The Works of the Right Honourable Edmund Burke Volume I Part 9

As to the colors usually found in beautiful bodies, it may be somewhat difficult to ascertain them, because, in the several parts of nature, there is an infinite variety. However, even in this variety, we may mark out something on which to settle. First, the colors of beautiful bodies must not be dusky or muddy, but clean and fair. Secondly, they must not be of the strongest kind. Those which seem most appropriated to beauty, are the milder of every sort; light greens; soft blues; weak whites; pink reds; and violets. Thirdly, if the colors be strong and vivid, they are always diversified, and the object is never of one strong color; there are almost always such a number of them (as in variegated flowers) that the strength and glare of each is considerably abated. In a fine complexion there is not only some variety in the coloring, but the colors: neither the red nor the white are strong and glaring. Besides, they are mixed in such a manner, and with such gradations, that it is impossible to fix the bounds. On the same principle it is that the dubious color in the necks and tails of peac.o.c.ks, and about the heads of drakes, is so very agreeable. In reality, the beauty both of shape and coloring are as nearly related as we can well suppose it possible for things of such different natures to be.

SECTION XVIII.

RECAPITULATION.

On the whole, the qualities of beauty, as they are merely sensible qualities, are the following: First, to be comparatively small.

Secondly, to be smooth. Thirdly, to have a variety in the direction of the parts; but, fourthly, to have those parts not angular, but melted, as it were, into each other. Fifthly, to be of a delicate frame, without any remarkable appearance of strength. Sixthly, to have its colors clear and bright, but not very strong and glaring. Seventhly, or if it should have any glaring color, to have it diversified with others. These are, I believe, the properties on which beauty depends; properties that operate by nature, and are less liable to be altered by caprice, or confounded by a diversity of tastes, than any other.

SECTION XIX.

THE PHYSIOGNOMY.

The _physiognomy_ has a considerable share in beauty, especially in that of our own species. The manners give a certain determination to the countenance; which, being observed to correspond pretty regularly with them, is capable of joining the effect of certain agreeable qualities of the mind to those of the body. So that to form a finished human beauty, and to give it its full influence, the face must be expressive of such gentle and amiable qualities, as correspond with the softness, smoothness, and delicacy of the outward form.

SECTION XX.

THE EYE.

I have hitherto purposely omitted to speak of the _eye_, which has so great a share in the beauty of the animal creation, as it did not fall so easily under the foregoing heads, though in fact it is reducible to the same principles. I think, then, that the beauty of the eye consists, first, in its _clearness_; what _colored_ eye shall please most, depends a good deal on particular fancies; but none are pleased with an eye whose water (to use that term) is dull and muddy.[26] We are pleased with the eye in this view, on the principle upon which we like diamonds, clear water, gla.s.s, and such like transparent substances. Secondly, the motion of the eye contributes to its beauty, by continually shifting its direction; but a slow and languid motion is more beautiful than a brisk one; the latter is enlivening; the former lovely. Thirdly, with regard to the union of the eye with the neighboring parts, it is to hold the same rule that is given of other beautiful ones; it is not to make a strong deviation from the line of the neighboring parts; nor to verge into any exact geometrical figure. Besides all this, the eye affects, as it is expressive of some qualities of the mind, and its princ.i.p.al power generally arises from this; so that what we have just said of the physiognomy is applicable here.

SECTION XXI.

UGLINESS.

It may perhaps appear like a sort of repet.i.tion of what we have before said, to insist here upon the nature of _ugliness_; as I imagine it to be in all respects the opposite to those qualities which we have laid down for the const.i.tuents of beauty. But though ugliness be the opposite to beauty, it is not the opposite to proportion and fitness. For it is possible that a thing may be very ugly with any proportions, and with a perfect fitness to any uses. Ugliness I imagine likewise to be consistent enough with an idea of the sublime. But I would by no means insinuate that ugliness of itself is a sublime idea, unless united with such qualities as excite a strong terror.

SECTION XXII.

GRACE.

Gracefulness is an idea not very different from beauty; it consists in much the same things. Gracefulness is an idea belonging to _posture_ and _motion_. In both these, to be graceful, it is requisite that there be no appearance of difficulty; there is required a small inflection of the body; and a composure of the parts in such a manner, as not to inc.u.mber each other, not to appear divided by sharp and sudden angles. In this case, this roundness, this delicacy of att.i.tude and motion, it is that all the magic of grace consists, and what is called its _je ne scai quoi_; as will be obvious to any observer, who considers attentively the Venus de Medicis, the Antinous or any statue generally allowed to be graceful in a high degree.

