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tions; and if rapid, no single emotion has room to expand itself to its full size, but is stifled, as it were, in the birth, by a succeeding emotion. The funeral oration of the Bishop of Meaux upon the Dutchess of Orleans is a perfect hodge-podge of cheerful and melancholy representations following each other in the quickest succession: opposite emotions are best felt in succession; but each emotion separately should be raised to its due pitch, before another be introduced.

What is above laid down, will enable us to determine a very important question concerning emotions raised by the fine arts, namely, Whether ought similar emotions to succeed each other, or dissimilar? The emotions raised by the fine arts are for the most part too nearly related to make a figure by resemblance; and for that reason their succession ought to be regulated as much as possible by contrast. This holds confessedly in epic and dramatic compositions; and the best writers, led perhaps by taste more than by reasoning, have generally aimed at that beauty. It holds equally in music in the same cantata, all the variety of emotions that are within the power of music may not only be indulged, but, to make the greatest figure, ought to be contrasted. In gardening, there is an additional reason for the rule: the emotions raised by that art are at best so faint, that every artifice should be employed to give them their utmost vigour a field may be laid out in grand, sweet, gay, neat, wild, melancholy scenes; and when these are viewed in succession, grandeur ought to be contrasted with neatness, regularity with wildness, and gaiety with melancholy, so as that each emotion may succeed its opposite: nay it is an improvement to intermix in the succession rude uncultivated spots as well as unbounded VOL. I. I i

views, which in themselves are disagreeable, but in succession heighten the feeling of the agreeable objects; and we have nature for our guide, which in her most beautiful landscapes often intermixes rugged rocks, dirty marshes, and barren stony heaths. The greatest masters of music have the same view in their compositions: the second part of an Italian song seldom conveys any sentiment; and, by its harshness, seems purposely contrived to give a greater relish for the interesting parts of the composition.

A small garden comprehended under a single view, affords little opportunity for that embellishment. Dissimilar emotions require different tones of mind; and therefore in conjunction can never be pleasant:* gaiety and sweetness may be combined, or wildness and gloominess; but a composition of gaiety and gloominess is distasteful. The rude uncultivated copartment of furze and broom in Richmond garden hath a good effect in the succession of objects; but a spot of that nature would be insufferable in the midst of a polished parterre or flower-plot. A garden, therefore, if not of great extent, admits not dissimilar emotions; and in ornamenting a small garden, the safest course is to confine it to a single expression. For the same reason, a landscape ought also to be confined to a single expression; and accordingly it is a rule in painting, That if the subject be gay, every figure ought to contribute to that emotion.

It follows from the foregoing train of reasoning, that a garden near a great city ought to have an air of solitude. The solitariness again of a waste country ought to be contrasted in forming a garden; no temples, no obscure walks; but jets d'eau, cas

* See Chapter II. Part iv.

cades, objects active, gay and splendid. Nay, such a garden should in some measure avoid imitating nature, by taking on an extraordinary appearance of regularity and art, to show the busy hand of man, which in a waste country has a fine effect by contrast.

It may be gathered from what is said above,* that wit and ridicule make not an agreeable mixture with grandeur. Dissimilar emotions have a fine effect in a slow succession; but in a rapid succession, which approaches to co-existence, they will not be relished: in the midst of a laboured and elevated description of a battle, Virgil introduces a ludicrous image, which is certainly out of its place:

Obvius ambustum torrem Chorinæus ab ara
Corripit, et venienti Ebuso plagamque ferenti
Occupat os flammis: illi ingens barba reluxit,
Nidoremque ambusta dedit.

Eneid, xii. 298.

The following image is no less ludicrous, nor less improperly placed:

Mentre fan questi i bellici stromenti
Perche debbiano tosto in uso porse,
Il gran nemico de l'humane genti
Contra i Christiani i lividi occhi torse :
E lor veggendo à le bell' opre intenti,
Ambo le labra per furor si morse :
E qual tauro ferito, il suo dolore
Verso mugghiando e sospirando fuore.

Gerusal. cant. iv. st. 1.

It would, however, be too austere to banish altogther ludicrous images from an epic poem. This

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poem doth not always soar above the clouds: it admits great variety; and upon occasion can descend even to the ground without sinking. In its more familiar tones, a ludicrous scene may be introduced without impropriety. This is done by Virgil in a foot-race; the circumstances of which, not excepting the ludicrous part, are copied from Homer. After a fit of merriment, we are, it is true, the less disposed to the serious and sublime: but then, a ludicrous scene, by unbending the mind from severe application to more interesting sub, jects, may prevent fatigue, and preserve our relish entire.

* En. lib. v.

Iliad, book xxiii. l. 879.

CHAPTER IX.

Uniformity and Variety.

IN attempting to explain uniformity and variety, in order to show how we are affected by these circumstances, a doubt occurs, what method ought to be followed. In adhering close to the subject, I foresee difficulties; and yet by indulging such a circuit as may be necessary for a satisfactory view, I probably shall incur the censure of wandering. Yet the dread of censure ought not to prevail over what is proper: beside that the intended circuit will lead to some collateral matters, that are not only curious, but of considerable importance in the science of human nature.

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The necessary succession of perceptions may be examined in two different views; one with respect to order and connexion, and one with respect to uniformity and variety. In the first view it is handied above:* and I now proceed to the second. The world we inhabit is replete with things no less remarkable for their variety than for their number: these, unfolded by the wonderful mechanism of external sense, furnish the mind with many perceptions; which, joined with ideas of memory, of imagination, and of reflection, form a complete train that has not a gap or interval. This train of perceptions and ideas depends very little on will. The mind, as has been observed,* is so constituted, "That it can by no effort break off the "succession of its ideas, nor keep its attention "long fixed upon the same object:" we can arrest a perception in its course; we can shorten its natural duration, to make room for another; we can vary the succession, by change of place or of amusement; and we can in some measure prevent variety, by frequently recalling the same object after short intervals: but still there must be a succession, and a change from one perception to another. By artificial means, the succession may be retarded or accelerated, may be rendered more various or more uniform, but in one shape or another is unavoidable.

The train, even when left to its ordinary course, is not always uniform in its motion; there are natural causes that accelerate or retard it considerably. The first I shall mention, is a peculiar constitution of mind. One man is distinguished from another, by no circumstance more remarkably, than his train of perceptions: to a cold languid temper

* Chapter I.

† Locke, book ii. chap 14.

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