form, which is oftener found than either concave, convex or any other irregular form that shall be proposed. As we are then more accustomed to beauty than deformity, we may conclude that to be the reason why we approve and admire it, as we approve and admire customs-and fashions of dress for no other reason than that we are used to them; so that, though habit and custom cannot be said to be the cause of beauty, it is certainly the cause of our liking it; and I have no doubt but that, if we were more used to deformity than beauty, deformity would then lose the idea now annexed to it, and take that of beauty; as, if the whole world should agree that yes and no should change their meanings, yes would then deny, and no would affirm.

Whoever undertakes to proceed further in this argument, and endeavours to fix a general criterion of beauty respecting different species, or to show why one species is more beautiful than another, it will be required from him first to prove that one species is really more beautiful than another. That we prefer one to the other, and with very good reason, will be readily granted; but it does not follow from thence that we think it a more beautiful form; for we have no criterion of form by which to determine our judgment. He who says a swan is more beautiful than a dove, means little more than that he has more pleasure in seeing a swan than a dove, either from the stateliness of its motions, or its being a more rare bird; and he who gives the preference to the dove, does it from some association of ideas of innocence that he always annexes to the dove; but, if he pretends to defend the preference he gives to one or the other by endeavouring to prove that this more beautiful form proceeds from a particular gradation of magnitude, undulation of a curve, or direction of a line, or whatever other conceit of his imagination he shall fix on as a criterion of form, he will be continually contradicting himself, and find at last, that the great Mother of Nature will not be subjected to such narrow rules. Among the various reasons why we prefer one part of her works to another, the most general, I believe, is habit and

custom; custom makes, in a certain sense, white black, and black white; it is custom alone determines our preference of the colour of the Europeans to the Ethiopians; and they, for the same reason, prefer their own colour to ours. I suppose nobody will doubt, if one of their painters were to paint the goddess of beauty, but that he would represent her black, with thick lips, flat nose, and woolly hair; and, it seems to me, he would act very unnaturally if he did not; for by what criterion will any one dispute the propriety of his idea? We, indeed, say, that the form and colour of the European is preferable to that of the Æthiopian; but I know of no reason we have for it, but that we are more accustomed to it. It is absurd to say, that beauty is possessed of attractive powers, which irresistibly seize the corresponding mind with love and admiration, since that argument is equally conclusive in favour of the white and the black philosopher.

The black and white nations must, in respect of beauty, be considered as of different kinds, at least a different species of the same kind; from one of which to the other, as I observed, no inference can be drawn.

Novelty is said to be one of the causes of beauty: that novelty is a very sufficient reason why we should admire, is not denied; but, because it is uncommon, is it, therefore, beautiful? The beauty that is produced by colour, as when we prefer one bird to another, though of the same form, on account of its colour, has nothing to do with this argument, which reaches only to form. I have here considered the word beauty as being properly applied to form alone. There is a necessity of fixing this confined sense; for there can be no argument, if the sense of the word is extended to every thing that is approved. A rose may as well be said to be beautiful, because it has a fine smell, as a bird because of its colour. When we apply the word beauty we do not mean always by it a more beautiful form, but something valuable on account of its rarity, usefulness, colour, or any other property. A horse is said to be a beautiful animal; but, had a horse as few good qualities as

a tortoise, I do not imagine that he would be then esteemed beautiful.

A fitness to the end proposed, is said to be another cause of beauty; but supposing we were proper judges of what form is the most proper in an animal to constitute strength or swiftness, we always determine concerning its beauty, before we exert our understanding to judge of its fitness.

From what has been said, it may be inferred, that the works of nature, if we compare one species with another, are all equally beautiful; and that preference is given from custom, or some association of ideas: and that, in creatures of the same species, beauty is the medium or centre of all various forms.

To conclude, then, by way of corollary: If it has been proved, that the painter, by attending to the invariable and general ideas of nature, produces beauty, he must, by regarding minute particularities and accidental discriminations, deviate from the universal rule, and pollute his canvass with deformity".

