Part 17

dance. To the facility and distinctness, with which we hear sounds at repeated intervals, we owe the pleasure, which we receive from musical time, and from poetic time, as described in Botanic Garden, V. II. Interlude III. And to this the pleasure we receive from the rhimes and alliterations of modern versification; the source of which without this key would be difficult to discover.

There is no variety of notes referable to the gamut in the beating of a drum, yet if it be performed in musical time, it is agreeable to our ears; and therefore this pleasurable sensation must be owing to the repetition of the divisions of the sounds at certain intervals of time, or musical bars. Whether these times or bars are distinguished by a pause, or by an emphasis, or accent, certain it is, that this distinction is perpetually repeated; otherwise the ear could not determine instantly, whether the successions of sound were in common or in triple time.

But besides these little circles of musical time, there are the greater returning periods, and the still more distinct choruses; which, like the rhimes at the end of verses, owe their beauty to repetition; that is, to the facility and distinctness with which we perceive sounds, which we expect to perceive or have perceived before; or in the language of this work, to the greater ease and energy with which our organ is excited by the combined sensorial powers of association and irritation, than by the latter singly.

This kind of pleasure arising from repetition, that is from the facility and distinctness with which we perceive and understand repeated sensations, enters into all the agreeable arts; and when it is carried to excess is termed formality. The art of dancing like that of music depends for a great part of the pleasure, it affords, on repetition; architecture, especially the Grecian, consists of one part being a repetition of another, and hence the beauty of the pyramidal outline in landscape-painting; where one side of the picture may be said in some measure to balance the other. So universally does repetition contribute to our pleasure in the fine arts, that beauty itself has been defined by some writers to consist in a due combination of uniformity and variety: Zoonomia, Vol. I. Sect. XXII. 2. 1.

Where these repetitions of form, and reiterations of colour, are produced in a picture or a natural landscape, in an agreeable quantity, it is termed simplicity, or unity of character; where the repetition principally is seen in the disposition or locality of the divisions, it is called symmetry, proportion, or grouping the separate parts; where this repetition is most conspicuous in the forms of visible objects, it is called regularity or uniformity; and where it affects the colouring principally, the artists call it breadth of colour.

There is nevertheless, an excess of the repetition of the same or similar ideas, which ceases to please, and must therefore be excluded from compositions of Taste in painted landscapes, or in ornamented gardens; which is then called formality, monotony, or insipidity. Why the excitation of ideas should give additional pleasure by the facility and distinctness of their production for a certain time, and then cease to give additional pleasure; and gradually to give less pleasure than that, which attends simple exertion of them; is another curious metaphysical problem, and deserves investigation.

In our waking hours a perpetual voluntary exertion, of which we are unconscious, attends all our new trains of ideas, whether those of imagination or of perception; which by comparing them with our former experience preserves the consistency of the former, by rejecting such as are incongruous; and adds to the credibility of the latter, by their analogy to objects of our previous knowledge: and this exertion is attended with pleasurable sensation. After very frequent repetition these trains of ideas do not excite the exertion of this intuitive analogy, and in consequence are not attended with additional pleasure to that simply of perception; and by continued repetition they at length lose even the pleasure simply of perception, and thence finally cease to be excited; whence one cause of the torpor of old age, and of death, as spoken of in Additional Note, No. VII. 3. of this work.

When there exists in any landscape a certain number and diversity of forms and colours, or of their combinations or successions, so as to produce a degree of novelty; and that with a certain repetition, or arrangement of parts, so as to render them gradually comprehensible or easily compared with the usual course of nature; if this agreeable combination of visible objects be on a moderate scale, in respect to magnitude, and form the principal part of the landscape, it is termed PICTURESQUE by modern artists; and when such a combination of forms and colours contains many easy flowing curves and smooth surfaces, the delightful sentiment of BEAUTY becomes added to the pleasure of the Picturesque.

If the above agreeable combination of novelty and repetition exists on a larger scale with more projecting rocks, and deeper dells, and perhaps with a somewhat greater proportion of novelty than repetition, the landscape assumes the name of ROMANTIC; and if some of these forms or combinations are much above the usual magnitude of similar objects, the more interesting sentiment of SUBLIMITY becomes mixed with the pleasure of the romantic.

III. _Melody of Colours._

A third source of pleasure arising from the inspection of visible objects, besides that of simple perception, arises from what may be termed melody of colours, as certain colours are more agreeable, when they succeed each other; or when they are disposed in each other's vicinity, so as successively to affect the organ of vision.

