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Congruity and Propriety.

MAN is superior to the brute, not more by his rational faculties, than by his senses. With respect to external senses, brutes probably yield not to men; and they may also have some obscure perception of beauty: but the more delicate sepses of regularity, order, uniformity, and congruity, being connected with morality and religion, are reserved to dignify the chief of the terrestrial creation. Upon that account, no discipline is more suitable to man, nor more congruous to the dignity of his nature, and that which refines bis taste, and leads him to distinguish, in every subject, what is regular, what is orderly, what is suitable, and what is fit and proper.*

It is clear from the very conception of the terms congruity and propriety, that they are not applicable to any single object: they imply a plurality, and obviously signify a particular relation between different objects. Thus we say currently, that a decent garb is suitable or proper for a judge, modest behaviour for a young woman, and a lofty

*Nec vero illa parva vis naturæ est rationisque, quod unum hoc animal sentit quid sit ordo, quid sit quod deceat in factis dictisque, qui modus. Itaque eorum ipsorum, quæ aspectu sentiuntur, nullum aliud animal, pulchritudinem, venustatem, convenientiam partium sentit. Quam similitudinem natura ratioque ab oculis ad animum transferens, multo etiam magis pulchritudinem, constantiam, ordinem, in consiliis factisque conservandum putat, cavetque ne quid indecore effeminateve faciat; tum in omnibus et opinionibus et factis ne quid libidinose aut faciat aut cogitet. Quibus ex rebus conflatur et efficitur id, quod quærimus, honestum. Cicero de Officiis, l.i.

style for an epic poem: and, on the other hand, that it is unsuitable or incongruous to see a little woman sunk in an overgrown farthingale, a coat richly embroidered covering coarse and dirty linen, a mean subject in an elevated style, an elevated subject in a mean style, a first minister darning his wife's stocking, or a reverend prelate in lawn sleeves dancing a hornpipe.

The perception we have of this relation, which seems peculiar to man, cannot proceed from any other cause, but from a sense of congruity or propriety; for, supposing us destitute of that sense, the terms would be to us unintelligible.*

It is matter of experience, that congruity or propriety, wherever perceived, is agreeable; and that incongruity or impropriety, wherever perceived, is disagreeable. The only difficulty is, to ascertain what are the particular objects that in conjunction suggest these relations; for there are many objects that do not the sea, for example, viewed in conjunction with a picture, or a man viewed in conjunction with a mountain, suggest not either congruity or incongruity. It seems natural to infer,

* From many things that pass current in the world without being generally condemned, one at first view would imagine, that the sense of congruity or propriety hath scarce any foundation in nature; and that it is rather an artificial refinement of those who affect to distinguish themselves from others. The fulsome panegyrics bestowed upon the great and opulent, in epistles dedicatory and other such compositions, would incline us to think so. Did there prevail in the world, it will be said, or did nature suggest, a taste of what is suitable, decent, or proper, would any good writer deal in such compositions, or any man of sense receive them without disgust? Can it be supposed that Lewis XIV. of France was endued by nature with any sense of propriety, when, in a dramatic performance purposely composed for his entertainment, he suffered himself, publicly and in his presence, to be styled the greatest king ever the earth produced? These, it is true, are strong facts; but luckily they do not prove the sense of propriety to be artificial: they only prove, that the sense of propriety is at times overpowered by pride and vanity; which is no singular case, for that sometimes is the fate even of the sense of jus, tice.

what will be found true by induction, that we never perceive congruity nor incongruity but among things that are connected by some relation; such as a man and his actions, a principal and its accessories, a subject and its ornaments. We are indeed so framed by nature, as, among things so connected, to require a certain suitableness of correspondence, termed congruity or propriety ; and to be displeased when we find the opposite relation of incongruity or impropriety.*

