Kitabı oku: «Selections from the Speeches and Writings of Edmund Burke», sayfa 41
"OMNIPOTENCE OF CHURCH PLUNDER."
Their fanatical confidence in the omnipotence of church plunder has induced these philosophers to overlook all care of the public estate, just as the dream of the philosopher's stone induces dupes, under the more plausible delusion of the hermetic art, to neglect all rational means of improving their fortunes. With these philosophic financiers, this universal medicine made of church mummy is to cure all the evils of the state. These gentlemen, perhaps, do not believe a great deal in the miracles of piety; but it cannot be questioned, that they have an undoubting faith in the prodigies of sacrilege. Is there a debt which presses them?—Issue assignats. Are compensations to be made, or a maintenance decreed to those whom they have robbed of their freehold in their office, or expelled from their profession?—Assignats. Is a fleet to be fitted out?—Assignats. If sixteen millions sterling of these assignats, forced on the people, leave the wants of the state as urgent as ever—issue, says one, thirty millions sterling of assignats—says another, issue fourscore millions more of assignats. The only difference among their financial factions is on the greater or the lesser quantity of assignats to be imposed on the public sufferance. They are all professors of assignats. Even those, whose natural good sense and knowledge of commerce, not obliterated by philosophy, furnish decisive arguments against this delusion conclude their arguments by proposing the emission of assignats. I suppose they must talk of assignats, as no other language would be understood. All experience of their inefficacy does not in the least discourage them. Are the old assignats depreciated at market? What is the remedy? Issue new assignats.—Mais si maladia opiniatria, non vult se garire, quid illi facere? assignare—postea assignare; ensuita assignare. The word is a trifle altered. The Latin of your present doctors may be better than that of your old comedy; their wisdom and the variety of their resources are the same. They have not more notes in their song than the cuckoo; though, far from the softness of that harbinger of summer and plenty, their voice is as harsh and as ominous as that of the raven.
UGLINESS
It may, perhaps, appear like a sort of repetition of what we have before said, to insist here upon the nature of UGLINESS; as I imagine it to be in all respects the opposite to those qualities which we have laid down for the constituents of beauty. But though ugliness be the opposite to beauty, it is not the opposite to proportion and fitness. For it is possible that a thing may be very ugly with any proportions, and with a perfect fitness to any uses. Ugliness I imagine likewise to be consistent enough with an idea of the sublime. But I would by no means insinuate that ugliness of itself is a sublime idea, unless united with such qualities as excite a strong terror.
GRACE
GRACEFULNESS is an idea not very different from beauty; it consists in much the same things. Gracefulness is an idea belonging to POSTURE and MOTION. In both these, to be graceful, it is requisite that there be no appearance of difficulty; there is required a small inflection of the body; and a composure of the parts in such a manner, as not to encumber each other, not to appear divided by sharp and sudden angles. In this ease, this roundness, this delicacy of attitude and motion, it is that all the magic of grace consists, and what is called its je ne sais quoi; as will be obvious to any observer, who considers attentively the Venus de Medicis, the Antinous, or any statue generally allowed to be graceful in a high degree.
ELEGANCE AND SPECIOUSNESS
When any body is composed of parts smooth and polished, without pressing upon each other, without showing any ruggedness or confusion, and at the same time affecting some REGULAR SHAPE, I call it ELEGANT. It is closely allied to the beautiful, differing from it only in this REGULARITY; which, however, as it makes a very material difference in the affection produced, may very well constitute another species. Under this head I rank those delicate and regular works of art, that imitate no determinate object in nature, as elegant buildings, and pieces of furniture. When any object partakes of the above-mentioned qualities, are of those of beautiful bodies, and is withal of great dimensions, it is full as remote from the idea of mere beauty: I call it FINE or SPECIOUS.
