tion change the idea, and change it too into one disagreeable in
its own nature, conformably to the principles laid down in Sect. 24. But
when the ray passes without such opposition through the glass or liquor,
when the glass or liquor is quite transparent, the light is sometimes
softened in the passage, which makes it more agreeable even as light;
and the liquor reflecting all the rays of its proper color _evenly_, it
has such an effect on the eye, as smooth opaque bodies have on the eye
and touch. So that the pleasure here is compounded of the softness of
the transmitted, and the evenness of the reflected light. This pleasure
may be heightened by the common principles in other things, if the shape
of the glass which holds the transparent liquor be so judiciously
varied, as to present the color gradually and interchangeably, weakened
and strengthened with all the variety which judgment in affairs of this
nature shall suggest. On a review of all that has been said of the
effects, as well as the causes of both, it will appear that the sublime
and beautiful are built on principles very different, and that their
affections are as different: the great has terror for its basis, which,
when it is modified, causes that emotion in the mind, which I have
called astonishment; the beautiful is founded on mere positive pleasure,
and excites in the soul that feeling which is called love. Their causes
have made the subject of this fourth part.

FOOTNOTES:

[29] Part I. sect. 7.

[30] Part I. sect. 10.

[31] I do not here enter into the question debated among physiologists,
whether pain be the effect of a contraction, or a tension of the nerves.
Either will serve my purpose; for by tension, I mean no more than a
violent pulling of the fibres which compose any muscle or membrane, in
whatever way this is done.

[32] Part II. sect. 2.

[33] Part II. sect. 1.

[34] Part I. sect. 7. Part II. sect. 2.

[35] Part II. sect. 7.

[36] Part II. sect. 10.

[37] Part II. sect. 3.

PART V.

SECTION I.

OF WORDS.

Natural objects affect us by the laws of that connection which
Providence has established between certain motions and configurations of
bodies, and certain consequent feelings in our mind. Painting affects in
the same manner, but with the superadded pleasure of imitation.
Architecture affects by the laws of nature and the law of reason; from
which latter result the rules of proportion, which make a work to be
p