partly by the immensity of the object, but also in part by its vast height. Travellers have often spoken of the sublime emotion occasioned by viewing the celebrated Natural Bridge in Virginia from the bottom of the deep ravine over which it is thrown. This bridge is a single solid rock, about sixty feet broad, ninety feet long, and forty thick. It is suspended over the head of the spectator, who views it from the bottom of the narrow glen, at the elevation of two hundred and thirty feet; an immense height for such an object. It is not in human nature to behold, without strong feeling, such a vast vault of solid limestone, springing lightly into the blue upper air, and remaining thus outstretched, as if it were the arm of the Almighty himself, silent, unchangeable, eternal.

§ 280. Of depth in connexion with the sublime.

It is a circumstance confirmatory of the view, that it is impossible to resolve the grounds of sublimity into a single occasion or element, that we find the depth as well as the height of things, the downward as well as the upward, the antecedent and cause of this emotion. We are doubtful, however, whether depth is so decisively, as it is certainly not so frequently a cause, as elevation or height; which last, on account of its frequent connexion with their existence, has given the name to this class of feelings. But others may think differently. Mr. Burke has the following passage on this point.-"I am apt to imagine, that height is less grand than depth; and that we are more struck at looking down from a precipice than looking up at an object of equal height; but of that I am not very positive."

But, however this may be, there is no doubt that sublime emotions may arise from this cause. When we are placed on the summit of any high object, and look downward into the vast opening below, it is impossible not to be strongly affected. The sailor on the wide ocean, when, in the solitary watches of the night, he casts his eye upward to the lofty, illuminated sky, has a sublime emotion; and he feels the same strong sentiment stirring within him when, a moment afterward, he thinks of the vast, unfathomable abyss beneath him, over which he is suspended by the frail plank of his vessel

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281. Of colours in cornexion with the sublime.

The colours also, as well as the form of bodies, may, to a limited extent, furnish the occasion of sublime emotions. The lightning, when at a distance it is seen dartto the earth in one continuous chain of overpowering brightness; the red meteor shooting athwart the still dark sky; the crimson Aurora Borealis, which occasionally diffuses the tints of the morning over the hemisphere of midnight, are sublime objects; and, although there are other elements which unite in forming the basis of the sublime emotion, it is probably to be ascribed, in part, to the richness and vividness of colours. What object is more sublimely impressive than the contrasted hues of the mingling fires and smoke of a burning volcano? Darkness, particularly, is an element of the sublime. When the clouds are collecting together on some distinct and distant portion of the sky, how intently the eye fixes itself on those masses which wear the visage of the deepest gloom! Forests, and frowning cliffs, and mountains, and the wide ocean itself, and whatever other objects are susceptible of sublimity, are rendered still more sublime by the shades and darkness that are sometimes made to pass over them. The poets of all countries have represented the Deity, the most sublime object of contemplation, as enthroned in the midst of darkness." He bowed the heavens also, and came down; and darkness was under his feet. He made darkness his secret place; his pavilion round about were dark waters, and thick clouds of the skies."

282. Of sounds as furnishing an occasion of suonme emotions.

We find another element of the sublime in sounds of a certain description. There are some cries and voices of animals which are usually regarded as sublime. The roar of the lion, not only in the solitudes of his native deserts, but at all times, partakes of the character of sublimity. The human voice, in combination with a suitable number of other voices, is capable of uttering sublime sounds; and does, in fact, utter them in performing many of the works of the great masters and composers of music There is no small degree of sublimity in the low, deep

murmur of the organ, independently of the moral and religious associations connected with it. It is presumed no one will doubt, that the trumpet, in the hands of a skilful performer, is capable of originating sublime sounds. Almost every one must have noticed a peculiarly impressive sound sent forth by a large and compact forest of pines, when waved by a heavy wind, which obviously has the same character. The heavy and interminable sound of the ocean, as it breaks upon the shore, is sublime; and hardly less so the ceaseless voice of the congregated waters of some vast cataract. To these instances may be added the sound of a cannon, not only when it comes from the field of battle, but at any time; and still more the mighty voice of thunder. The latter sound is often mentioned in the Scriptures, in connexion with the attributes of the Supreme Being, and apparently for the purpose of heightening the idea of his sublinity. "The Lord also thundered in the heavens, and the Highest gave his voice.”—“The voice of the Lord is upon the waters; the God of glory thundereth.”