THE BEAUTIFUL IN FEELING
The foregoing description of beauty, so far as it is taken in by the eye, may be greatly illustrated by describing the nature of objects which produce a similar effect through the touch. This I call the beautiful in FEELING. It corresponds wonderfully with what causes the same species of pleasure to the sight. There is a chain in all our sensations; they are all but different sorts of feelings calculated to be affected by various sorts of objects, but all to be affected after the same manner. All bodies that are pleasant to the touch, are so by the slightness of the resistance they make. Resistance is either to motion along the surface, or to the pressure of the parts on one another: if the former be slight, we call the body smooth; if the latter, soft. The chief pleasure we receive by feeling, is in the one or the other of these qualities; and if there be a combination of both, our pleasure is greatly increased. This is so plain, that it is rather more fit to illustrate other things, than to be illustrated itself by an example. The next source of pleasure in this sense, as in every other, is the continually presenting somewhat new; and we find that bodies which continually vary their surface, are much the most pleasant or beautiful to the feeling, as any one that pleases may experience. The third property in such objects is, that though the surface continually varies its direction, it never varies it suddenly. The application of anything sudden, even though the impression itself have little or nothing of violence, is disagreeable. The quick application of a finger a little warmer or colder than usual, without notice, makes us start; a slight tap on the shoulder, not expected, has the same effect. Hence it is that angular bodies, bodies that suddenly vary the direction of the outline, afford so little pleasure to the feeling. Every such change is a sort of climbing or falling in miniature; so that squares, triangles, and other angular figures, are neither beautiful to the sight nor feeling. Whoever compares his state of mind, on feeling soft, smooth, variated, unangular bodies, with that in which he finds himself on the view of a beautiful object, will perceive a very striking analogy in the effects of both; and which may go a good way towards discovering their common cause. Feeling and sight, in this respect, differ in but a few points. The touch takes in the pleasure of softness, which is not primarily an object of sight; the sight, on the other hand, comprehends colour, which can hardly be made perceptible to the touch: the touch again has the advantage in a new idea of pleasure resulting from a moderate degree of warmth; but the eye triumphs in the infinite extent and multiplicity of its objects. But there is such a similitude in the pleasures of these senses, that I am apt to fancy, if it were possible that one might discern colour by feeling (as it is said some blind men have done), that the same colours, and the same disposition of colouring, which are found beautiful to the sight, would be found likewise most grateful to the touch. But, setting aside conjectures, let us pass to the other sense: of Hearing.
THE BEAUTIFUL IN SOUNDS
In this sense we find an equal aptitude to be affected in a soft and delicate manner; and how far sweet or beautiful sounds agree with our descriptions of beauty in other senses, the experience of every one must decide. Milton has described this species of music in one of his juvenile poems. (L'Allegro.) I need not say that Milton was perfectly well versed in that art; and that no man had a finer ear, with a happier manner of expressing the affections of one sense by metaphors taken from another. The description is as follows:—
—"And ever against eating cares,
Lap me in SOFT Lydian airs:
In notes with many a WINDING bout
Of LINKED SWEETNESS LONG DRAWN out;
With wanton heed, and giddy cunning,
The MELTING voice through MAZES running;
UNTWISTING all the chains that tie
The hidden soul of harmony."
Let us parallel this with the softness, the winding surface, the unbroken continuance, the easy gradation of the beautiful in other things; and all the diversities of the several senses, with all their several affections; will rather help to throw lights from one another to finish one clear, consistent idea of the whole, than to obscure it by their intricacy and variety.
To the above-mentioned description I shall add one or two remarks. The first is; that the beautiful in music will not bear that loudness and strength of sounds, which may be used to raise other passions; nor notes which are shrill or harsh, or deep; it agrees best with such as are clear, even, smooth, and weak. The second is: that great variety, and quick transitions from one measure or tone to another, are contrary to the genius of the beautiful in music. Such transitions often excite mirth, or other sudden or tumultuous passions; but not that sinking, that melting, that languor, which is the characteristical effect of the beautiful as it regards every sense. (I ne'er am merry when I hear sweet music.—Shakspeare.) The passion excited by beauty is in fact nearer to a species of melancholy, than to jollity and mirth. I do not here mean to confine music to any one species of notes, or tones, neither is it an art in which I can say I have any great skill. My sole design in this remark is, to settle a consistent idea of beauty. The infinite variety of the affections of the soul will suggest to a good head, and skilful ear, a variety of such sounds as are fitted to raise them. It can be no prejudice to this, to clear and distinguish some few particulars, that belong to the same class, and are consistent with each other, from the immense crowd of different, and sometimes contradictory, ideas, that rank vulgarly under the standard of beauty. And of these it is my intention to mark such only of the leading points as show the conformity of the sense of hearing with the other senses, in the article of their pleasures.
