a sound suggests ideas of danger, as the report of artillery and the howling of a storm; when it calls up recollections of mighty power, as the fall of a cataract and the rumbling of an earthquake, the emotion of sublimity which we feel is greatly increased by such suggestions. Few simple sounds are thought to have more of sublimi. ty than the report of a cannon; but how different, how much greater the strength of feeling than on other occasions, whenever we hear it coming to us from the fields of actual conflict! Many sounds, which are in themselves inconsiderable, and are not much different from many others to which we do not attach the character of sublimity, become highly sublime by association. There is frequent ly a low, feeble sound preceding the coming of a storm, which has this character.

Along the woods, along the moorish fens,
Sighs the sad genius of the coming storm,
Resounding long in fancy's listening ear."
THOMPSON'S Winter.

It is sometimes the case, that people, whose sensibilities are much alive to thunder, mistake for it some common sounds, such as the noise of a carriage or the rumbling of a cart. While they are under this mistake they feel these sounds as sublime; because they associate with them all those ideas of danger and of mighty power which they customarily associate with thunder. The hoot of the owl at midnight is sublime chiefly by association; also the scream of the eagle, heard amid rocks and deserts. The latter is particularly expressive of fierce and lonely independence; and both are connected in our remembrance with some striking poetical passages.

Logic.

CHAPTER V.

EMOTIONS OF THE LUDICROUS.

288. General nature of emotions of the ludicrous.

IN prosecuting the general subject of emotions, we are next to consider another well-known class, which are of

a character somewhat peculiar, viz., emotions of the ludz

crous

It is difficult to give a precise definition of this feeling, although the same may be said of it as in respect to emotions of beauty, that it is a pleasant or delightful one. But the pleasure which we experience receives a peculiar modification, and one which cannot be fully conveyed in words, in consequence of our perception of some incongruity in the person or thing which is the cause of it.In this case, as in many other inquiries in mental philosophy, we are obliged to rely chiefly on our own consciousness and our knowledge of what takes place in ourselves.

§ 289. Occasions of emotions of the ludicrous.

It may, however, assist us in the better understanding of them, if we say something of the occasions on which the emotions of the ludicrous are generally found to arise. And, among other things, it is exceedingly clear, that this feeling is never experienced, except when we notice something, either in thoughts, or in outward objects and actions, which is unexpected and uncommon. That is to say, whenever this emotion is felt, there is always an unexpected discovery by us of some new relations.-But then it must be observed, that the feeling in question does not necessarily exist in consequence of the discovery of such new relations merely. Something more is necessary, as may be very readily seen.

Thus we are sometimes, in the physical sciences, presented with unexpected and novel combinations of the properties and qualities of bodies. But whenever we discover in those sciences relations in objects, which were not only unknown, but unsuspected, we find no emotion of ludicrousness, although we are very pleasantly surprised. Again, similes, metaphors, and other like figures of speech imply in general some new and unexpect ed relations of ideas. It is this trait in them which gives them their chief force. But when employed in serious compositions, they are of a character far from being ludi

crous.

Hence we infer, that emotions of ludicrousness do not exist on the discovery of new and unexpected relations

unless there is at the same time a perception, or supposed perception, of some incongruity or unsuitableness. Such perception of unsuitableness may be expected to give to the whole emotion a new and specific character, which every one is acquainted with from his own experience, but which, as before intimated, it is difficult to express in words.

§ 290. Of what is understood by wit.

The subject of emotions of the ludicrous is closely connected with what is termed Wit. This last-named subject, therefore, which it is of some importance to understand, naturally proposes itself for consideration in this place. In regard to WIT, as the term is generally understood at the present time, there is ground to apprehend, that an emotion of the ludicrous is always, in a greater or less degree, experienced in every instance of it.

This being the case, we are led to give this definition, viz. WIT consists in suddenly presenting to the mind an assemblage of related ideas of such a kind as to occasion feelings of the ludicrous.-This is done in a variety of ways; and, among others, in the two following.

