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pestuous passions, and the consequent emotions of the body, which attend what is called love in some of its ordinary acceptations, and not to the effects of beauty merely as it is buch.
BKCT. II.- PROPORTION NOT THE CAUSE OF BEAUTY IN
BEAUTY hath usually been said to consist in certain proportions of parts. On considering the matter, I have great reason to doubt, whether beauty be at all an idea belonging to proportion. Proportion relates almost wholly to convenience, as every idea of order seems to do ; and it must therefore be considered as a creature of the understanding, rather than a primary cause acting on the senses and imagination. It is not by the force of long attention and inquiry that we find any object to be beautiful; beauty demands no assistance from our reasoning; even the will is unconcerned; the appearance of beauty as effectually causes some degree of love in us, as the application of ice or fire produces the ideas of heat or cold. To gain something like a satisfactory conclusion in this point, it were well to examine, what propor. tion is; since several who make use of that word do not always seem to understand very clearly the force of the term, nor to have very distinct ideas concerning the thing itself. Proportion is the measure of relative quantity. Since all quantity is divisible, it is evident that every distinct part, into which any quantity is divided, must bear some relation to the other parts, or to the whole. These relations give an origin to the idea of proportion. They are discovered by mensuration, and they are the objects of mathematical in. quiry. But whether any part of any determinate quantity be a fourth, or a fifth, or å sixth, or a moiety of the whole; whether it be of equal length with any other part, or double its length, or but one half, is a matter merely indifferent to the mind; it stands neuter in the question; and it is from this absolute indifference and tranquillity of the mind, that mathematical speculations derive some of their most considerable advantages; because there is nothing to interest the imagination ; because the judgment sits free and unbiassed to examine the point. All proportions, every ar
rangement of quantity, is alike to the understanding, because the same truths result to it from all ; from greater, from lesser, from equality and inequality. But surely beauty is no idea belonging to mensuration; nor has it anything to do with calculation and geometry. If it had, we might then point out some certain measures which we could demonstrate to be beautiful, either as simply considered, or as relating to others; and we could call in those natural objects, for whose beauty we have no voucher but the sense, to this happy standard, and confirm the voice of our passions by the determination of our reason. But since we have not this help, let us see whether proportion can in any sense be considered as the cause of beauty, as hath been so generally, and by some so confidently, affirmed. If proportion be one of the constituents of beauty, it must derive that power either from some natural properties inherent in certain measures, which operate mechanically ; from the operation of custom; or from the fitness which some measures have to answer some particular ends of conveniency. Our business therefore is to inquire, whether the parts of those objects, which are found beautiful in the vegetable or animal kingdoms, are constantly so formed according to such certain measures, as may serve to satisfy us that their beauty results from those measures, on the principle of a natural mechanical cause; or from custom; or, in fine, from their fitness for any determinate purposes. I intend to examine this point under each of these heads in their order. But before I proceed further, I hope it will not be thought amiss, if I lay down the rules which governed me in this inquiry, and which have misled me in it, if I have gone astray. 1. If two bodies produce the same or a similar effect on the mind, and on examination they are found to agree in some of their properties, and to differ in others; the common effect is to be attributed to the properties in which they agree, and not to those in which they ditfer. 2. Not to account for the effect of a natural object from the effect of an artificial object. 3. Not to account for the effect of any natural object from a conclusion of our reason concerning its uses, if a natural cause may be assigned. 4. Not to admit any determinate quantity, or any relation of quantity, as the cause of a certain effect, if the effect is produced by different or opposite measures and relations; or if
these measures and relations may exist, and yet the effect may not be produced. These are the rules which I bave chiefly followed, whilst I examined into the power of proportion considered as a natural cause; and these, if he thinks them just, I request the reader to carry with him throughout the following discussion; whilst we inquire in the first place, in what things we find this quality of beauty; next, to see whether in these we can find any assignable proportions, in such a manner as ought to convince us that our idea of beauty results from them. We shall consider this pleasing power, as it appears in vegetables, in the inferior animals, and in man. Turning our eyes to the vegetable creation, we find nothing there so beautiful as flowers; but flowers are almost of every sort of shape, and of every sort of disposition; they are turned and fashioned into an infinite variety of forms; and from these forms botanists have given them their names, which are almost as various. What proportion do we discover between the stalks and the leaves of flowers, or between the leaves and the pistils ? How does the slender stalk of the rose agree with the bulky head under which it bends ? But the rose is a beautiful flower; and can we undertake to say that it does not owe a great deal of its beauty even to that disproportion: the rose is a large flower, yet it grows upon a small shrub; the flower of the apple is very small, and grows upon a large tree; yet the rose and the apple blossoin are both beautiful, and the plants that bear them are most engagingly attired, notwithstanding this disproportion. What by general consent is allowed to be a more beautiful object than an orange-tree, flourishing at once with its leaves, its blossoms, and its fruit ? but it is in vain that we search here for any proportion between the height, the breadth, or anything else concerning the dimensions of the whole, or concerning the relation of the particuiar parts to each other. I grant that we may observe, in inany flowers, something of a regular figure, and of a methodical disposition of the leaves. The rose has such a figure and such a disposition of its petals; but in an oblique view, when this figure is in a good measure lost, and the order of the leaves confounded, it yet retains its beauty; the rose is even more beautiful before it is full blown ; in the bud, bctore ibis exact figure is formed; and this is not the only instance
wherein method and exacıizss, the soul of proportion, are found rather prejudicial than serviceable to tae cause of beauty.
