As to sight and its objects, it is true that, as this organ varies in different persons, their taste is modified, with regard to colors. But the preference of light and delicate colors to dark and glaring ones, is almost universal among persons of sensibility.
Alison, indeed, ascribes the effects of all colors to association. “White,” he says, “as it is the color of day, is expressive to us of the cheerfulness or gayety which the return of day brings: black, as the color of darkness [night], is expressive of gloom and melancholy.” And he adds: “Whether some colors may not of themselves produce agreeable sensations, and others disagreeable sensations, I am not anxious to dispute.” But this is the very point into which Alison ought to have inquired. Nature does nothing without foundation in the simplest principles; and this foundation is not only anterior to, but is the cause of all association.
That, independent of any association, blackness is naturally disagreeable, if not painful, is happily determined by the case of the boy restored to sight by Cheselden, who tells us that the first time the boy saw a black object, it gave him great uneasiness; and that, some time after, upon accidentally seeing a negro-woman, he was struck with great horror at the sight. This appears to be perfectly conclusive.
Knight indeed says: “As to the uneasiness which the boy, couched by Cheselden, felt at the first sight of a black object, it arose either from the harshness of its outline, or from its appearing to act as a partial extinguisher applied to his eyes, which, as every object that he saw, seemed to touch them, would, of course, be its effect.” It is highly probable that black operates in both these ways; and it has therefore natural effects, independent of all association.
As to sounds, Alison observes, that the cries of some animals are sublime, as the roar of the lion, the scream of the eagle, &c.; and he thinks they become so, because we associate them with the strength and ferocity of the animals which utter them. By opposite associations, he accounts for the beauty of the notes of birds. And he says, that there is a similar sublimity or beauty, in the tones of the human voice, and that “such sounds are associated, in our imaginations, with the qualities of mind of which they are in general expressive, and naturally produce in us the conception of these qualities.”
This writer endeavors to establish his views on this subject, by observing, that “grandeur or sublimity of sound, can no otherwise arise from its loudness, than as that loudness excites an idea of power in the sonorous object, or in some other associated with it in the mind: for a child’s drum, close to the ear, fills it with more real noise, than the discharge of a cannon a mile off; and the rattling of a carriage in the street, when faintly and indistinctly heard, has often been mistaken for thunder at a distance. Yet no one ever imagined the beating of a child’s drum, or the rattling of a carriage over the stones, to be grand or sublime; which, nevertheless, they must be, if grandeur or sublimity belong at all to the sensation of loudness. But artillery and lightning are powerful engines of destruction; and with their power we sympathize, whenever the sound of them excites any sentiments of sublimity.”
Now, all this is directly opposed to the doctrine it is meant to support. It distinctly implies that loudness is so natural and so frequent a result of the violent contact of bodies, that we sometimes mistakenly ascribe power to objects, of which we have not correctly distinguished the sounds, owing to imitation, distance, &c. The occasional mistake implies the general truth.
Alison, himself, notwithstanding his doctrine of association, is accordingly led to observe, that “there are some philosophers who consider these as the natural signs of passion or affection, and who believe that it is not from experience, but by means of an original faculty, that we interpret them: and this opinion is supported by great authorities.”
He adds the following observations, which, notwithstanding the error they involve, are too much to the purpose to be omitted here, and which in reality illustrate a natural and true theory, better than they do his own:—
“It is natural, however, to suppose, that in this, as in every case, our experience should gradually lead to the formation of some general rules, with regard to this expression.