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Tub. There came divers of Antonio's creditors in my company to Venice, that swear he cannot choose but break.

Shy. I am glad of it; I'll plague him, I'll torture him; I am glad of it. Tub. One of them showed me a ring that he had of your daughter for a monkey.

Shy. Out upon her! thou torturest me. Tubal, it was my Turquoise; I had it of Leah when I was a bachelor; I would not have given it for a wilderness of monkeys.

Tub. But Antonio is certainly undone.

Shy. Nay, that's true, that's very true; go, fee me an officer, bespeak him a fortnight before. I will have the heart of him, if he forfeit; for were he out of Venice, I can make what merchandise I will. Go, go, Tubal, and meet me at our synagogue; go, good Tubal; at our synagogue, Tubal.

Merchant of Venice, Act III. Sc. 1.

In the same manner, good news arriving to a man laboring under distress, occasions a vibration in his mind from the one to the other. If the emotions be unequal in force, the stronger after a conflict will extinguish the weaker. Thus the loss of a house by fire, or of a sum of money by bankruptcy, will make no figure in opposition to the birth of a long-expected son, who is to inherit an opulent fortune; after some slight vibrations the mind settles in joy, and the loss is forgot.

143. The foregoing observations will be found of great use in the fine arts. Many practical rules are derived from them, which shall afterwards be mentioned; but for instant gratification in part the reader will accept the following specimen, being an application of these observations to music. It must be premised that no disagreeable combination of sounds is entitled to the name of music; for all music is resolvable into melody and harmony, which imply agreeableness in their very conception. Sounds may be so contrived as to produce horror and several other painful feelings, which, in a tragedy or in an opera, may be introduced with advantage to accompany the representation of a dissocial or disagreeable passion. But such sounds must in themselves be disagreeable, and upon that account cannot be dignified with the name of music. Secondly, the agreeableness of vocal music differs from that of instrumental; the former, being intended to accompany words, ought to be expressive of the sentiment that they convey; but the latter, having no connection with words, may be agreeable without relation to any sentiment: harmony, properly so called, though delightful when in perfection, hath no relation to sentiment; and we often find melody without the least tincture of it. It is beyond the power of music to raise a passion or a sentiment; but it is in the power of music to raise emotions similar to what are raised by sentiments expressed in words pronounced with propriety and grace; and such music may justly be termed sentimental. Thirdly, in vocal music, the intimate connection of sense and sound rejects dissimilar emotions, those especially that are opposite. Similar emotions produced by the

142. Examples of dissimilar emotions arising from unconnected causes.-Good and bad news, &c.-Case where the emotions are unequal in force.

sense and the sound, go naturally into union, and at the same time are concordant or harmonious; but dissimilar emotions, forced into union by these causes intimately connected, obscure each other, and are also unpleasant by discordance.

144. These premises make it easy to determine what sort of poetical compositions are fitted for music. In general, as music in all its various tones ought to be agreeable, it never can be concordant with any composition in language expressing a disagreeable passion, or describing a disagreeable object: for here the emotions raised by the sense and by the sound are not only dissimilar but opposite; and such emotions forced into union produce always an unpleasant mixture. Music accordingly is a very improper companion for sentiments of malice, cruelty, envy, peevishness, or of any other dissocial passion; witness among a thousand King John's speech in Shakspeare, soliciting Hubert to murder Prince Arthur, which, even in the most cursory view, will appear incompatible with any sort of music. Music is a companion no less improper for the description of any disagreeable object, such as that of Polyphemus in the third book of the Eneid, or that of Sin in the second book of Paradise Lost the horror of the object described and the pleasure of the music would be highly discordant.

145. With regard to vocal music there is an additional reason against associating it with disagreeable passions. The external signs of such passions are painful-the looks and gestures to the eye, and the tone of pronunciation to the ear: such tones therefore can never be expressed musically, for music must be pleasant, or it is not music.

