heavens, is sublime. We feel the same difference in contemplating a stream moving gently along its course, and a torrent dashing tumultuously over a precipice. Curvilinear. Another requisite to the agreeableness of motion is that it should be in curved rather than in straight lines. Hence the pleasing effect of curling smoke or flame. Here it is to be noticed that most of the motions used by men in transacting the necessary business of life are in straight lines, while those connected mainly with pleasure and ornament are made in curving lines. 4. Complex Beauty.-Though color, figure, and motion are separate principles of beauty, yet in many beautiful objects they all meet, and thereby render the beauty both greater and more complex. Examples. Thus, in flowers, trees, and animals, we are entertained at once with the delicacy of the color, with the gracefulness of the figure, and sometimes also with the motion of the object. Although each of these produces separately an agreeable sensation, yet these sensations are of such a similar nature as readily to mix and blend in one general perception of beauty, which we ascribe to the whole object as its cause: for beauty is always conceived by us as something residing in the object which raises the pleasant sensation; a sort of glory which dwells upon and invests it. The Most Complete Example.- Perhaps the most complete assemblage of beautiful objects that can anywhere be found, is presented by a rich natural landscape, where there is a sufficient variety of objects; fields in verdure, scattered trees and flowers, running water, and animals grazing. If to these be joined some of the productions of art, which suit such a scene,- as a bridge with arches over a river, smoke rising from cottages in the midst of trees, and the distant view of a fine building seen by the rising sun, we then enjoy, in the highest perfection, that gay, cheerful, and placid sensation which characterizes beauty. To have an eye and a taste formed for catching the peculiar beauties of such scenes as these is a necessary requisite for all who attempt poetical description. 5. Beauty of Countenance. The beauty of the human countenance is more complex than any that we have yet considered. What it Includes. It includes the beauty of color, arising from the delicate shades of the complexion; and the beauty of figure, arising from the lines which form the different features of the face. But the chief beauty of the countenance depends upon a mysterious expression which it conveys of the qualities of the mind; of good sense or good humor; of sprightliness, candor, benevolence, sensibility, or other amiable dispositions. How it comes to pass that a certain conformation of features is connected in our idea with certain moral qualities; whether we are taught by instinct or by experience to form this connection, and to read the mind in the countenance, belongs not to us now to inquire, nor is indeed easy to resolve. The fact is certain and acknowledged, that what gives the human countenance its most distinguishing beauty is what is called its expression; or an image, which it is conceived to show, of internal moral dispositions. 6. Moral Beauty. There are certain qualities of the mind which, whether expressed in the countenance, or by words, or by actions, always raise in us a feeling similar to that of beauty. Two Kinds of Moral Qualities. There are two great classes of moral qualities. One class is of the high and great virtues, which require extraordinary efforts, and turn upon dangers and sufferings. Among these virtues are heroism, magnanimity, contempt of pleasures, and contempt of death. These excite in the spectator an emotion of sublimity and grandeur. The other class is generally of the social virtues, and such as are of a softer and gentler kind. Among these are compassion, mildness, friendship, and generosity. These raise in the beholder a sensation of pleasure, so much akin to that produced by beautiful external objects, that, though of a more dignified nature, it may, without impropriety, be classed under the same head. II. The Beautiful in Writing. Having obtained some definite notion of what Beauty is, as applied to objects in general, we can more readily understand what is meant by the Beautiful in composition, and how it is to be sought. 1. Beauty of Subject. The first requisite to beauty in composition is that the subject of discourse be of an agreeable character. Explanation. If that of which we write or speak is of such a character that it would, if actually present, excite contempt, disgust, or terror, no grace of rhetoric will make it agreeable. Discourse, to be beautiful, must present to the mind beautiful subjects for thought. The Beautiful and the Scientific. There is a great difference in this respect between what is meant to please merely, and what is meant to instruct; between the beautiful and the scientific. In a scientific inquiry, our object is to obtain the exact facts, whether agreeable or disagreeable. But in attempting to write what is beautiful, our object is to please. We select, therefore, topics which are pleasing, and omit those which are displeasing. 2. Beauty of Expression.-The second requisite to beauty in composition is that the subject be handled in an agreeable manner. Vagueness of the Rule.