cated people. The former usually are fond of gaudy colors and very pronounced expression and broad presentations, while the latter prefer that which is more subdued, which suggests more than it expresses, and which, by its delicacy, becomes a source of pleasure, though the appeal is always to one and the same susceptibility in each.

GRANDEUR AND SUBLIMITY.

These emotions are very closely akin to that of Beauty. As to the exact distinction between the first two, it has never been satisfactorily given. They are used Akin to interchangeably to such an extent by a large beauty. number of writers, that it is doubtful if there is any thorough discrimination. It seems to me that almost universally Sublimity is regarded as a loftier emotion than Grandeur. Is it not also true that there is always something of beauty involved in Sublimity, but not necessarily in Grandeur? Further than this the difference is not well defined.

erful emotion

In either case, the feeling is more powerful than that involved in beauty. There is also in it, as is sometimes claimed, a tincture of pain, though, of course, A more powthe pleasure of the effect is greatly predomi- than that of nant. In the case of Sublimity, something like beauty. awe affects the mind, and this is akin to fear, a sort of repression, and, perhaps, slight repulsion. Hamilton gives three forms of Sublimity as affecting the mind: Three forms 1. That which is the effect of unusual extension of sublimity.

in space, - vastness. 2. That which comes from long

duration, eternity. 3. That which is implied in evidences of power.

But the sublime, like the beautiful, is not confined to

Moral sub

material objects. There are instances of moral conduct, of fortitude, of self-sacrifice and heroism, which limity. produce the same effect on us as the vastness, duration, and power evinced in physical scenes. There have been instances of lofty courage, of voluntary endurance, of patriotic and of moral and religious devotion, in all the ages, that inspire and elevate the soul which knows of them, as no vision or sound in the natural world can possibly do.

to appre

hend.

Its occasions.

THE LUDICROUS.

This is an emotion which it is not only impossible to define, but difficult to describe. It is readily understood Hard to de- by every person who has been affected by it. It fine, but easy is a peculiar kind of pleasure which arises on its proper occasions. As to what these occasions are, those who have written on the subject, though agreeing in some general features, differ in particular details. It is generally admitted that there must be some perception of incongruity or inconsistency, in order to cause this feeling. It must also be unexpected and uncommon, there must be the discovery of some new possible relations. This latter, evidently, would not of itself be sufficient, as there are sudden revelations and unlooked-for occurrences that excite far other feelings than those under consideration. Sometimes indignation is aroused, and sometimes grief. Frequently in scientific investigations novel combinations and startling discoveries are made, but they excite no mirth, however intense the gratification may be. Even the incongruous is not always ludicrous, especially when the occurrence is of a nature to endanger life or otherwise harm any one.

Still probably these two elements are nearly always present, and are the main features of what we call a ludicrous scene or event.

forms.

This incongruity presents itself in many diverse forms. It may be in objects or in ideas, and in either case it may be accidental or intentional. A little boy dressed Incongruity in man's clothes, especially if they be of an in diverse antique fashion, is usually very ludicrous. A person who has been putting on grand airs and assuming great importance and a rather superfluous dignity, and who, in the very act of displaying these qualities, becomes the victim of some trick or accident in which his dignity suddenly collapses and his importance vanishes, is likely to occasion much merriment. Sometimes this is found in natural objects, as in grotesque formations; or may be represented in art, as in the case of the little marble cherubs trying to drink at a fountain, where one gets behind another and mischievously pitches him into the water.

The grouping of ideas in such forms as to excite mirth is usually called Wit. The definition of this term by the older of our modern philosophers covered a Wit. much wider field than that implied in the word

A higher

at present. The reason of this is that the word itself was formerly nearly synonymous with knowledge or wisdom, as its etymology implies. We have it still retained in some technical forms, as "to wit" in legal documents, where it is equivalent to "know" or to form of the "make known." It may be also said that when the ludicrous utterances of a person are below a certain grade, the title of wit is seldom conceded to them. They may be laughable or comical, or they may degenerate so much as to be called silly, but they are not witty.

ludicrous.

Wit has nowhere been so well described as in the following passage from a sermon by Dr. Barrow, which I quote not less for its wonderful aptness of language and marvellous descriptive power, than as a remarkably accurate representation of the subject:

"It is indeed a thing so versatile and multiform, appearing in so many shapes, so many postures, so many garbs, Dr. Barrow's so variously apprehended by several eyes and description. judgments, that it seemeth no less hard to settle a clear and certain notion thereof, than to make a portrait of Proteus, or to define the figure of the fleeting air. Sometimes it lieth in a pat allusion to a known story, or in seasonable application of a trivial saying, or in forging an apposite tale; sometimes it playeth in words and phrases, taking advantage from the antiquity of their source or the affinity of their sound; sometimes it is wrapped in a dress of humorous expression; sometimes it lurketh under an odd similitude; sometimes it is lodged in a sly question, in a smart answer, in a quirkish reason, in a shrewd intimation, in cunningly diverting or cleverly retorting an objection; sometimes it is couched in a bold scheme of speech, in a tart irony, in a startling metaphor, in a plausible reconciling of contradictions, or in acute nonsense; sometimes a scenical representation of persons or things, a counterfeit speech, a mimical look or gesture, passeth for it; sometimes an affected simplicity, sometimes a presumptuous bluntness, giveth it being; sometimes it riseth from a lucky hitting upon what is strange; sometimes from a crafty wresting of obvious matter to the purpose; often it consisteth in one knows not what, and springeth up one can hardly tell how. Its ways are unaccountable and inexplicable, being answerable to the num

berless rovings of fancy and windings of language. It raiseth admiration, as signifying a nimble sagacity of apprehension, a special felicity of invention, a vivacity of spirit and reach of wit more than vulgar; it seemeth to argue a rare. quickness of parts, that one can fetch in remote conceits applicable; a notable skill, that he can dexterously accommodate them to the purpose before him; together with a likely briskness of humor, not apt to damp those sportful flashes of imagination. . . It also procureth delight, by gratifying curiosity with its rareness or semblance of difficulty (as monsters, not for their beauty, but their rarity; as juggling tricks, not for their use, but their abstruseness, are beheld with pleasure;) by diverting the mind from its road of serious thoughts; by instilling gayety and airiness of spirit; by provoking to such dispositions of spirit in way of emulation or complaisance; and by seasoning matters otherwise distasteful or insipid, with an unusual and thence grateful tang." 1

Upham.

Burnett says, "Wit in writing consists in an assimilation of remote ideas oddly or humorously connected." Dr. Upham defines it as follows: "Wit consists in sud- Burnett's denly presenting to the mind an assemblage of statement. related ideas of such a kind as to occasion feelings of the ludicrous." Probably the essential thing is in bringing ideas together in such a way as to suggest, in a more or less vivid manner, the appearance of similarities which are known not to exist. Sometimes this is in the form of burlesque, as when objects of great dignity and importance are described in language usually applied to minor and insignificant phenomena, as when Hudibras describes the sun-rising in the following terms:

1 Barrow's Complete Works, vol. i. pp. 150, 151.