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and we shall observe the same conduct in our inquiry into the cause of beauty.

SECTION XIX.

THE PHYSICAL CAUSE OF LOVE.

When we have before us such objects as excite love and complacency; the body is affected, so far as I could observe, much in the following manner: the head reclines something on one side the eye-lids are more closed than usual, and the eyes roll gently with an inclination to the object; the mouth is a little opened, and the breath drawn slowly, with now and then a low sigh; the whole body is composed, and the hands fall idly to the sides. All this is accompanied with an inward sense of melting and languor. These appearances are always proportioned to the degree of beauty in the object, and of sensibility in the observer. And this gradation from the highest pitch of beauty and sensibility even to the lowest of mediocrity and indifference, and their correspondent effects, ought to be kept in view, else this description will seem exaggerated, which it certainly is not. But from this description it is almost impossible not to conclude, that beauty acts by relaxing the solids of the whole system. There are all the appearances of such a relaxation; and a relaxation somewhat below the natural tone seems to me to be the cause of all positive pleasure. Who is a stranger to that manner of expression so common in all times and in all countries, of being softened, relaxed, enervated, dissolved, melted away by pleasure? The universal voice of mankind, faithful to their feelings, concurs in affirming this uniform and general effect: and although some odd and particular instance may perhaps be found, wherein there appears a considerable degree of positive pleasure, without all the characters of relaxation, we must not therefore reject the conclusion we had drawn from a concurrence of many experiments; but we still must retain it, subjoining the excep

tions which may occur according to the judicious rule laid down by Sir Isaac Newton in the third book of his Optics. Our position will, I conceive, appear confirmed beyond any reasonable doubt, if we can shew that such things as we have already observed to be the genuine constituents of beauty, have each of them, separately taken, a natural tendency to relax the fibres. And if it must be allowed us, that the appearance of the human body, when all these constituents are united together before the sensory, further favors this opinion, we may venture, I believe, to conclude, that the passion called love is produced by this relaxation. By the same method of reasoning which we have used in the inquiry into the causes of the sublime, we may likewise conclude, that as a beautiful object presented to the sense, by causing a relaxation of the body, produces the passion of love in the mind; so if by any means the passion should first have its origin in the mind, a relaxation of the outward organs will as certainly ensue in a degree proportioned to the cause.

SECTION XX.

WHY SMOOTHNESS IS BEAUTIFUL.

It is to explain the true cause of visual beauty that I call in the assistance of the other senses. If it appears that smoothness is a principal cause of pleasure to the touch, taste, smell, and hearing, it will be easily admitted a constituent of visual beauty; especially as we have before shewn, that this quality is found almost without exception in all bodies that are by general consent held beautiful. There can be no doubt that bodies which are rough and angular, rouse and vellicate the organs of feeling, causing a sense of pain, which consists in the violent tension or contraction of the muscular fibres. On the contrary, the application of smooth bodies relaxes; gentle stroking with a smooth hand allays violent pains and cramps, and relaxes the suffering parts from their

unnatural tension; and it has therefore very often no mean effect in removing swellings and obstructions. The sense of feeling is highly gratified with smooth bodies. A bed smoothly laid and soft, that is, where the resistance is every way inconsiderable, is a great luxury, disposing to an universal relaxation, and inducing beyond any thing else, that species of it called sleep.

SECTION XXI.

SWEETNESS, ITS NATURE.

Nor is it only in the touch, that smooth bodies cause positive pleasure by relaxation. In the smell and taste, we find all things agreeable to them, and which are commonly called sweet, to be of a smooth nature, and that they all evidently tend to relax their respective sensories. Let us first consider the taste. Since it is most easy to inquire into the property of liquids, and since all things seem to want a fluid vehicle to make them tasted at all, I intend rather to consider the liquid than the solid parts of our food. The vehicles of all tastes are water and oil. And what determines the taste is some salt, which affects variously according to its nature, or its manner of being combined with other things. Water and oil, simply considered, are capable of giving some pleasure to the taste. Water, when simple, is insipid, inodorous, colorless, and smooth; it is found, when not cold, to be a great resolver of spasms, and lubricator of the fibres; this power it probably owes to its smoothness. For as fluidity depends, according to the most general opinion, on the roundness, smoothness, and weak cohesion of the component parts of any body; and as water acts merely as a simple fluid; it follows, that the cause of its fluidity is likewise the cause of its relaxing quality; namely, the smoothness and slippery texture of its parts. The other fluid vehicle of tastes is oil. This too, when simple, is insipid, inodorous, colorless, and smooth to the touch and taste. It is smoother than