On the other hand, music associates finely with poems that tend to inspire pleasant emotions: music, for example, in a cheerful tone, is perfectly concordant with every emotion in the same tone; and hence our taste for airs expressive of mirth and jollity. Sympathetic joy associates finely with cheerful music; and sympathetic pain no less finely with music that is tender and melancholy. All the different emotions of love, namely, tenderness, concern, anxiety, pain of absence, hope, fear, accord delightfully with music; and accordingly a person in love, even when unkindly treated, is soothed by music; for the tenderness of love still prevailing accords with a melancholy strain. This is finely exemplified by Shakspeare in the fourth act of Othello, where Desdemona calls for a song expressive of her distress. Wonderful is the delicacy of that writer's taste, which fails him not even in the most refined emotions of human nature. Melancholy music is suited to slight grief, which requires or admits consolation; but deep grief, which refuses all consolation, rejects for that reason even melancholy music.

143. Foregoing observations applied to music-Three things to be premised.

144. The sort of poetical compositions fitted for music.-In what sentiments is music ab improper companion; for what objects also?

Where the same person is both the actor and the singer, as in an opera, there is a separate reason why music should not be associated with the sentiments of any disagreeable passion, nor the description of any disagreeable object; which is, that such association is altogether unnatural: the pain, for example, that a man feels who is agitated with malice or unjust revenge, disqualifies him for relishing music, or any thing that is pleasing; and therefore to represent such a man, contrary to nature, expressing his sentiments in a song, cannot be agreeable to any audience of taste.

146. For a different reason music is improper for accompanying pleasant emotions of the more important kind; because these totally engross the mind, and leave no place for music, nor for any sort of amusement. In a perilous enterprise to dethrone a tyrant, music would be impertinent even where hope prevails and the prospect of success is great: Alexander attacking the Indian town, and mounting the wall, had certainly no impulse to exert his prowess in a song.

It is true that not the least regard is paid to these rules either in the French or Italian opera; and the attachment we have to operas may at first be considered as an argument against the foregoing doctrine. But the general taste for operas is no argument: in these compositions the passions are so imperfectly expressed as to leave the mind free for relishing music of any sort indifferently; and it cannot be disguised that the pleasure of an opera is derived chiefly from the music, and scarce at all from the sentiments: a happy concordance of the emotions raised by the song and by the music is extremely rare; and I venture to affirm that there is no example of it, unless where the emotion raised by the former is agreeable as well as that raised by the latter.

147. Next in order, according to the method proposed, come external effects, which lead us to passions as the causes of external effects. Two coexistent passions that have the same tendency, must be similar; they accordingly readily unite, and in conjunction have double force. This is verified by experience; from which we learn that the mind receives not impulses alternately from such passions, but one strong impulse from the whole in conjunction; and indeed it is not easy to conceive what should bar the union of passions that have all of them the same tendency.

Two passions having opposite tendencies may proceed from the same cause considered in different views. Thus a female may at once be the cause both of love and of resentment; her beauty inflames the passion of love, her cruelty or inconstancy causes resent

145. Additional reason in regard to vocal music against associating it with disagreeable passions. With what sort of poems music well associates.--The various emotions that accord with music.-Desdemona-Case of a person who is at the same time singer and actor, as in an opera.

146. Why music is improper for accompanying pleasant emotions of the more important kind.

inent. When two such passions coexist in the same breast, the opposition of their aim prevents any sort of union, and accordingly they are not felt otherwise than in succession; the consequence of which must be, either that the passions will balance each other and prevent external action, or that one of them will prevail and accomplish its end. Guarini, in his Pastor Fido, describes beautifully the struggle between love and resentment directed to the same object. (Act i. Sc. 3.)

Ovid paints in lively colors the vibration of mind between two opposite passions directed to the same object. Althea had two brothers much beloved, who were unjustly put to death by her son Meleager in a fit of passion: she was strongly impelled to revenge; but the criminal was her own son. This ought to have withheld her hand; but the story is more interesting, by the violence of the struggle between resentment and maternal love. (Met. lib. 8. l. 445.)