In a paper on the colours seen in the eye after looking for some time on luminous objects, published by Dr. Darwin of Shrewsbury in the Philos. Trans. Vol. 76, it is evidently shown, that we see certain colours not only with greater ease and distinctness, but with relief and pleasure, after having for some time inspected other certain colours; as green after red, or red after green; orange after blue, or blue after orange; yellow after violet, or violet after yellow; this, he shows, arises from the ocular spectrum of the colour last viewed coinciding with the irritation of the colour now under contemplation.

Thus if you make a dot with ink in the centre of a circle of red silk the size of a letter-wafer, and place it on a sheet of white paper, and look on it for a minute without moving your eyes; and then gently turn them on the white paper in its vicinity, or gently close them, and hold one hand an inch or two before them, to prevent too much light from passing through the eyelids, a circular spot of pale green will be seen on the white paper, or in the closed eye; which is called the ocular spectrum of the red silk, and is formed as Dr. Darwin shows by the pandiculation or stretching of the fine fibrils, which constitute the extremities of the optic nerve, in a direction contrary to that, in which they have been excited by previously looking at a luminous object, till they become fatigued; like the yawning or stretching of the larger muscles after acting long in one direction.

If at this time the eye, fatigued by looking long at the centre of the red silk, be turned on paper previously coloured with pale green; the circular spot or ocular spectrum will appear of a much darker green; as now the irritation from the pale green paper coincides with the pale green spectrum remaining in the eye, and thus excites those fibres of the retina into stronger action; on this account some colours are seen more distinctly, and consequently more agreeably after others; or when placed in the vicinity of others; thus if orange-coloured letters are painted on a blue ground, they may be read at as great distance as black on white, perhaps at a greater.

The colours, which are thus more distinct when seen in succession are called opposite colours by Sir Isaac Newton in his optics, Book I.

## Part 2, and may be easily discovered by any one, by the method above

described; that is by laying a coloured circle of paper or silk on a sheet of white paper, and inspecting it some time with steady eyes, and then either gently closing them, or removing them on another part of the white paper, and the ocular spectrum or opposite colour becomes visible in the eye.

Sir Isaac Newton has observed, that the breadths of the seven primary colours in the sun's image refracted by a prism, are proportioned to the seven musical notes of the gamut; or to the intervals of the eight sounds contained in an octave.

From this curious coincidence, it has been proposed to produce a luminous music, consisting of successions or combinations of colours, analogous to a tune in respect to the proportions above mentioned. This might be performed by a strong light, made by means of Mr. Argand's lamps, passing through coloured glasses, and falling on a defined part of the wall, with moveable blinds before them, which might communicate with the keys of a harpsichord, and thus produce at the same time visible and audible music in unison with each other.

Now as the pleasure we receive from the sensation of melodious notes, independent of musical time, and of the previous associations of agreeable ideas with them, must arise from our hearing some proportions of sounds after others more easily, distinctly, or agreeably; and as there is a coincidence between the proportions of the primary colours, and the primary sounds, if they may be so called; the same laws must probably govern the sensations of both. In this circumstance therefore consists the sisterhood of Music and Painting; and hence they claim a right to borrow metaphors from each other: musicians to speak of the brilliancy of sounds, and the light and shade of a concerto; and painters of the harmony of colours, and the tone of a picture.

This source of pleasure received from the melodious succession of colours or of sounds must not be confounded with the pleasure received from the repetition of them explained above, though the repetition, or division of musical notes into bars, so as to produce common or triple time, contributes much to the pleasure of music; but in viewing a fixed landscape nothing like musical time exists; and the pleasure received therefore from certain successions of colours must depend only on the more easy or distinct action of the retina in perceiving some colours after others, or in their vicinity, like the facility or even pleasure with which we act with contrary muscles in yawning or stretching after having been fatigued with a long previous exertion in the contrary direction.

Hence where colours are required to be distinct, those which are opposite to each other, should be brought into succession or vicinity; as red and green, orange and blue, yellow and violet; but where colours are required to intermix imperceptibly, or slide into each other, these should not be chosen; as they might by contrast appear too glaring or tawdry. These gradations and contrasts of colours have been practically employed both by the painters of landscape, and by the planters of ornamental gardens; though the theory of this part of the pleasure derived from visible objects was not explained before the publication of the paper on ocular spectra above mentioned; which is reprinted at the end of the first part of Zoonomia, and has thrown great light on the actions of the nerves of sense in consequence of the stimulus of external bodies.

