it is by no means impossible to trace, in a multitude of cases, a connexion even between the fainter feelings of beauty and the most overwhelming emotions of the sublime. This progression of our feelings, from one that is gentle and pleasant to one that is powerful, and even painful, has been illustrated in the case of a person who is supposed to behold a river at its first rise in the mountains, and to follow it as it winds and enlarges in the subjacent plains, and to behold it at last losing itself in the expanse of the ocean. For a time, the feelings which are excited within him, as he gazes on the prospect, are what are termed emotions of beauty. As the small stream which had hitherto played in the uplands, and amid foliage that almost hid it from his view, increases its waters, separates its banks to a great distance from each other, and becomes the majestic river, his feelings are of a more powerful kind. We often, by way of distinction, speak of the feelings existing under such circumstances as emotions of grandeur. At last it expands and disappears in the immensity of the ocean: the vast illimitable world of billows flashes in his sight. Then the emotion, widening and strengthening with the magnitude and energy of the objects which accompany it, becomes sublime.-Emotions of sublimity, therefore, chiefly differ, at least in most instances, from those of beauty in being more vivid. 277. The occasions of the emotions of sublimity various. As the emotions of sublimity are simple, they are consequently undefinable. Nevertheless, as they are the direct subjects of our consciousness, we cannot be supposed to be ignorant of their nature. It may aid, however, in rendering our comprehension of them more distinct and clear in some respects, if we mention some of the occasions on which they arise.-But, before proceeding to do this, it is proper to recur a moment to a subject more fully insisted on in the chapter on Beauty, but which also properly has a place here. We have reference to the unquestionable fact, that the occasions of sublime emotions are not exclusively one; in other words, are not found in a single element merely, as some persons may be likely to Cc suppose, but, like those of beauty, are multiplied and various. The measure of the sublimity of the object is the character of the emotion which it excites; and if the sublime emotion exists, as unquestionably it does on various occasions, this of itself is decisive as to the remark which has been made. Accordingly, the proper object before us, in the first instance, seems to be to indicate some of these occasions. § 278. Great extent or expansion an occasion of sublimity. In endeavouring to point out some of the sources of sublimity, our first remark is, that the emotion of the sublime may arise in view of an object which is characterized by vast extent or expansion; in other words, by the attribute of mere horizontal amplitude. Accordingly, it is with entire propriety that Mr. Stewart makes a remark to this effect, that a Scotchman, who had never witnessed anything of the kind before, would experience an emotion approaching to sublimity on beholding, for the first time, the vast plains of Salisbury and Yorkshire in England. Washington Irving also, in a passage of the Alhambra, has a remark to the same purport. "There is something,' he observes, "in the sternly simple features of the Spanish landscape, that impresses on the soul a feeling of sublimity. The immense plains of the Castiles and La Mancha, extending as far as the eye can reach, derive an interest from their very nakedness and immensity, and have something of the solemn grandeur of the ocean." In regard to the ocean, one of the most sublime objects which the human mind can contemplate, it cannot be doubted that one element of its sublimity is the unlimited expanse which it presents. § 279. Great height an element or occasion of sublimity. Mere height, independently of considerations of expansion or extent, appears also to constitute an occasion of the sublime. Every one has experienced this, when standing at the base of a very steep and lofty cliff, hill, or mountain. When, in the silence of night, we stand under the clear, open sky, we can hardly fail, as we look upward, to experience a sublime emotion, occasioned partly by the immensity of the object, but also in part by its vast height. Travellers have often spoken of the sublime emotion occasioned by viewing the celebrated Natural Bridge in Virginia from the bottom of the deep ravine over which it is thrown. This bridge is a single solid rock, about sixty feet broad, ninety feet long, and forty thick. It is suspended over the head of the spectator, who views it from the bottom of the narrow glen, at the elevation of two hundred and thirty feet; an immense height for such an object. It is not in human nature to behold, without strong feeling, such a vast vault of solid limestone, springing lightly into the blue upper air, and remaining thus outstretched, as if it were the arm of the Almighty himself, silent, unchangeable, eternal. § 280. Of depth in connexion with the sublime. It is a circumstance confirmatory of the view, that it is impossible to resolve the grounds of sublimity into a single occasion or element, that we find the depth as well as the height of things, the downward as well as the upward, the antecedent and cause of this emotion. We are doubtful, however, whether depth is so decisively, as it is certainly not so frequently a cause, as elevation or height; which last, on account of its frequent connexion with their existence, has given the name to this class of feelings. But others may think differently. Mr. Burke has the following passage on this point.