In cases of this kind, one circumstance always augments the fluctuation: after balancing between two actions, a resolution to prefer one of them is an inchoated gratification of the prevailing passion, which moderates it in some degree; and that circumstance tends to give a superiority to the opposite passion: another circumstance also concurs, that this opposite passion has, by restraint, acquired in the interim some additional force.

148. Love and jealousy connected by a common object, occupy the mind alternately: when the object is considered as beautiful, love prevails: when considered as possibly unfaithful, jealousy prevails. A situation of that kind affords great scope for fluctuation of passion; which is painted to the life by several masterly hands in words as well as in colors. Shakspeare handles the same subject, but in a manner uncommon, and peculiar to himself. In Othello's soliloquy, before putting his wife to death, love and jealousy are represented, each exerting its whole force, but without any struggle. Othello was naturally inflexible; and the tenderest love could not divert him from a purpose he approved as right, not even for a moment; but every thing consistent with such a character is done to reconcile the two opposite passions: he is resolved to put her to death, but he will not shed her blood, nor so much as ruffle her skin: Othello. It is the cause, it is the cause, my soul :

Let me not name it to you, you chaste stars!

It is the cause.. -Yet I'll not shed her blood,

Nor scar that whiter skin of hers than snow,

And smooth as monumental alabaster. [Lays down the sword.

Yet she must die; else she'll betray more men.

Put out the light, and then-Put out the light!

If I quench thee, thou flaming minister,

I can again thy former light restore,

Should I repent: but once put out thy light,

Thou cunning'st pattern of excelling nature,

147. Coexistent passions as the causes of external effects.-Two coexistent passions having the same tendency.-Two passions of opposite tendencies proceeding from the same cause, considered in different views. Their effect upon action. Instance from Ovid.

I know not where is that Promethean heat
That can thy light relumine.-

When I have pluck'd thy rose,

-[Sets down the taper.

I cannot give it vital growth again;

It needs must wither.-I'll smell thee on the tree: [Kissing her.

O baliny breath, that dost almost persuade

Justice to break her sword!-One more; one more;

Be thus when thou art dead, and I will kill thee,

And love thee after.

-One more, that's the last;

Act V. Sc. 6.

So sweet was ne'er so fatal! I must weep,
But they are cruel tears! this sorrow's heavenly;
It strikes where it doth love.-

PART V.

INFLUENCE OF PASSION WITH RESPECT ΤΟ OUR PERCEPTIONS, OPINIONS, AND BELIEF.

149. CONSIDERING how intimately our perceptions, passions, and actions are mutually connected, it would be wonderful if they should have no mutual influence. That our actions are too much influenced by passion, is a known truth; but it is not less certain, though not so well known, that passion hath also an influence upon our percep‐ tions, opinions, and belief. For example, the opinions we form of men and things, are generally directed by affection: an advice given by a man of figure, hath great weight; the same advice from one in a low condition is despised or neglected; a man of courage underrates danger; and to the indolent the slightest obstacle appears insurmountable.

150. There is no truth more universally known, than that tranquillity and sedateness are the proper state of mind for accurate perception and cool deliberation; and for that reason, we never regard the opinion even of the wisest man, when we discover prejudice or passion behind the curtain. Passion hath such influence over us, as to give a false light to all its objects. Agreeable passions prepossess the mind in favor of their objects, and disagreeable passions, no less against their objects: a woman is all perfection in her lover's opinion, while in the eye of a rival beauty, she is awkward and disagreeable: when the passion of love is gone, beauty vanishes with it,-nothing left of that genteel motion, that sprightly conversation, those numberless graces, which formerly, in the lover's opinion, charmed all hearts. To a zealot every one of his own sect is a saint, while the most upright of a different sect are to him children of perdition: the talent of speaking in a friend is more regarded than

148. Love and jealousy in relation to the same object. Othello.

149. Influence of passion upon our perceptions, opinions, and belief. Examples.

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