste; but all these, together with tea and coffee, and some other things, have passed from the apothecary's shop to our tables, and were taken for health long before they were thought of for pleasure. The effect of the drug has made us use it frequently; and frequent use, combined with the agreeable effect, has made the taste itself at last agreeable. But this does not in the least perplex our reasoning; because we distinguish to the last the acquired from the natural relish. In describing the taste of an unknown fruit, you would scarcely say that it had a sweet and pleasant flavor like tobacco, opium, or garlic, although you spoke to those who were in the constant use of those drugs, and had great pleasure in them. There is in all men a sufficient remembrance of the original natural causes of pleasure, to enable them to bring all things offered to their senses to that standard, and to regulate their feelings and opinions by it. Suppose one who had so vitiated his palate as to take more pleasure in the taste of opium than in that of butter or honey, to be presented with a bolus of squills; there is hardly any doubt but that he would prefer the butter or honey to this nauseous morsel, or to any other bitter drug to which he had not been accustomed; which proves that his palate was naturally like that of other men in all things, that it is still like the palate of other men in many things, and only vitiated in some particular points. For in judging of any new thing, even of a taste similar to that which he has been formed by habit to like, he finds his palate affected in the natural manner, and on the common principles. Thus the pleasure of all the senses, of the sight, and even of the taste, that most ambiguous of the senses, is the same in all, high and low, learned and unlearned.

Besides the ideas, with their annexed pains and pleasures, which are presented by the sense; the mind of man possesses a sort of creative power of its own; either in representing at pleasure the images of things in the order and manner in which they were received by the senses, or in combining those images in a new manner, and according to a different order. This power is called imagination; and to this belongs whatever is called wit, fancy, invention, and the like. But it must be observed, that this power of the imagination is incapable of producing anything absolutely new; it can only vary the disposition of those ideas which it has received from the senses. Now the imagination is the most extensive province of pleasure and pain, as it is the region of our fears and our hopes, and of all our passions that are connected with them; and whatever is calculated to affect the imagination with these commanding ideas, by force of any original natural impression, must have the same power pretty equally over all men. For since the imagination is only the representation of the senses, it can only be pleased or displeased with the images, from the same principle on which the sense is pleased or displeased with the realities; and consequently there must be just as close an agreement in the imaginations as in the senses of men. A little attention will convince us that this must of necessity be the case.

But in the imagination, besides the pain or pleasure arising from the properties of the natural object, a pleasure is perceived from the resemblance which the imitation has to the original: the imagination, I conceive, can have no pleasure but what results from one or other of these causes. And these causes operate pretty uniformly upon all men, because they operate by principles in nature, and which are not derived from any particular habits or advantages. Mr. Locke very justly and finely observes of wit, that it is chiefly conversant in tracing resemblances; he remarks, at the same time, that the business of judgment is rather in finding differences. It may perhaps appear, on this supposition, that there is no material distinction between the wit and the judgment, as they both seem to result from different operations of the same faculty of comparing. But in reality, whether they are or are not dependent on the same power of the mind, they differ so very materially in many respects, that a perfect union of wit and judgment is one of the rarest things in the world. When two distinct objects are unlike to each other, it is only what we expect; things are in their common way; and therefore they make no impression on the imagination: but when two distinct objects have a resemblance, we are struck, we attend to them, and we are pleased. The mind of man has naturally a far greater alacrity and satisfaction in tracing resemblances than in searching for differences; because by making resemblances we produce new images; we unite, we create, we enlarge our stock; but in making distinctions we offer no food at all to the imagination; the task itself is more severe and irksome, and what pleasure we derive from it is something of a negative and indirect nature. A piece of news is told me in the morning; this, merely as a piece of news, as a fact added to my stock, gives me some pleasure. In the evening I find there was nothing in it. What do I gain by this, but the dissatisfaction to find that I had been imposed upon? Hence it is that men are much more naturally inclined to belief than to incredulity. And it is upon this principle, that the most ignorant and barbarous nations have frequently excelled in similitudes, comparisons, metaphors, and allegories, who have been weak and backward in distinguishing and sorting their ideas. And it is for a reason of this kind, that Homer and the oriental writers, though very fond of similitudes, and though they often strike out such as are truly admirable, seldom take care to have them exact; that is, they are taken with the general resemblance, they paint it strongly, and they take no notice of the difference which may be found between the things compared.

