Section XIII

The effects of succession in visual objects explained.

If we can comprehend clearly how things operate upon one of our senses, there can be very little difficulty in conceiving in what manner they affect the rest. To say a great deal therefore upon the corresponding affections of every sense, would tend rather to fatigue¹ us by an useless repetition, than to throw any new light upon the subject by that ample and diffuse² manner of treating it; but as in this discourse³ we chiefly attach ourselves to the sublime⁴, as it affects the eye, we shall consider particularly why a successive disposition⁵ of uniform parts in the same right line should be sublime,27 and upon what principle this disposition is enabled to make a comparatively small quantity of matter produce a grander effect, than a much larger quantity disposed in another manner. To avoid the perplexity of general notions; let us set before our eyes, a colonnade⁶ of uniform pillars planted in a right line; let us take our stand in such a manner, that the eye may shoot along this colonnade, for it has its best effect in this view. In our present situation it is plain, that the rays from the first round pillar will cause in the eye a vibration⁷ of that species; an image of the pillar itself. The pillar immediately succeeding increases it; that which follows renews and enforces the impression; each in its order as it succeeds, repeats impulse after impulse, and stroke after stroke, until the eye, long exercised in one particular way, cannot lose that object immediately, and, being violently roused by this continued agitation⁸, it presents the mind with a grand or sublime conception. But instead of viewing a rank of uniform pillars, let us suppose that they succeed each other, a round and a square one alternately. In this case the vibration caused by the first round pillar perishes as soon as it is formed; and one of quite another sort (the square) directly occupies its place; which however it resigns as quickly to the round one; and thus the eye proceeds, alternately, taking up one image, and laying down another, as long as the building continues. From whence it is obvious that, at the last pillar, the impression is as far from continuing as it was at the very first; because, in fact, the sensory⁹ can receive no distinct impression but from the last; and it can never of itself resume a dissimilar impression: besides every variation of the object is a rest and relaxation¹⁰ to the organs of sight; and these reliefs prevent that powerful emotion so necessary to produce the sublime. To produce therefore a perfect grandeur¹¹ in such things as we have been mentioning, there should be a perfect simplicity¹², an absolute uniformity in disposition, shape, and coloring. Upon this principle of succession and uniformity it may be asked, why a long bare wall should not be a more sublime object than a colonnade; since the succession is no way interrupted; since the eye meets no check; since nothing more uniform can be conceived? A long bare wall is certainly not so grand an object as a colonnade of the same length and height. It is not altogether difficult to account for this difference. When we look at a naked wall, from the evenness of the object, the eye runs along its whole space, and arrives quickly at its termination; the eye meets nothing which may interrupt its progress; but then it meets nothing which may detain it a proper time to produce a very great and lasting¹³ effect. The view of a bare wall, if it be of a great height and length, is undoubtedly¹⁴ grand; but this is only one idea, and not a repetition of similar ideas: it is therefore great, not so much upon the principle of infinity¹⁵, as upon that of vastness. But we are not so powerfully affected¹⁶ with any one impulse, unless it be one of a prodigious¹⁷ force indeed, as we are with a succession of similar impulses; because the nerves of the sensory do not (if I may use the expression) acquire a habit of repeating the same feeling in such a manner as to continue it longer than its cause is in action; besides, all the effects which I have attributed to expectation and surprise in Sect¹⁸. 11, can have no place in a bare wall.

1 fatigue   

n.疲劳，劳累

参考例句：

• The old lady can't bear the fatigue of a long journey.这位老妇人不能忍受长途旅行的疲劳。
• I have got over my weakness and fatigue.我已从虚弱和疲劳中恢复过来了。

2 diffuse   

v.扩散；传播；adj.冗长的；四散的，弥漫的

参考例句：

• Direct light is better for reading than diffuse light.直射光比漫射光更有利于阅读。
• His talk was so diffuse that I missed his point.他的谈话漫无边际，我抓不住他的要点。