SECT. III.- PROPORTION NOT THE CAUSE OF BEAUTY
That proportion has but a small share in the formation of beauty, is full as evident among animals. Here the greatest variety of shapes and dispositions of parts are well fitted to excite this idea. The swan, confessedly a beautiful bird, has a neck longer than the rest of his body, and but a very short tail : is this a beautiful proportion? We must allow that it is. But then what shall we say to the peacock, who has comparacively but a short neck, with a tail longer than the neck and the rest of the body taken together? How many birds are there that vary infinitely from each of these standards, and from every other which you can fix; with proportions different, and often directly opposite to each other! and yet many of these birds are extremely beautiful; when upon considering them we find nothing in any one part that might determine us, a priori, to say what the others ought to be, nor indeed to guess anything about them, but what experience might show to be full of disappointment and mistake. And with regard to the colours either of birds or flowers, for there is something similar in the colouring of both, whether they are considered in their extension or gradation, there is nothing of proportion to be observed. Some are of but one single colour, others have all the colours of the rainbow; some are of the primary colours, others are of the mixt; in short, an attentive observer may soon conclude, that there is as little of proportion in the colouring as in the shapes of these objects. Turn next to beasts; examine the head of a beautiful horse ; find what proportion that bears to his body, and to his limbs, and what relations these have to each other; and when you have settled these proportions as a standard of beauty, then ake a dog or cat, or any other animal, and examine how far the same proportions between their heads and their necks, between tħose and the body, and so on, are found to hold. I think we may safely say, that they differ in every species,
yet that there are individuals, found in a great many species su differing, that have a very striking beauty. Now, if it ne allowed that
very different and even contrary forms and dispositions are consistent with beauty, it amounts I believe to à concession, that no certain measures, operating from a natural principle, are necessary to produce it; at least so far as the brute species is concerned.
SECT. IV.-PROPORTION NOT THE CAUSE OF BEAUTY IN
THE HUMAN SPECIES.
THERE are some parts of the human body that are observed to hold certain proportions to each other; but before it can be proved that the efficient cause of beauty lies in these, it must be shown, that wherever these are found exact, the person to whom they belong is beautiful: I mean in the effect produced on the view, either of any member distinctly considered, or of the whole body together. It must be likewise shown, that these parts stand in such a relation to each other, that the comparison between them may be easily made, and that the affection of the mind may naturally result from it. For my part, I have at several times very carefully examined many of those proportions, and found them hold very nearly or altogether alike in many subjects, which were not only very different from one another, but where one has been very beautiful, and the other very remote from beauty. With regard to the parts which are found so proportioned, they are often so remote from each other, in situation, nature, and office, that I cannot see how they admit of any comparison, nor consequently how any effect owing to proportion can result from them. The neck, say they, in beautiful bodies, should measure with the calf of the leg; it should likewise be twice the circumference of the wrist. And an infinity of observations of this kind are to be found in the writings and conversations of many.
But what relation has the calf of the leg to the neck; or either of these parts to the wrist? These proportions are certainly to be found in handsome bodies. They are as certainly in ugly ones; as any who will take the pains to try may find. Nay, I do not know but they may be least perfect in some of the most beautiful. You may assign any prop