Now as the pleasure of resemblance is that which principally flatters the imagination, all men are nearly equal in this point, as far as their knowledge of the things represented or compared extends. The principle of this knowledge is very much accidental, as it depends upon experience and observation, and not on the strength or weakness of any natural faculty; and it is from this difference in knowledge, that what we commonly, though with no great exactness, call a difference in taste proceeds. A man to whom sculpture is new, sees a barber's block, or some ordinary piece of statuary; he is immediately struck and pleased, because he sees something like a human figure; and, entirely taken up with this likeness, he does not at all attend to its defects. No person, I believe, at the first time of seeing a piece of imitation ever did. Some time after, we suppose that this novice lights upon a more artificial work of the same nature; he now begins to look with contempt on what he admired at first; not that he admired it even then for its unlikeness to a man, but for that general though inaccurate resemblance which it bore to the human figure. What he admired at different times in these so different figures, is strictly the same; and though his knowledge is improved, his taste is not altered. Hitherto his mistake was from a want of knowledge in art, and this arose from his inexperience; but he may be still deficient from a want of knowledge in nature. For it is possible that the man in question may stop here, and that the masterpiece of a great hand may please him no more than the middling performance of a vulgar artist; and this not for want of better or higher relish, but because all men do not observe with sufficient accuracy on the human figure to enable them to judge properly of an imitation of it. And that the critical taste does not depend upon a superior principle in men, but upon superior knowledge, may appear from several instances. The story of the ancient painter and the shoemaker is very well known. The shoemaker set the painter right with regard to some mistakes he had made in the shoe of one of his figures, which the painter, who had not made such accurate observations on shoes, and was content with a general resemblance, had never observed. But this was no impeachment to the taste of the painter; it only showed some want of knowledge in the art of making shoes. Let us imagine, that an anatomist had come into the painter's working-room. His piece is in general well done, the figure in question in a good attitude, and the parts well adjusted to their various movements; yet the anatomist, critical in his art, may observe the swell of some muscle not quite just in the peculiar action of the figure. Here the anatomist observes what the painter had not observed; and he passes by what the shoemaker had remarked. But a want of the last critical knowledge in anatomy no more reflected on the natural good taste of the painter, or of any common observer of his piece, than the want of an exact knowledge in the formation of a shoe. A fine piece of a decollated head of St. John the Baptist was shown to a Turkish emperor: he praised many things, but he observed one defect: he observed that the skin did not shrink from the wounded part of the neck. The sultan on this occasion, though his observation was very just, discovered no more natural taste than the painter who executed this piece, or than a thousand European connoisseurs, who probably never would have made the same observation. His Turkish majesty had indeed been well acquainted with that terrible spectacle, which the others could only have represented in their imagination. On the subject of their dislike there is a difference between all these people, arising from the different kinds and degrees of their knowledge; but there is something in common to the painter, the shoemaker, the anatomist, and the Turkish emperor, the pleasure arising from a natural object, so far as each perceives it justly imitated; the satisfaction in seeing an agreeable figure; the sympathy proceeding from a striking and affecting incident. So far as taste is natural, it is nearly common to all.

In poetry, and other pieces of imagination, the same parity may be observed. It is true, that one man is charmed with Don Bellianis, and reads Virgil coldly; whilst another is transported with the Æneid, and leaves Don Bellianis to children. These two men seem to have a taste very different from each other; but in fact they differ very little. In both these pieces, which inspire such opposite sentiments, a tale exciting admiration is told; both are full of action, both are passionate; in both are voyages, battles, triumphs, and continual changes of fortune. The admirer of Don Bellianis perhaps does not understand the refined language of the Æneid, who, if it was degraded into the style of the "Pilgrim's Progress," might feel it in all its energy, on the same principle which made him an admirer of Don Bellianis.