water, and in many cases yet more relaxing. Oil is in some degree pleasant to the eye, the touch, and the taste, insipid as it is. Water is not so grateful; which I do not know on what principle to account for, other than that water is not so soft and smooth. Suppose that to this oil or water were added a certain quantity of a specific salt, which had a power of putting the nervous papillæ of the tongue into a gentle vibratory motion; as suppose sugar dissolved in it. The smoothness of the oil, and the vibratory power of the salt, cause the sense we call sweetness. In all sweet bodies, sugar, or a substance very little different from sugar, is constantly found; every species of salt, examined by the microscope, has its own distinct, regular, invariable form. That of nitre is a pointed oblong; that of sea-salt an exact cube; that of sugar a perfect globe. If you have tried how smooth globular bodies, as the marbles with which boys amuse themselves, have affected the touch when they are rolled backward and forward and over one another, you will easily conceive how sweetness, which consists in a salt of such nature, affects the taste; for a single globe, (though somewhat pleasant to the feeling) yet by the regularity of its form, and the somewhat too sudden deviation of its parts from a right line, is nothing near so pleasant to the touch as several globes, where the hand gently rises to one and falls to another; and this pleasure is greatly increased if the globes are in motion, and sliding over one another; for this soft variety prevents that weariness, which the uniform. disposition of the several globes would otherwise produce. Thus in sweet liquors, the parts of the fluid vehicle, though most probably round, are yet so minute, as to conceal the figure of their component parts from the nicest inquisition of the microscope; and consequently being so excessively minute, they have a sort of flat simplicity to the taste, resembling the effects of plain smooth bodies to the touch; for if a body be composed of round parts excessively small, and packed pretty closely together, the surface will be both to the sight and touch as if it were nearly plain and smooth. It is clear from their unveiling their figure to the microscope, that the particles

of sugar are considerably larger than those of water or oil, and consequently, that their effects from their roundness will be more distinct and palpable to the nervous papillæ of that nice organ the tongue: they will induce that sense called sweetness, which in a weak manner we discover in oil, and in a yet weaker in water; for, insipid as they are, water and oil are in some degree sweet; and it may be observed, that insipid things of all kinds approach more nearly to the nature of sweetness than to that of any other taste.

SECTION XXII.

SWEETNESS RELAXING.

In the other senses we have remarked, that smooth things are relaxing. Now it ought to appear that sweet things, which are the smooth of taste, are relaxing too. It is remarkable, that in some languages soft and sweet have but one name. Doux in French signifies soft as well as sweet. The Latin Dulcis, and the Italian Dolce, have in many cases the same double signification. That sweet things are generally relaxing, is evident; because all such, especially those which are most oily, taken frequently, or in a large quantity, very much enfeeble the tone of the stomach. Sweet smells, which bear a great affinity to sweet tastes, relax very remarkably. The smell of flowers disposes people to drowsiness; and this relaxing effect is further apparent from the prejudice which people of weak nerves receive from their use. It were worth while to examine, whether tastes of this kind, sweet ones, tastes that are caused by smooth oils and a relaxing salt, are not the originally pleasant tastes. For many, which use has rendered such, were not at all agreeable at first. The way to examine this is, to try what nature has originally provided for us, which she has undoubtedly made originally pleasant; and to analyze this provision. Milk, is the first support of our childhood. The component parts of this are water, oil, and a sort of a very sweet salt, called the sugar of milk. All these

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