SECTION XXIII.

ELEGANCE AND SPECIOUSNESS.

When any body is composed of parts smooth and polished, without pressing upon each other, without showing any ruggedness or confusion, and at the same time affecting some _regular shape_, I call it _elegant_. It is closely allied to the beautiful, differing from it only in this _regularity_; which, however, as it makes a very material difference in the affection produced, may very well const.i.tute another species. Under this head I rank those delicate and regular works of art, that imitate no determinate object in nature, as elegant buildings, and pieces of furniture. When any object partakes of the above-mentioned qualities, or of those of beautiful bodies, and is withal of great dimensions, it is full as remote from the idea of mere beauty; I call _fine_ or _specious_.

SECTION XXIV.

THE BEAUTIFUL IN FEELING.

The foregoing description of beauty, so far as it is taken in by the eye, may he greatly ill.u.s.trated by describing the nature of objects, which produce a similar effect through the touch. This I call the beautiful in _feeling_. It corresponds wonderfully with what causes the same species of pleasure to the sight. There is a chain in all our sensations; they are all but different sorts of feelings calculated to be affected by various sorts of objects, but all to be affected after the same manner. All bodies that are pleasant to the touch, are so by the slightness of the resistance they make. Resistance is either to motion along the surface, or to the pressure of the parts on one another: if the former be slight, we call the body smooth; if the latter, soft. The chief pleasure we receive by feeling, is in the one or the other of these qualities; and if there be a combination of both, our pleasure is greatly increased. This is so plain, that it is rather more fit to ill.u.s.trate other things, than to be ill.u.s.trated itself by an example. The next source of pleasure in this sense, as in every other, is the continually presenting somewhat new; and we find that bodies which continually vary their surface, are much the most pleasant or beautiful to the feeling, as any one that pleases may experience. The third property in such objects is, that though the surface continually varies its direction, it never varies it suddenly. The application of anything sudden, even though the impression itself have little or nothing of violence, is disagreeable. The quick application of a finger a little warmer or colder than usual, without notice, makes us start; a slight tap on the shoulder, not expected, has the same effect. Hence it is that angular bodies, bodies that suddenly vary the direction of the outline, afford so little pleasure to the feeling. Every such change is a sort of climbing or falling in miniature; so that squares, triangles, and other angular figures are neither beautiful to the sight nor feeling. Whoever compares his state of mind, on feeling soft, smooth, variated, unangular bodies, with that in which he finds himself, on the view of a beautiful object, will perceive a very striking a.n.a.logy in the effects of both; and which may go a good way towards discovering their common cause. Feeling and sight, in this respect, differ in but a few points. The touch takes in the pleasure of softness, which is not primarily an object of sight; the sight, on the other hand, comprehends color, which can hardly he made perceptible to the touch: the touch, again, has the advantage in a new idea of pleasure resulting from a moderate degree of warmth; but the eye triumphs in the infinite extent and multiplicity of its objects. But there is such a similitude in the pleasures of these senses, that I am apt to fancy, if it were possible that one might discern color by feeling (as it is said some blind men have done) that the same colors, and the same disposition of coloring, which are found beautiful to the sight, would be found likewise most grateful to the touch. But, setting aside conjectures, let us pa.s.s to the other sense; of hearing.

SECTION XXV.

THE BEAUTIFUL IN SOUNDS.

In this sense we find an equal apt.i.tude to be affected in a soft and delicate manner; and how far sweet or beautiful sounds agree with our descriptions of beauty in other senses, the experience of every one must decide. Milton has described this species of music in one of his juvenile poems.[27] I need not say that Milton was perfectly well versed in that art; and that no man had a finer ear, with a happier manner of expressing the affections of one sense by metaphors taken from another.

The description is as follows:--

"And ever against eating cares, Lap me in _soft_ Lydian airs; In notes with many a _winding_ bout Of _linked sweetness long drawn_ out; With wanton heed, and giddy cunning, The _melting_ voice through _mazes_ running; _Untwisting_ all the chains that tie The hidden soul of harmony."