In his favorite author he is not shocked with the continual breaches of probability, the confusion of times, the offences against manners, the trampling upon geography; for he knows nothing of geography and chronology, and he has never examined the grounds of probability. He perhaps reads of a shipwreck on the coast of Bohemia: wholly taken up with so interesting an event, and only solicitous for the fate of his hero, he is not in the least troubled at this extravagant blunder. For why should he be shocked at a shipwreck on the coast of Bohemia, who does not know but that Bohemia may be an island in the Atlantic ocean? and after all, what reflection is this on the natural good taste of the person here supposed?

So far then as taste belongs to the imagination, its principle is the same in all men; there is no difference in the manner of their being affected, nor in the causes of the affection; but in the degree there is a difference, which arises from two causes principally; either from a greater degree of natural sensibility, or from a closer and longer attention to the object. To illustrate this by the procedure of the senses, in which the same difference is found, let us suppose a very smooth marble table to be set before two men; they both perceive it to be smooth, and they are both pleased with it because of this quality. So far they agree. But suppose another, and after that another table, the latter still smoother than the former, to be set before them. It is now very probable that these men, who are so agreed upon what is smooth, and in the pleasure from thence, will disagree when they come to settle which table has the advantage in point of polish. Here is indeed the great difference between tastes, when men come to compare the excess or diminution of things which are judged by degree and not by measure. Nor is it easy, when such a difference arises, to settle the point, if the excess or diminution be not glaring. If we differ in opinion about two quantities, we can have recourse to a common measure, which may decide the question with the utmost exactness; and this, I take it, is what gives mathematical knowledge a greater certainty than any other. But in things whose excess is not judged by greater or smaller, as smoothness and roughness, hardness and softness, darkness and light, the shades of colors, all these are very easily distinguished when the difference is any way considerable, but not when it is minute, for want of some common measures, which perhaps may never come to be discovered. In these nice cases, supposing the acuteness of the sense equal, the greater attention and habit in such things will have the advantage. In the question about the tables, the marble-polisher will unquestionably determine the most accurately. But notwithstanding this want of a common measure for settling many disputes relative to the senses, and their representative the imagination, we find that the principles are the same in all, and that there is no disagreement until we come to examine into the pre-eminence or difference of things, which brings us within the province of the judgment.

So long as we are conversant with the sensible qualities of things, hardly any more than the imagination seems concerned; little more also than the imagination seems concerned when the passions are represented, because by the force of natural sympathy they are felt in all men without any recourse to reasoning, and their justness recognized in every breast. Love, grief, fear, anger, joy, all these passions have, in their turns, affected every mind; and they do not affect it in an arbitrary or casual manner, but upon certain, natural, and uniform principles. But as many of the works of imagination are not confined to the representation of sensible objects, nor to efforts upon the passions, but extend themselves to the manners, the characters, the actions, and designs of men, their relations, their virtues and vices, they come within the province of the judgment, which is improved by attention, and by the habit of reasoning. All these make a very considerable part of what are considered as the objects of taste; and Horace sends us to the schools of philosophy and the world for our instruction in them. Whatever certainty is to be acquired in morality and the science of life; just the same degree of certainty have we in what relates to them in works of imitation. Indeed it is for the most part in our skill in manners, and in the observances of time and place, and of decency in general, which is only to be learned in those schools to which Horace recommends us, that what is called taste, by way of distinction, consists: and which is in reality no other than a more refined judgment. On the whole, it appears to me, that what is called taste, in its most general acceptation, is not a simple idea, but is partly made up of a perception of the primary pleasures of sense, of the secondary pleasures of the imagination, and of the conclusions of the reasoning faculty, concerning the various relations of these, and concerning the human passions, manners, and actions. All this is requisite to form taste, and the groundwork of all these is the same in the human mind; for as the senses are the great originals of all our ideas, and consequently of all our pleasures, if they are not uncertain and arbitrary, the whole groundwork of taste is common to all, and therefore there is a sufficient foundation for a conclusive reasoning on these matters.