If things connected be the subject of congruity, it is reasonable beforehand to expect a degree of congruity proportioned to the degree of the connexion. And, upon examination, we find our expectation to be well founded: where the relation is intimate, as between a cause and its effect, a whole and its parts, we require the strictest congruity; but where the relation is slight, or accidental, as among things jumbled together, we require little or no congruity: the strictest propriety is required in behaviour and manner of living; because a man is connected with these by the relation of cause and effect: the relation between an edifice and the ground it stands upon is of the most intimate kind, and therefore the situation of a great house ought to be lofty: its relation to neigh

* In the chapter of beauty, qualities are distinguished into primary and secondary: and to clear some obscurity that may appear in the text, it is proper to be observed, that the same distinction is applicable to relations. Resemblance, equality, uniformity, proximity, are relations that depend not on us, but exist equally whether perceived or not; and upon that account may justly be termed primary relations. But there are other relations, that only appear such to us, and that have not any external existence like primary relations; which is the case of congruity, incongruity, propriety, impropriety: these may be properly termed secondary relations. Thus it appears from what is said in the text, that the secondary relations_mentioned arise from objects connected by some primary relation. Property is an example of a secondary relation, as it exists no where but in the mind. I purchase a field or a horse: the covenant makes the primary relation; and the secondary relation built on it, is property.

bouring hills, rivers, plains, being that of propinquity only, demands but a small share of congruity: among members of the same club, the congruity ought to be considerable, as well as among things placed for show in the same niche: among passengers in a stage-coach we require very little congruity; and less still at a public spectacle.

Congruity is so nearly allied to beauty, as commonly to be held a species of it; and yet they differ so essentially, as never to coincide: beauty, like colour, is placed upon a single subject; congruity upon a plurality: further, a thing beautiful in itself, may, with relation to other things, produce the strongest sense of incongruity.

Congruity and propriety are commonly reckoned synonymous terms; and hitherto in opening the subject they have been used indifferently: but they are distinguishable; and the precise meaning of each must be ascertained. Congruity is the genus, of which propriety is a species; for we call nothing propriety, but that congruity or suitableness, which ought to subsist between sensible beings and their thoughts, words, and actions.

In order to give a full view of these secondary relations, I shall trace them through some of the most considerable primary relations. The relation of a part to the whole, being extremely intimate, demands the utmost degree of congruity: even the slightest deviation is disgustful; witness the Lutrin, a burlesque poem, which is closed with a serious and warm panegyric on Lamoignon, one of the King's judges:

Amphora cœpit

Institui; currente rota, cur urceus exit?

Examples of congruity and incongruity are furnished in plenty by the relation between a subject



and its ornaments. A literary performance intend. ed merely for amusement is susceptible of much ornament, as well as a music room or a playhouse; for in gaiety the mind hath a peculiar relish for show and decoration. The most gorgeous apparel, however improper in tragedy, is not unsuitable to opera-actors the truth is, an opera, in its present form, is a mighty fine thing; but, as it deviates from nature in its capital circumstances, we look not for nature nor propriety in those which are accessory. On the other hand, a serious and important subject admits not much ornament ;* nor a subject that of itself is extremely beautiful and a subject that fills the mind with its loftiness and grandeur, appears best in a dress altogether plain.

To a person of a mean appearance, gorgeous apparel is unsuitable; which beside the incongruity, shows by contrast the meanness of appearance in the strongest light. Sweetness of look and manner requires simplicity of dress joined with the greatest elegance. A stately and majestic air requires sumptuous apparel, which ought not to be gaudy, nor crowded with little ornaments. A woman of consummate beauty can bear to be highly adorned, and yet shows best in a plain dress,

For loveliness

Needs not the foreign aid of ornament,
But is, when unadorn'd, adorn'd the most.
Thomson's Autumn, 208.

Congruity regulates not only the quantity of ornament, but also the kind. The decorations of a dancing-room ought all of them to be gay. No

* Contrary to this rule, the introduction to the third volume of the Characteristics, is a continued chain of metaphors: these in such profusion are too florid for the subject; and have beside the bad effect of removing our attention from the principal subject, to fix it upon splendid trifles.

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