The Works of the Right Honourable Edmund Burke
Chapter 7 : SECTION XX.THE CRIES OF ANIMALS.Such sounds as imitate the natural inarticulate voices o

SECTION XX.

THE CRIES OF ANIMALS.

Such sounds as imitate the natural inarticulate voices of men, or any animals in pain or danger, are capable of conveying great ideas; unless it be the well-known voice of some creature, on which we are used to look with contempt. The angry tones of wild beasts are equally capable of causing a great and awful sensation.

Hinc exaudiri gemitus, iraeque leonum Vincia recusantum, et sera sub nocte rudentum; Setigerique sues, atque in praesepibus ursi Saevire; et formae magnorum ululare luporam.

It might seem that those modulations of sound carry some connection with the nature of the things they represent, and are not merely arbitrary; because the natural cries of all animals, even of those animals with whom we have not been acquainted, never fail to make themselves sufficiently understood; this cannot be said of language. The modifications of sound, which may be productive of the sublime, are almost infinite. Those I have mentioned are only a few instances to show on what principles they are all built.

SECTION XXI.

SMELL AND TASTE.--BITTERS AND STENCHES.

_Smells_ and _tastes_ have some share too in ideas of greatness; but it is a small one, weak in its nature, and confined in its operations. I shall only observe that no smells or tastes can produce a grand sensation, except excessive bitters, and intolerable stenches. It is true that these affections of the smell and taste, when they are in their full force, and lean directly upon the sensory, are simply painful, and accompanied with no sort of delight; but when they are moderated, as in a description or narrative, they become sources of the sublime, as genuine as any other, and upon the very same principle of a moderated pain. "A cup of bitterness"; "to drain the bitter cup of fortune"; "the bitter apples of Sodom"; these are all ideas suitable to a sublime description. Nor is this pa.s.sage of Virgil without sublimity, where the stench of the vapor in Albunea conspires so happily with the sacred horror and gloominess of that prophetic forest:

At rex sollicitus monstris oracula Fauni Fatidici genitoris adit, lucosque sub alta Consulit Albunea, nemorum quae maxima sacro Fonte sonat; _saevamque exhalat opaca Mephitim_.

In the sixth book, and in a very sublime description, the poisonous exhalation of Acheron is not forgotten, nor does it at all disagree with the other images amongst which it is introduced:

Spelunca _alta_ fuit, _vastoque immanis_ hiatu Scrupea, tuta _lacu nigro_, nemorumque _tenebris_; Quam super haud ullae poterant impune volantes Tendere iter pennis: _talis sese halitus atris_ _Faucibus effundens supera ad convexa ferebat_.

I have added these examples, because some friends, for whose judgment I have great deference, were of opinion that if the sentiment stood nakedly by itself, it would be subject, at first view, to burlesque and ridicule; but this I imagine would princ.i.p.ally arise from considering the bitterness and stench in company with mean and contemptible ideas, with which it must be owned they are often united; such an union degrades the sublime in all other instances as well as in those. But it is one of the tests by which the sublimity of an image is to be tried, not whether it becomes mean when a.s.sociated with mean ideas; but whether, when united with images of an allowed grandeur, the whole composition is supported with dignity. Things which are terrible are always great; but when things possess disagreeable qualities, or such as have indeed some degree of danger, but of a danger easily overcome, they are merely _odious_; as toads and spiders.

SECTION XXII.

FEELING.--PAIN.

Of _feeling_ little more can be said than that the idea of bodily pain, in all the modes and degrees of labor, pain, anguish, torment, is productive of the sublime; and nothing else in this sense can produce it. I need not give here any fresh instances, as those given in the former sections abundantly ill.u.s.trate a remark that, in reality, wants only an attention to nature, to be made by everybody.

Having thus run through the causes of the sublime with reference to all the senses, my first observation (Sect. 7) will be found very nearly true; that the sublime is an idea belonging to self-preservation; that it is, therefore, one of the most affecting we have; that its strongest emotion is an emotion of distress; and that no pleasure[23] from a positive cause belongs to it. Numberless examples, besides those mentioned, might be brought in support of these truths, and many perhaps useful consequences drawn from them--

Sed fugit interea, fugit irrevocabile tempus, Singula dum capti circ.u.mvectamur amore.