3 discourse   

n.论文，演说；谈话；话语；vi.讲述，著述

参考例句：

• We'll discourse on the subject tonight.我们今晚要谈论这个问题。
• He fell into discourse with the customers who were drinking at the counter.他和站在柜台旁的酒客谈了起来。

4 sublime   

adj.崇高的，伟大的；极度的，不顾后果的

参考例句：

• We should take some time to enjoy the sublime beauty of nature.我们应该花些时间去欣赏大自然的壮丽景象。
• Olympic games play as an important arena to exhibit the sublime idea.奥运会，就是展示此崇高理念的重要舞台。

5 disposition   

n.性情，性格；意向，倾向；排列，部署

参考例句：

• He has made a good disposition of his property.他已对财产作了妥善处理。
• He has a cheerful disposition.他性情开朗。

6 colonnade   

n.柱廊

参考例句：

• This colonnade will take you out of the palace and the game.这条柱廊将带你离开宫殿和游戏。
• The terrace was embraced by the two arms of the colonnade.平台由两排柱廊环抱。

7 vibration   

n.颤动，振动；摆动

参考例句：

• There is so much vibration on a ship that one cannot write.船上的震动大得使人无法书写。
• The vibration of the window woke me up.窗子的震动把我惊醒了。

8 agitation   

n.搅动；搅拌；鼓动，煽动

参考例句：

• Small shopkeepers carried on a long agitation against the big department stores.小店主们长期以来一直在煽动人们反对大型百货商店。
• These materials require constant agitation to keep them in suspension.这些药剂要经常搅动以保持悬浮状态。

9 sensory   

adj.知觉的，感觉的，知觉器官的

参考例句：

• Human powers of sensory discrimination are limited.人类感官分辨能力有限。
• The sensory system may undergo long-term adaptation in alien environments.感觉系统对陌生的环境可能经过长时期才能适应。

10 relaxation   

n.松弛，放松；休息；消遣；娱乐

参考例句：

• The minister has consistently opposed any relaxation in the law.部长一向反对法律上的任何放宽。
• She listens to classical music for relaxation.她听古典音乐放松。

11 grandeur   

n.伟大，崇高，宏伟，庄严，豪华

参考例句：

• The grandeur of the Great Wall is unmatched.长城的壮观是独一无二的。
• These ruins sufficiently attest the former grandeur of the place.这些遗迹充分证明此处昔日的宏伟。

12 simplicity   

n.简单，简易；朴素；直率，单纯

参考例句：

• She dressed with elegant simplicity.她穿着朴素高雅。
• The beauty of this plan is its simplicity.简明扼要是这个计划的一大特点。

13 lasting   

adj.永久的，永恒的；vbl.持续，维持

参考例句：

• The lasting war debased the value of the dollar.持久的战争使美元贬值。
• We hope for a lasting settlement of all these troubles.我们希望这些纠纷能获得永久的解决。

14 undoubtedly   

adv.确实地，无疑地

参考例句：

• It is undoubtedly she who has said that.这话明明是她说的。
• He is undoubtedly the pride of China.毫无疑问他是中国的骄傲。

15 infinity   

n.无限，无穷，大量

参考例句：

• It is impossible to count up to infinity.不可能数到无穷大。
• Theoretically,a line can extend into infinity.从理论上来说直线可以无限地延伸。

16 affected   

adj.不自然的，假装的

参考例句：

• She showed an affected interest in our subject.她假装对我们的课题感到兴趣。
• His manners are affected.他的态度不自然。

17 prodigious   

adj.惊人的，奇妙的；异常的；巨大的；庞大的

参考例句：

• This business generates cash in prodigious amounts.这种业务收益丰厚。
• He impressed all who met him with his prodigious memory.他惊人的记忆力让所有见过他的人都印象深刻。

18 sect   

n.派别，宗教，学派，派系

参考例句：

• When he was sixteen he joined a religious sect.他16岁的时候加入了一个宗教教派。
• Each religious sect in the town had its own church.该城每一个宗教教派都有自己的教堂。