tobacco and strong liquors. This depends on causes in which the mind has little concern.

It

may be, that, by the constant use of such things, the stomach or the palate, and of course the animal spirits, are reduced to such a state as to be uneasy in the want of them. The part of prudence, therefore, is, to abstain from such things altogether, which requires no effort, rather than to hazard the acquisition of a habit which it may be almost impossible to overcome. Unnatural pleasures of this sort it is no evil to be without, but it may be a fatal evil to acquire a relish for.

166. In all the arts that minister to rational pleasure, variety is studied, that the mind may be refreshed with a succession of novelties. The prose-writer, where it can be done conveniently, varies the length, the sound, and the syntax, of contiguous clauses and sentences; and amuses the reader's fancy with metaphors, similitudes, and other apposite figures of speech. The poet varies the structure of contiguous verses; and, in framing his fable, is careful to bring in events that are both probable and unexpected, and persons who differ from each other in character, appearance, and adventures. So in the other fine arts. In the works of nature there is great uniformity, and at the same time the most unbounded variety: so that he who studies them is continually delighted with new and wonderful discoveries; and is

yet

a

never perplexed by their multiplicity, because order, proportion, and fitness, prevail through the

whole system.

167. The taste for novelty is an important part of the human constitution. It is the source of much amusement, and prompts men to labour in the acquisition of knowledge. It is, besides, one of our first passions. You cannot gratify a child more, than by shewing him something new, or telling him a wonderful story. The same novelties are not equally captivating to all. Some seek after new attainments in science; some wander through the world to visit different nations; some explore the wonders of inanimate nature, and some the characters of men; some read history, some study the fine arts, some are curious in whatever relates to mechanism, and some mind little more than the news of the day; some amuse themselves with collecting pictures, prints, manuscripts, medals, shells, minerals; and some are fond of old, and others of new books. Thus men take to different pursuits and employments, and every part of knowledge is cultivated.

168. OF SUBLIMITY. Things of great magnitude, as a large building, a high mountain, a broad river, a wide prospect, the ocean, the sky, &c. fill the mind of the beholder with admiration and pleasing astonishment, and with respect to this sensation are called sublime. Great height and depth, and great number too, as an army, a navy, G

YOL. I.

a long succession of years, eternity, &c. are sublime objects, because they fill our minds with the same pleasing astonishment. In contemplating such things, we are conscious of something like an expansion or elevation of our faculties, as if we were exerting our whole capacity to comprehend the vastness of the object.

169. Whatever it be that raises in us this pleasurable astonishment, is accounted sublime, whe ther connected with quantity or number, or not. Hence loud sounds, like those of thunder, cannon, a full organ, a storm; hence those fictions in poetry, that produce an imaginary, and not painful terror; hence any uncommon degree of virtue, of genius, or even of bodily strength; and hence those affections which elevate the soul, as fortitude, devotion, and universal benevolence, or which are, in their objects, causes, or effects, connected with great number or great quantity; are all denominated sublime, and fill our minds with the same delightful astonishment and admir. ation.

170. The Deity-the source of happiness and the standard of perfection; who creates, preserves, pervades, and governs all things; whose power is omnipotent, whose wisdom is perfect, whose goodness is unbounded, whose greatness is incomprehensible; who was from all eternity, and of whose dominion there can be no end: he is undoubtedly, and, beyond all comparison, the most sublime ob

ject which it is possible to conceive or to contemplate and of all created sublimity (if I may so speak) his works exhibit the most perfect and most astonishing examples. There are, no doubt, sublime operations of human art, as ships of war, cathedral churches, palaces, mounds for repelling the sea, &c. But, in respect of greatness, these are nothing, when we compare them with mountains, volcanoes, the ocean, the expanse of heaven, clouds and storms, thunder and lightning, the sun and moon, the solar system, the universe.

171. Poetry, painting, and music, are called fine arts; because, though not necessary to life, they are highly ornamental. Architecture is also a fine art; for it improves building to a degree far beyond what is necessary. And by each of these arts the sublime is attainable. That is sublime music which inspires sublime affections, as courage and devotion; or which, by its sonorous harmonies, overwhelms the mind with a pleasing astonishment. Architecture is sublime, when it is large, lofty, and durable; and, at the same time, so simple and well-proportioned as that the eye can take in all its greatness at once. For a number of little parts and ornaments take away from the sublimity of a great building, though they may sometimes add to its beauty. Painting is sublime, when it exhibits men invested with great qualities, such as bodily strength; or actuated by sublime passions, as devotion or valour; or when it successfully imitates

great visible objects, artificial or natural, as mountains, precipices, palaces, storms, cataracts, volcanoes, and the like.

172. Poetry is sublime; first, when it elevates the mind, and makes it, as it were, superior to the cares and troubles of this world: secondly, when it infuses any sublime affection, as devotion, valour, universal benevolence, the love of virtue and of our country thirdly, when it affects the mind with an awful and imaginary, but not unpleasing horror: fourthly, when it describes the sentiments or actions of those persons whose character is sublime and fifthly, when it conveys a lively idea of any grand appearance, natural, artificial, or imaginary. That style is sublime, which makes us readily conceive any great object or sentiment in a lively manner; and this is often done when the words are very plain and simple.

173. It is true, that poets and orators, when they describe sublime objects, do often elevate their style with tropes and figures, and high-sounding expressions. And this is suitable to the nature of human speech: for, when we speak of any thing which we consider as great, it is natural for us, even in common discourse, to raise our voice, and pronounce with more than usual solemnity. But in the use of bold figures and sonorous language great caution is requisite: for, if they be too frequent, or seem to be too much sought after, or if they be not accompanied with a correspondent