-"I am apt to imagine, that height is less grand than depth; and that we are more struck at looking down from a precipice than looking up at an object of equal height; but of that I am not very positive. But, however this may be, there is no doubt that sublime emotions may arise from this cause. When we are placed on the summit of any high object, and look downward into the vast opening below, it is impossible not to be strongly affected. The sailor on the wide ocean, when, in the solitary watches of the night, he casts his eye upward to the lofty, illuminated sky, has a sublime emotion; and he feels the same strong sentiment stirring within him when, a moment afterward, he thinks of the vast, unfathomable abyss beneath him, over which he is suspended by the frail plank of his vessel 281. Of colours in connexion with the sublime. When The colours also, as well as the form of bodies, may, to a limited extent, furnish the occasion of sublime emotions. The lightning, when at a distance it is seen darting to the earth in one continuous chain of overpowering brightness; the red meteor shooting athwart the still, dark sky; the crimson Aurora Borealis, which occasionally diffuses the tints of the morning over the hemisphere of midnight, are sublime objects; and, although there are other elements which unite in forming the basis of the sublime emotion, it is probably to be ascribed, in part, to the richness and vividness of colours. What object is more sublimely impressive than the contrasted hues of the mingling fires and smoke of a burning volcano? Darkness, particularly, is an element of the sublime. the clouds are collecting together on some distinct and distant portion of the sky, how intently the eye fixes itself on those masses which wear the visage of the deepest gloom! Forests, and frowning cliffs, and mountains, and the wide ocean itself, and whatever other objects are susceptible of sublimity, are rendered still more sublime by the shades and darkness that are sometimes made to pass over them. The poets of all countries have represented the Deity, the most sublime object of contemplation, as enthroned in the midst of darkness." He bowed the heavens also, and came down; and darkness was under his feet. He made darkness his secret place; his pavilion round about were dark waters, and thick clouds of the skies." 282. Of sounds as furnishing an occasion of sublime emotions. We find another element of the sublime in sounds of a certain description. There are some cries and voices of animals which are usually regarded as sublime. The roar of the lion, not only in the solitudes of his native deserts, but at all times, partakes of the character of sublimity. The human voice, in combination with a suitable number of other voices, is capable of uttering sublime sounds; and does, in fact, utter them in performing many of the works of the great masters and composers of music. There is no small degree of sublimity in the low, deep murmur of the organ, independently of the moral and religious associations connected with it. It is presumed no one will doubt, that the trumpet, in the hands of a skilful performer, is capable of originating sublime sounds. Almost every one must have noticed a peculiarly impressive sound sent forth by a large and compact forest of pines, when waved by a heavy wind, which obviously has the same character. The heavy and interminable sound of the ocean, as it breaks upon the shore, is sublime; and hardly less so the ceaseless voice of the congregated waters of some vast cataract. To these instances may be added the sound of a cannon, not only when it comes from the field of battle, but at any time; and still more the mighty voice of thunder. The latter sound is often mentioned in the Scriptures, in connexion with the attributes of the Supreme Being, and apparently for the purpose of heightening the idea of his sublimity. "The Lord also thundered in the heavens, and the Highest gave his voice."- "The voice of the Lord is upon the waters; the God of glory thundereth." We leave this part of the subject with introducing a remark from Coleridge, which goes to confirm the general doctrine of the sublimity of some sounds. He had been saying something of the scenery of the lake of Ratzeburg, when he adds: "About a month ago, before the thaw came on, there was a storm of wind. During the whole night, such were the thunders and howlings of the breaking ice, that they left a conviction on my mind that there are sounds more sublime than any sight can be, more absolutely suspending the power of comparison, and more utterly absorbing the mind's self-consciousness in its total attention to the object working upon it."* 283. Of motion in connexion with the sublime. It will be noticed, from the train of thought which has been pursued, that there is a close analogy between beauty and sublimity, not only in the feelings which are originated, but also in the occasions of their origin. As the sentiments of beauty were found to be connected not only with the forms of objects, but also with colours and The Friend, Am. ed., |