They who are accustomed to studies of this nature will expect, and they will allow too for many faults. They know that many of the objects of our inquiry are in themselves obscure and intricate; and that many others have been rendered so by affected7 refinements8, or false learning; they know that there are many impediments in the subject, in the prejudices of others, and even in our own, that render it a matter of no small difficulty to show in a clear light the genuine face of nature. They know that whilst the mind is intent on the general scheme of things, some particular parts must be neglected; that we must often submit the style to the matter, and frequently give up the praise of elegance9, satisfied with being clear.
The characters of nature are legible, it is true; but they are not plain enough to enable those who run, to read them. We must make use of a cautious, I had almost said, a timorous10 method of proceeding11. We must not attempt to fly, when we can scarcely pretend to creep. In considering any complex matter, we ought to examine every distinct ingredient in the composition, one by one; and reduce everything to the utmost simplicity12; since the condition of our nature binds13 us to a strict law and very narrow limits. We ought afterwards to re-examine the principles by the effect of the composition, as well as the composition by that of the principles. We ought to compare our subject with things of a similar nature, and even with things of a contrary nature; for discoveries may be, and often are made by the contrast, which would escape us on the single view. The greater number of the comparisons we make, the more general and the more certain our knowledge is likely to prove, as built upon a more extensive and perfect induction14.
If an inquiry thus carefully conducted should fail at last of discovering the truth, it may answer an end perhaps as useful, in discovering to us the weakness of our own understanding. If it does not make us knowing, it may make us modest. If it does not preserve us from error, it may at least from the spirit of error; and may make us cautious of pronouncing with positiveness or with haste, when so much labor15 may end in so much uncertainty16.
I could wish that, in examining this theory, the same method were pursued which I endeavored to observe in forming it. The objections, in my opinion, ought to be proposed, either to the several principles as they are distinctly considered, or to the justness of the conclusion which is drawn17 from them. But it is common to pass over both the premises18 and conclusion in silence, and to produce, as an objection, some poetical19 passage which does not seem easily accounted for upon the principles I endeavor to establish. This manner of proceeding I should think very improper20. The task would be infinite, if we could establish no principle until we had previously21 unravelled22 the complex texture23 of every image or description to be found in poets and orators24. And though we should never be able to reconcile the effect of such images to our principles, this can never overturn the theory itself, whilst it is founded on certain and indisputable facts. A theory founded on experiment, and not assumed, is always good for so much as it explains. Our inability to push it indefinitely is no argument at all against it. This inability may be owing to our ignorance of some necessary mediums; to a want of proper application; to many other causes besides a defect in the principles we employ. In reality, the subject requires a much closer attention than we dare claim from our manner of treating it.
If it should not appear on the face of the work, I must caution the reader against imagining that I intended a full dissertation25 on the Sublime26 and Beautiful. My inquiry went no farther than to the origin of these ideas. If the qualities which I have ranged under the head of the Sublime be all found consistent with each other, and all different from those which I place under the head of Beauty; and if those which compose the class of the Beautiful have the same consistency27 with themselves, and the same opposition28 to those which are classed under the denomination29 of Sublime, I am in little pain whether anybody chooses to follow the name I give them or not, provided he allows that what I dispose under different heads are in reality different things in nature. The use I make of the words may be blamed, as too confined or too extended; my meaning cannot well be misunderstood.
To conclude: whatever progress may be made towards the discovery of truth in this matter, I do not repent30 the pains I have taken in it. The use of such inquiries31 may be very considerable. Whatever turns the soul inward on itself, tends to concentre its forces, and to fit it for greater and stronger flights of science. By looking into physical causes our minds are opened and enlarged; and in this pursuit, whether we take or whether we lose our game, the chase is certainly of service. Cicero, true as he was to the academic philosophy, and consequently led to reject the certainty of physical, as of every other kind of knowledge, yet freely confesses its great importance to the human understanding: “Est animorum ingeniorumque nostrorum naturale quoddam quasi pabulum consideratio contemplatioque natur?.” If we can direct the lights we derive32 from such exalted33 speculations34 upon the humbler field of the imagination, whilst we investigate the springs, and trace the courses of our passions, we may not only communicate to the taste a sort of philosophical35 solidity, but we may reflect back on the severer sciences some of the graces and elegances36 of taste, without which the greatest proficiency37 in those sciences will always have the appearance of something illiberal38.
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1 candid | |
adj.公正的,正直的;坦率的 | |
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2 motive | |
n.动机,目的;adv.发动的,运动的 | |
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3 illustrate | |
v.举例说明,阐明;图解,加插图 | |
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4 discourse | |
n.论文,演说;谈话;话语;vi.讲述,著述 | |
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5 inquiry | |
n.打听,询问,调查,查问 | |
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6 considerably | |
adv.极大地;相当大地;在很大程度上 | |
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7 affected | |
adj.不自然的,假装的 | |
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8 refinements | |
n.(生活)风雅;精炼( refinement的名词复数 );改良品;细微的改良;优雅或高贵的动作 | |
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9 elegance | |
n.优雅;优美,雅致;精致,巧妙 | |
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10 timorous | |
adj.胆怯的,胆小的 | |
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11 proceeding | |
n.行动,进行,(pl.)会议录,学报 | |
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12 simplicity | |
n.简单,简易;朴素;直率,单纯 | |
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13 binds | |
v.约束( bind的第三人称单数 );装订;捆绑;(用长布条)缠绕 | |
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14 induction | |
n.感应,感应现象 | |
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15 labor | |
n.劳动,努力,工作,劳工;分娩;vi.劳动,努力,苦干;vt.详细分析;麻烦 | |
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16 uncertainty | |
n.易变,靠不住,不确知,不确定的事物 | |
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17 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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18 premises | |
n.建筑物,房屋 | |
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19 poetical | |
adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
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20 improper | |
adj.不适当的,不合适的,不正确的,不合礼仪的 | |
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21 previously | |
adv.以前,先前(地) | |
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22 unravelled | |
解开,拆散,散开( unravel的过去式和过去分词 ); 阐明; 澄清; 弄清楚 | |
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23 texture | |
n.(织物)质地;(材料)构造;结构;肌理 | |
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24 orators | |
n.演说者,演讲家( orator的名词复数 ) | |
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25 dissertation | |
n.(博士学位)论文,学术演讲,专题论文 | |
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26 sublime | |
adj.崇高的,伟大的;极度的,不顾后果的 | |
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27 consistency | |
n.一贯性,前后一致,稳定性;(液体的)浓度 | |
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28 opposition | |
n.反对,敌对 | |
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29 denomination | |
n.命名,取名,(度量衡、货币等的)单位 | |
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30 repent | |
v.悔悟,悔改,忏悔,后悔 | |
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31 inquiries | |
n.调查( inquiry的名词复数 );疑问;探究;打听 | |
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32 derive | |
v.取得;导出;引申;来自;源自;出自 | |
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33 exalted | |
adj.(地位等)高的,崇高的;尊贵的,高尚的 | |
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34 speculations | |
n.投机买卖( speculation的名词复数 );思考;投机活动;推断 | |
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35 philosophical | |
adj.哲学家的,哲学上的,达观的 | |
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36 elegances | |
n.高雅( elegance的名词复数 );(举止、服饰、风格等的)优雅;精致物品;(思考等的)简洁 | |
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37 proficiency | |
n.精通,熟练,精练 | |
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38 illiberal | |
adj.气量狭小的,吝啬的 | |
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