sions; and still more so between a square and a parallelogram.

26. Uniformity is also applicable to the constituent parts of the same figure. The constituent parts of a square are perfectly uniform; its sides are equal and its angles are equal. Wherein then differs regularity from uniformity? for a figure composed of uniform parts must undoubtedly be regular. Regularity is predicated of a figure considered as a whole composed of uniform parts: uniformity is predicated of these parts as related to each other by resemblance: we say, a square is a regular, not an uniform figure; but with respect to the constituent parts of a square, we say not, that they are regular, but that they are uniform.

27. In things destined for the same use, as legs, arms, eyes, windows, spoons, we expect uniformity. Proportion ought to govern parts intended for different uses: we require a certain proportion between a leg and an arm; in the base, the shaft, the capital of a pillar; and in the length, the breadth, the height of a room: some proportion is also required in different things intimately connected, as between a dwelling-house, the garden, and the stables; but we require no proportion among things slightly connected, as between the table a man writes on and the dog that follows him. Proportion and uniformity never coincide: things equal are uniform; but proportion is never applied to them: the four sides and angles of a square are equal and perfectly uniform; but we say not that they are proportional. Thus, proportion always implies inequality or difference; but then it implies it to a certain degree only! the most agreeable proportion resembles a maximum in mathematics; a greater or less inequality or difference is less agreeable. VOL. II.

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28. Order regards various particulars. First, in tracing or surveying objects, we are directed by a sense of order: we perceive it to be more orderly, that we should pass from a principle to its accessories, and from a whole to its parts, than in the contrary direction. Next, with respect to the position of things, a sense of order directs us to place together things intimately connected. Thirdly, in placing things that have no natural connexion, that order appears the most perfect, where the particulars are made to bear the strongest relation to each other that position can give them. Thus parallelism is the strongest relation that position can bestow upon straight lines: if they be so placed as by production to intersect, the relation is less perfect. A large body in the middle, and two equal bodies of less size, one on each side, is an order that produces the strongest relation the bodies are susceptible of by position: the relation between the two equal bodies would be stronger by juxtaposition; but they would not both have the same relation to the third.

29. The beauty or agreeableness of a visible object, is perceived as one of its qualities; which holds, not only in the primary perception, but also in the secondary perception or idea: and hence the pleasure that arises from the idea of a beautiful object. An idea of imagination is also pleasant, though in a lower degree than an idea of memory, where the objects are of the same kind; for an evident reason, that the former is more distinct and lively than the latter. But this inferiority in ideas of imagination, is more than compensated by their greatness and variety, which are boundless; for by the imagination, exerted without control, we can fabricate ideas of finer visible objects, of more noble and heroic actions, of greater wickedness, of more surprising events, than ever in fact existed:

and in communicating such ideas by words, painting, sculpture, &c. the influence of the imagination is no less extensive than great.

30. In the nature of every man, there is somewhat original, which distinguishes him from others, which tends to form his character, and to make him meek or fiery, candid or deceitful, resolute or timorous, cheerful or morose. This original bent, termed disposition, must be distinguished from a principle: the latter signifying a law of human nature, makes part of the common nature of man; the former makes part of the nature of this or that man. Propensity is a name common to both; for it signifies a principle as well as a disposition.

31. Affection, signifying a settled bent of mind toward a particular being or thing, occupies a middle place between disposition on the one hand, and passion on the other. It is clearly distinguishable from disposition, which, being a branch of one's nature originally, must exist before there can be an opportunity to exert it upon any particular object; whereas affection can never be original, because, having a special relation to a particular object, it cannot exist till the object have once at least been presented. It is no less clearly distinguishable from passion, which, depending on the real or ideal presence of its object, vanishes with its object: whereas affection is a lasting connexion; and, like other connexions, subsists even when we do not think of the person. A familiar example will clear the whole. I have from nature a disposition to gratitude, which, through want of an object, happens never to be exerted; and which therefore is unknown even to myself. Another who has the same disposition, meets with a kindly office which makes him grateful to his benefactor; an intimate connexion is formed between them, termed affec tion; which, like other connexions, has a perma

nent existence, though not always in view. The affection, for the most part, lies dormant, till an opportunity offer for exerting it: in that circumstance, it is converted into the passion of gratitude; and the opportunity is greedily seized of testifying gratitude in the warmest manner.

32. Aversion, I think, is opposed to affection; not to desire, as it commonly is. We have an affection to one person: we have an aversion to another: the former disposes us to do good to its object, the latter to do ill.

33. What is a sentiment? It is not a perception; for a perception signifies the act by which we become conscious of external objects. It is not consciousness of an internal action, such as thinking, suspending thought, inclining, resolving, willing, &c. Neither is it the conception of a relation among ob jects; a conception of that kind being termed opinThe term sentiment is appropriated to such thoughts as are prompted by passion.

ion.

34. Attention is that state of mind which prepares one to receive impressions. According to the degree of attention, objects make a strong or weak impression. Attention is requisite even to the simple act of seeing; the eye can take in a considerable field at one look; but no object in the field is seen distinctly, but that singly which fixes the attention; in a profound reverie that totally occupies the attention, we scarce see what is directly before us. In a train of perceptions, the attention being divided among various objects, no particular

Bacon, in his Natural History, makes the following observations. Sounds are meliorated by the intension of the sense, where the common sense is collected most to the particular sense of hearing, and the sight sus pended. Therefore sounds are sweeter, as well as greater, in the night than in the day; and I suppose they are sweeter to blind men than to others and it is manifest, that between sleeping and waking, when all the senses are bound and suspended, music is far sweeter than when one is fully waking.

object makes such a figure as it would do single and apart. Hence, the stillness of night contributes to terror, there being nothing to divert the attention:

Horror ubique animos, simpl ipsa silentia terrent.

Zara. Silence and solitude are ev'ry where !
Through all the gloomy ways and iron doors
That hither lead, nor human face nor voice
Is seen or heard. A dreadful din was wont

To grate the sense, when enter'd here from groans
And howls of slaves condemn'd, from clink of chains,
And crash of rusty bars and creaking hinges;

And ever and anon the sight was dash'd
With frightful faces and the meagre looks
Of grim and ghastly executioners.

Yet more this stillness terrifies my soul
Than did that scene of complicated horrors.

Eneid, i

Mourning Bride, Act V. Sc. 8.

And hence it is, that an object seen at the termination of a confined view, is more agreeable than when seen in a group with the surrounding objects:

The crow doth sing as sweetly as the lark
When neither is attended; and I think,
The nightingale, if she should sing by day,
When ev'ry goose is cackling, would be thought
No better a musician then the wren.

Merchant of Venice.

35. In matters of slight importance, attention is mostly directed by will; and for that reason, it is our own fault if trifling objects make any deep impression. Had we power equally to withhold our attention from matters of importance, we might be proof against any deep impression. But our power fails us here: an interesting object seizes and fixes the attention beyond the possibility of controul; and while our attention is thus forcibly attached to