IV. _Association of agreeable sentiments with visible objects._

Besides the pleasure experienced simply by the perception of visible objects, it has been already shown, that there is an additional pleasure arising from the inspection of those, which possess novelty, or some degree of it; a second additional pleasure from those, which possess in some degree a repetition of their parts; and a third from those, which possess a succession of particular colours, which either contrast or slide into each other, and which we have termed melody of colours.

We now step forward to the fourth source of the pleasures arising from the contemplation of visible objects besides that simply of perception, which consists in our previous association of some agreeable sentiment with certain forms or combinations of them. These four kinds of pleasure singly or in combination constitute what is generally understood by the word Taste in respect to the visible world; and by parity of reasoning it is probable, that the pleasurable ideas received by the other senses, or which are associated with language, may be traced to similar sources.

It has been shown by Bishop Berkeley in his ingenious essay on vision, that the eye only acquaints us with the perception of light and colours; and that our idea of the solidity of the bodies, which reflect them, is learnt by the organ of touch: he therefore calls our vision the language of touch, observing that certain gradations of the shades of colour, by our previous experience of having examined similar bodies by our hands or lips, suggest our ideas of solidity, and of the forms of solid bodies; as when we view a tree, it would otherwise appear to us a flat green surface, but by association of ideas we know it to be a cylindrical stem with round branches. This association of the ideas acquired by the sense of touch with those of vision, we do not allude to in the following observations, but to the agreeable trains or tribes of ideas and sentiments connected with certain kinds of visible objects.

V. _Sentiment of Beauty._

Of these catenations of sentiments with visible objects, the first is the sentiment of Beauty or Loveliness; which is suggested by easy-flowing curvatures of surface, with smoothness; as is so well illustrated in Mr. Burke's Essay on the Sublime and Beautiful, and in Mr. Hogarth's analysis of Beauty; a new edition of which is much wanted separate from his other works.

The sentiment of Beauty appears to be attached from our cradles to the easy curvatures of lines, and smooth surfaces of visible objects, and to have been derived from the form of the female bosom; as spoken of in Zoonomia, Vol. I. Section XVI. on Instinct.

Sentimental love, as distinguished from the animal passion of that name, with which it is frequently accompanied, consists in the desire or sensation of beholding, embracing, and saluting, a beautiful object.

The characteristic of beauty therefore is that it is the object of love; and though many other objects are in common language called beautiful, yet they are only called so metaphorically, and ought to be termed agreeable. A Grecian temple may give us the pleasurable idea of sublimity; a Gothic temple may give us the pleasurable idea of variety; and a modern house the pleasurable idea of utility; music and poetry may inspire our love by association of ideas; but none of these, except metaphorically, can be termed beautiful; as we have no wish to embrace or salute them.

Our perception of beauty consists in our recognition by the sense of vision of those objects, first which have before inspired our love by the pleasure, which they have afforded to many of our senses: as to our sense of warmth, of touch, of smell, of taste, hunger and thirst; and secondly, which bear any analogy of form to such objects.

When the babe, soon after it is born into this cold world, is applied to its mother's bosom, its sense of perceiving warmth is first agreeably affected; next its sense of smell is delighted with the odour of her milk; then its taste is gratified by the flavour of it, afterwards the appetites of hunger and of thirst afford pleasure by the possession of their objects, and by the subsequent digestion of the aliment; and lastly, the sense of touch is delighted by the softness and smoothness of the milky fountain, the source of such variety of happiness.

ADDITIONAL NOTES. XIV.

THE THEORY AND STRUCTURE OF LANGUAGE

Next to each thought associate sound accords, And forms the dulcet symphony of words.

## CANTO III. l. 365.

Ideas consist of synchronous motions or configurations of the extremities of the organs of sense; these when repeated by sensation, volition, or association, are either simple or complex, as they were first excited by irritation; or have afterwards some parts abstracted from them, or some parts added to them. Language consists of words, which are the names or symbols of ideas. Words are therefore properly all of them nouns or names of things.

Little had been done in the investigation of the theory of language from the time of Aristotle to the present aera, till Mr. Horne Tooke, the ingenious and learned author of the Diversions of Purley, explained those undeclined words of all languages, which had puzzled the grammarians, and evinced from their etymology, that they were abbreviations of other modes of expression. Mr. Tooke observes, that the first aim of language was to communicate our thoughts, and the second to do it with dispatch; and hence he divides words into those, which were necessary to express our thoughts, and those which are abbreviations of the former; which he ingeniously styles the wings of Hermes.

