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of the mind. Some particular forms or qualities, from the original structure of the internal fabric, are calculated to please, and others to displease; and if they fail of their effect in any particular instance, it is from some apparent defect or imperfection in the organ. A man in a fever would not insist on his palate as able to decide concerning flavors, nor would one affected with the jaundice pretend to give a verdict with regard to colors. In each creature there is a sound and a defective state, and the former alone can be supposed to afford us a true standard of taste and sentiment. If, in the sound state of the organ, there be an entire or a considerable uniformity of sentiment among men, we may thence derive an idea of the perfect beauty; in like manner as the appearance of objects in daylight, to the eye of a man in health, is denominated their true and real color, even while color is allowed to be merely a phantasm of the senses.

Many and frequent are the defects in the internal organs, which prevent or weaken the influence of those general principles on which depends our sentiment of beauty or deformity. Though some objects, by the structure of the mind, be naturally calculated to give us pleasure, it is not to be expected that in every individual the pleasure will be equally felt. Particular incidents and situations occur, which either throw a false light on the objects or hinder the true from conveying to the imagination the proper sentiment and perception.

One obvious cause why many feel not the proper sentiment of beauty, is the want of that delicacy of imagination which is requisite to convey a sensibility of those finer emotions. This delicacy every one pretends to; every one talks of it; and would reduce every kind of taste or sentiment to its standard. But as our intention in this essay is to mingle some light of the understanding with the feelings of sentiment, it will be proper to give a more accurate definition of delicacy than has hitherto been attempted. And not to draw our philosophy from too profound a source, we shall have recourse to a noted story in Don Quixote.

"It is with good reason," says Sancho to the squire with the great nose, "that I pretend to have a judgment in wine: this is a quality hereditary in our family. Two of my kinsmen were once called to give their opinion of a hogshead which was supposed to be excellent, being old and of a good vintage. One of

them tastes it, considers it, and, after mature reflection, pronounces the wine to be good, were it not for a small taste of leather which he perceived in it. The other, after using the same precautions, gives also his verdict in favor of the wine, but with the reserve of a taste of iron which he could easily distinguish. You cannot imagine how much they were both ridiculed for their judgment. But who laughed in the end? On emptying the hogshead, there was found at the bottom an old key with a leathern thong tied to it."

The great resemblance between mental and bodily taste will easily teach us to apply this story. Though it be certain that beauty and deformity, more than sweet and bitter, are not qualities in objects, but belong entirely to the sentiment, internal or external, it must be allowed that there are certain qualities in objects which are fitted by nature to produce those particular feelings. Now as these qualities may be found in a small degree, or may be mixed and confounded with each other, it often happens that the taste is not affected with such minute qualities, or is not able to distinguish all the particular flavors, amidst the disorder in which they are presented. Where the organs are so fine as to allow nothing to escape them, and at the same time so exact as to perceive every ingredient in the composition, this we call delicacy of taste, whether we employ these terms in the literal or metaphorical sense. Here then the general rules of beauty are of use, being drawn from established models, and from the observation of what pleases or displeases, when presented singly and in a high degree. And if the same qualities, in a continued composition and in a smaller degree, affect not the organs with a sensible delight or uneasiness, we exclude the person from all pretensions to this delicacy. To produce these general rules or avowed patterns of composition is like finding the key with the leathern thong, which justified the verdict of Sancho's kinsmen, and confounded those pretended judges who had condemned them. Though the hogshead had never been emptied, the taste of the one was still equally delicate, and that of the other equally dull and languid; but it would have been more difficult to have proved the superiority of the former, to the conviction of every bystander. In like manner, though the beauties of writing had never been methodized or reduced to general principles, though no excel

lent models had ever been acknowledged, the different degrecs of taste would still have subsisted, and the judgment of one man been preferable to that of another; but it would not have been so easy to silence the bad critic, who might always insist upon his particular sentiment, and refuse to submit to his antagonist. But when we show him an avowed principle of art; when we illustrate this principle by examples whose operation, from his own particular taste, he acknowledges to be conformable to the principle; when we prove that the same principle may be applied to the present case, where he did not perceive or feel its influence, - he must conclude, upon the whole, that the fault lies in himself, and that he wants the delicacy which is requisite to make him sensible of every beauty and every blemish in any composition or discourse.

