Part 17

14. Objects once perceived may be recalled to the mind by the power of memory. When I recall an object in this manner, it appears to me the same as in the original survey, only more faint and obscure. For example, I saw yesterday a spreading oak growing on the brink of a river. I endeavour to recall it to my mind. How is this operation performed? Do I endeavour to form in my mind a picture of it or representative image? Not so. I transport myself ideally to the place where I saw the tree yesterday; upon which I have a perception of the tree and river, similar in all respects to the perception I had of it when I viewed it with my eyes, only more obscure. And in this recollection, I am not conscious of a picture or representative image, more than in the original survey: the perception is of the tree itself, as at first. I confirm this by another experiment. After attentively surveying a fine statue, I close my eyes. What follows? The same object continues, without any difference but that it is less distinct than formerly. This indistinct secondary perception of an object, is termed _an idea_. And therefore the precise and accurate definition of an idea, in contradistinction to an original perception, is, “That perception or consciousness of a real object, which a person has by exercising the power of memory.” Every thing one is conscious of, whether internal or external, passions, emotions, thinking, resolving, willing, heat, cold, &_c._ as well as external objects, may be recalled as above by the power of memory[97].

15. The original perceptions of external objects, are either simple or complex. A sound may be so simple as not to be resolvable into parts: so may a taste and a smell. A perception of touch, is generally compounded of the more simple perceptions of hardness or softness, joined with smoothness or roughness, heat or cold, &_c._ But of all the perceptions of external sense, that of a visible object is the most complex; because the eye takes in more particulars than any other organ. A tree is composed of its trunk, branches, leaves: it has colour, figure, size: every one of these separately produceth a perception in the mind of the spectator, which are all combined into the complex perception of the tree.

16. The original perception of an object of sight, is more complete, lively, and distinct, than that of any other external sense: and for that reason, an idea or secondary perception of a visible object, is more distinct and lively than that of any other object. A fine passage in music, may, for a moment, be recalled to the mind with tolerable accuracy: but the idea of any other object, and also of sound after the shortest interval, is extremely obscure.

17. As the range of an individual is commonly within narrow bounds of space, opportunities seldom offer of an enlarged acquaintance with external objects. Original perceptions therefore, and their corresponding ideas, are a provision too scanty for the purposes of life. Language is an admirable contrivance for supplying this deficiency; for by language, the original perceptions of each individual may be communicated to all; and the same may be done by painting and other imitative arts. It is natural to suppose, that the most lively ideas are the most susceptible of being communicated to others. This holds more especially when language is the vehicle of communication; for language hitherto has not arrived at any greater perfection than to express clear and lively ideas. Hence it is, that poets and orators, who are extremely successful in describing objects of sight, find objects of the other senses too faint and obscure for language. An idea thus acquired of an object at second hand, ought to be distinguished from an idea of memory; though their resemblance has occasioned the same term to be apply’d to both. This is to be regretted; for when knowledge is to be communicated by language, ambiguity in the signification of words is a great obstruction to accuracy of conception. Thus nature hath furnished the means of multiplying ideas without end, and of providing every individual with a sufficient stock to answer, not only the necessities, but even the elegancies of life.

18. Further, man is endued with a sort of creative power: he can fabricate images of things that have no existence. The materials employ’d in this operation, are ideas of sight, which may be taken to pieces and combined into new forms at pleasure: their complexity and vivacity make them fit materials. But a man has no such power over any of his other ideas, whether of the external or internal senses: he cannot, after the utmost effort, combine these into new forms: his ideas of such objects are too obscure for this operation. An image thus fabricated cannot be called a secondary perception, not being derived from an original perception: the poverty of language however, as in the case immediately above mentioned, has occasioned the same term _idea_ to be apply’d to all. This singular power of fabricating images independent of real objects, is distinguished by the name _imagination_.

19. As ideas are the chief materials employ’d in thinking, reasoning, and reflecting, it is of consequence that their nature and differences be understood. It appears now, that ideas may be distinguished into three kinds; first, Ideas or secondary perceptions, properly termed _ideas of memory_; second, Ideas communicated by language or other signs; and, third, Ideas of imagination. These ideas differ from each other in many respects; but the chief foundation of the distinction is the difference of their causes. The first kind are derived from real existences that have been objects of our senses: language is the cause of the second, or any other sign that has the same power with language; and a man’s imagination is to himself the cause of the third. It is scarce necessary to add, that an idea, originally of imagination, being convey’d to others by language or any other vehicle, becomes in the mind of those to whom it is convey’d an idea of the second kind; and again, that an idea of this kind, being afterward recalled to the mind, becomes in that circumstance an idea of memory.

