simplest, a quality difficult to define, and which the reader will probably be surprised by my calling the type of energy, with which it has certainly little traceable connection in the mind. ditions of matter. I believe however if we carefully analyze the nature of our ideas of impurity in general, we shall find them refer especially to conditions of matter in which its various elements are placed in a relation incapable of healthy or proper opera. § 3. Originally derived from con- tion; and most distinctly to conditions in which the negation of vital or energetic action is most evident, as in corruption and decay of all kinds, wherein particles which once, by their operation on each other, produced a living and energetic whole, are reduced to a condition of perfect passiveness, in which they are seized upon and appropriated, one by one, piecemeal, by whatever has need of them, without any power of resistance or energy of their own. And thus there is a peculiar painfulness attached to any associations of inorganic with organic matter, such as appear to involve the inactivity and feebleness of the latter, so that things which are not felt to be foul in their own nature, yet become so in association with things of greater inherent energy; as dust or earth, which in a mass excites no painful sensation, excites a most disagreeable one when strewing or staining an animal's skin, because it implies a decline and deadening of the vital and healthy power of the skin. But all reasoning about this impression is $4. Associated ideas adding the power of the rendered difficult, by the host of associated ideas impression clear- connected with it; for the ocular sense of impurity connected with corruption is infinitely enhanced by the offending of other senses and by the grief and horror of it in its own nature, as the special punishment and evidence of sin, and on the other hand, the ocular delight in purity is mingled, as I before observed, with the love of the mere element of light, as a type of wisdom and of truth; whence it seems to me that we admire the transparency of bodies, though probably it is still rather owing to our sense of more perfect order and arrangement of particles, and not to our love of light, that we look upon a piece of rock crystal as purer than a piece of marble, and on the marble as purer than a piece of chalk. And let it be observed also that the most lovely objects in nature are only partially transparent. I sup ness. In pose the utmost possible sense of beauty is conveyed by a feebly translucent, smooth, but not lustrous surface of white, and pale warm red, subdued by the most pure and delicate § 5. Perfect beau what consisting. * rose light, so Viola of ty of surface, in grays, as in the finer portions of the human frame; in wreaths of snow, and in white plumage under Olivia in Twelfth Night, and Homer of Atrides wounded. † And I think that transparency and lustre, both beautiful in themselves, are incompatible with the highest beauty because they destroy form, on the full perception of which more of the divinely character of the object depends than upon its color. Hence, in the beauty of snow and of flesh, so much translucency is allowed as is consistent with the full explanation of the forms, while we are suffered to receive more intense impressions of light and transparency from other objects which, nevertheless, owing to their necessarily *The reader will observe that I am speaking at present of mere material qualities. If he would obtain perfect ideas respecting loveliness of luminous surface, let him closely observe a swan with its wings expanded in full light five minutes before sunset. The human cheek or the rose leaf are perhaps hardly so pure, and the forms of snow, though individually as beautiful, are less exquisitely combined. † ὡς δ ̓ ὅτε τίς τ' ἐλεφαντα γυνή φοίνικι μιήνῃ So Spenser of Shamefacedness, an exquisite piece of glowing color-and sweetly of Belphoebe-(so the roses and lilies of all poets.). Compare the making of the image of Florimell. "The substance whereof she the body made The same she tempered with fine mercury, And mingled them with perfect vermily.' With Una he perhaps overdoes the white a little. She is two degrees of comparison above snow. Compare his questioning in the Hymn to Beauty, about that mixture made of colors fair; and goodly temperament, of pure complexion. Hath white and red in it such wondrous power That it can pierce through the eyes into the heart?" Where the distinction between typical and vital beauty is very gloriously carried out. unperceived form, are not perfectly nor affectingly beautiful. A fair forehead outshines its diamond diadem. The sparkle of the cascade withdraws not our eyes from the snowy summits in their evening silence. type of sinless ness. It may seem strange to many readers that I have not spoken of purity in that sense in which it is most frequently used, as a type of sinlessness. I do not deny that the frequent metaphori§ 6. Purity only cal use of it in Scripture may have and ought metaphorically a to have much influence on the sympathies with which we regard it, and that probably the immediate agreeableness of it to most minds arises far more from this source than from that to which I have chosen to attribute it. But, in the first place, if it be indeed in the signs of Divine and not of human attributes that beauty consists, I see not how the idea of sin