It is acknowledged to be the perfection of every sense or faculty, to perceive with exactness its most minute objects, and allow nothing to escape its notice and observation. The smaller the objects are which become sensible to the eye, the finer is that organ and the more elaborate its make and composition. A good palate is not tried by strong flavors, but by a mixture of small ingredients, where we are still sensible of each part, notwithstanding its minuteness and its confusion with the rest. In like manner, a quick and acute perception of beauty and deformity must be the perfection of our mental taste; nor can a man be satisfied with himself while he suspects that any excellence or blemish in a discourse has passed him unobserved. In this case the perfection of the man, and the perfection of the sense or feeling, are found to be united. A very delicate palate, on many occasions, may be a great inconvenience both to a man himself and to his friends. But a delicate taste of wit or beauty must always be a desirable quality, because it is the source of all the finest and most innocent enjoyments of which human nature is susceptible. In this decision the sentiments of all mankind are agreed. Wherever you can ascertain a delicacy of taste, it is sure to meet with approbation; and the best way of ascertaining it is to appeal to those models and principles which have been established by the uniform consent and experience of nations and ages.

Though the principles of taste be universal, and nearly, if not entirely, the same in all men, yet few are qualified to give judg

ment on any work of art, or establish their own sentiment as the standard of beauty. The organs of internal sensation are seldom so perfect as to allow the general principles their full play, and produce a feeling correspondent to those principles. They either labor under some defect, or are vitiated by some disorder; and by that means excite a sentiment which may be pronounced erroneous. When the critic has no delicacy, he judges without any distinction, and is only affected by the grosser and more palpable qualities of the object; the finer touches pass unnoticed and disregarded. Where he is not aided by practice, his verdict is attended with confusion and hesitation. Where no comparison has been employed, the most frivolous beauties, such as rather merit the name of defects, are the object of his admiration. Where he lies under the influence of prejudice, all his natural sentiments are perverted. Where good sense is wanting, he is not qualified to discern the beauties of design and reasoning, which are the highest and most excellent. Under some or other of these imperfections the generality of men labor, and hence a true judge in the finer arts is observed, even during the most polished ages, to be so rare a character. Strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice, can alone entitle critics to this valuable character; and the joint verdict of such, wherever they are to be found, is the true standard of taste and beauty. . . .


[The autobiographical sketch here represented was dated April 18, 1776, some four months before Hume's death, and was published the following year as a pamphlet called The Life of David Hume, Esq.; written by himself. In a codicil to his will Hume desired that it might be prefixed to his collected works.]

I HAD always entertained a notion that my want of success in publishing the Treatise of Human Nature had proceeded more from the manner than the matter, and that I had been guilty of a very usual indiscretion in going to the press too early. I therefore cast the first part of that work anew in

the Inquiry concerning Human Understanding, which was published while I was at Turin. But this piece was at first little more successful than the Treatise of Human Nature. On my return from Italy I had the mortification to find all England in a ferment on account of Dr. Middleton's Free Inquiry, while my performance was entirely overlooked and neglected. A new edition, which had been published at London, of my Essays, Moral and Political, met not with a much better reception.

Such is the force of natural temper that these disappointments made little or no impression on me. I went down in 1749, and lived two years with my brother at his country house, for my mother was now dead. I there composed the second part of my Essays, which I called Political Discourses, and also my Inquiry concerning the Principles of Morals, which is another part of my treatise that I cast anew. Meanwhile my bookseller, A. Millar, informed me that my former publications (all but the unfortunate Treatise) were beginning to be the subject of conversation, that the sale of them was gradually increasing, and that new editions were demanded. Answers by Reverends and Right Reverends came out two or three in a year, and I found, by Dr. Warburton's railing, that the books were beginning to be esteemed in good company. However, I had fixed a resolution, which I inflexibly maintained, never to reply to anybody; and not being very irascible in my temper, I have easily kept myself clear of all literary squabbles. These symptoms of a rising reputation gave me encouragement, as I was ever more disposed to see the favorable than unfavorable side of things, a turn of mind which it is more happy to possess, than to be born to an estate of ten thousand a year.

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In 1752 the Faculty of Advocates chose me their Librarian, an office from which I received little or no emolument, but which gave me the command of a large library. I then formed the plan of writing the History of England; but being frightened with the notion of continuing a narrative through a period of 1700 years, I commenced with the accession of the House of Stuart, an epoch when, I thought, the misrepresentations of faction began chiefly to take place. I was, I own, sanguine in my expectations of the success of this work. I thought that I was the only historian that had at once neglected present power, 'nterest, and authority, and the cry of popular prejudices; and

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