THE SUSCEPTIBILITIES. EMOTIONS OF TASTE.

Common Sense Applied to Religion; Or, The Bible and the People by Catharine Esther Beecher, is part of the HackerNoon Books Series. You can jump to any chapter in this book here. THE SUSCEPTIBILITIES. EMOTIONS OF TASTE.

CHAPTER XVI. THE SUSCEPTIBILITIES. EMOTIONS OF TASTE.

Among the susceptibilities, the emotions of taste have always been distinguished, and treated of as a peculiarly distinct class. Why is it that certain objects of sight, and certain sounds or combinations of sound, awaken emotions more than other sights and sounds? Why do the perceptions of the eye and ear so much more powerfully affect the mind than those of the other senses? These certainly are objects for interesting inquiry. In attempting the discussion of this subject, the following particulars need to be considered.

All pleasurable emotions are caused either by perception or conception, for we have no other ideas but of these two kinds. That they are not occasioned by perception alone must be evident from the fact that infants and children, who have the same perceptions as matured persons, do not experience the emotions of taste in view of the most perfect specimens of the fine arts. A combination of gaudy colors or a string of glittering beads will delight a child more than the most finished productions of a Raphael or a Phidias. That it is not conception alone which awakens such emotions is manifest from the fact that it is the perception of objects which are either sublime or beautiful that awakens the most vivid emotions of this kind. Of course, it is inevitable that emotions of taste are caused by perception and conception through their connection with some past co-existing emotions.

Perceptions and conceptions can recall the emotions which have been connected with them, and emotions can also recall a conception of the objects with which they have been united. For example, if some dark wood had been the scene of terror and affright, either the perception or the conception of this wood would recall the emotions of fear which had coexisted with it. If, on some other occasion, a strong emotion of fear should be awakened, this would probably recall a conception of the wood with which it had formerly been united. It is no uncommon fact in our experience to have circumstances about us that recall unusually sad and mournful feelings, for which we are wholly unable to account. No doubt, at such times, some particular objects, or some particular combination of circumstances which were formerly united with painful emotions, again recur, and recall the emotions with which they were once connected, while the mind is wholly unable to remember the fact of their past coexistence. In like manner, pleasurable emotions may be awakened by certain objects of perception when the mind is equally unable to trace the cause.

Objects of perception recall the emotions connected with them much more vividly than objects of conception can do. Thus, if we revisit the scenes of our childhood, the places of the sorrows and the joys of early days, how much more vividly are the emotions recalled which were formerly connected with these scenes than any conception of these objects could awaken.

Certain perceptions will be found to produce emotions similar to those awakened by the intellectual operations of mind. Thus the entrance of light produces an emotion similar to the discovery of some truth, and the emotion felt while in a state of doubt and uncertainty resembles that experienced when shrouded in darkness. Great care and anxiety produce a state of mind similar to what is felt when the body is pressed down by a heavy weight. The upward spring of an elastic body awakens feelings resembling those that attend the hearing of good news, and thus with many other perceptions. From this fact originates much of the figurative language in common use; such as when knowledge is called light, and ignorance darkness, and care is called a load, and joy is said to make the heart leap.

It has previously been shown that the discovery of certain operations and emotions of mind affords much more pleasure than attends mere perceptions of material objects. Those who have experienced the exciting animation felt at developments of splendid genius, and the pure delight resulting from the interchange of affection, can well realize that no sensitive gratification could ever be exchanged for them. Whatever objects, therefore, most vividly recall those emotions which are awakened when such qualities are apprehended will be most interesting to the mind.

Now it will appear that there are no modes by which one mind can learn the character and feelings of another but by means of the eye and ear. A person both deaf and blind could never, except to an exceedingly limited extent, learn either the intellectual operations or the emotions of another mind. Of course, it is by means of certain forms, colors, motions, and sounds that we gain those ideas which are most interesting and animating to the soul. It is by the blush of modesty, the paleness of fear, the flush of indignation, that color aids in giving an idea of the emotions of the mind. The pallid hue of disease, the sallow complexion of age, the pure and bright colors of childhood, and the delicate blendings of the youthful complexion, have much influence in conveying ideas of the qualities of mind in certain particulars. The color and flashing expressions of the eye also have much to do with our apprehensions of the workings of mind.

As it regards motion as aiding in imparting such ideas, it is by the curl of the lip that contempt is expressed, by the arching brow that curiosity and surprise are exhibited, by the scowling front that anger and discontent are displayed, and by various muscular movements of the countenance that the passions and emotions of the mind are portrayed. It is by the motions of the body and limbs also that strong emotions are exhibited, as in the clasped hand of supplication, the extended arms of affection, and the violent contortions of anger.

