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Updated: June 2, 2025
It is not the beauty of the body alone that produces pride, but also its strength and force. Strength is a kind of power; and therefore the desire to excel in strength is to be considered as an inferior species of ambition. For this reason the present phaenomenon will be sufficiently accounted for, in explaining that passion.
To begin with the first phaenomenon, why a great distance encreases our esteem and admiration for an object; it is evident that the mere view and contemplation of any greatness, whether successive or extended, enlarges the soul, and give it a sensible delight and pleasure.
Beside the effect of design; each act of the mind, being separate and independent, has a separate influence, and joins not its force with that of its fellows. Not being united by any common object, producing them, they have no relation to each other; and consequently make no transition or union of forces. This phaenomenon we shall understand better afterwards.
I know nothing that contributes more to a clearer insight into the true nature of any literary phaenomenon, than the comparison of it with some elder production, the likeness of which is striking, yet only apparent, while the difference is real. A popularity so extensive, and of a work so grotesque and extravagant, claims and merits philosophical attention and investigation.
The third phaenomenon I have remarked will be a full confirmation of this. It is not every removal in time, which has the effect of producing veneration and esteem. We are not apt to imagine our posterity will excel us, or equal our ancestors. This phaenomenon is the more remarkable, because any distance in futurity weakens not our ideas so much as an equal removal in the past.
We might, perhaps, be at a loss to explain this phaenomenon, if we had not experience of a similar in ourselves. Envy and malice are passions very remarkable in animals. They are perhaps more common than pity; as requiring less effort of thought and imagination. We come now to explain the direct passions, or the impressions, which arise immediately from good or evil, from pain or pleasure.
To modern philosophers these fictions are merely the abstract names of the classes of phaenomena which correspond to them; and it is one of the puzzles of philosophy, how mankind, after inventing a set of mere names to keep together certain combinations of ideas or images, could have so far forgotten their own act as to invest these creations of their will with objective reality, and mistake the name of a phaenomenon for its efficient cause.
I was pleased with the Cartesian opinion, that the idea of God is distinguished from all other ideas by involving its reality; but I was not wholly satisfied. I began then to ask myself, what proof I had of the outward existence of anything? Of this sheet of paper for instance, as a thing in itself, separate from the phaenomenon or image in my perception.
Madame de Menon, disturbed at this phaenomenon, hastened into the castle, with a view of enquiring into the cause of it, when she was met in the north hall by Vincent. She related to him what she had seen, and ordered an immediate search to be made for the keys of those apartments.
When imagination incessantly escapes from reality, and does not abandon the simplicity of nature in its wanderings: then and there only the mind and the senses, the receptive force and the plastic force, are developed in that happy equilibrium which is the soul of the beautiful and the condition of humanity. What phaenomenon accompanies the initiation of the savage into humanity?
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