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one object to another, is sometimes so vigorous as to convert defects into properties: the wry neck of Alexander was imitated by his courtiers as a real beauty, without intention to flatter: Lady Piercy, speaking of her husband Hotspur,

By his light

Did all the chivalry of England move,

To do brave acts. He was indeed the glass,
Wherein the noble youths did dress themselves.
He had no legs that practis'd not his gait:

And speaking thick, which Nature made his blemish,
Became the accents of the valiant:

For those who could speak slow and tardily,
Would turn their own perfection to abuse,
To seem like him.

Second Part, Henry IV. Act II. Sc. 6.

The same communication of passion obtains in the relation of principal and accessory. Pride, of which self is the object, expands itself upon a house, a garden, servants, equipage, and every accessory. A lover addresseth his mistress's glove in the following terms:

Sweet ornament that decks a thing divine.

Veneration for relics has the same natural foundation; and that foundation with the superstructure of superstition, has occasioned much blind devotion to the most ridiculous objects, to the supposed milk, for example, of the Virgin Mary, or the supposed blood of St. Janivarius.* A temple

But why worship the cross which is supposed to be that upon which our Saviour suffered? That cross ought to be the object of hatred, not of veneration. If it be urged, that as an instrument of Christ's suffering it was salutary to mankind, I answer, Why is not also Pontius Pilate reverenced, Caiaphas the high priest, and Judas Iscariot?

is in a proper sense an accessory of the deity to which it is dedicated: Diana is chaste, and not only her temple, but the very icicle which hangs on it, must partake of that property :

The noble sister of Poplicola,

The moon of Rome; chaste as the icicle
That's curdled by the frost from purest snow,
And hangs on Dian's temple.

Coriolanus, Act V. Sc. 3.

Thus it is, that the respect and esteem, which the great, the powerful, the opulent, naturally command, are in some measure communicated to their dress, to their manners, and to all their connexions and it is this communication of properties, which, prevailing even over the natural taste of beauty, helps to give currency to what is called the fashion.

By means of the same easiness of communication, every bad quality in an enemy is spread upon all his connexions.) The sentence pronounced against Ravaillac for the assassination of Henry IV. of France, ordains, that the house in which he was born should be razed to the ground, and that no other building should ever be erected on that spot. Enmity will extend passion to objects still less connected. The Swiss suffer no peacocks to live, because the Duke of Austria, their ancient enemy, wears a peacock's tail in his crest. A relation more slight and transitory than that of enmity, may have the same effect: thus the bearer of bad tidings becomes an object of aversion:

Fellow, begone; I cannot brook thy sight;
This news hath made thee a most ugly man.

King John, Act III. Sc. 1.

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Yet the first bringer of unwelcome news
Hath but a losing office: and his tongue
Sounds ever after, as a sullen bell
Remember'd, tolling a departed friend.

Second Part, Henry IV. Act I. Sc. 3.

In borrowing thus properties from one object to bestow them on another, it is not any object indifferently that will answer. The object from which properties are borrowed, must be such as to warm the mind and enliven the imagination. Thus the beauty of a mistress, which inflames the imagination, is readily communicated to a glove, as above mentioned; but the greatest beauty a glove is susceptible of, touches the mind so little, as to be entirely dropped in passing from it to the owner. In general, it may be observed, that any dress upon a fine woman is becoming; but that ornaments upon one who is homely, must be elegant indeed to have any remarkable effect in mending her appearance.*

The emotions produced as above may properly be termed secondary, being occasioned either by antecedent emotions or antecedent passions, which in that respect may be termed primary. And to complete the present theory, I must add, that a secondary emotion may readily swell into a passion for the accessory object, provided the accessory be a proper object for desire. Thus it happens that one passion is often productive of another: examples are without number; the sole difficulty is a proper choice. (I begin with self-love, and the power it

* A house and gardens surrounded with pleasant fields, all in good order, bestow greater lustre upon the owner than at first will be imagined. The beauties of the former are, by intimacy of connexion, readily communicated to the latter; and if it have been done at the expense of the owner himself, we naturally transfer to him whatever of design, art, or taste, appears in the performance. Should not this be a strong motive with proprietors to embellish and improve their fields?

hath to generate love to children. Every man, beside making part of a greater system, like a comet, a planet, or satellite only, hath a less system of his own, in the centre of which he represents the sun darting his fire and heat all around; especially upon his nearest connexions: the connexion between a man and his children, fundamentally that of cause and effect, becomes, by the addition of other circumstances, the completest that can be among individuals; and therefore self-love, the most vigorous of all passions, is readily expanded upon children. The secondary emotion they produce by means of their counexion, is sufficiently strong to move desire even from the beginning; and the new passion swells by degrees, till it rival in some measure self-love, the primary passion. To demonstrate the truth of this theory, I urge the following argument. Remorse for betraying a friend, or murdering an enemy in cold blood, makes a man even hate himself: in that state, he is not conscious of affection to his children, but rather of disgust or ill-will. What cause can be assigned for that change, other than the hatred he has to himself, which is expanded upon his children. And if so, may we not with equal reason derive from self-love, some part at least of the affection a man generally has to them?

The affection a man bears to his blood relations, depends partly on the same principle: self-love is also expanded upon them; and the communicated passion is more or less vigorous in proportion to the degree of connexion. Nor doth self-love rest here it is, by the force of connexion, communicated even to things inanimate: and hence the affection a man bears to his property, and to every thing he calls his own.

Friendship, less vigorous than self-love, is, for that reason, less apt to communicate itself to the friend's children, or other relations. Instances however are not wanting of such communicated passion, arising from friendship when it is strong. Friendship may go higher in the matrimonial state than in any other condition; and Otway, in Venice Preserved, takes advantage of that circumstance: in the scene where Belvidera sues to her father for pardon, she is represented as pleading her mother's merits, and the resemblance she bore to her mother:

Priuli. My daughter!

Belvidera. Yes, your daughter, by a mother
Virtuous and noble, faithful to your honour,
Obedient to your will, kind to your wishes,
Dear to your arms. By all the joys she gave you
When in her blooming years she was your treasure,
Look kindly on me; in my face behold

The lineaments of her's y' have kiss'd so often,
Pleading the cause of your poor cast-off child.

And again,

Belvidera. Lay me, I beg you, lay me

By the dear ashes of my tender mother:

She would have pitied me, had fate yet spar'd her.
Act V. Sc. 1.

This explains why any meritorious action, or any illustrious qualification, in my son or my friend, is apt to make me over-value myself: if I value my friend's wife or son upon account of their connexion with him, it is still more natural that I should value myself upon account of my connexion with him.

Friendship, or any other social affection, may, by changing the object, produce opposite effects.

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