Form and outline also have their influence. The sunken eye of grief, the hollow cheek of care and want, the bending form of sorrow, the erect position of dignity, the curvature of haughtiness and pride, are various modes of expressing the qualities and emotions of mind.

But it is by the varied sounds of voice chiefly that intellect glances abroad, and the soul is poured forth at the lips. The quick and animated sounds of cheerfulness, joy, and hope; the softer tones of meekness, gentleness, and love; the plaintive notes of sympathy, sorrow, and pain; the firm tone of magnanimity, fortitude, patience, and self-denial, all exhibit the pleasing and interesting emotions of the soul. Nor less expressive, though more painful, are the harsh sounds of anger, malice, envy, and discontent.

Not only are certain forms, colors, motions, and sounds the medium by which we gain a knowledge of the intellectual operations and emotions of other minds, but they are the means by which we discover and designate those material objects which are causes of comfort, utility, and enjoyment. Thus it is by the particular form and color that we distinguish the fruits and the food which minister to our support. By the same means we discriminate between noxious and useful plants and animals, and distinguish all those conveniences and contrivances which contribute to the comfort of man. Of course, certain forms and colors are connected in the mind with certain emotions of pleasure that have attended them as causes of comfort and enjoyment.

In what precedes, it appears that it is those emotions which are awakened by the apprehension of certain intellectual operations and emotions of intelligent minds which are most delightful; that all our ideas of such operations and emotions are gained by means of certain forms, colors, motions, and sounds; that we designate objects of convenience and enjoyment to ourselves by the same mode; that perceptions can recall the emotions which have been connected with them, even after the mind has forgotten the connection, and that perceptions recall associated emotions much more vividly than conceptions.

In consequence of these considerations, the inference seems justifiable that the emotions of beauty and sublimity are not owing either simply to the perceptions produced, nor to the conceptions recalled by the principle of association. But they are accounted for in a great degree by the fact that certain colors, forms, motions, and sounds have been so often connected with emotions awakened by the apprehension of qualities in other minds, or of emotions which arise in view of causes of enjoyment to ourselves, that the perception of these colors, sounds, forms, and motions recall such agreeable emotions, even when the mind can not trace the connection in past experience.

As an example of this, the emotion of pleasure has been so often connected with the clear blue of the sky and with the bright verdure of the foliage, that the sight of either of these colors recalls the emotions, though we may not be able to refer to any particular time when this previous connection existed. In like manner, the moaning sound of the wind in a storm, or the harsh growl which sometimes attends it, has so often been united with sorrowful or disagreeable emotions, that the sounds recall the emotions.

But there is another important fact in regard to the causes of the emotions of taste. It is found that the character of the combination of sounds, forms, colors, and motions has as much to do with the existence of such feelings as the nature of these objects of perception. The very same colors and forms, in certain combination, are very displeasing, when in others they are beautiful. Thus, also, certain motions in certain circumstances are very beautiful or sublime, and in others very displeasing. The very same sounds, also, may be made either very disagreeable or very delightful, according to their combination.

To account for this, it is necessary to understand that objects which tend to awaken emotions of a directly opposite nature can not both operate on the mind without causing disagreeable feelings. If we are surrounded by objects of awe and solemnity, it is painful to notice objects that are mean or ludicrous. If we are under the influence of sprightly and humorous feelings, it is painful to encounter solemn and pensive scenes, with which, perhaps, at other times, we should be pleased. In order, therefore, to awaken emotions of beauty and sublimity, there must exist a congruity in the arrangement and composition of parts which will prevent the operation of causes that would awaken incongruous emotions.

But there is another principle which has a still more powerful operation in regard to the effect of combination and composition. We are always accustomed to view objects with some reference to their nature and use. We always feel that every effect must have a cause, and that every contrivance has some design which it was made to accomplish.

There is no intellectual attribute of mind which is regarded with more admiration than wisdom, which is always shown in selecting the best means for accomplishing a given end; and the more interesting or important is the object to be secured, the more is the mind pleased with discovering the wisdom exhibited in adapting means to secure this end. Almost every construction of nature or of art is regarded by the mind as having some use and design. No mind, except one bereft of its powers, would ever employ itself in designing any thing which has no possible use, either in benefiting or pleasing the designer or others; and should any such object be found, it would cause only disgust, as exhibiting the fatuity of a mind which spent its powers in contriving so useless a thing.

There are many objects which meet the eye of man for which he in vain seeks the use and design; but such objects are never attended with the conviction that there is no possible use to which they can be applied; on the contrary, they more frequently provoke curiosity, and awaken desire to discover their nature and their use. There is a never-failing conviction attending all our discoveries of new objects in nature that there is some design or contrivance of which they form a link in the chain.

