Obrázky na stránke
PDF
ePub

SECTION XVI.

DELICACY.

An air of robustness and strength is very prejudicial to beauty. An appearance of delicacy, and even of fragility, is almost essential to it. Whoever examines the vegetable or animal creation, will find this observation to be founded in nature. It is not the oak, the ash, or the elm, or any of the robust trees of the forest, which we consider as beautiful; they are awful and majestic; they inspire a sort of reverence. It is the delicate myrtle, it is the orange, it is the almond, it is the jasmine, it is the vine, which we look on as vegetable beauties. It is the flowery species, so remarkable for its weakness and momentary duration, that gives us the liveliest idea of beauty and elegance. Among animals, the greyhound is more beautiful than the mastiff; and the delicacy of a gennet, a barb, or an Arabian horse, is much more amiable than the strength and stability of some horses of war or carriage. I need here say little of the fair sex, where I believe the point will be easily allowed me. The beauty of women is considerably owing to their weakness or delicacy, and is even enhanced by their timidity, a quality of mind analogous to it. I would not here be understood to say, that weakness betraying very bad health has any share in beauty; but the ill effect of this is not because it is weakness, but because the ill state of health which produces such weakness, alters the other conditions of beauty; the parts in such a case collapse; the bright color, the lumen purpureum juventæ, is gone, and the fine variation is lost in wrinkles, sudden breaks, and right lines.

SECTION XVII.

BEAUTY IN COLOR.

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 peacocks, 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 effects with 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, smothness, and delicacy of the outward form.

SECTION XX.

THE EYE.

I have hitherto purposely omitted to speak of the eye, which has so great 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.*

* Part. IV. sect. 25.

We are pleased with the eye in this view, on the principle upon which we like diamonds, clear water, glass, 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 principal 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 repetition 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 constituents 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 incumber each other, not to appear divided by sharp and sudden angles. In this case, this roundness, this delicacy of attitude and motion, it is that all the magic of grace consists, and what is called its je ne sçai 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 shewing 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 constitute 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 it fine or specious.

« PredošláPokračovať »