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THAT nothing external is perceived till first it make an impression upon the organ of sense, is an observation that holds equally in every one of the external senses. But there is a difference as to our knowledge of that impression: in touching, tasting, and smelling, we are sensible of the impression; that, for example, which is made upon the hand by a stone, upon the palate by an apricot, and upon the nostrils by a rose it is otherwise in seeing and hearing; for I am not sensible of the impression made upon my eye, when I behold a tree; nor of the impression made upon my ear, when I listen to a song.* That difference in the manner of perceiving external objects, distinguisheth remarkably hearing and seeing from the other senses; and I am ready to show, that it distinguisheth still more remarkably the feelings of the former from that of the latter; every feeling, pleasant or painful, must be in the mind; and yet, because in tasting, touching, and smelling, we are sensible of the impression made upon the organ, we are led to place there also the pleasant or painful feeling caused by that impression ;†

* See the Appendix, § 13.

After the utmost efforts, we find it beyond our power to conceive the flavour of a rose to exist in the mind: we are necessarily led to conceive that pleasure as existing in the nostrils along with the impression made by the rose upon that organ. And the same will be the result of experiments with respect to every feeling of taste, touch, and smell. Touch affords the most satisfactory experiments. Were it not that the delusion is detected by philosophy, no person would hesitate to pronounce, that the pleasure arising from touching a smooth, soft, and velvet surface, has its existence at the ends of the fingers, without once dreaming of its existing any where else.



but, with respect to seeing and hearing, being insensible of the organic impression, we are not misled to assign a wrong place to the pleasant or painful feelings caused by that impression; and therefore we naturally place them in the mind, where they really are: upon that account, they are conceived to be more refined and spiritual, than what are derived from tasting, touching, and smelling; for the latter feelings, seeming to exist externally at the organ of sense, are conceived to be merely corporeal.

The pleasures of the eye and the ear, being thus elevated above those of the other external senses, acquire so much dignity as to become a laudable entertainment. They are not, however, set on a level with the purely intellectual; being no less inferior in dignity to intellectual pleasures, than superior to the organic or corporeal: they indeed resemble the latter, being, like them, produced by external objects; but they also resemble the former, being, like them, produced without any sensible organic impression. Their mixed nature and middle place between organic and intellectual pleasures, qualify them to associate with both; beauty heightens all the organic feelings, as well as the intellectual harmony, though it aspires to inflame devotion, disdains not to improve the relish of a banquet.

The pleasures of the eye and the ear have other valuable properties beside those of dignity and elevation being sweet and moderately exhilarating, they are in their tone equally distant from the turbulence of passion, and the languor of indolence : and by that tone are perfectly well qualified, not only to revive the spirits when sunk by sensual gratification, but also to relax them when overstrained in any violent pursuit. Here is a remedy

provided for many distresses; and, to be convinced of its salutary effects, it will be sufficient to run over the following particulars. Organic pleasures have naturally a short duration; when prolonged, they lose their relish; when indulged to excess, they beget satiety and disgust: and, to restore a proper tone of mind, nothing can be more happily contrived than the exhilarating pleasures of the eye and ear. On the other hand, any intense exercise of intellectual powers, becomes painful by overstraining the mind: cessation from such exercise gives not instant relief; it is necessary that the void be filled with some amusement, gently relaxing the spirits: organic pleasure, which hath no relish but while we are in vigour, is ill qualified for that office; but the finer pleasures of sense, which occupy without exhausting the mind, are finely qualified to restore its usual tone after severe application to study or business, as well as after satiety from sensual gratification.

Our first perceptions are of external objects, and our first attachments are to them. Organic pleasures take the lead: but the mind, gradually ripening, relisheth more and more the pleasures of the eye and ear; which approach the purely mental, without exhausting the spirits; and exceed the purely sensual, without danger of satiety. The pleasures of the eye and ear have accordingly a natural aptitude to draw us from the immoderate gratification of sensual appetite; and the mind, once accustomed to enjoy a variety of external objects without being sensible of the organic impression, is prepared for enjoying internal objects where there cannot be an organic impression. Thus

* Du Bos judiciously observes, that silence doth not tend to calm an agitated mind; but that soft and slow music hath a fine effect.

the Author of nature, by qualifying the human mind for a succession of enjoyments from low to high, leads it by gentle steps from the most grovelling corporeal pleasures, for which only it is fitted in the beginning of life, to those refined and sublime pleasures that are suited to its maturity.

But we are not bound down to this succession by any law of necessity: the God of nature offers it to us, in order to advance our happiness; and it is sufficient, that he hath enabled us to carry it on in a natural course. Nor has he made our task either disagreeable or difficult; on the contrary, the transition is sweet and easy, from corporeal pleasures to the more refined pleasures of sense; and no less so, from these to the exalted pleasures of morality and religion. We stand therefore engaged in honour, as well as interest, to second the purposes of nature, by cultivating the pleasures of the eye and ear, those especially that require extraordinary culture, such as arise from poetry, painting, sculpture, music, gardening, and architecture. This especially is the duty of the opulent, who have leisure to improve their minds and their feelings. The fine arts are contrived to give pleasure to the eye and the ear, disregarding the inferior senses. A taste for these arts is a plant that grows naturally in many soils; but, without culture, scarce to perfection in any soil: it is susceptible of much refinement; and is, by proper care, greatly improved. In this respect, a taste in the fine arts goes

* A taste for natural objects is born with us in perfection; for relishing a fine countenance, a rich landscape, or a vivid colour, culture is unnecessary. The observation holds equally in natural sounds, such as the singing of birds, or the murmuring of a brook. Nature here, the artificer of the object, as well as of the percipient, hath accurately suited them to each other. But of a poem, a cantata, a picture, or other artificial production, a true relish is not commonly attained, without some study and much practice.

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