When we have before us such objects as excite love and complacency, the body is affected1, so far as I could observe, much in the following manner: the head reclines something on one side; the eyelids2 are more closed than usual, and the eyes roll gently with an inclination3 to the object; the mouth is a little opened, and the breath drawn4 slowly, with now and then a low sigh; the whole body is composed, and the hands fall idly to the sides. All this is accompanied with an inward sense of melting and languor5. These appearances are always proportioned to the degree of beauty in the object, and of sensibility in the observer. And this gradation from the highest pitch of beauty and sensibility, even to the lowest of mediocrity and indifference6, and their correspondent effects, ought to be kept in view, else this description will seem exaggerated, which it certainly is not. But from this description it is almost impossible not to conclude that beauty acts by relaxing the solids of the whole system. There are all the appearances of such a relaxation7; and a relaxation somewhat below the natural tone seems to me to be the cause of all positive pleasure. Who is a stranger to that manner of expression so common in all times and in all countries, of being softened8, relaxed, enervated9, dissolved, melted away by pleasure? The universal voice of mankind, faithful to their feelings, concurs10 in affirming this uniform and general effect: and although some odd and particular instance may perhaps be found, wherein there appears a considerable degree of positive pleasure, without all the characters of relaxation, we must not therefore reject the conclusion we had drawn from a concurrence11 of many experiments; but we must still retain it, subjoining the exceptions which may occur according to the judicious12 rule laid down by Sir Isaac Newton in the third book of his Optics. Our position will, I conceive, appear confirmed beyond any reasonable doubt, if we can show that such things as we have already observed to be the genuine constituents13 of beauty have each of them, separately taken, a natural tendency to relax the fibres. And if it must be allowed us, that the appearance of the human body, when all these constituents are united together before the sensory14, further favors this opinion, we may venture, I believe, to conclude that the passion called love is produced by this relaxation. By the same method of reasoning which we have used in the inquiry15 into the causes of the sublime16, we may likewise conclude, that as a beautiful object presented to the sense, by causing a relaxation of the body, produces the passion of love in the mind; so if by any means the passion should first have its origin in the mind, a relaxation of the outward organs will as certainly ensue in a degree proportioned to the cause.
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1 affected | |
adj.不自然的,假装的 | |
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2 eyelids | |
n.眼睑( eyelid的名词复数 );眼睛也不眨一下;不露声色;面不改色 | |
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3 inclination | |
n.倾斜;点头;弯腰;斜坡;倾度;倾向;爱好 | |
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4 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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5 languor | |
n.无精力,倦怠 | |
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6 indifference | |
n.不感兴趣,不关心,冷淡,不在乎 | |
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7 relaxation | |
n.松弛,放松;休息;消遣;娱乐 | |
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8 softened | |
(使)变软( soften的过去式和过去分词 ); 缓解打击; 缓和; 安慰 | |
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9 enervated | |
adj.衰弱的,无力的v.使衰弱,使失去活力( enervate的过去式和过去分词 ) | |
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10 concurs | |
同意(concur的第三人称单数形式) | |
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11 concurrence | |
n.同意;并发 | |
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12 judicious | |
adj.明智的,明断的,能作出明智决定的 | |
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13 constituents | |
n.选民( constituent的名词复数 );成分;构成部分;要素 | |
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14 sensory | |
adj.知觉的,感觉的,知觉器官的 | |
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15 inquiry | |
n.打听,询问,调查,查问 | |
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16 sublime | |
adj.崇高的,伟大的;极度的,不顾后果的 | |
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