Whenever the object of any design is ascertained, immediately there commences an examination of the modes by which this object is to be effected. If every thing is found to harmonize—if a relation of fitness and propriety is discovered in every part, the mind is satisfied with the exhibition of wisdom which is thus discovered. But if some parts are found tending to counteract the general design of the contrivance, the object is displeasing. Every work of art, then, depends, for the pleasure it affords, not alone on the various forms, colors, sounds, and motions which are combined to affect the senses, but on the nature of the design intended, and on the skill which is shown in so composing and arranging the several parts that each shall duly aid in effecting this design. This is the particular in which the genius of the painter, the sculptor, the architect, the musician, and the poet is especially exhibited.

Another particular to be noticed in reference to this subject is the implanted principle of curiosity, or the desire which the mind feels to discover what is new. After we have discovered the object for which a thing is contrived, and the fit adjustment of every part to this object, one cause of interest in it ceases. And objects which have been the subjects of repeated observation and inspection never yield so much interest as those which afford to the mind some fresh opportunity to discover new indications of design, and of fitness in the means for accomplishing the design. The love of novelty, then, is a powerful principle in securing gratification to the mind. Of course, the genius of the artist is to be displayed, not only in arranging the several parts so as to accomplish a given design, but in the very effort to secure a design which is new, so that the mind will have a fresh object for exercising its powers in detecting the fitness of means for accomplishing a given end.

From the preceding, we recapitulate the following causes for the pleasurable emotions which are felt in view of certain objects of sight, and in certain combinations of sound: They recall emotions which, in past experience, have been connected with the conception of operations and emotions of other minds, or with material objects that were regarded as the causes of pleasurable emotions to ourselves; they recall emotions that are congruous in their nature; they cause emotions of pleasure from the discovery of fitness in design and composition; and, finally, they awaken emotions of novelty.

Emotions of taste that are painful are caused by the presence of objects that recall painful emotions with which they have formerly been connected; by objects that recall incongruous emotions; by objects that exhibit a want of fitness and design; and by objects that are common, when the mind has been led to expect novelty.

OBJECTS, MOTIONS, AND SOUNDS THAT CAUSE EMOTIONS OF TASTE.

The causes which produce emotions of taste have now been pointed out. An inquiry as to which are the objects, motions, and sounds, and their various combinations, that, in our experience, have awakened such emotions, may lead to facts that will establish the position assumed.

Emotions of taste generally are divided into two classes, called emotions of sublimity and emotions of beauty. Emotions of sublimity resemble those which exist in the mind at the display of great intellectual power, and at exhibitions of strong passion and emotions in another mind. Emotions of beauty resemble those which are experienced at the exhibition of the more gentle emotions of mind, such as pity, humility, meekness, and affection.

Of Sounds.

All sounds are sublime which in past experience have been associated with the strong emotions of fear and terror. Such sounds are heard in the roar of artillery, the howling of a storm, the roll of thunder, and the rumbling of an earthquake. Sounds are sublime, also, which convey an idea of great power and might. This is illustrated in the emotions felt at the uprooting of trees and the prostration of nature before a whirlwind; in the force of the rolling waves, as they dash against the cliffs; and in art, by the working of some ponderous and mighty engine, that astonishes with the immense resistance it can overcome.

Other sounds, also, are sublime which have often been associated with emotions of awe, solemnity, or deep melancholy. Such are the tolling of a heavy bell and the solemn notes of the organ.

There may be certain circumstances that render a sound, that otherwise would be very gentle and beautiful, more strongly sublime than even those sounds that are generally most terrific. Gray describes such a combination of circumstances in a letter to a friend. "Did you never observe," said he, "while rocking winds are piping loud, that pause, as the gust is recollecting itself, and rising upon the ear in a shrill and plaintive note, like the swell of the Æolian harp? I do assure you there is nothing in the world so like the voice of a spirit."

We have another example in Scripture: "And behold, the Lord passed by, and a great and strong wind rent the mountains, and brake in pieces the rocks before the Lord; but the Lord was not in the wind; and after the wind an earthquake; but the Lord was not in the earthquake; and after the earthquake a fire; but the Lord was not in the fire; and after the fire a still small voice. And it was so, when Elijah heard it, he wrapped his face in a mantle." In both these cases, the sudden silence and the still small voice, so contrasted with the tumult around, would awaken the most thrilling emotions of the sublime. In some cases it is the sense which these sounds awaken of the presence of some awful and powerful Being that causes such emotions.