FOOTNOTES:

[11] Part I. sect. 3, 4, 7.

[12] Part IV. sect. 3, 4, 5, 6.

[13] Part IV. sect. 14, 15, 16.

[14] Part V.

[15] Part I. sect. 7.

[16] Vide Part III. sect. 21.

[17] Part IV. sect. 9.

[18] Part IV. sect. 11.

[19] Part IV. sect. 13.

[20] Mr. Addison, in the Spectators concerning the pleasures of the imagination, thinks it is because in the rotund at one glance you see half the building. This I do not imagine to be the real cause.

[21] Part IV. sect. 4, 5, 6.

[22] Sect. 3.

[23] Vide Part I. sect. 6.

PART III.

SECTION I.

OF BEAUTY.

It is my design to consider beauty as distinguished from the sublime; and, in the course of the inquiry, to examine how far it is consistent with it. But previous to this, we must take a short review of the opinions already entertained of this quality; which I think are hardly to be reduced to any fixed principles; because men are used to talk of beauty in a figurative manner, that is to say, in a manner extremely uncertain, and indeterminate. By beauty, I mean that quality, or those qualities in bodies, by which they cause love, or some pa.s.sion similar to it. I confine this definition to the merely sensible qualities of things, for the sake of preserving the utmost simplicity in a subject, which must always distract us whenever we take in those various causes of sympathy which attach us to any persons or things from secondary considerations, and not from the direct force which they have merely on being viewed. I likewise distinguish love, (by which I mean that satisfaction which arises to the mind upon contemplating anything beautiful, of whatsoever nature it may be,) from desire or l.u.s.t; which is an energy of the mind, that hurries us on to the possession of certain objects, that do not affect us as they are beautiful, but by means altogether different. We shall have a strong desire for a woman of no remarkable beauty; whilst the greatest beauty in men, or in other animals, though it causes love, yet excites nothing at all of desire.

Which shows that beauty, and the pa.s.sion caused by beauty, which I call love, is different from desire, though desire may sometimes operate along with it; but it is to this latter that we must attribute those violent and tempestuous pa.s.sions, 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 such.

SECTION II.

PROPORTION NOT THE CAUSE OF BEAUTY IN VEGETABLES.

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 a.s.sistance 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 proportion 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 quant.i.ty. Since all quant.i.ty is divisible, it is evident that every distinct part into which any quant.i.ty 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 inquiry. But whether any part of any determinate quant.i.ty be a fourth, or a fifth, or a sixth, or a moiety of the whole; or 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 unbia.s.sed to examine the point. All proportions, every arrangement of quant.i.ty, 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 related 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 pa.s.sions 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 const.i.tuents 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 differ. 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 a.s.signed.

4. Not to admit any determinate quant.i.ty, or any relation of quant.i.ty, 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 have 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 a.s.signable 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 fas.h.i.+oned 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 blossom 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, nouris.h.i.+ng 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 particular parts to each other. I grant that we may observe in many 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; before this exact figure is formed; and this is not the only instance wherein method and exactness, the soul of proportion, are found rather prejudicial than serviceable to the cause of beauty.

SECTION III.

PROPORTION NOT THE CAUSE OF BEAUTY IN ANIMALS.

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 peac.o.c.k, who has comparatively 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 colors either of birds or flowers, for there is something similar in the coloring 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 color; others have all the colors of the rainbow; some are of the primary colors, others are of the mixed; in short, an attentive observer may soon conclude that there is as little of proportion in the coloring 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 relation these have to each other; and when you have settled these proportions as a standard of beauty, then take a dog or cat, or any other animal, and examine how far the same proportions between their heads and their necks, between those 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 so differing, that have a very striking beauty. Now, if it be allowed that very different, and even contrary forms and dispositions are consistent with beauty, it amounts I believe to a 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.

SECTION IV.