Common Sense Applied to Religion; Or, The Bible and the People

by Catharine Esther Beecher

Among the susceptibilities, the emotions of taste have always been distinguished, and treated of as a peculiarly distinct class. Why is it that certain objects of sight, and certain sounds or combinations of sound, awaken emotions more than other sights and sounds? Why do the perceptions of the eye and ear so much more powerfully affect the mind than those of the other senses? These certainly are objects for interesting inquiry. In attempting the discussion of this subject, the following particulars need to be considered.

All pleasurable emotions are caused either by perception or conception, for we have no other ideas but of these two kinds. That they are not occasioned by perception alone must be evident from the fact that infants and children, who have the same perceptions as matured persons, do not experience the emotions of taste in view of the most perfect specimens of the fine arts. A combination of gaudy colors or a string of glittering beads will delight a child more than the most finished productions of a Raphael or a Phidias. That it is not conception alone which awakens such emotions is manifest from the fact that it is the perception of objects which are either sublime or beautiful that awakens the most vivid emotions of this kind. Of course, it is inevitable that emotions of taste are caused by perception and conception through their connection with some past co-existing emotions.

Perceptions and conceptions can recall the emotions which have been connected with them, and emotions can also recall a conception of the objects with which they have been united. For example, if some dark wood had been the scene of terror and affright, either the perception or the conception of this wood would recall the emotions of fear which had coexisted with it. If, on some other occasion, a strong emotion of fear should be awakened, this would probably recall a conception of the wood with which it had formerly been united. It is no uncommon fact in our experience to have circumstances about us that recall unusually sad and mournful feelings, for which we are wholly unable to account. No doubt, at such times, some particular objects, or some particular combination of circumstances which were formerly united with painful emotions, again recur, and recall the emotions with which they were once connected, while the mind is wholly unable to remember the fact of their past coexistence. In like manner, pleasurable emotions may be awakened by certain objects of perception when the mind is equally unable to trace the cause.

Objects of perception recall the emotions connected with them much more vividly than objects of conception can do. Thus, if we revisit the scenes of our childhood, the places of the sorrows and the joys of early days, how much more vividly are the emotions recalled which were formerly connected with these scenes than any conception of these objects could awaken.

Certain perceptions will be found to produce emotions similar to those awakened by the intellectual operations of mind. Thus the entrance of light produces an emotion similar to the discovery of some truth, and the emotion felt while in a state of doubt and uncertainty resembles that experienced when shrouded in darkness. Great care and anxiety produce a state of mind similar to what is felt when the body is pressed down by a heavy weight. The upward spring of an elastic body awakens feelings resembling those that attend the hearing of good news, and thus with many other perceptions. From this fact originates much of the figurative language in common use; such as when knowledge is called light, and ignorance darkness, and care is called a load, and joy is said to make the heart leap.

It has previously been shown that the discovery of certain operations and emotions of mind affords much more pleasure than attends mere perceptions of material objects. Those who have experienced the exciting animation felt at developments of splendid genius, and the pure delight resulting from the interchange of affection, can well realize that no sensitive gratification could ever be exchanged for them. Whatever objects, therefore, most vividly recall those emotions which are awakened when such qualities are apprehended will be most interesting to the mind.

Now it will appear that there are no modes by which one mind can learn the character and feelings of another but by means of the eye and ear. A person both deaf and blind could never, except to an exceedingly limited extent, learn either the intellectual operations or the emotions of another mind. Of course, it is by means of certain forms, colors, motions, and sounds that we gain those ideas which are most interesting and animating to the soul. It is by the blush of modesty, the paleness of fear, the flush of indignation, that color aids in giving an idea of the emotions of the mind. The pallid hue of disease, the sallow complexion of age, the pure and bright colors of childhood, and the delicate blendings of the youthful complexion, have much influence in conveying ideas of the qualities of mind in certain particulars. The color and flashing expressions of the eye also have much to do with our apprehensions of the workings of mind.

As it regards motion as aiding in imparting such ideas, it is by the curl of the lip that contempt is expressed, by the arching brow that curiosity and surprise are exhibited, by the scowling front that anger and discontent are displayed, and by various muscular movements of the countenance that the passions and emotions of the mind are portrayed. It is by the motions of the body and limbs also that strong emotions are exhibited, as in the clasped hand of supplication, the extended arms of affection, and the violent contortions of anger.

Form and outline also have their influence. The sunken eye of grief, the hollow cheek of care and want, the bending form of sorrow, the erect position of dignity, the curvature of haughtiness and pride, are various modes of expressing the qualities and emotions of mind.

But it is by the varied sounds of voice chiefly that intellect glances abroad, and the soul is poured forth at the lips. The quick and animated sounds of cheerfulness, joy, and hope; the softer tones of meekness, gentleness, and love; the plaintive notes of sympathy, sorrow, and pain; the firm tone of magnanimity, fortitude, patience, and self-denial, all exhibit the pleasing and interesting emotions of the soul. Nor less expressive, though more painful, are the harsh sounds of anger, malice, envy, and discontent.