Whilst we consider taste merely according to its nature and species, we shall find its principles entirely uniform; but the degree in which these principles prevail, in the several individuals of mankind, is altogether as different as the principles themselves are similar. For sensibility and judgment, which are the qualities that compose what we commonly call a taste, vary exceedingly in various people. From a defect in the former of these qualities arises a want of taste; a weakness in the latter constitutes a wrong or a bad one. There are some men formed with feelings so blunt, with tempers so cold and phlegmatic, that they can hardly be said to be awake during the whole course of their lives. Upon such persons the most striking objects make but a faint and obscure impression. There are others so continually in the agitation of gross and merely sensual pleasures, or so occupied in the low drudgery of avarice, or so heated in the chase of honors and distinction, that their minds, which had been used continually to the storms of these violent and tempestuous passions, can hardly be put in motion by the delicate and refined play of the imagination. These men, though from a different cause, become as stupid and insensible as the former; but whenever either of these happen to be struck with any natural elegance or greatness, or with these qualities in any work of art, they are moved upon the same principle.

The cause of a wrong taste is a defect of judgment. And this may arise from a natural weakness of understanding (in whatever the strength of that faculty may consist), or, which is much more commonly the case, it may arise from a want of a proper and well-directed exercise, which alone can make it strong and ready. Besides, that ignorance, inattention, prejudice, rashness, levity, obstinacy, in short, all those passions, and all those vices, which pervert the judgment in other matters, prejudice it no less in this its more refined and elegant province. These causes produce different opinions upon everything which is an object of the understanding, without inducing us to suppose that there are no settled principles of reason. And indeed, on the whole, one may observe, that there is rather less difference upon matters of taste among mankind, than upon most of those which depend upon the naked reason; and that men are far better agreed on the excellence of a description in Virgil, than on the truth or falsehood of a theory of Aristotle.

A rectitude of judgment in the arts, which may be called a good taste, does in a great measure depend upon sensibility; because if the mind has no bent to the pleasures of the imagination, it will never apply itself sufficiently to works of that species to acquire a competent knowledge in them. But though a degree of sensibility is requisite to form a good judgment, yet a good judgment does not necessarily arise from a quick sensibility of pleasure; it frequently happens that a very poor judge, merely by force of a greater complexional sensibility, is more affected by a very poor piece, than the best judge by the most perfect; for as everything now, extraordinary, grand, or passionate, is well calculated to affect such a person, and that the faults do not affect him, his pleasure is more pure and unmixed; and as it is merely a pleasure of the imagination, it is much higher than any which is derived from a rectitude of the judgment; the judgment is for the greater part employed in throwing stumbling-blocks in the way of the imagination, in dissipating the scenes of its enchantment, and in tying us down to the disagreeable yoke of our reason: for almost the only pleasure that men have in judging better than others, consists in a sort of conscious pride and superiority, which arises from thinking rightly; but then this is an indirect pleasure, a pleasure which does not immediately result from the object which is under contemplation. In the morning of our days, when the senses are unworn and tender, when the whole man is awake in every part, and the gloss of novelty fresh upon all the objects that surround us, how lively at that time are our sensations, but how false and inaccurate the judgments we form of things! I despair of ever receiving the same degree of pleasure from the most excellent performances of genius, which I felt at that age from pieces which my present judgment regards as trifling and contemptible. Every trivial cause of pleasure is apt to affect the man of too sanguine a complexion: his appetite is too keen to suffer his taste to be delicate; and he is in all respects what Ovid says of himself in love,