There are a great variety of sounds that are called beautiful. Such are the sound of a distant waterfall, the murmur of a rivulet, the sighing of the wind, the tinkling of the sheepfold, the lowing of distant kine, and the note of the shepherd's pipe. But it must be remarked that it is always a combination of circumstances that make sounds either sublime or beautiful. If we know, by the source from which they originate, that they are caused by no display of power or danger, or if necessarily they have low and mean associations connected with them, the emotions of the sublime or beautiful, which would otherwise recur, are prevented. Thus the rumbling of a cart is sublime when it is believed to be thunder, and loses this character when its true cause is discovered. The sound of the lowing of kine in certain circumstances is very beautiful, and in others very vulgar and displeasing.

Music seems to owe its chief power over the mind to the fact that it can combine all kinds of sounds that have ever been associated with any emotions, either of dignity, awe, and terror; or of joy, sprightliness, and mirth; or of tenderness, melancholy, and grief. Its power depends on the nature of the particular sounds, and also on the nature of their combination and succession in relation to time, and in relation to a certain sound which is called the fundamental or key note.

The art of a musical composer consists in the ability with which he succeeds in producing a certain class of emotions which he aims to awaken. The more finished productions of this art are never relished till long observation and experience enable the listener to judge of the nature of the design, and with how much success the composer has succeeded in effecting it. Music, when adapted to certain words, has its nature and design more clearly portrayed, and in such productions it is easier to judge of the success of the composer.

Of Color.

There are no colors which ordinarily excite so strong an emotion as to be called sublime. The deep black of mourning and the rich purple of royalty approach the nearest to this character. That colors acquire their power in awakening agreeable or disagreeable emotions simply from the emotions which have ordinarily existed in connection with them, appears from the fact that the associations of mankind are so exceedingly diverse on this subject. What is considered a dignified and solemn color in one nation is tawdry and vulgar in another. Thus, with us, yellow is common and tawdry, but among the Chinese it is a favorite color. Black, with us, has solemn and mournful associations, but in Spain and Venice it is an agreeable color. White, in this country, is beautiful, as the emblem of purity and innocence, but in China it is the sorrowful garb of mourning.

Of Forms.

Forms that awaken emotions of sublimity are such as have been associated with emotions of danger, terror, awe, or solemnity. Such are military ensigns, cannon, the hearse, the monument of death, and various objects of this kind. Those forms which distinguish bodies that have great strength, or which are enduring in their nature, awaken the same class of emotions. Thus the Gothic castle, the outline of rocks and mountains, and the form of the oak, are examples. Bodies often appear sublime from the mere circumstance of size, when compared with objects of the same kind. Thus the pyramids of Egypt are an example where relative size, together with their imperishable materials, awakens emotions of sublimity. The ideas of beauty of form depend almost entirely on their fitness to the object for which they are designed, and on many casual associations with which they are connected.

Of Motion.

All motion that awakens sublime ideas is such as conveys the notion of great force and power. Motions of this kind are generally in straight or angular lines. Such motions are seen in the working of machinery, and in the efforts of animal nature. Quick motion is more sublime than slow. Motions that awaken ideas of beauty are generally slow and curving. Such are the windings of the quiet rivulet, the gliding motion of birds through the air, the waving of trees, and the curling of vapor.

In regard to the beauty and sublimity of forms and color, it is equally true, as in reference to sound, that the alteration of circumstances will very materially alter the nature of the emotions connected with them. If they are so combined as to cause incongruous emotions, or if they do not harmonize with the general design of any composition, emotions of the sublime or beautiful are not awakened. For example, if the vivid green, which is agreeable in itself from the pleasing emotions which have been connected with it, is combined with a scene of melancholy and desolation, where the design of the artist is to awaken other than lively emotions, it appears incongruous and displeasing.

The art of the poet consists in the use of such language as awakens emotions of beauty and sublimity, either by recalling conceptions of various forms, colors, and motions in nature, which are beautiful and sublime, or the strong and powerful, or the soft and gentle emotions of mind.

Emotions of moral sublimity are such as are felt in witnessing exhibitions of the force of intellect or of strong feelings.

Emotions of moral beauty are those that are felt in witnessing the exhibition of the gentler and tender emotions of mind. These emotions are much more powerful and delightful than when they are more faintly recalled by those objects of perception which are called sublime and beautiful.

The taste is improved by cultivating a love for intellectual endowments and moral qualities. It is also cultivated by gaining an extensive knowledge of objects and scenes which, either in history, or in poetry, or in any compositions of the fine arts, have been associated with emotions. It is also cultivated by learning the rules of fitness and propriety, by studying works of taste, by general reading, by intercourse with persons of refinement and taste, and by a nice observation of the adaptation and fitness of things in the daily intercourse and pursuits of life.