Let us parallel this with the softness, the winding surface, the unbroken continuance, the easy gradation of the beautiful in other things; and all the diversities of the several senses, with all their several affections, will rather help to throw lights from one another to finish one clear, consistent idea of the whole, than to obscure it by their intricacy and variety.

To the above-mentioned description I shall add one or two remarks. The first is; that the beautiful in music will not hear that loudness and strength of sounds, which may be used to raise other pa.s.sions; nor notes which are shrill, or harsh, or deep; it agrees best with such as are clear, even, smooth, and weak. The second is; that great variety, and quick transitions from one measure or tone to another, are contrary to the genius of the beautiful in music. Such[28] transitions often excite mirth, or other sudden or tumultuous pa.s.sions; but not that sinking, that melting, that languor, which is the characteristical effect of the beautiful as it regards every sense. The pa.s.sion excited by beauty is in fact nearer to a species of melancholy, than to jollity and mirth. I do not here mean to confine music to any one species of notes, or tones, neither is it an art in which I can say I have any great skill. My sole design in this remark is to settle a consistent idea of beauty. The infinite variety of the affections of the soul will suggest to a good head, and skilful ear, a variety of such sounds as are fitted to raise them. It can be no prejudice to this, to clear and distinguish some few particulars that belong to the same cla.s.s, and are consistent with each other, from the immense crowd of different and sometimes contradictory ideas, that rank vulgarly under the standard of beauty. And of these it is my intention to mark such only of the leading points as show the conformity of the sense of hearing with all the other senses, in the article of their pleasures.

SECTION XXVI.

TASTE AND SMELL.

This general agreement of the senses is yet more evident on minutely considering those of taste and smell. We metaphorically apply the idea of sweetness to sights and sounds; but as the qualities of bodies by which they are fitted to excite either pleasure or pain in these senses are not so obvious as they are in the others, we shall refer an explanation of their a.n.a.logy, which is a very close one, to that part wherein we come to consider the common efficient cause of beauty, as it regards all the senses. I do not think anything better fitted to establish a clear and settled idea of visual beauty than this way of examining the similar pleasures of other senses; for one part is sometimes clear in one of the senses that is more obscure in another; and where there is a clear concurrence of all, we may with more certainty speak of any one of them. By this means, they bear witness to each other; nature is, as it were, scrutinized; and we report nothing of her but what we receive from her own information.

SECTION XXVII.

THE SUBLIME AND BEAUTIFUL COMPARED.

On closing this general view of beauty, it naturally occurs that we should compare it with the sublime; and in this comparison there appears a remarkable contrast. For sublime objects are vast in their dimensions, beautiful ones comparatively small; beauty should be smooth and polished; the great, rugged and negligent: beauty should shun the right line, yet deviate from it insensibly; the great in many cases loves the right line; and when it deviates, it often makes a strong deviation: beauty should not be obscure; the great ought to be dark and gloomy: beauty should be light and delicate; the great ought to be solid, and even ma.s.sive. They are indeed ideas of a very different nature, one being founded on pain, the other on pleasure; and, however they may vary afterwards from the direct nature of their causes, yet these causes keep up an eternal distinction between them, a distinction never to be forgotten by any whose business it is to affect the pa.s.sions. In the infinite variety of natural combinations, we must expect to find the qualities of things the most remote imaginable from each other united in the same object. We must expect also to find combinations of the same kind in the works of art. But when we consider the power of an object upon our pa.s.sions, we must know that when anything is intended to affect the mind by the force of some predominant property, the affection produced is like to be the more uniform and perfect, if all the other properties or qualities of the object be of the same nature, and tending to the same design as the princ.i.p.al.

"If black and white blend, soften, and unite A thousand ways, are there no black and white?"

If the qualities of the sublime and beautiful are sometimes found united, does this prove that they are the same; does it prove that they are any way allied; does it prove even that they are not opposite and contradictory? Black and white may soften, may blend; but they are not therefore the same. Nor, when they are so softened and blended with each other, or with different colors, is the power of black as black, or of white as white, so strong as when each stands uniform and distinguished.

FOOTNOTES:

[24] Part IV. sect. 20.

[25] Part IV. sect. 23.

[26] Part IV. sect. 25.

[27] L'Allegro.

[28]

"I ne'er am merry, when I hear sweet music."

SHAKESPEARE.