For the greater dispatch of conversation many words suggest more than one idea; I shall therefore arrange them according to the number and kinds of ideas, which they suggest; and am induced to do this, as a new distribution of the objects of any science may advance the knowledge of it by developing another analogy of its constituent parts. And in thus endeavouring to analyze the theory of language I mean to speak primarily of the English, and occasionally to add what may occur concerning the structure of the Greek and Latin.

I. _Conjunctions and Prepositions._

The first class of words consists of those, which suggest but one idea, and suffer no change of termination; which have been termed by grammarians CONJUNCTIONS and PREPOSITIONS; the former of which connect sentences, and the latter words. Both which have been ingeniously explained by Mr. Horne Tooke from their etymology to be abbreviations of other modes of expression.

1. Thus the conjunction _if_ and _an_, are shown by Mr. Tooke to be derived from the imperative mood of the verbs to give and to grant; but both of these conjunctions by long use appear to have become the name of a more abstracted idea, than the words give or grant suggest, as they do not now express any ideas of person, or of number, or of time; all which are generally attendant upon the meaning of a verb; and perhaps all the words of this class are the names of ideas much abstracted, which has caused the difficulty of explaining them.

2. The number of Prepositions is very great in the English language, as they are used before the cases of nouns, and the infinitive mood of verbs, instead of the numerous changes of termination of the nouns and verbs of the Greek and Latin; which gives greater simplicity to our language, and greater facility of acquiring it.

The prepositions, as well as the preceding conjunctions, have been well explained by Mr. Horne Tooke; who has developed the etymology of many of them. As the greatest number of the ideas, we receive from external objects, are complex ones, the names of these constitute a great part of language, as the proper names of persons and places; which are complex terms. Now as these complex terms do not always exactly suggest the quantity of combined ideas we mean to express, some of the prepositions are prefixed to them to add or to deduct something, or to limit their general meaning; as a house with a party wall, or a house without a roof. These words are also derived by Mr. Tooke, as abbreviations of the imperative moods of verbs; but which appear now to suggest ideas further abstracted than those generally suggested by verbs, and are all of them properly nouns, or names of ideas.

II. _Nouns Substantive._

The second class of words consists of those, which in their simplest state suggest but one idea, as the word man; but which by two changes of termination in our language suggest one secondary idea of number, as the word men; or another secondary idea of the genitive case, as man's mind, or the mind of man. These words by other changes of termination in the Greek and Latin languages suggest many other secondary ideas, as of gender, as well as of number, and of all the other cases described in their grammars; which in English are expressed by prepositions.

This class of words includes the NOUNS SUBSTANTIVE, or names of things, of common grammars, and may be conveniently divided into three kinds. 1. Those which suggest the ideas of things believed to possess hardness and figure, as a house or a horse. 2. Those which suggest the ideas of things, which are not supposed to possess hardness and figure, except metaphorically, as virtue, wisdom; which have therefore been termed abstracted ideas. 3. Those which have been called by metaphysical writers reflex ideas, and mean those of the operations of the mind, as sensation, volition, association.

Another convenient division of these nouns substantive or names of things may be first into general terms, or the names of classes of ideas, as man, quadruped, bird, fish, animal. 2. Into the names of complex ideas, as this house, that dog. 3. Into the names of simple ideas, as whiteness, sweetness.

A third convenient division of the names of things may be into the names of intire things, whether of real or imaginary being; these are the nouns substantive of grammars. 2. Into the names of the qualities or properties of the former; these are the nouns adjective of grammars. 3. The names of more abstracted ideas as the conjunctions and prepositions of grammarians.

These nouns substantive, or names of intire things, suggest but one idea in their simplest form, as in the nominative case singular of grammars. As the word a stag is the name of a single complex idea; but the word stags by a change of termination adds to this a secondary idea of number; and the word stag's, with a comma before the final s, suggests, in English, another secondary idea of something appertaining to the stag, as a stag's horn; which is, however, in our language, as frequently expressed by the preposition _of_, as the horn of a stag.

In the Greek and Latin languages an idea of gender is joined with the names of intire things, as well as of number; but in the English language the nouns, which express inanimate objects, have no genders except metaphorically; and even the sexes of many animals have names so totally different from each other, that they rather give an idea of the individual creature than of the sex, as bull and cow, horse and mare, boar and sow, dog and bitch. This constitutes another circumstance, which renders our language more simple, and more easy to acquire; and at the same time contributes to the poetic excellence of it; as by adding a masculine or feminine pronoun, as he, or she, other nouns substantive are so readily personified.