20. Human nature is not so constituted, as that its objects are perceived with indifferency: these, with very few exceptions, raise in us either pleasant or painful emotions. External objects, at the same time, appear in themselves agreeable or disagreeable; but with some difference betwixt those which produce organic impressions, and those which affect us from a distance. When we touch a soft and smooth body, we have a pleasant feeling as at the place of contact; and this feeling we distinguish not, at least not accurately, from the agreeableness of the body itself. The same holds in general with regard to all the organic impressions. It is otherwise in hearing and seeing. A sound is perceived as in itself agreeable; and, at the same time, raises in the hearer a pleasant emotion: an object of sight appears in itself agreeable; and, at the same time, raises in the seer a pleasant emotion. These are accurately distinguished. The pleasant emotion is felt as within the mind: the agreeableness of the object is placed upon the object, and is perceived as one of its qualities or properties. The agreeable appearance of an object of sight, is termed _beauty_; and the disagreeable appearance of such an object is termed _ugliness_.

21. But though beauty and ugliness, in their proper and genuine signification, are confined to objects of sight; yet in a more lax and figurative signification, they are apply’d to objects of the other senses. They are sometimes apply’d even to abstract terms; for it is not unusual to say, _a beautiful theorem, a beautiful constitution of government_. But I am inclined to think, that we are led to use such expression by conceiving the thing as delineated upon paper, and as in some sort an object of sight.

22. A line composed by a precise rule, is perceived and said to be regular. A straight line, a parabola, a hyperbola, the circumference of a circle, and of an ellipse, are all of them regular lines. A figure composed by a precise rule, is perceived and said to be regular. Thus a circle, a square, a hexagon, an equilateral triangle, are regular figures, being composed by a rule that determines the form of each. When the form of a line or of a figure is ascertained by a rule that leaves nothing arbitrary, the line and the figure are said to be perfectly regular: this is the case of the figures now mentioned; and it is the case of a straight line and of the circumference of a circle. A figure and a line are not perfectly regular where any part or circumstance is left arbitrary. A parallelogram and a rhomb are less regular than a square: the parallelogram is subjected to no rule as to the length of sides, other than that the opposite sides be equal: the rhomb is subjected to no rule as to its angles, other than that the opposite angles be equal. For the same reason, the circumference of an ellipse, the form of which is susceptible of much variety, is less regular than that of a circle.

23. Regularity, properly speaking, belongs, like beauty, to objects of sight: like beauty, it is also apply’d figuratively to other objects. Thus we say, _a regular government, a regular composition of music_, and, _regular discipline_.

24. When two figures are composed of similar parts, they are said to be uniform. Perfect uniformity is where the constituent parts of two figures are precisely similar to each other. Thus two cubes of the same dimensions are perfectly uniform in all their parts. An imperfect uniformity is, where the parts mutually correspond, but without being precisely similar. The uniformity is imperfect betwixt two squares or cubes of unequal dimensions; and still more so betwixt a square and a parallelogram.

25. Uniformity is also applicable to the constituent parts of the same figure. The constituent parts of a square are perfectly uniform: its sides are equal and its angles are equal. Wherein then differs regularity from uniformity? for a figure composed of similar or uniform parts must undoubtedly be regular. Regularity is predicated of a figure considered as a whole composed of resembling or uniform parts: uniformity again is predicated of these parts as related to each other by resemblance. We say, a square is a regular, not an uniform figure: but with respect to the constituent parts of a square, we say not that they are regular, but that they are uniform.

26. In things destined for the same use, as legs, arms, eyes, windows, spoons, we expect uniformity. Proportion ought to govern parts intended for different uses. We require a certain proportion betwixt a leg and an arm; in the base, the shaft, the capital, of a pillar; and in the length, the breadth, the height, of a room. Some proportion is also required in different things intimately connected, as betwixt a dwelling-house, the garden, and the stables. But we require no proportion among things slightly connected, as betwixt the table a man writes on and the dog that follows him. Proportion and uniformity never coincide: things perfectly similar are uniform; but proportion is never applied to them: the four sides and angles of a square are equal and perfectly uniform; but we say not that they are proportional. Thus, proportion always implies inequality or difference; but then it implies it to a certain degree only: the most agreeable proportion resembles a _maximum_ in mathematics; a greater or less inequality or difference is less agreeable.

