Elements of Criticism. Henry Home, Lord Kames

       Appendix. Concerning the Works of Nature, chiefly with respect to Uniformity and Variety,

       Chap. 10. Congruity and Propriety,

       Chap. 11. Dignity and Grace,

       Chap. 12. Ridicule,

       Chap. 13. Wit,

       Chap. 14. Custom and Habit,

       Chap. 15. External Signs of Emotions and Passions,

       Chap. 16. Sentiments,

       Chap. 17. Language of Passion,

      VOLUME II

       Chap. 18. Beauty of Language,

       Sect. 1. Beauty of Language with respect to Sound,

       Sect. 2. Beauty of Language with respect to Signification,

       Sect. 3. Beauty of Language from a resemblance between Sound and Signification,

       Sect. 4. Versification,

       Chap. 19. Comparisons,<xvi>

       Chap. 20. Figures,

       Sect. 1. Personification,

       Sect. 2. Apostrophe,

       Sect. 3. Hyperbole,

       Sect. 4. The Means or Instrument conceived to be the agent,

       Sect. 5. A figure which, among related Objects, extends the Properties of one to another,

       Sect. 6. Metaphor and Allegory,

       Sect. 7. Figure of Speech,

       Table 1. Subjects expressed figuratively,

       Table 2. Attributes expressed figuratively,

       Chap. 21. Narration and Description,

       Chap. 22. Epic and Dramatic Compositions,

       Chap. 23. The Three Unities,

       Chap. 24. Gardening and Architecture,

       Chap. 25. Standard of Taste,

       Appendix. Terms defined or explained,

INTRODUCTION<1>

      That nothing external is perceived till first it make an impression upon the organ of sense, is an observation that holds equally in every one of the external senses. But there is a difference as to our knowledge of that impression: in touching, tasting, and smelling, we are sensible of the impression;¹ that, for example, which is made upon the hand by a stone, upon the palate by an apricot, and upon the nostrils by a rose: it is otherwise in seeing and hearing; for I am not sensible of the impression made upon my eye, when I behold a tree; nor of the impression made upon my ear, when I listen to a song.^* That difference in the manner of perceiving external objects, distinguisheth remarkably hearing and seeing from the other senses; and I am ready to show, that it distinguisheth still more remarkably the feelings of the former from those of the latter: every feeling, pleasant or painful, must be in the mind; and yet because in tasting, touching, and smelling, we are sensible of the impression made upon the organ, we are led to place there also the pleasant or painful feeling caused by that impres-<2>sion;^† but with respect to seeing and hearing, being insensible of the organic impression, we are not misled to assign a wrong place to the pleasant or painful feelings caused by that impression; and therefore we naturally place them in the mind, where they really are: upon that account, they are conceived to be more refined and spiritual, than what are derived from tasting, touching, and smelling; for the latter feelings, seeming to exist externally at the organ of sense, are conceived to be merely corporeal.

      The pleasures of the eye and the ear, being thus elevated above those of the other external senses, acquire so much dignity as to become a laudable entertainment. They are not, however, set on a level with the purely intellectual; being no less inferior in dignity to intellectual pleasures, than superior to the organic or corporeal: they indeed<3> resemble the latter, being, like them, produced by external objects; but they also resemble the former, being, like them, produced without any sensible organic impression. Their mixt nature and middle place between organic and intellectual pleasures, qualify them to associate with both: beauty heightens all the organic feelings, as well as the intellectual: harmony, though it aspires to inflame devotion, disdains not to improve the relish of a banquet.

      The pleasures of the eye and the ear, have other valuable properties beside those of dignity and elevation; being sweet and moderately exhilarating, they are in their tone equally distant from the turbulence of passion, and the languor of indolence; and by that tone are perfectly well qualified, not only to revive the spirits when sunk by sensual gratification, but also to relax them when overstrained in any violent pursuit. Here is a remedy provided for many distresses; and to be convinced of its salutary effects, it will be sufficient to run over the following particulars. Organic pleasures have naturally a short duration; when prolonged, they lose their relish; when indulged to excess, they beget satiety and disgust: and to restore a proper tone of mind, nothing can be more happily contrived than the exhilarating pleasures of the eye and ear. On the other hand, any intense exercise of intellectual powers, becomes painful by overstraining the mind: cessation from such exercise gives<4> not instant relief; it is necessary that the void be filled with some amusement, gently relaxing the spirits:^* organic pleasure, which hath no relish but while we are in vigour, is ill qualified for that office; but the finer pleasures of sense, which occupy without exhausting the mind, are finely qualified to restore its usual tone after severe application to study or business, as well as after satiety from sensual gratification.

      Our first perceptions are of external objects, and our first attachments are to them. Organic pleasures take the lead: but the mind, gradually ripening, relisheth more and more the pleasures of the eye and ear; which