Mr. Alison, who wrote a very pleasing, and, to a certain degree, a Philosophical Book, on the Emotions of Taste, has shewn by an abundance of well-chosen illustrations, that it is not the immediate sensations, received by us from the objects of Taste, which constitute them a cause of our pleasures. The immediate sensations are commonly indifferent, or approaching the indifferent. It is only when they introduce, by association, a train of pleasurable ideas, that the feelings called the pleasures of Taste, are ever enjoyed.
I believe that I may assume this as an established 237 fact in our nature; and I shall only adduce as much of the evidence as may teach those of my readers, to whom these inquiries may be new, the mode in which the truth of the proposition becomes apparent. I also think it useful to avail myself, not only of the illustrations, but as much as possible of the words, of Mr. Alison, as exhibiting the clear conviction of the wonderful effects of association, in one instance, on the part of a writer, who seems to have had no idea of its affording an equally satisfactory solution of the other complex phenomena of mind.
What are called the external objects of Taste, are mostly objects of Hearing, objects of Sight, or objects of that Muscular Sense, from which we derive the idea of extension.
That the feelings we have by these senses are generically distinct from the emotions of Sublimity and Beauty, might, I imagine, be trusted to an appeal to each man’s consciousness. There are innumerable cases, however, which may be regarded as decisive experiments upon the subject.
Of the sounds which can be adduced as Sublime or Beautiful, there is, perhaps, not one, which is not often heard in circumstances, wherein no tendency to Emotion is felt. The circumstances in which the Emotion is felt, and those in which it is not felt, are those in which a train of pleasurable ideas is, or is not, introduced by association.
“All sounds,” says Mr. Alison, “are in general SUBLIME, which are associated with Ideas of great Power or Might: the Noise of a Torrent,—the Fall of a Cataract,—the Uproar of a Tempest,—the Explosion of Gunpowder,—the Dashing of the Waves, &c.
238 “All sounds, in the same manner, are sublime, which are associated with Ideas of Majesty, or Solemnity, or deep Melancholy, or any other strong Emotion: the Sound of the Trumpet, and all other warlike instruments,—the Note of the Organ,—the Sound of the Curfew,—the Tolling of the Passing bell, &c.
“There is a great variety of sounds also, that occur in the scenes of Nature, which are productive of the Emotion of BEAUTY: the Sound of a Waterfall,—the Murmuring of a Rivulet,—the Whispering of the Wind,—the Sheepfold-bell,—the sound of the Curfew, &c.
“That the Notes or Cries of some Animals, are Sublime, every one knows: the Roar of the Lion, the Growling of Bears, the Howling of Wolves, the Scream of the Eagle, &c. In all those cases, those are the notes of animals remarkable for their strength, and formidable for their ferocity. It would seem very natural, therefore, that the sublimity of such sounds should arise from the qualities of which they are expressive.
“The Bleating of a Lamb, is beautiful in a fine day in spring: the Lowing of a Cow at a distance, amid the scenery of a pastoral landscape in summer. The Call of a Goat among rocks is strikingly beautiful, as expressing wildness and independence. The Hum of the Beetle is beautiful in a fine summer evening, as appearing to suit the stillness and repose of that pleasing season. The Twitter of the Swallow is beautiful in the morning, and seems to be expressive of the cheerfulness of that time.”