Our perception of beauty consists in our recognition by the sense of vision of those objects, first, which have before inspired our love by the pleasure, which they have afforded to many of our senses: as to our sense of warmth, of touch, of smell, of taste, hunger and thirst; and, secondly, which bear any analogy of form to such objects.
When the babe, soon after it is born into this cold world, is applied to its mother's bosom; its sense of perceiving warmth is first agreeably affected; next its sense of smell is delighted with the odour of her milk; then its taste is gratified by the flavour of it: afterwards the appetites of hunger and of thirst afford pleasure by the possession of their objects, and by the subsequent digestion of the aliment; and, lastly, the sense of touch is delighted by the softness and smoothness of the milky fountain, the source of such variety of happiness.
All these various kinds of pleasure at length become associated with the form of the mother's breast; which the infant embraces with its hands, presses with its lips, and watches with its eyes; and thus acquires more accurate ideas of the form of its mother's bosom, than of the odour and flavour or warmth, which it perceives by its other senses. And hence at our maturer years, when any object of vision is presented to us, which by its waving or spiral lines bears any similitude to the form of the female bosom, whether it be found in a landscape with soft gradations of rising and descending surface, or in the forms of some antique vases, or in other works of the pencil or the chissel, we feel a general glow of delight, which seems to influence all our senses; and, if the object be not too large, we experience an attraction to embrace it with our arms, and to salute it with our lips, as we did in our early infancy the bosom of our mother. And thus we find, according to the ingenious idea of Hogarth, that the waving lines of beauty were originally taken from the temple of Venus.
This animal attraction is love; which is a sensation, when the object is present; and a desire, when it is absent. Which constitutes the purest source of human felicity, the cordial drop in the otherwise vapid cup of life, and which overpays mankind for the care and labour, which are attached to the pre-eminence of his situation above other animals.
It should have been observed, that colour as well as form sometimes enters into our idea of a beautiful object, as a good complexion for instance, because a fine or fair colour is in general a sign of health, and conveys to us an idea of the warmth of the object; and a pale countenance on the contrary gives an idea of its being cold to the touch.
It was before remarked, that young animals use their lips to distinguish the forms of things, as well as their fingers, and hence we learn the origin of our inclination to salute beautiful objects with our lips. For a definition of Grace, see Class III. 1. 2. 4.
[VII]. There are two ways by which we become acquainted with the passions of others: first, by having observed the effects of them, as of fear or anger, on our own bodies, we know at sight when others are under the influence of these affections. So when two cocks are preparing to fight, each feels the feathers rise round his own neck, and knows from the same sign the disposition of his adversary: and children long before they can speak, or understand the language of their parents, may be frightened by an angry countenance, or soothed by smiles and blandishments.
Secondly, when we put ourselves into the attitude that any passion naturally occasions, we soon in some degree acquire that passion; hence when those that scold indulge themselves in loud oaths, and violent actions of the arms, they increase their anger by the mode of expressing themselves: and on the contrary the counterfeited smile of pleasure in disagreeable company soon brings along with it a portion of the reality, as is well illustrated by Mr. Burke. (Essay on the Sublime and Beautiful.)
This latter method of entering into the passions of others is rendered of very extensive use by the pleasure we take in imitation, which is every day presented before our eyes, in the actions of children, and indeed in all the customs and fashions of the world. From this our aptitude to imitation, arises what is generally understood by the word sympathy so well explained by Dr. Smith of Glasgow. Thus the appearance of a cheerful countenance gives us pleasure, and of a melancholy one makes us sorrowful. Yawning and sometimes vomiting are thus propagated by sympathy, and some people of delicate fibres, at the presence of a spectacle of misery, have felt pain in the same parts of their own bodies, that were diseased or mangled in the other. Amongst the writers of antiquity Aristotle thought this aptitude to imitation an essential property of the human species, and calls man an imitative animal. Το ζωον μιμωμενον.
These then are the natural signs by which we understand each other, and on this slender basis is built all human language. For without some natural signs, no artificial ones could have been invented or understood, as is very ingeniously observed by Dr. Reid. (Inquiry into the Human Mind.)