-It may be objected to this rule that it is too vague in its character to be of any practical use. But it may serve to exclude many things which are objectionable, and also to point in a general way to the kind of excellence at which a writer should aim, who desires to be considered beautiful. Uses of the Rule.-It excludes low and vulgar expressions, slang phrases, and words which are harsh-sounding or difficult of utterance, when there are others more euphonious and equally expressive. It leads one to seek such words and phrases as are easy of utterance, such as please the ear, and such as for any cause awaken in the mind agreeable ideas. It makes much use of simile, metaphor, and other rhetorical figures, and it pays great attention to the structure of sentences, so as to make them flowing and harmonious. 3. Conciseness not Necessary.-Beauty as an attribute of style, does not require the same degree of conciseness that sublimity does. Why the Difference. A certain degree of diffuseness is entirely compatible with that ease and grace of expression which is characteristic of beauty. The emotion known as the beautiful, being of a gentle nature, is capable of longer continuance than the sublime. It may pervade, indeed, a whole work, while sublimity is more confined to single passages and expressions. Wit and Humor.- Sublimity and beauty exist in the works and operations of nature, as well as in those of man, and are expressed in very many other ways, as well as in discourse. But the qualities now to be mentioned, Wit and Humor, belong exclusively to man and his works; and, though they may find expression to some extent in painting, sculpture, music, and other works of art, yet their chief expression is by means of language. Examples. -A mountain, a cataract, a thunder-storm, a volcano, a lion's roar, may be sublime; a landscape, a flower, a bird, the upward soaring of the lark, or the wavy motion of a field of grain, may be beautiful; but none of these acts or things are ever spoken of as witty or humorous. These epithets apply to human things only, and especially to the utterances of human speech. III. WIT. For the proper understanding of Wit, it will be necessary first to consider separately the several ideas which it includes: Ingredients of Wit.-1. First, then, surprise is an essential ingredient in wit. No saying is ever received as witty, unless it discloses some unexpected relation between ideas. Hence, witticisms seldom bear repetition, or if repeated, they lose much of their sparkle. 2. Secondly, the discovery of this unexpected relation must be of a kind that implies some mental superiority on the part of the discoverer. The discovery of a gold watch hanging on a bush, or of a calf with two heads, would no doubt be unexpected, and would cause great surprise.* But there would be nothing witty in it. It would imply no intellectual smartness on the part of the discoverer. Any body with eyes, and in the same situation, would see the same thing. 3. Thirdly, the unexpected relation which is discovered, should be such as to excite surprise merely, and not any higher emotion, like that excited by the sublime, the beautiful, or the useful. *Sydney Smith. Example. - A Hindoo epigram says, "The good man goes not upon enmity, but rewards with kindness the very being who injures him. So the sandal-wood, while it is felling, imparts to the edge of the axe its aromatic flavor." Here is an unexpected relation discovered between felling sandal-wood and returning good for evil. The discovery of this relation shows smartness, and it excites surprise. Why is it not witty? Because it is a great deal more. The mere feeling of surprise is swallowed up by the contemplation of the beauty of the thought. The discovery excites a higher emotion than that of surprise. Another Example.-There is a French saying, that hypocrisy is the homage which vice renders to virtue. Here again the observation is not regarded witty, because it excites our admiration for its justness and beauty. Definition of Wit.-Wit is the discovery of such an unexpected relation between ideas as will excite surprise, but no other and higher emotion, like that, for instance, excited by the sublime, the beautiful, or the useful. Some examples will serve to illustrate the correctness of this definition. A French General. — Louis XIV., being molested by the solicitations of a certain general officer, cried out, loud enough to be overheard, “That gentleman is the most troublesome officer in the whole army "Your majesty's enemies more than once have said the same thing," was the witty reply. Here, that the man should assent to the royal invective, and that he should show it to be erroneous, are two distinct and apparently contradictory ideas. Yet the two ideas are expressed in such terms, that a relation between them is seen to exist, and the unexpected discovery of this relation constitutes the wit. Contempt of Court. — A judge once threatened to fine a lawyer for contempt of Court. "I have expressed no contempt of Court," said the lawyer; "on the contrary, I have carefully concealed my feelings." Here an unexpected relation is discovered between the apparent denial, and the real admission of the contempt. "A spaniel, a woman, and a walnut-tree,- "The world, of fools has such a store, That he who would not see an ass Madam Blaize. — One of Goldsmith's minor poems, "The Elegy on Madam Blaize," contains a witticism of & peculiar kind, at the end of each stanza: "Good people all, with one accord, Lament for Madam Blaize, |