The highest efforts of taste are exhibited in the works of artists who make such pursuits the express object of their profession.

But in ordinary life the cultivation of taste is chiefly exhibited in the style, furniture, and decoration of private dwellings, and in the dress and ornaments of the person. In reference to these, there is the same opportunity for gratifying the eye as there is in the compositions of the fine arts. On these subjects there are rules in regard to color, outline, and combination, and also rules of fitness and propriety, of which every person of taste sensibly feels the violation. In the construction of dwelling-houses, in the proportion of rooms, in the suitableness of colors, in the fitness of all circumstances to the spot of location, to the habits and circumstances of the proprietor, to ideas of convenience, and to various particulars which may be objects of regard, in all these respects the eye of taste ever is prepared to distinguish beauties or defects.

As it regards dress, every individual will necessarily exhibit, to a greater or less extent, the degree in which taste has been cultivated. A person of real refinement of taste will always have the dress consistent with the circumstances of fortune, the relative rank in life, the station and character, the hour of the day, the particular pursuit or profession, and the period of life.

If a person is dressed with a richness and elegance which fortune does not warrant, if the dress is either inferior or superior to that of others of the same rank and station, if it is unfitted to the hour or the pursuit, if youth puts on the grave dress of age, or age assumes the bright colors and ornaments of youth, in all these cases the eye of taste is offended.

In the adaptation of colors to complexions, and the style of dress to the particular form of the person; in avoiding the extremes of fashion, the excesses of ornament, and all approaches to immodesty—in all these respects a good taste can be displayed in dress, and thus charm us in every-day life. A person of cultivated taste, in all that relates to the little arrangements of domestic life, the ornaments of the exterior and interior of a dwelling, the pursuits of hours of relaxation and amusement, the modes of social intercourse, the nice perception of proprieties in habits, manners, modes of address, and the thousand little every-day incidents of life, will throw an undefined and nameless charm around, like the soft light of heaven, that, without dazzling, perpetually cheers.

Emotions of the Ludicrous.

There is a certain class of feelings called emotions of the ludicrous, which are the causes of laughter. These are generally pleasurable in their nature, though there are times when the emotions which produce laughter are painful. Emotions of this kind are usually caused by the sudden union of certain ideas in our conceptions when the laws of association appear to be violated. Such ideas are called incongruous, because, according to the ordinary experience of our minds, they would not naturally have appeared together.

In order to awaken this emotion, it is not only necessary that the mind should discover ideas united which have not ordinarily been so in past experience, but those which are united in direct opposition to the laws of association. Thus, if there has been a union of certain qualities in an object which have uniformly tended to produce emotions of a dignified and solemn kind, and some particular is pointed out which is mean, little, or low, the unexpected incongruity occasions mirth.

In like manner, when an object in past experience has uniformly united ideas which awakened emotions of contempt, if some particular is pointed out in association with these which is grand or sublime, this incongruity occasions an emotion of the ludicrous. This is the foundation of the amusement produced by bombastic writings, where objects that are grand and sublime have low and mean conceptions connected with them, or where qualities that are insignificant or mean are connected with those which are grand and sublime.

The following example of the union of such incongruous ideas will illustrate:

"And now had Phœbus in the lap

Of Thetis taken out his nap,

And, like a lobster boiled, the morn

From black to red began to turn."

The sublime ideas connected with the sun, and the classical associations united with the name of Thetis, would not naturally have recalled the idea of so insignificant an animal, nor the changes produced in cooking it, and these connections violate the ordinary laws of association.

Emotions of the ludicrous are also produced by the sudden conception of some association in ideas which has never before been discovered. Thus, if ideas have been united in the mind on some other principle of association than that of resemblance, the sudden discovery of some unexpected resemblance will produce mirth. This is the foundation of the merriment produced by puns, where the ideas which the words represent would never have been united by the principles of association, but the union of these ideas is effected on the principle of resemblance between the sounds of the words which recall these ideas. When the mind suddenly perceives this unexpected foundation for the union of ideas that in all other respects are incongruous, an emotion of the ludicrous is produced. This is also the foundation of the pleasure which is felt in the use of alliteration in poetry, where a resemblance is discovered in the initial sound of words that recall ideas which in all other respects are incongruous.

All minds enjoy the excitement of this class of emotions, but some much more than others. Laughter, which is the effect of this class of emotions, is enjoyed more or less by all mankind, and is regarded as not only an agreeable, but as a healthful exercise.

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