can be formed with respect to the Deity, for it is an idea of a relation borne by us to Him, and not in any way to be attached to his abstract nature. And if the idea of sin is incapable of being formed with respect to Him, so also is its negative, for we cannot form an idea of negation, where we cannot form an idea of presence. If for instance one could conceive of taste or flavor in a proposition of Euclid, so also might we of insipidity, but if not of the one, then not of the other. So that, in speaking of the goodness of God, it cannot be that we mean anything more than his Love, Mercifulness, and Justice, and these attributes I have shown to be expressed by other qualities of beauty, and I cannot trace any rational connection between them and the idea of spotlessness in matter. Neither can I trace any more distinct relation between this idea, and any of the virtues which make up the righteousness of man, except perhaps those of truth and openness, of which I have already spoken as more expressed by the transparency than the mere purity of matter. So that I conceive the whole use of the terms purity, spotlessness, etc., in moral subjects, to be merely metaphorical, and that it is rather that we illustrate these virtues by the desirableness of material purity, than that we desire material purity because it is illustrative of these virtues. I repeat, then, that the only idea which I think can be legitimately connected with purity of matter, is this of vital and energetic connection among its particles, and that the idea of foul §7. Energy, how expressed by purity of matter. ness is essentially connected with dissolution and death. Thus the purity of the rock, contrasted with the foulness of dust or mould, is expressed by the epithet "living," very singularly given in the rock, in almost all languages; singularly I say, because life is almost the last attribute one would ascribe to stone, but for this visible energy and connection of its particles and so of water as opposed to stagnancy. And I do not think that, however pure a powder or dust may be, the idea of beauty is ever connected with it; for it is not the mere purity, but the active condition of the substance which is desired, so that as soon as it shoots into crystals, or gathers into efflorescence, a sensation of active or real purity is received which was not felt in the calcined caput mortuum. And again in color. I imagine that the quality of it which we term purity is dependent on the full energizing of the rays that compose it, whereof if in compound hues any are overpowered and killed by the rest, so as to be of no value § 8. And of color. nor operation, foulness is the consequence; while so long as all act together, whether side by side, or from pigments seen one through the other, so that all the coloring matter employed comes into play in the harmony, desired, and none be quenched nor killed, purity results. And so in all cases I suppose that pureness is made to us desirable, because expressive of the constant presence and energizing of the Deity in matter, through which all things live and move, and have their being, and that foulness is painful as the accompaniment of disorder and decay, and always indicative of the withdrawal of Divine support. And the practical analogies of life, the invariable connection of outward foulness with mental sloth and degradation, as well as with bodily lethargy and disease, together with the contrary indications of freshness and purity belonging to every healthy and active organic frame, (singularly seen in the effort of the young leaves when first their inward energy prevails over the earth, pierces its corruption, and shakes its dust away from their own white purity of life,) all these circumstances strengthen the instinct by associations countless and irresistible. And 9. Spirituality, then, finally, with the idea of purity comes that of how so expressed. spirituality, for the essential characteristic of mat ter is its inertia, whence, by adding to it purity or energy, we may in some measure spiritualize even matter itself. Thus in the descriptions of the Apocalypse it is its purity that fits it for its place in heaven; the river of the water of life, that proceeds out of the throne of the Lamb, is clear as crystal, and the pavement of the city is pure gold, like unto clear glass.* * I have not spoken here of any of the associations connected with warmth or coolness of color, they are partly connected with vital beauty, compare Chap. xiv. § 22, 23, and partly with impressions of the sublime, the discussion of which is foreign to the present subject; purity, however, it is which gives value to both, for neither warm nor cool color, can be beautiful, if impure. Neither have I spoken of any questions relating to melodies of color, a subject of separate science-whose general principle has been already stated in the seventh chapter respecting unity of sequence. Those qualities only are here noted which give absolute beauty, whether to separate color or to melodies of it-for all melodies are not beautiful, but only those which are expressive of certain pleasant or solemn emotions; and the rest startling, or curious, or cheerful, or exciting, or sublime, but not beautiful, (and so in music.) And all questions relating to this grandeur, cheerfulness, or other characteristic impression of color must be considered under the head of ideas of relation. |