No. 83. SATURDAY, NOVEMBER 17, 1759.

SIR,

TO THE IDLER.

I SUPPOSE you have forgotten that many weeks ago I promised to send you an account of my companions at the Wells. You would not deny me a place among the most faithful votaries of idleness, if you knew how often I have recollected my engagement, and contented myself to delay the performance for some reason which I durst not examine because I knew it to be false; how often I have sat down to write, and rejoiced at interruption; and how often I have praised the dignity of resolution, determined at night to write in the morning, and deferred it in the morning to the quiet hours of night.

4 By Sir Joshua Reynolds.

I have at last begun what I have long wished at an end, and find it more easy than I expected to continue my narration.

Our assembly could boast no such constellation of intellects as Clarendon's band of associates. We had among us no Selden, Falkland or Waller; but we had men not less important in their own eyes, though less distinguished by the publick; and many a time have we lamented the partiality of mankind, and agreed that men of the deepest inquiry sometimes let their discoveries die away in silence, that the most comprehensive observers have seldom opportunities of imparting their remarks, and that modest merit passes in the crowd unknown and unheeded.

One of the greatest men of the society was Sim Scruple, who lives in a continual equipoise of doubt, and is a constant enemy to confidence and dogmatism. Sim's favourite topick of conversation is the narrowness of the human mind, the fallaciousness of our senses, the prevalence of early prejudice, and the uncertainty of appearances. Sim has many doubts about the nature of death, and is sometimes inclined to believe that sensation may survive motion, and that a dead man may feel though he cannot stir. He has sometimes hinted that man might, perhaps, have been naturally a quadruped; and thinks it would be very proper, that at the Foundling Hospital some children should be inclosed in an apartment in which the nurses should be obliged to walk half upon four and half upon two legs, that the younglings, being bred without the prejudice of example, might have no other guide than nature, and might at last come forth into the world as genius should direct, erect or prone, on two legs or on four.

The next, in dignity of mien and fluency of talk, was Dick Wormwood, whose sole delight is to find every thing wrong. Dick never enters a room but he shows that the door and the chimney are ill-placed. He never walks into the fields but he finds ground ploughed which is fitter for pasture. He is always an enemy to the present fashion.

He holds that all the beauty and virtue of women will soon be destroyed by the use of tea. He triumphs when he talks on the present system of education, and tells us, with great vehemence, that we are learning words when we should learn things. He is of opinion that we suck in errours at the nurse's breast, and thinks it extremely ridiculous that children should be taught to use the right hand rather than the left.

Bob Sturdy considers it as a point of honour to say again what he has once said, and wonders how any man, that has been known to alter his opinion, can look his neighbours in the face. Bob is the most formidable disputant of the whole company; for, without troubling himself to search for reasons, he tires his antagonist with repeated affirmations. When Bob has been attacked for an hour with all the powers of eloquence and reason, and his position appears to all but himself utterly untenable, he always closes the debate with his first declaration, introduced by a stout preface of contemptuous civility. "All this is very judicious; you may talk, Sir, as you please; but I will still say what I said at first." Bob deals much in universals, which he has now obliged us to let pass without exceptions. He lives on an annuity, and holds that there are as many thieves as traders; he is of loyalty unshaken, and always maintains, that he who sees a Jacobite sees a rascal.

Phil Gentle is an enemy to the rudeness of contradiction and the turbulence of debate. Phil has no notions of his own, and, therefore, willingly catches from the last speaker such as he shall drop. This flexibility of ignorance is easily accommodated to any tenet; his only difficulty is, when the disputants grow zealous, how to be of two contrary opinions at once. If no appeal is made to his judgment, he has the art of distributing his attention and his smiles in such a manner, that each thinks him of

r Dr. Johnson was, as he has humorously described himself, a hardened and shameless tea-drinker." See his amusing Review of a Journal of Eight Days' Journey and his Reply to a paper in the Gazetteer, May 26, 1757.