27. Order regards various particulars. First, in tracing or surveying objects, we are directed by a sense of order: we conceive it to be more orderly, that we should pass from a principle to its accessories and from a whole to its parts, than in the contrary direction. Next, with respect to the position of things, a sense of order directs us to place together things intimately connected. Thirdly, in placing things that have no natural connection, that order appears the most perfect, where the particulars are made to bear the strongest relation to each other that position can give them. Thus parallelism is the strongest relation that position can bestow upon straight lines. If they be so placed as by production to intersect each other, the relation is less perfect. A large body in the middle and two equal bodies of less size, one on each side, is an order that produces the strongest relation the bodies are susceptible of by position. The relation betwixt the two equal bodies would be stronger by juxtaposition; but they would not both have the same relation to the third.

28. The beauty or agreeableness of an object, as it enters into the original perception, enters also into the secondary perception or idea. An idea of imagination is also agreeable; though in a lower degree than an idea of memory, where the objects are of the same kind. But this defect in the ideas of imagination is abundantly supply’d by their greatness and variety. For the imagination acting without control, can fabricate ideas of finer visible objects, of more noble and heroic actions, of greater wickedness, of more surprising events, than ever in fact existed. And by communicating these ideas in words, painting, sculpture, &_c._ the influence of the imagination is not less extensive than great.

29. In the nature of every man, there is somewhat original, that serves to distinguish him from others, that tends to form a character, and, with the concurrence of external accidents, to make him meek or fiery, candid or deceitful, resolute or timorous, chearful or morose. This original bent is termed _disposition_. Which must be distinguished from a _principle_: no original bent obtains the latter appellation, but what belongs to the whole species. A principle makes part of the common nature of man: a disposition makes part of the nature of this or that man. A _propensity_ comprehends both; for it signifies indifferently either a principle or a disposition.

30. _Affection_, signifying a settled bent of mind toward a particular being or thing, occupies a middle place betwixt propensity on the one hand, and passion on the other. A propensity being original, must exist before any opportunity be offered to exert it: affection can never be original; because, having a special relation to a particular object, it cannot exist till the object be presented. Again, passion depends on the presence of the object, in idea at least, if not in reality: when the idea vanishes, the passion vanishes with it. Affection, on the contrary, once settled on a person, is a lasting connection; and, like other connections, subsists even when we do not think of it. A familiar example will clear the whole. There may be in the mind a propensity to gratitude, which, through want of an object, happens never to be exerted, and which therefore is never discovered even by the person who has it. Another who has the same propensity, meets with a kindly office that makes him grateful to his benefactor: an intimate connection is formed betwixt them, termed _affection_; which, like other connections, has a permanent existence, though not always in view. The affection, for the most part, lies dormant, till an opportunity offer of exerting it: in this circumstance, it is converted into the passion of gratitude; and the opportunity is greedily seized for testifying gratitude in the most complete manner.

31. _Aversion_, I think, must be opposed to affection, and not to desire, as it commonly is. We have an affection for one person; we have an aversion to another: the former disposes us to do good to its object, the latter to do ill.

32. What is a sentiment? It is not a perception; for a perception signifies our consciousness of external objects. It is not consciousness of an internal action; such as thinking, suspending thought, inclining, resolving, willing, &_c._ Neither is it a conception of relation amongst objects or of their differences: a conception of this kind, is termed _opinion_. The term _sentiment_ is appropriated to those thoughts that are suggested by a passion or emotion.

33. _Attention_ is that state of mind which prepares a man to receive impressions. According to the degree of attention, objects make a stronger or weaker impression[98]. In an indolent state, or in a reverie, objects make but a slight impression; far from what they make when they command our attention. In a train of perceptions, no single object makes such a figure as it would do single and apart: for when the attention is divided among many objects, no single object is intitled to a large share. Hence the stillness of night contributes to terror, there being nothing to divert the attention.

Horror ubique animos, simul ipsa silentia terrent.

_Æneid._ 2.

_Zara._ Silence and solitude are ev’ry where! Through all the gloomy ways and iron doors That hither lead, nor human face nor voice Is seen or heard. A dreadful din was wont To grate the sense, when enter’d here, from groans And howls of slaves condemn’d, from clink of chains, And crash of rusty bars and creeking hinges: And ever and anon the sight was dash’d With frightful faces and the meagre looks Of grim and ghastly executioners. Yet more this stillness terrifies my soul Than did that scene of complicated horrors. _Mourning Bride, act 5. sc. 8._

And hence it is, that an object seen at the termination of a confined view, is more agreeable than when seen in a group with the surrounding objects.