We leave this part of the subject with introducing a remark from Coleridge, which goes to confirm the general doctrine of the sublimity of some sounds. He had been saying something of the scenery of the lake of Ratzeburg, when he adds: "About a month ago, before the thaw came on, there was a storm of wind. During the whole night, such were the thunders and howlings of the breaking ice, that they left a conviction on my mind that there are sounds more sublime than any sight can be, more absolutely suspending the power of comparison, and more utterly absorbing the mind's self-consciousness in its total attention to the object working upon it."*

§ 283. Of motion in connexion with the sublime.

It will be noticed, from the train of thought which has been pursued, that there is a close analogy between beauty and sublimity, not only in the feelings which are originated, but also in the occasions of their origin. As the sentiments of beauty were found to be connected not only with the forms of objects, but also with colours and *The Friend, Am. ed., page 323

sounds, so also are those of sublimity. And furthermore, as we found beauty connecting itself with certain kinds of motion, we find motion the basis likewise, in some of its modifications, of emotions of the sublime.

.We often experience, for instance, emotions of sublimity in witnessing objects that move with great swiftness. This is one source of the feelings we have at beholding bodies of water rushing violently down a cataract. For the same reason, although there are undoubtedly other elements of the emotions we feel, the hurricane, that hastens onward with irresistible velocity, and lays waste whatever it meets, is sublime. And here also we find a cause of part of that sublime emotion which men have often felt, on seeing at a distance the electric fluid darting from the cloud to the earth, and at witnessing the sudden flight of a meteor.

§ 284. Indications of power accompanied by emotions of the sublime. The contemplation of mental objects, as well as of material, may be attended with this species of emotion. Power, for instance, is an attribute of mind, and not of matter, and the exhibition of it is frequently sublime. It is hardly necessary to say, in making this remark, that power is not anything which is addressed directly to the outward senses; but is rather presented to the mind as an object of inward suggestion. Nevertheless, the causes of this suggestion may exist in outward objects; and, whenever this is the case, the feelings with which we contemplate such objects are generally increased. In other words, whatever sublimity may characterize an object, if, in addition to its other sublime traits, it strongly suggests to us the idea of power, the sublime feeling is more or less heightened by this suggestion.

Nothing can be more sublime than a volcano, throwing out from its bosom clouds, and burning stones, and immense rivers of lava. And it is unquestionable, that the sublime emotion is attributable, in part, to the overwhelming indications of power which are thus given. An earthquake is sublime; not only in its mightier efforts of destruction, but hardly less so in those slighter tremblings and heavings of the earth, which indicate the foot

steps of power rather than of ruin. The ocean, greatly agitated with a storm, and tossing the largest navies as if in sport, possesses an increase of sublimity, on account of the more striking indications of power which it at such a time gives. The shock of large armies also, which concentrates the most terrible exhibition of human energy, is attended with an increased sublimity for the same reason. But in all these instances, as in most others, the sublime emotion cannot be ascribed solely to one cause; something is to be attributed to vast extent; something to the original effect of the brilliancy or darkness of colours; and something to feelings of dread and danger.

§ 285. Of the original or primary sublimity of objects.

If there be a connexion between the beautiful and sublime; if beauty, grandeur, and sublimity are only names for various emotions, not so much differing in kind as in degree, essentially the same views which were advanced in respect to beauty will hold here. It will follow, if the contemplation of some objects is attended with emotions of beauty, independently of associated feelings; or, in other words, if they have a primary or original beauty, that there are objects also originally sublime. Hence we may conclude, that whatever has great height, or great depth, or vast extent, or other attributes of the sublime, will be able to excite in us emotions of sublimity of themselves, independently of the subordinate or secondary aid arising from any connnected feelings.

§ 286. Considerations in proof of the original sublimity of objects. It may be inferred, that there is such primary or origi nal sublimity in some objects, not only in view of the connexion which has been stated to exist between the beautiful and sublime, but because it is no doubt agreeable to the common experience of men. But, in resting the proposition (where undoubtedly it ought to rest) on experience, we must inquire, as in former chapters, into the feelings of the young. And this for the obvious reason, that, when persons are somewhat advanced in age, it is difficult to separate the primary from the secondary or associated sublimity. They have then become inex