BRITISH CHURCH
It is something extraordinary, that the only symptom of alarm in the Church of England should appear in the petition of some dissenters; with whom, I believe, very few in this house are yet acquainted; and of whom you know no more than that you are assured by the honourable gentleman, that they are not Mahometans. Of the Church we know they are not, by the name that they assume. They are then dissenters. The first symptom of an alarm comes from some dissenters assembled round the lines of Chatham; these lines become the security of the Church of England! The honourable gentleman, in speaking of the lines of Chatham, tells us that they serve not only for the security of the wooden walls of England, but for the defence of the Church of England. I suspect the wooden walls of England secure the lines of Chatham, rather than the lines of Chatham secure the wooden walls of England.
Sir, the Church of England, if only defended by this miserable petition upon your table, must, I am afraid, upon the principles of true fortification, be soon destroyed. But fortunately her walls, bulwarks, and bastions, are constructed of other materials than of stubble and straw; are built up with the strong and stable matter of the gospel of liberty, and founded on a true, constitutional, legal establishment. But, Sir, she has other securities; she has the security of her own doctrines; she has the security of the piety, the sanctity of her own professors; their learning is a bulwark to defend her; she has the security of the two universities, not shook in any single battlement, in any single pinnacle. …
But if, after all, this danger is to be apprehended, if you are really fearful that Christianity will indirectly suffer by this liberty, you have my free consent; go directly, and by the straight way, and not by a circuit, in which in your road you may destroy your friends, point your arms against these men who do the mischief you fear promoting; point your arms against men, who, not contented with endeavouring to turn your eyes from the blaze and effulgence of light, by which life and immortality is so gloriously demonstrated by the Gospel, would even extinguish that faint glimmering of nature, that only comfort supplied to ignorant man before this great illumination—them who, by attacking even the possibility of all revelation, arraign all the dispensations of Providence to man. These are the wicked dissenters you ought to fear; these are the people against whom you ought to aim the shafts of law; these are the men to whom, arrayed in all the terrors of government, I would say, You shall not degrade us into brutes; these men, these factious men, as the honourable gentleman properly called them, are the just objects of vengeance, not the conscientious dissenter; these men, who would take away whatever ennobles the rank or consoles the misfortunes of human nature, by breaking off that connection of observations, of affections, of hopes and fears, which bind us to the Divinity, and constitute the glorious and distinguishing prerogative of humanity, that of being a religious creature; against these I would have the laws rise in all their majesty of terrors, to fulminate such vain and impious wretches, and to awe them into impotence by the only dread they can fear or believe, to learn that eternal lesson—Discite justitiam moniti, et non temnere Divos.
At the same time that I would cut up the very root of atheism, I would respect all conscience; all conscience, that is really such, and which perhaps its very tenderness proves to be sincere. I wish to see the established Church of England great and powerful; I wish to see her foundations laid low and deep, that she may crush the giant powers of rebellious darkness; I would have her head raised up to that heaven to which she conducts us. I would have her open wide her hospitable gates by a noble and liberal comprehension; but I would have no breaches in her wall; I would have her cherish all those who are within, and pity all those who are without; I would have her a common blessing to the world, an example, if not an instructor, to those who have not the happiness to belong to her; I would have her give a lesson of peace to mankind, that a vexed and wandering generation might be taught to seek for repose and toleration in the maternal bosom of Christian charity, and not in the harlot lap of infidelity and indifference.