The crow doth sing as sweetly as the lark When neither is attended; and, I think, The nightingale, if she should sing by day, When ev’ry goose is cackling, would be thought No better a musician than the wren. _Merchant of Venice_

34. In matters of slight importance, attention, in a great measure, is directed by will; and for that reason, it is our own fault if trifling objects make any deep impression. Had we power equally to with-hold our attention from matters of importance, we might be proof against any deep impression. But our power fails us here: an interesting object seizes and fixes the attention beyond the possibility of control; and while our attention is thus forcibly attached by one object, others may solicit for admittance; but in vain, for they will not be regarded. Thus a small misfortune is scarce felt in presence of a greater:

_Lear._ Thou think’st ’tis much, that this contentious storm Invades us to the skin; so ’tis to thee; But where the greater malady is fix’d, The lesser is scarce felt. Thou’d’st shun a bear; But if thy flight lay tow’rd the roaring sea, Thou’d’st meet the bear i’ th’ mouth. When the mind’s free, The body’s delicate: the tempest in my mind Doth from my senses take all feeling else, Save what beats there. _King Lear, act 3. sc. 5_.

35. _Genus_, _species_, _modification_, are terms invented to distinguish beings from each other. Individuals are distinguished by their qualities: a large class of individuals enjoying qualities in common, is termed a _genus_: a subdivision of such class is termed a _species_. Again, that circumstance which distinguisheth one genus, one species, or even one individual, from another, is termed a _modification_: the same particular that is termed a _property_ or _quality_ when considered as belonging to an individual or a class of individuals, is termed a _modification_ when considered as distinguishing the individual or the class from another. A black skin and soft curled hair, are properties of a negro: the same circumstances considered as marks that distinguish a negro from a man of a different species, are denominated _modifications_.

36. Objects of sight, being complex, are distinguishable into the several particulars that enter into the composition: these objects are all of them coloured; and they all have length, breadth, and thickness. When I behold a spreading oak, I distinguish in this object, size, figure, colour, and sometimes motion: viewing a flowing river, I distinguish colour, figure, and constant motion: a dye has colour, black spots, six plain surfaces, all equal and uniform. The objects of touch, have all of them extension. Some of them are felt rough, some smooth: some of them are hard, some soft. With respect to the other senses, some of their objects are simple, some complex: a sound, a taste, a smell, may be so simple as not to be distinguishable into any parts: others are perceived to be compounded of different sounds, different tastes, and different smells.

37. The eye at one look can take in a number of objects, as of trees in a field, or men in a crowd: as these objects are distinct from each other, each having a separate and independent existence, they are distinguishable in the mind as well as in reality; and there is nothing more easy, than to abstract from some and to confine our contemplation to others. A large oak with its spreading branches, fixes our attention upon itself, and abstracts us from the shrubs that surround it. In the same manner, with respect to compounded sounds, tastes, or smells, we can fix our thoughts upon any one of the component parts, abstracting our attention from the rest. But the power of abstraction is not confined to objects that are separable in reality as well as mentally: it also takes place where there can be no real separation. The size, the figure, the colour, of a tree, are inseparably connected, and cannot exist independent of each other: the same of length, breadth, and thickness: and yet we can mentally confine our observations to one of these, neglecting or abstracting from the rest. Here abstraction takes place where there cannot be a real separation.

38. This power of abstraction is of great utility. A carpenter considers a log of wood, with regard to hardness, firmness, colour, and texture: a philosopher, neglectting these properties, makes the log undergo a chymical analysis; and examines its taste, its smell, and its component principles: the geometrician confines his reasoning to the figure, the length, breadth, and thickness. In general, every artist, abstracting from all other properties, confines his observations to those which have a more immediate connection with his profession.

39. Hence clearly appears the meaning of an _abstract term_, and _abstract idea_. If in viewing an object, we can abstract from some of its parts or properties, and attach ourselves to others; there must be the same facility, when we recall this object to the mind in idea. This leads directly to the definition of an abstract idea, _viz._ “A partial view of a complex object, limited to one or more of the component parts or properties, laying aside or abstracting from others.” A word that denotes an abstract idea, is called an _abstract term_.

40. The power of abstraction is bestowed upon man, for the purposes solely of reasoning. It tends greatly to the facility as well as clearness of any process of reasoning, that, withdrawing from every other circumstance, we can confine our attention to the single property we desire to investigate.