§ 291. Of wit as it consists in burlesque or in debasing objects The first method which wit employs in exciting the feelings of the ludicrous, is by debasing those things which are grand and imposing; especially those which have an appearance of greater weight, and gravity, and splendour than they are truly entitled to. Descriptions of this sort are termed burlesque.

An attempt to lessen what is truly and confessedly serious and important, has, in general, an unpleasant effect, very different from that which is caused by true wit. And yet it is the case, that objects and actions truly great and sublime may sometimes be so coupled with other objects, or be represented in such new circumstances, as to excite very different feelings from what they would otherwise.

In the practice of burlesque, as on all other occasions of wit, there is a sudden and uncommon assemblage of related ideas. Sometimes this assemblage is made by means of a formal comparison. Take, as an instarce, the following comparison from Hudibras:

We find illustrations of burlesque also in those instan ces where objects of real dignity and importance are coupled with things mean and contemptible, although there is no direct and formal comparison made. As in this instance from the above-mentioned book :

"For when the restless Greeks sat down

So many years before Troy-town,

And were renowned, as Homer writes,
For well-soled boots no less than fights."

In these instances we have related ideas. In the first, there is undoubtedly an analogy between a lobster and the morning, in the particular of its turning from dark to red. But however real it may be, it strikes every one as a singular and unexpected resemblance. In the other passage, it is not clear that Butler has done anything more than Homer, in associating the renown of the Greeks with their boots as well as their valour. But to us of the present day the connexion of ideas is hardly less uncommon and singular, not to say incongruous, than in the former.

§ 292. Of wit when employed in aggrandizing objects.

The second method which wit employs in exciting emotions of the ludicrous, is by aggrandizing objects which are in themselves inconsiderable. This species of wit may be suitably termed mock-majestic or mock-heroic. While the former kind delights in low expressions, this is the reverse, and chooses learned words and sonorous combinations. In the following spirited passage of Pope, the writer compares dunces to gods, and Grub-street to heaven:

"As Berecynthia, while her offspring vie
In homage to the mother of the sky,
Surveys around her in the bless'd abode
A hundred sons, and every son a god;

Not with less glory mighty Dulness crowned,

Shall take through Grub-street her triumphant round;
And her Parnassus glancing o'er at once,

Behold a hundred sons, and each a dunce."

In this division of wit are to be included those instan ces where grave and weighty reflections are made on mere trifles. In this case, as in others, the ideas are in some respects related, or have something in common; but the grouping of them is so singular and unexpected, that we cannot observe it without considerable emotion "My galligaskins, that have long withstood The winter's fury and encroaching frosts,

By time subdued, (what will not time subdue!)
A horrid chasm disclose."

But it is not to be supposed that wit is limited to the methods of assembling together incongruous ideas which have just been referred to. A person of genuine wit excites emotions of the ludicrous in a thousand ways, and which will be so diverse from each other, that it will be found exceedingly difficult to subject them to any rules

§ 293. Of the character and occasions of humour.

Closely connected with the general subject of ludicrous einotions and of wit, is that of Humour. It is well known that we often apply the terms humour and humorous to descriptions of a particular character, whether written or given in conversation, and which may be explained as follows.

It so happens that we frequently find among men what seems to us a disproportion in their passions; for instance, when they are noisy and violent, but not durable. We find inconsistencies, contradictions, and disproportions in their action. They have their foibles, (hardly any one is without them,) such as self-conceit, caprice, foolish partialities, and jealousies. Such incongruities in feeling and action cause an emotion of surprise, like an unexpected combination of ideas in wit. Observing them, as we do, in connexion with the acknowledged high traits and responsibilities of human nature, we can no more refrain from an emotion of the ludicrous, than we can on seeing a gentleman of fine clothes and high dignity making a false step and tumbling into a gutter. A person who can seize upon these specialities in temper and conduct, and set them forth in a lively and exact manner, is called a man of humour; and his descriptions are termed humorous descriptions.

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